A Tang Dynasty Painted Pottery Horse

（Accompanied by an Oxford Authentication Thermoluminescence Analysis Report）

This Tang dynasty painted pottery horse is accompanied by a Thermoluminescence (TL) Analysis Report issued by Oxford Authentication Ltd. (Sample No. C202b48), dated November 21, 2002, together with a Certificate of Authenticity dated November 24, 2002. Since 1997, Oxford Authentication has specialized in the scientific authentication of ceramic antiquities through thermoluminescence testing, and its reports have been widely accepted by museums, auction houses, dealers, collectors, and institutions worldwide. According to the report, samples were taken on November 5, 2002, from three separate locations beneath the head, on the right side of the body, and beneath the saddle. All three samples produced consistent results, indicating that the horse was last fired approximately 1,000 to 1,600 years before the date of testing. The report explicitly concluded that the results were “CONSISTENT with the suggested period of manufacture,” namely the Tang dynasty (618–907 AD), providing important scientific support for the dating of the piece.

The present horse retains substantial areas of original red pigment, particularly along the head, neck, chest, and legs. Standing in a calm yet dignified posture, the horse lowers its head slightly while maintaining an alert and powerful presence. The elongated neck arches gracefully forward, the chest is broad and full, the abdomen rounded, the hindquarters muscular, and the legs strong and well proportioned. A separately modeled saddle rests upon its back, complete with prominent saddle arches and draped saddlecloths decorated with finely incised details. Although centuries of burial have resulted in surface weathering and mineral accretions, the surviving red pigmentation still conveys a vivid impression of the sculpture's original appearance and the rich polychromy characteristic of Tang funerary ceramics.

The Tang dynasty marked one of the most prosperous and dynamic periods in Chinese history. Following the political stability and economic growth of the Zhenguan and Kaiyuan eras, the empire entered a period of extraordinary cultural confidence and social vitality. The flourishing of commerce, agriculture, international trade, and urban life fostered an atmosphere of optimism and creativity that profoundly influenced artistic production. Horses, which played a central role in the military, transportation network, and diplomatic exchanges of the empire, naturally emerged as one of the defining symbols of the age. Tang pottery horses vividly embody this spirit. Their powerful physiques, confident bearing, and elegant proportions reflect the energy, prosperity, and self-assurance of the High Tang world. The present example, with its robust form and surviving bright pigments, captures precisely this atmosphere of abundance and vitality.

The significance of horses in Tang society extended far beyond practical utility. Horse culture permeated every aspect of life, from state-sponsored breeding programs and military campaigns to private ownership and leisure activities. Horses were indispensable to transportation and warfare, but they also occupied an important place in recreation and sport. Activities such as hunting, horse racing, polo, and the famous performances of dancing horses were widely enjoyed by emperors and aristocrats. During the early and high Tang periods, horseback riding even became fashionable among court ladies and elite women, reflecting the openness and cosmopolitan character of Tang society. The present sculpture stands as a reminder of the special affection the Tang people held for horses and the broader ideals of freedom, refinement, and cultural sophistication that they represented.

From an artistic perspective, the figure exemplifies the ability of Tang sculptors to balance realism with expressive interpretation. Rather than merely reproducing anatomical details, the sculptor sought to capture the essential spirit of the animal. The long arched neck, powerful chest, rounded body, and restrained stance communicate both strength and elegance. Although the modeling is economical and highly controlled, it successfully conveys a sense of latent energy and vitality. Such an approach reflects the traditional Chinese artistic ideal of “conveying spirit through form”—using physical appearance as a vehicle for expressing inner character and emotional resonance. The horse thus transcends simple representation and becomes an embodiment of prosperity, confidence, and noble aspiration.

As a funerary object, the sculpture also reflects the widespread burial customs of the Tang dynasty. Building upon earlier traditions, Tang society embraced increasingly elaborate tomb furnishings. Although the government repeatedly attempted to regulate the number and scale of burial goods through official legislation, archaeological evidence demonstrates that large tombs frequently exceeded those restrictions. Pottery figures became among the most important categories of funerary objects, and painted pottery horses were particularly favored. They symbolized wealth, prestige, status, and the hope that the comforts and privileges enjoyed in life would continue in the afterlife. The remarkable popularity of pottery horses throughout Tang society illustrates both the cultural importance of the horse and the enduring admiration it inspired.

Combining strong sculptural quality, substantial surviving pigment, historical significance, and comprehensive scientific documentation, this Tang painted pottery horse stands as an outstanding testament to the prosperity, openness, and artistic achievement of the Tang dynasty. Its Oxford Authentication TL report, preserved together with the sculpture for more than two decades, further enhances its scholarly importance and collector appeal.

Dimensions: Horse: H 19 x W 18 3/4 x D 5 1/4 inches (49 x 49 x 14.3 cm); Saddle: 8 3/8 x 6 3/4 x 5 1/2 inches (23 x 18.4 x 15 cm).

