A Tang Dynasty Painted Pottery Horse
（Accompanied by an Oxford Authentication Thermoluminescence Analysis Report）
This impressive Tang dynasty painted pottery horse represents a fine example of early Tang funerary sculpture, embodying both the artistic sophistication and cultural ideals of one of China's most prosperous periods. Standing in a composed and dignified posture, the horse lowers its head slightly while maintaining an alert and powerful presence. Its upright ears, elongated neck, broad chest, rounded abdomen, muscular hindquarters, and sturdy legs convey the strength and vitality associated with the prized horses of the Tang Empire.
A separately modeled saddle rests upon the horse's back, complete with prominent saddle arches and draped saddlecloths extending along both flanks. Finely incised linear decoration across the saddle surface suggests woven textile patterns, demonstrating the sculptor's careful attention to equestrian equipment and ceremonial display.
The horse is covered with a white slip, now weathered to a soft grayish-white tone through centuries of burial and natural aging. Particularly noteworthy are the surviving traces of red pigment preserved along the mane. These remnants suggest that the sculpture was originally more vividly painted, as was common among Tang tomb figures. The surviving polychromy provides valuable evidence for understanding the original appearance of Tang painted ceramics, whose brilliant colors have often faded or disappeared over time.
Unlike the large-scale military formations of pottery horses produced during the Qin and Han dynasties, Tang pottery horses increasingly emphasized the individuality and artistic character of each figure. Rather than functioning merely as components within a funerary army, Tang horses were often conceived as independent sculptural works. Craftsmen carefully observed the anatomy and temperament of living horses, producing figures characterized by small heads, expressive eyes, broad necks, rounded hindquarters, powerful limbs, and robust physiques. This example perfectly embodies those characteristics. The proportions are harmonious, the structure is clearly articulated, and the modeling conveys both physical strength and inner vitality.
From an artistic perspective, the sculpture demonstrates one of the fundamental principles of traditional Chinese sculptural aesthetics: the integration of line and volume. Chinese sculptors often employed what may be described as “drawing with form and shaping form through line,” allowing contour lines to define both structure and rhythm. The elegant sweep of the neck, the gentle curvature of the back, and the forceful articulation of the legs create a dynamic visual flow throughout the figure. Strong, confident contours combine with simplified yet highly effective modeling to produce a sculpture that is at once monumental, graceful, and full of life.
Beyond anatomical accuracy, the work also reflects the traditional Chinese artistic ideal of “conveying the spirit through form” (yixing xieshen). The sculptor was not merely concerned with reproducing physical appearance but sought to capture the essential character of the horse itself. The slightly lowered head, calm stance, and powerful physique communicate dignity, confidence, and restrained energy. Through the careful balance of realism and artistic interpretation, the figure transcends simple representation and becomes an embodiment of the ideals associated with the horse in Tang culture—strength, nobility, vitality, and elegance.
Of particular importance is the fact that the sculpture is accompanied by a Thermoluminescence (TL) Analysis Report issued by Oxford Authentication Ltd. (Sample No. C202b49), dated November 21, 2002, together with a Certificate of Authenticity dated November 24, 2002. These documents provide significant scientific and scholarly support for the dating of the piece.
Unlike traditional connoisseurship, which relies primarily upon stylistic comparison and expert opinion, thermoluminescence testing is a scientific method used to determine the approximate date of a ceramic object's last firing. Oxford Authentication® has specialized in the authentication of ceramic antiquities through TL testing since 1997. According to the company, its reports are widely recognized and accepted by museums, auction houses, dealers, collectors, and courts of law throughout the world, serving as an important benchmark in the authentication of ancient ceramic objects.
According to the report, samples were collected on November 5, 2002, by Phyllis Hsia, Oxford Authentication's representative for Southeast Asia. Three independent samples were taken from beneath the horse's head, from the right side of the body, and from beneath the saddle. Through laboratory analysis of the thermoluminescent signals retained within the ceramic matrix, Oxford Authentication estimated the date of the object's last firing.
The results from all three samples were found to be consistent, indicating that the horse was last fired approximately 1,000 to 1,600 years before the date of testing. The report explicitly concludes that the results are “CONSISTENT with the suggested period of manufacture,” namely the Tang dynasty (618–907 AD). Such findings provide strong scientific evidence that the ceramic body itself was fired during the medieval period rather than being a modern reproduction.
