Chinese pottery and porcelain; vol. 1. Pottery and early wares

by R. L. Hobson

THE T´ANG

DYNASTY, 618–906 A. D.

THE Chinese Empire, reunited by the Sui emperors, reached the zenith of its power under the world–famed dynasty of the T´ang (618-906 A. D.). A Chinese general penetrated into Central India and took the capital, Magadha, in 648. Chinese junks sailed into the Persian Gulf, and the northern boundaries of the empire extended into Turkestan, where traces of a flourishing civilisation have been discovered in the sand–buried cities in the regions of Turfan and Khotan, recently explored by Sir Aurel Stein and by a German expedition under Professor Grünwedel. In return, we read of Arab settlers in Yunnan and in Canton and the coast towns, and the last of the Sassanids appealed to China for help. A host of foreign influences must have penetrated the Middle Kingdom at this time, including those of the Indian, Persian, and Byzantine arts. Proof of this, if proof were needed, is seen in the wonderful treasures preserved in the Shoso–in at Nara in Japan, a temple museum stocked in the eighth century chiefly with the personal belongings of the Emperor Shomu, most of which had been sent over from China. Indeed, the Nara treasure is, in many respects, the most comprehensive exhibition of T´ang craftsmanship which exists to-day.

The long period of prosperity enjoyed by China under the T´ang is famed in history as the golden age of literature and art. The age which produced the poet Li Po, the painter Wu Tao–tzŭ, and the poet–painter Wang Wei, whose "poems were pictures and his pictures poems," was indeed an age of giants. It is certain that the potter's art shared in no small measure the progress of the period, though at this distance of time we can hardly expect that many monuments of this fragile art should have survived. Indeed, it has been the custom of writers in the past to dismiss the T´ang pottery in a few words, or to disregard it entirely as an unknown quantity Here, however, we have again been well served by the ancient burial customs of the Chinese, which still held good for part, at least, of the T´ang period.

The T´ang mortuary wares are similar in intention to those of the Han, but bespeak a much maturer art. The modelling of the tomb figures, which have been aptly compared with the Tanagra statuettes of ancient Greece, displays greater skill, spirit, and delicacy, and the materials used are more refined and varied. The body of the ware, which is usually fine as pipeclay, varies in hardness from soft earthenware, easily scratchable with a knife, to a hard porcellanous stoneware, and in colour from light grey and pale rosy buff to white, like plaster–of–Paris. The usual covering is a thin, finely crackled glaze of pale straw colour or light transparent green, and sometimes the surface has a wash of white clay between the body and the glaze. Some of the figures, however, are more richly coated in amber brown and leaf green glazes with occasional splashes of blue, while on others are found traces of unfired red and black pigments.

But as the mortuary pottery[41] comprises the largest and most important group of T´ang wares at present identified, we cannot do better than consider it first and as a separate class, setting forth at once the reasons for assigning it to this particular period. As will be seen in the note to the previous chapter (p. 17), earthenware appears to have been to a great extent superseded by wood as the fashionable material for sepulchral furniture towards the end of the T´ang period. This in itself is strong primâ facie evidence that the tombs furnished throughout with pottery are not later than the T´ang dynasty. Another argument of an ethnographical nature is supplied by the figures of ladies with feet of normal size. The fashion of cramping the feet, though it may have begun before the T´ang period, was certainly not universal until the end of this long dynasty.[42]

But there are other cogent reasons which will appeal more directly to the student of ceramics. Among the few specimens of pottery in the Nara Collection,[43] there are several bowls and a dish, accorded in the official catalogue the meagre description "China ware," which have a peculiar glaze of creamy yellow with large, green mottling, and there is besides a drum–shaped vase, "green with yellowish patches." This type of glaze is found on many of the tomb wares, some of which have amber brown and violet blue splashes in addition. From these data it is possible to identify a series of T´ang glazes, including creamy white, straw yellow, faint green, leaf green, amber and violet blue, all soft and more or less transparent with minutely crackled texture and closely analogous to the coloured lead glazes used on our own "Whieldon" pottery of Staffordshire in the eighteenth century. Three years ago a Parisian dealer was offering for sale the contents of an important tomb. For once in a way, the chief articles of the find had been kept together; at least so it was positively asserted, and there was nothing improbable in the circumstance. They included two splendidly modelled figures and a saddled horse in the typical T´ang ware, with bold washes of green and brown glazes, and with them was a stone slab engraved with an inscription. I was able to examine a photograph and a rubbing of this stone, in which excellent judges could find no sign of spurious work. The inscription was long and difficult to translate, but the main facts were clear. It commemorated a princely personage of the name of Wên, whose style was Shou–ch´êng, a man of Lo–yang in Honan, who died at Ho–yang Hsien on the 16th day of the first month of the second year of Yung Shun, viz. 683 A. D.

Among the T´ang figurines the horse is conspicuous not only in its comparative frequency, but for the spirit and character with which it is portrayed. The men of T´ang were clearly great horse lovers. Their pictorial artists excelled in painting the noble beast, and the "Hundred Colts" by the celebrated painter Han Kan is a classic of horse painting. Among the precious fragments of T´ang pictures on silk which Sir Aurel Stein brought back from his first expedition in the Taklamakan Desert there were several with scenes in which horsemen figured. I have compared these with the tomb figures and found them to tally with wonderful exactitude, not only in pose and style and in the characteristic rendering of the head and neck, but also in the details of the harness, the saddle with high arched front and shelving back support, the square stirrups, bridle and bit and tassel–like pendant under the mouth.