The image is made of low-fired clay and depicts a standing male figure. He wears a long green coat with wide brown lapels, which is not a traditional Chinese-style garment. His high boots match the color of the lapels. The figure’s right arm is uplifted and pierced to hold a horse bridle, which has not survived. We can, however, identify him as a groom, one who attends to horses and stables. The groom’s “foreign” identity is obvious. He has dark skin, curly hair, heavy brows, prominent staring eyes, an exceptionally large nose, and thick lips. His facial features are so exaggerated that it seems as if he is making a face. The figure is covered by sancai(sahn-ts-eye) literally, “three colors”; a dripping effect of three colors of glazes favored in the Tang dynasty. Typically, it refers to yellow, green, and creamy white glaze., or “three color” glazea thin, glass-like coating made of powdered rocks, minerals, ashes, and water. Applied correctly it makes a clay body impervious after firing. The colors of glaze are determined by the mineral oxides used and various aspects of the firing conditions.. His face is unglazed with painted details.
During the Tang(tahng) dynastya series of rulers from a single family. (618–907), people of different races came to China from around the eastern hemisphere over the Silk Roadan ancient network of land and sea trade routes established during the Han dynasty (206 BCE–220 CE) that existed until the middle of the Ming dynasty (1368–1644). These trade routes stretched from China across Asia to the Near East, the Mediterranean, and East Africa. (a network of land and sea trade routes that connected Asia, Europe, and East Africa). Some of them came to trade, and after making some money, they returned home; others, however, chose to settle permanently in big cities like Chang’an(chahng ahn) present-day X’ian (Shannxi province); capital of the Western Han dynasty and Tang Empire. (the capital) and Luoyang(loo-o-uh-yahng). The latter group included grooms that managed the horses of the Tang elitea select group that is superior to the rest of a group or society in terms of abilities or qualities.. This standing figure represents such a groom from South or Southeast Asia. He could also be from East Africa, brought to China by Arab traders as a slave.
Representations of foreigners are often seen in Tang(tahng) tomb figurines, demonstrating the cosmopolitan culture of the period. This sancai(sahn-ts-eye) literally, “three colors”; a dripping effect of three colors of glazes favored in the Tang dynasty. Typically, it refers to yellow, green, and creamy white glaze. groom is especially interesting. He is dark-skinned yet dressed in Central Asian costume. Is it a fashion or an indication of a profession? Regardless, the appearance of the figure is a rich reflection of cultural intermixing in the Tang dynastya series of rulers from a single family.. Sancai ceramics were restricted to the imperialrelating to an empire, an emperor, or the home of royals. and the elitea select group that is superior to the rest of a group or society in terms of abilities or qualities.. Their presence in tombs was a mark of high status. Figures of non-Chinese grooms suggest that the deceased was wealthy enough to have possessed imported horses and grooms, or at least aspired to have done so. A tomb figurine such as this standing groom not only tells us the high social status of its tomb owner but also provides an insight into the life of the deceased.
- Examine a topographical map of the eastern hemisphere. Map out possible sea or land routes that a groom from East Africa traveled to arrive in China. Compare your routes to a map of the Silk Roadan ancient network of land and sea trade routes established during the Han dynasty (206 BCE–220 CE) that existed until the middle of the Ming dynasty (1368–1644). These trade routes stretched from China across Asia to the Near East, the Mediterranean, and East Africa. and Indian Ocean trade routes during the Tang(tahng) dynastya series of rulers from a single family..
- Why do you think the artisana worker in a skilled trade, especially one that involves making things by hand. chose to exaggerate the facial features of the sculpture? Why do you think this man is depicted in a stereotypical way?
- Based on what you know about this figure and the Tang dynasty, what can you infer about the person who was buried in the tomb where this figure was found? What might have been important to that person?
