A Tang Dynasty Painted Pottery Standing Female Figure

（Accompanied by an Oxford Authentication Thermoluminescence Analysis Report）

This Tang dynasty painted pottery standing female figure is accompanied by a Thermoluminescence (TL) Analysis Report and a Certificate of Authenticity issued by Oxford Authentication Ltd. Since 1997, Oxford Authentication has specialized in the scientific authentication of ceramic antiquities through thermoluminescence testing, and its reports are widely recognized and accepted by museums, auction houses, dealers, collectors, and institutions throughout the world. According to the report, multiple samples were analyzed, and the results indicated that the last firing of the pottery occurred within a date range consistent with the Tang dynasty (618–907 AD), providing important scientific support for the dating and authenticity of the present figure.

Funerary figures, known as yong, first appeared in China no later than the Spring and Autumn period, but their development reached its peak during the Sui and Tang dynasties. As the Tang empire entered an era of unprecedented prosperity and cultural confidence, the production of tomb figures expanded dramatically in both quantity and artistic sophistication. Tang pottery figures became not only an essential component of burial practice but also valuable reflections of contemporary society, fashion, and aesthetic ideals.

The present figure depicts a graceful female attendant with a full, rounded face and a calm, dignified expression, embodying the Tang ideal of feminine beauty. Her hair is arranged in an imposing double-loop coiffure, one of the most recognizable and fashionable hairstyles of the period. She stands upright with both hands clasped before her chest in a gesture of quiet composure. Traces of the original pink pigment remain on the face, while red coloration is still visible on the lips, preserving something of the sculpture’s original appearance. The sleeves and skirt are decorated with finely incised vertical folds and ridges that enrich the surface and create a sense of movement within an otherwise restrained composition.

Tang female figures were often modeled after real women of the period, including attendants, musicians, dancers, and aristocratic ladies. Tang artisans possessed a remarkable ability to convey identity and character through costume, hairstyle, and posture. Although simplified in form, the present figure possesses a striking sense of presence. The broad face, elegant coiffure, and reserved posture combine to create an image of refinement, confidence, and serenity, qualities highly admired in Tang society.

Unlike the sculptural traditions of ancient Greece and Rome, which emphasized anatomy and musculature to explore the beauty of the human body, Tang sculptors often regarded the modeled figure as a foundation for painted decoration. Their objective was not to reproduce every anatomical detail but rather to create harmonious forms that could be enhanced through color and line. As a result, Tang female figures rarely display dramatic movement or pronounced musculature. Instead, they embody a distinctly East Asian aesthetic characterized by elegance, restraint, and understated luxury. Sculpture and painting work together to produce an effect that is both dignified and richly expressive.

The manufacturing process of Tang pottery figures typically combined mold-made construction with hand modeling. The main body was formed in molds, while details such as the hands, hairstyle, and facial features were refined by hand. After removal from the mold, the artist incised the garment folds and other decorative details before applying pigments and firing the piece. The present figure exemplifies this mature ceramic tradition. The head, body, and hands are integrated into a unified composition, demonstrating the technical sophistication achieved by Tang craftsmen.

Particularly noteworthy are the incised lines of the robe and skirt. Tang sculptors placed great emphasis on the expressive power of line, and these flowing garment folds represent one of the defining characteristics of Tang figural sculpture. The lines descend gracefully from the shoulders through the length of the robe, creating both a sense of volume and a rhythmic visual cadence. They function simultaneously as sculptural forms and as graphic elements reminiscent of Chinese brushwork. At times the folds cascade like a waterfall; elsewhere they curve gently like ribbons stirred by a breeze. The result is a harmonious interplay of movement and stillness that lends the figure a remarkable sense of grace.

The surviving polychromy further enhances the sculpture’s visual appeal. Tang artisans typically covered the pottery surface with a white slip before applying pigments to the face, hair, and garments. Facial features were rendered with economical yet elegant brushwork: slender eyebrows, gently curved eyes, red lips, and dark hair. Although centuries of burial have inevitably diminished the original colors, the surviving pigments remain sufficient to convey the refined decorative character of Tang painted sculpture. Rather than merely concealing the earthenware body, the colors enrich the sculpture’s expressive qualities and contribute to its distinctive aesthetic identity.

As a funerary object, the figure also reflects the flourishing burial culture of the Tang dynasty. Despite repeated attempts by the government to regulate the scale of tomb furnishings, archaeological discoveries reveal that pottery figures remained enormously popular among all levels of society. Such figures symbolized not only servants and attendants who would continue to serve the deceased in the afterlife, but also the wealth, status, and aspirations of the tomb occupant. Their widespread use demonstrates the importance of funerary ritual in Tang society and the enduring appeal of ceramic sculpture as a vehicle for expressing social ideals and personal hopes.

Combining elegant modeling, surviving traces of original polychromy, and the assurance of scientific authentication through Oxford Authentication’s thermoluminescence testing, this painted pottery female figure stands as an excellent example of Tang funerary art. Its refined features, distinctive double-loop coiffure, flowing garment lines, and subtle coloration embody the artistic achievements, social sophistication, and aesthetic ideals of one of the greatest periods in Chinese history.

Dimensions: H 12 x W 3 3/4 inches (32 x 10.7 cm).

