Lokapala; China, Tang dynasty, AD 617 - 907.Terracotta with Sancai glaze.Certificate of analysis by thermoluminescence enclosed.Measurements: 40 cm (height).Terracotta lokapala image decorated with Tang-era Sancai glaze (literally, 'three colours'): copper oxide green and iron honey-coloured, complemented by the ivory-coloured engobe of the base. The latter appears to be protected and highlighted by a colourless glaze, a common practice in Tang sancai.The lokapala, translated 'guardian of the place', are gods who rule the cardinal points in Hinduism and Vasraian Buddhism (Jingangcheng in Chinese). As guardians, they can call the spirits of the other world to their aid, which is why they are usually placed in pairs at the entrance to tombs. In the Hindu tradition they are also frequently depicted in temples.The Tang dynasty is considered by historians to be a time of splendour in Chinese civilisation, equal or even superior to the Han period. Emerging after a period of despotism under the cruel Yang Di, it was established by Li Shimin who, out of filial piety, put his father on the throne before assuming the role of emperor himself and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in many fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. The development of the printing press also extended the dissemination of written works, giving rise to the golden age of Chinese art and literature.The great cultural opening will result in a fundamentally colourful, expressive and very eclectic art, although it is still mainly for funerary use, where the artist remains an anonymous craftsman. However, from this time onwards, high-fired ceramics, decorated with enamels, would come to be used as a status symbol, with typologies such as vessels for the table of the litterateur and all types of tableware. Terracotta, on the other hand, continued to be used for grave goods, although stoneware would also be used from now on, especially for the tombs of nobles and scholars. In funerary pieces, the group to which this piece belongs, an important new feature is introduced: tricolour lead glazes (sancai), although pieces decorated with engobes continue to be made. Among the grave goods there are six typological groups, each with a great variety: tomb guardians, with warriors and protective beasts; ceremonial figures with their servants; animals of all kinds, such as oxen, camels and horses; musicians and court ladies; utensils and vessels; and finally, architectural models. Three periods can also be distinguished. The first of these, between 581 and 683, is dominated by figures decorated with engobes, but not yet glazed, so that the piece presented here could be dated to between these years. The second period, between 683 and 779, is the great period of the Sancai, with a predominance of enamels. Finally, until the beginning of the 10th century, pieces with sancai enamels continued to be made, albeit of lower quality than those of the previous period.
