A VERY RARE LARGE SANCAI AND BLUE-GLAZED POTTERY FIGURE OF A GUARDIANTang Dynasty The imposing guardian vividly modelled with an unglazed head bearing a fierce expression, his right hand slightly raised and his left hand resting on his hip and he tramples over a demon, clad in full armour with masked horned epaulettes at the shoulder, splashed in blue, amber, green and cream glazes. 76cm (30in) high. 唐 三彩藍釉天王像 Provenance : Christie's New York, 27 November 1991, lot 291 An American private collection Christie's New York, 19 September 2014, lot 724 來源 ：紐約佳士得，1991年11月27日，拍品編號291 美國私人收藏 紐約佳士得，2014年9月19日，拍品編號724 The result of Oxford thermolumniscence test no. 566t37 is consistent with the dating of this lot. Oxford Authentication Ltd公司熱釋光檢測結果（編號566t37）顯示年代與本拍品年代一致。 This imposing figure is remarkable for its fine modelling, masterful application of glazes, and for the liberal use of the rare cobalt-blue oxide, which was extremely expensive at the time as it was imported from Central Asia. Not many sculptures produced during the Tang dynasty are known to have incorporated cobalt blue in their sancai glaze palette, and its use on this sculpture attests to the wealth of its owner. The Tang dynasty represents one of the richest chapters in the history of ceramic art in China, when potters tested the limits of the medium and ceramic wares began to be considered as an art form. At this time, pottery figures of guardians, attendants, musicians, animals and vessels became increasingly rich in ornamentation. These were incorporated within aplex of furnishing aimed at presenting the tomb occupants with a miniaturised universe where they were deemed to continue their post-mortem existence. According to traditional Chinese thought, ancestors were believed to be active participants in the life of their living offspring, which they could positively influence if provided with the correct necessities for their afterlife. See J.Rawson, 'Chinese burial patterns: Sources of Information on Thought and Beliefs', in C.Renfrew and C.Scarre. eds. , Cognition and Material Culture: the Archaeology of Symbolic Storage , Cambridge, 1998, pp.107-131. See also Ibid. , 'The Power of Images: the Model Universe of the First Emperor and its Legacy', in Historical Research , no.75, May 2002, pp.123-154. Similar grimacing figures flanked the entrance of Tang Dynasty tombs or burial chambers of members of the Imperial family and other high-ranking members of society. See for example, the pair of guardian warriors unearthed from the tomb of the Crown Prince Zhang Huai, (653-684 AD), sixth son of Emperor Gaozong (r.649-683 AD) and his second wife Empress Wu Zetian. The Prince was re-interred in the Royal mausoleum of Qianling north-west of Xi'an, along with impressive murals and sancai figures, which included a pair of guardians sculpted in a similar pose as the present example, illustrated in National Treasure. Colle