唐代彩绘女立俑

（附 Oxford Authentication 热释光检测报告）

本件唐代彩绘女立俑附有英国 Oxford Authentication Ltd. 出具的热释光（Thermoluminescence, TL）检测报告及《Certificate of Authenticity》鉴定证书。Oxford Authentication 自1997年以来专门从事古代陶瓷与陶质文物热释光检测，其检测报告长期受到国际博物馆、拍卖行、古董商及收藏界广泛认可，并被视为古代陶器断代的重要科学依据。根据检测报告，本件作品经多点取样分析，结果显示其最后一次烧成时间与唐代（618–907年）制作年代相符，为本件作品的年代归属提供了重要的科学依据。

俑作为中国古代墓葬艺术的重要组成部分，最迟于春秋时期已经出现，而至隋唐时期则发展至鼎盛阶段。随着唐代国力强盛、经济繁荣以及社会生活的高度发展，陶俑的制作数量与艺术水平都达到前所未有的高度。唐代人物俑不仅是随葬制度的重要组成部分，同时也是研究唐代社会风尚、服饰制度与审美趣味的重要实物资料。

本件女俑形象端庄优雅，面庞丰颐圆润，神态安详恬静，充分体现出唐代人物雕塑所追求的丰腴之美。头梳硕大的双环髻，发式高耸而醒目，为唐代女性形象中极具时代特色的装束之一。双手合于胸前，姿态含蓄庄重，衣袖宽大，长裙曳地。面部至今仍保存有粉红色彩绘遗迹，双唇残留朱红色颜料，黑彩发髻亦依稀可辨，使人得以想象其初制完成时鲜丽典雅的面貌。袖部与裙面刻划数道纵向扉棱与衣纹，增加了服饰的层次变化与装饰效果，使整体造型更富节奏感与韵律美。

唐代女俑多以现实生活中的侍女、乐伎或贵族妇女为原型塑造而成，具有鲜明的现实主义创作特点。工匠善于从人物服饰、发式与神态入手，通过简练而准确的艺术语言表现人物身份与性格。本件作品虽造型概括，却形神兼备，给人以呼之欲出之感。丰满圆润的面容、庄重含蓄的姿态以及华丽考究的发髻，无不体现出盛唐时期女性形象所特有的自信与雍容。

与西方古典雕塑通过人体解剖结构和肌肉表现来探索人体美不同，唐代女俑更强调雕塑与绘画的结合。对于唐代工匠而言，塑造完成的人物形体同时也是彩绘装饰的载体。他们无需刻意追求肌肉起伏或复杂动态，而是通过简练准确的体积塑造与细腻的设色，创造出一种典雅含蓄而又富有贵气的艺术风格。因此，唐代女俑虽然不像古希腊或古罗马雕塑那样强调强烈的立体感，却形成了一种独具东方审美特征的淡彩雕塑传统。

从制作工艺来看，唐代女俑大多采用模制与手工塑造相结合的方法完成。工匠首先利用模具压制成形，再对头部、双手及发髻等细节进行补塑与修整。衣纹则往往在脱模之后刻划完成，最后施以彩绘并入窑烧制。本件作品正体现出这一成熟工艺体系。其头、身、手自然衔接，整体结构完整统一，展现出唐代陶塑工艺的高度成熟。

衣裙上的刻线是本件作品最具特色的艺术语言之一。唐代雕塑极为重视线条的表现力，而女俑衣纹则成为这种审美追求的最佳体现。工匠以流畅自然的刻线贯穿衣袖与长裙，使线条随着身体结构而变化起伏。衣纹既表现出雕塑的空间感与体积感，同时又具有中国绘画线描般的节奏与韵律。其线条圆转流畅，毫无板滞生涩之感，时而如垂瀑直下，时而似轻风拂带，既有“曹衣出水”的清润雅致，又有“吴带当风”的飘逸灵动。正是这种线条与体量的完美结合，使唐代女俑展现出一种近乎音乐般的节奏美感。

彩绘的运用进一步丰富了雕塑的表现力。工匠先以白色粉衣覆盖陶胎本色，再于面部、发髻及服饰施以不同颜色。眉眼仅以简洁线条勾勒，双眉细长，眼形弯曲如新月，朱唇点染红彩，发髻施墨，设色虽不繁复，却极富装饰效果。彩绘不仅掩盖了陶土本身的单调色泽，同时通过色彩之间的对比与统一，使雕塑更具生命力与感染力。经过千余年的岁月侵蚀，虽然部分颜料已经脱落，但残存的粉彩与朱彩仍清晰展现出唐代彩绘陶塑曾经的华美风貌。

作为墓葬明器，本件女俑同时反映出唐代社会盛行的厚葬风俗。唐代在继承前代丧葬制度的基础上，形成了极为发达的随葬文化。随着经济的恢复与繁荣，陶俑陪葬之风广泛流行于社会各阶层。虽然《唐六典》等文献对明器数量与规格有所限制，但实际考古发现表明，大量墓葬均远远超出法令规定。正是在这样的历史背景下，陶俑制作进入鼎盛时期，并形成了丰富多样的艺术面貌。对于墓主人而言，这些女俑不仅象征现实生活中的侍从与服务体系，也寄托着对于来世生活延续的美好愿望，因此成为唐代墓葬中最具代表性的随葬品之一。

本件彩绘女立俑兼具优雅的造型、保存至今的彩绘遗迹以及完整的Oxford Authentication热释光检测档案。其丰满端庄的形象、硕大的双环髻、流畅的衣纹线条与典雅的设色风格，共同展现出盛唐时期女性审美理想与人物雕塑艺术的高度成就，亦为研究唐代社会生活、丧葬文化及彩绘陶塑艺术提供了珍贵而生动的实物例证。

尺寸：高12英寸，宽3 3/4英寸（32 × 10.7厘米）。

For condition report, please contact the Asian Art Department.