The use of three separate sampling locations is particularly significant. Multi-point testing reduces the possibility of inaccurate results arising from localized restoration, later additions, or isolated material anomalies. The fact that samples from the head, body, and saddle all yielded comparable results substantially strengthens the reliability of the report and enhances its value as documentary evidence.
As a result, this sculpture is distinguished not only by its artistic quality and preservation but also by the presence of comprehensive scientific documentation. Combining strong sculptural modeling, surviving traces of original pigment, a well-preserved saddle, and an internationally respected Oxford Authentication TL report, this Tang painted pottery horse stands as an important example of early Tang funerary art and a compelling testament to the sophistication of Tang dynasty ceramic sculpture.
Dimensions: Horse: H 19 x W 18 1/2 x D 5 inches (49 x 48.2 x 14 cm); Saddle: 8 1/8 x 6 3/4 x 5 3/8 inches (22 x 18.4 x 15 cm).
唐代彩绘陶马俑
（附 Oxford Authentication 热释光检测报告）
本件陶马俑为唐代早期墓葬明器，马作静立姿，头部微垂，双耳竖立，颈项修长而有力。胸膛饱满，腹部圆浑，臀部丰硕，四肢粗壮坚实，展现出唐代良马膘肥体健、筋骨强健的典型特征。马背置鞍，鞍桥高起，鞍毯垂覆两侧，表面以细密刻线表现织物肌理，工艺精细而富有装饰性。
通体施白色化妆土，现整体呈灰白色调，历经千余年埋藏后形成自然风化与矿物沉积。尤为引人注目的是马鬃仍保留明显朱红色彩绘痕迹，显示其原本应施有更为丰富鲜艳的彩绘装饰。唐代墓葬陶俑出土时往往残存局部颜料，本件鬃毛朱彩保存较佳，对于研究唐代彩绘陶塑的原始面貌具有一定参考价值。
唐代陶马俑与秦汉时期强调军阵规模的随葬陶马不同，更加重视单体形象的塑造与艺术表现。匠师通过对马匹长期观察所积累的经验，准确把握其体态结构与精神气质。唐代陶马通常具有头小、耳短、颈宽、胸满、臀圆、四肢修长而强健等特征，而本件作品正充分体现了这一审美传统。其身体比例协调，结构清晰准确，肌肉起伏自然，既表现出骏马的力量感，又流露出温顺沉静的气质。
从艺术表现上看，本件作品尤能体现中国古代雕塑“以线画体，以体托线，线体结合”的造型特点。匠师以简练而遒劲的轮廓线勾勒整体结构，通过流畅的颈线、背线与腿部转折线塑造体积感与运动感。马首、颈项与躯体之间的衔接自然流畅，既具有雕塑的体积之美，又保留了中国传统艺术重视线条韵律的审美特征。遒劲有力的轮廓线与简洁概括的结构处理，使整件作品呈现出雄健而富于节奏感的艺术效果。
更重要的是，本件作品不仅追求外形的真实再现，更体现了中国传统艺术“以形写神”的审美理想。匠师并未拘泥于细枝末节的刻画，而是抓住马匹最鲜明的精神特征加以提炼与强化。低首静立的姿态、饱满健硕的体态以及沉稳内敛的神情，共同塑造出一种庄重、自信而充满生命力的形象。透过具体形态所传达出的精神气质，正是唐代雕塑艺术最具魅力之处。
尤为重要的是，本件作品附有英国 Oxford Authentication Ltd. 出具的热释光（Thermoluminescence, TL）检测报告（Sample No. C202b49），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及陶质文物热释光检测，其报告长期被国际博物馆、拍卖行、古董商及收藏界广泛采用，并被视为古代陶器断代的重要科学依据。
根据报告记载，本件陶马于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。报告明确指出，检测结果“与所建议的制作年代一致”（Consistent with the Suggested Period of Manufacture），即符合唐代（618–907年）陶俑的年代范围。三处独立取样均获得相近结果，进一步增强了检测结论的可靠性，也为本件作品的年代归属提供了重要的科学依据。
作为唐代尚马文化与墓葬艺术的重要遗存，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。其雄健浑厚的体态、残存的朱色彩绘以及Oxford Authentication热释光检测报告，共同构成了这件作品的重要学术价值与收藏意义。
尺寸：马俑高19英寸，宽18 1/2英寸，深5英寸（49 × 48.2 × 14厘米）；马鞍长8 1/8英寸，宽6 3/4英寸，深5 3/8英寸（22 × 18.4 × 15厘米）。
For condition report, please contact the Asian Art Department.
