Page 510 - The Golden Age of Chinese Archaeology: Celebrated Discoveries from the People’s Republic of China
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                                                                                    Painted marble relief of attendants

                                                                                    Height  82  (31), width 136 (53)
                                                                                    Later Liang Dynasty, tenth  century CE (907 - 923)
                                                                                    From the  tomb of Wang Chuzhi at Xiyanchuan,
                                                                                    Quyang, Hebei Province

                                                                                    Hebei Provincial Cultural Relics Institute,
                                                                                    Shijiazhuang

                                                                                    Together with a matching scene of female musi-
                                                                                    cians (cat. 175), this painted  marble relief 1  framed
                                                                                    the  coffin  in the  rear chamber of Wang Chuzhi's
                                                                                    tomb. Both measure 82 by 136 centimeters.  The
                                                                                    composition  of this painted  stone  relief is similar
                                                                                    to that  of earlier depictions  of attendants  carrying
                                                                                    items of daily life  into the  coffin  chamber to ensure
                                                                                    the  well-being of the  tomb's occupant.  One of the
                                                                                    best  known of these earlier depictions  is a proces-
                                                                                    sion of women in the  tomb of Princess Yongtai,
                                                                                            2
                                                                                    dated  7o6.  The women in such compositions  carry
                                                                                    feather  fans, dishes, cups, cosmetic  boxes, fans,  and
                                                                                    other  useful  domestic items. Their bodies lean for-
                                                                                    ward as they walk in  a  slow, rhythmic procession.
                                                                                    One of the  interesting features in this composition
                                                                                    is the  tiny figure that  leads the  slow parade.
                                                                                    Dressed in male clothing  and  carrying a small vase
                                                                                    resting on a cloth,  he is sometimes identified as a
                                                                                    dwarf, but  he could  also be a child  (two tiny figures
                                                                                    in the  facing relief present  a similar problem of
                                                                                    identification). The thirteen  women behind him are
                                                                                    in four  rows of three  abreast; one figure in the  rear
                                                                                    mirrors the  small person  at the  front.
                                                                                       Despite their seeming fixed positions, the
                                                                                    women are engaged in a subtle interplay. Turned
                                                                                    toward the  right, the  nearest  woman in the front
                                                                                    group of three holds out her left hand and  deli-
                                                                                    cately defers to the  woman in the  right front  corner,
                                                                                    who has stepped  out of the  last rank to come for-
                                                                                    ward with a tray holding a porcelain cup. As she
                                                                                    moves forward, the  women adjacent look toward
                                                                                    her, further  calling our attention  to this choreo-
                                                                                    graphed  sequence  of movements. This kind of slow,
                                                                                    deferential choreography  is also evident  in the
                                                                                    painted procession in the tomb of Princess Yongtai,
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