Page 492 - The Golden Age of Chinese Archaeology: Celebrated Discoveries from the People’s Republic of China
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tend  to be somewhat less freely  sculpted than pieces that  were meant to be painted.  Such tech-
                  nical restrictions did not apply to painted  pottery, so that it is in this material that the Tang
                  mingqi artisans were best  able to explore the  details of facial type, fabric  design and  decoration,
                  hairstyle, and the  other  accouterments that  fascinated the  Tang aristocracy.
                       The second  tomb was discovered  in  1988 during the  building of a power station at Han-
                                                     8
                  senzhai, in the  eastern  suburb of Xi'an.  While the tomb did not  contain  an epitaph  with  the
                  name of the  occupant  or the  date  of burial, comparisons of its contents with those of others
                  for which the  identity of the  occupant  and date of burial are known have established that  the
                  occupant  was not  an aristocrat  but  rather a wealthy merchant or landowner. Stylistic analysis
                  dates the  tomb to around the  second quarter of the  eighth century  CE — a decade  or more
                  later than the Jinxiang tomb. 9

                       The Hansenzhai tomb contained  a total  of forty-three ceramic objects, including  female
                  and  male figurines, camels (with and without riders), and  a pair of spirit guardians, as well as
                  bronze mirrors and  a few wooden objects. The largest group comprised sixteen female figures,
                  which are said to have been  found  near the  north  wall of the  tomb and  on top  of the  coffin.
                  While these objects do not  have the  sancai glaze of those  found  in the  highest-level Tang
                  burials, their impressive scale and  relatively high quality are an indication of the wealth
                  attained by the  affluent  land-holding or merchant families of Xi'an during the  seventh  and
                  eighth centuries. Six of the  female  figures  (cat. 173) are  included  in this exhibition. MK


                  1  Xi'an  1997,14 -19.                       7  For example, see the  Falconer on Horseback and  Hunter
                  2  Xi'an 1997,14 -19.                          with Dog on Horseback from  the  tomb of Princess Yongtai
                  3  Bo, "Song of the  Lute: Preface and  Poem" in Watson 1984,  in Xiangang 1993, nos. 84, 85, and the  Horse and Two
                     251.                                        Vessels from  the  same tomb reproduced  in Shaanxi sheng
                  4  Xi'an  1997,18.                             Bowuguan  1990,  nos. 67, 68, 70.
                  5  Xi'an 1997,15-18.                         8  Wang 1992, 66 - 70.
                  6  Xi'an 1997,15-18.                         9  Wang 1992, 70.






























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