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         A CREAM AND AMBER-GLAZED POTTERY                  唐   褐釉駱駝
         FIGURE OF A CAMEL                                 來源
         TANG DYNASTY (618-907)                            埃斯肯納齊,紐約,1999 年
         The camel is realistically modelled standing foursquare, with two   巴黎佳士得,2015 年 6 月 9 日,拍品 371 號
         tall humps swaying to either side of the body, and its head titled
         upwards and its mouth help open to reveal it curled tongue and   展覽
         sharp teeth. It is covered in a glaze of straw tone, with the humps,   Eskenazi Ltd. 在 Pace Wildenstein,紐約,1999 年
         neck and legs picked out in streaked dark chestnut.   出版
         34¬ in. (88 cm.) high
                                                           埃斯肯納齊,紐約,《Ancient Chinese bronze and ceramics》,
         HK$500,000-800,000             US$65,000-100,000  1999 年 3 月 23 日 -4 月 3 日,圖錄圖版 16 號

         PROVENANCE                                        本拍品經牛津熱釋光測年法測試(測試編號 C199F73;1999 年 3 月 12
         Eskenazi, New York, 1999                          日),證實與本圖錄之斷代符合。
         Sold at Christie’s Paris, 9 June 2015, lot 371

         EXHIBITED
         Eskenazi Ltd. at Pace Wildenstein, New York, 1999
         LITERATURE
         Eskenazi, Ancient Chinese bronzes and ceramics, New York,
         23 March – 3 April 1999, no. 16
         The current camel is rare and impressive due to its large size. Bactrian
         camels were not originally from China. See Ezekiel Schloss, Ancient
         Chinese Ceramic Sculpture, Stamford, Connecticut, 1977, vol. I, pl.
         220, where he discusses the import of tens of thousands of camels
         from the states of the Tarim Basin, Eastern Turkestan and Mongolia.
         The Tang state even created a special courier service for the northern
         frontier. The camel was also used by the court and the merchants for
         local transportation and, of course, were the 'ships of the desert' linking
         China to the oasis cities of central Asia, Samarkand, Persia and Syria.
         For other large braying camels standing foursquare, with various
         stylistic differences, but monster-mask packs, see Tang Sancai,
         Heibonsha Series, Japan, 1977, vol. 35, fig. 101; Sekai toji zenshu, Tokyo,
         1961, vol. 9, pl. 126; and S. Valenstein, The Herzman Collection of
         Chinese Ceramics, The Metropolitan Museum of Art, New York, 1992,
         no. 22
         Oxford thermoluminescence test no. C199F73, 12 March 1999, is
         consistent with the dating of this lot.























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