唐代彩绘陶马俑

（附 Oxford Authentication 热释光检测报告）

本件唐代彩绘陶马俑附有英国 Oxford Authentication Ltd. 出具的热释光（Thermoluminescence, TL）检测报告（Sample No. C202b48），报告日期为2002年11月21日；同时附有2002年11月24日签发的《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。根据报告记载，本件作品于2002年11月5日进行取样检测，样本分别取自马头下方、身体右侧及马鞍下方三处。检测结果显示，三组样本均获得一致数据，表明器物最后一次烧成时间距检测时约为1000至1600年，并明确认定其结果与唐代（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。

本件陶马俑通体保留较为丰富的朱红色彩绘遗存，尤以头部、颈部、胸部及四肢最为明显。马首微俯，双耳竖立，长颈高耸而自然弯曲，胸膛宽阔，腹部圆浑，臀部丰硕，四肢修长而坚实。马背置独立马鞍，鞍桥高起，两侧鞍毯自然垂覆，表面仍可见细密刻划纹饰。历经千余年埋藏，器表形成自然风化与矿物沉积，但仍保留大面积原始彩绘痕迹，使观者得以窥见唐代彩绘陶塑原本鲜丽华美的面貌。

唐代是中国封建社会最为繁荣鼎盛的时期之一。经过“贞观之治”与“开元盛世”的发展，国家经济繁荣，社会安定开放，各领域均呈现出蓬勃向上的生机与活力。正是在这样的历史背景下，马成为唐代社会最具代表性的文化符号之一。无论是宫廷贵族、边疆军旅还是普通百姓，马都深刻参与着国家与社会的运行。彩绘陶马俑所展现的矫健风姿和昂扬气度，正是盛唐时代精神的艺术写照。本件作品虽然采用静立姿态，却并无沉闷之感。其饱满健硕的体态、流畅舒展的轮廓以及残存的鲜艳朱彩，共同营造出一种雍容、自信而充满生命力的气息，充分体现出盛唐社会乐观开放的时代风貌。

唐代马文化的兴盛远远超出了军事与交通的范畴。随着国家经济的发展和社会生活的繁荣，养马成为官方与民间普遍重视的事业。马不仅承担着运输和战争职能，同时也是娱乐、竞技与社会生活的重要组成部分。骑马狩猎、赛马、击鞠（马球）、舞马等活动在唐代广泛流行，成为帝王贵族日常生活的重要内容。尤其在初唐至盛唐时期，骑马甚至成为宫廷仕女与上层贵族妇女的重要时尚。大量绘画、陶俑与文学作品均记录了这一开放自由的社会风气。本件陶马所展现出的优雅体态与从容气质，正反映出唐代人对于马匹的特殊情感以及对于自由、活力与美好生活的向往。

从艺术角度观察，本件作品不仅追求马匹外貌的真实再现，更注重精神气质的表达。工匠通过对马匹体态与性情的长期观察，将其最具代表性的特征加以提炼与强化。长颈微曲，胸满腹圆，四肢劲健，整体比例协调而富有节奏感。虽然造型简练，却准确传达出骏马温顺而充满力量的生命状态。作品既保留了现实动物的生理特征，又融入了艺术家的审美理想，从而达到中国传统艺术所追求的“以形写神”境界。马不再只是现实中的牲畜，而成为力量、繁荣与时代精神的象征。

作为墓葬明器，本件作品同时折射出唐代社会盛行的厚葬风俗。唐代在继承前代丧葬传统的基础上，形成了极为发达的随葬制度。尽管官方屡次颁布法令限制随葬品数量与规模，但随着社会财富的增长，陶俑陪葬之风仍广泛流行于各个社会阶层。根据《唐六典》等文献记载，明器的数量和尺寸本有明确规定，但考古发现表明，大量唐墓均远超制度限制。正是在这种社会背景下，陶俑制作进入前所未有的繁荣时期。彩绘陶马俑作为最受欢迎的随葬题材之一，不仅象征墓主人生前的财富、地位与荣耀，也寄托了人们对于来世生活的美好期待。其广泛流行的程度，充分说明马在唐代社会中的重要地位，以及人们对这一形象发自内心的喜爱与认同。

本件彩绘陶马俑兼具鲜明的时代特征、优美的雕塑语言以及完整的科学检测档案。其保存至今的朱彩遗存、生动健硕的造型以及Oxford Authentication热释光检测报告，共同见证了盛唐社会繁荣开放的时代精神与中国古代陶塑艺术的卓越成就。

尺寸：马俑高19英寸，宽18 3/4英寸，深5 1/4英寸（49 × 49 × 14.3厘米）；马鞍长8 3/8英寸，宽6 3/4英寸，深5 1/2英寸（23 × 18.4 × 15厘米）。