(From “Court Ladies Preparing Silk” painting by Zhang Xuan. Ink, color, and gold on silk, 466 cm long x 37.7 cm wide, MFA Boston, https://collections.mfa.org/objects/28127/court-ladies-preparing-newly-woven-silk;jsessionid=0CDF05F6F189FB1DDC287F5840EA1EFB)

The Tang Dynasty, ruling from 618 to 907, is one of China's most influential periods, marking a high point in civilization. Founded by Emperor Li Yuan, it is celebrated for cultural, political, and economic advancements, particularly the flourishing of poetry and the arts, exemplified by poets like Li Bai and Du Fu. Wu Zetian, the only female emperor in Chinese history, ruled during this time and is known for her ambitious reforms and strong support of Buddhism, which enriched the culture. The capital, Chang'an (now Xi'an), became a major hub for trade along the Silk Road, facilitating significant cultural, technological, and commercial exchanges with countries like Korea, Japan, Persia, and the Byzantine Empire. This interaction influenced art, religion, and trade. The Tang period was renowned for exquisite ceramics, intricate paintings, and unique sculptures, with cultural exchanges introducing new motifs and leading to developments in music, fashion, and the adoption of Buddhist art.

(Calligraphy by Li Bai and stone rubbings)

Poetry emerged as a prominent art form during the Tang dynasty, with celebrated poets such as Li Bai, Du Fu, and Wang Wei creating works that continue to be revered. Other artistic disciplines, including painting, sculpture, and music, also thrived, drawing inspiration from foreign traditions. This era witnessed the growth of Buddhism, alongside the introduction of other faiths such as Nestorian Christianity and Islam.

Top and left: Li Bai's Grass Script Scroll of the Upper Terrace Post, Palace Museum in Beijing (https://digicol.dpm.org.cn/cultural/detail?id=8d875bdfa43d4909886c825f67b56c8b&source=0&page=2)

Right: Qing Dynasty Excavated Kuaixuetang Calligraphy Collection, Palace Museum in Beijing (https://digicol.dpm.org.cn/cultural/detail?id=7351a00241314d9ba7d3c59c57ad8912&source=0&page=1)

Tang Sancai, or "three colors," refers to a type of Chinese pottery from the Tang Dynasty by its vibrant, multicolored glazes. Typically featuring green, brown, and cream hues, Sancai ware was often used for funerary objects, such as figurines, horses, and vessels. The glazes are achieved through a mix of iron and copper, creating a distinctive look. Tang Sancai exemplifies the artistic innovations, trade, and cultural exchanges of ancient China. 

Left: Seated court lady, 37.5 cm height x 14.3 cm wide x 15.4 cm depth, The Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/75765)

Middle: Bo Xiang Hua tray, 7 cm height x 29.8 cm Diameter, The Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/44348)

Right: Phoenix headed amphora, 32.5 cm height, The Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/42376) 

(Mogao Cave 112: “Dance while Playing Pipa on the Back” wall painting, Duanhuang Academy, https://www.dha.ac.cn/info/1425/3617.htm)

Dunhuang art is another important part of the Tang dynasty arts. It primarily found in the Mogao Caves, encompasses a rich collection of Buddhist art spanning over a thousand years, from the 4th to the 14th century. It features a unique blend of Chinese and foreign artistic styles, incorporating elements from Indian, Gandharan, and various Central Asian cultures. The art includes murals, sculptures, and architectural elements within the cave temples, showcasing a wide range of religious and secular themes.

（Mogao Cave 323: "Emperor Wu on a Horse Sending off Zhang Qian who is Kneeling" wall painting, Duanhuang Academy, https://www.dha.ac.cn/info/1425/3576.htm)

During the Tang dynasty, the Silk Road began in Chang'an (now Xi'an) and extended to Ctesiphon in the Sassanian Empire (in present-day Iraq) and beyond. It became a crucial trade route, facilitating economic and cultural exchanges between East and West. Persian and Sogdian merchants thrived in this vibrant commerce, while the Tang's embrace of foreign cultures transformed urban centers into cosmopolitan hubs, solidifying Chang'an's role as a central commerce hub. Travelers, notably monks like Xuanzang documented the strict Chinese checkpoints along the Silk Road, which significantly influenced Tang art. Horses became symbols of power and prosperity, highlighting their military and diplomatic importance. Ultimately, the Silk Road fostered cultural interconnectedness across Eurasia, leaving a lasting legacy on global interactions.

More Paintings

(Court Ladies Adorning Their Hair with Flowers by Zhou Fang)

Zhou Fang (618–907) is a well-known Tang court artist, born in an aristocratic family in Chang’an (now Xi’an), so he was very familiar with the luxurious life of the aristocratic class. The painting features five palace ladies and a maidservant enjoying a garden scene, reflecting the Tang dynasty's ideals of feminine beauty and social customs. 

In this era, voluptuous figures were celebrated, as seen in Zhou Fang’s court lady depictions characterized by round faces, plump bodies, and butterfly-shaped eyebrows, with slender eyes, full noses, and cherry-like mouths. Their high-bun hairstyles are adorned with gold ornaments and artificial flowers such as peonies and lotuses, while their fair skin is enhanced with white pigment. Dressed in long, flowing gowns layered with sheer scarves, the ladies' outfits in red, white, or ocher are richly decorated with floral, crane, or geometric patterns, showcasing the artist’s meticulous skill. The large blossoms in their hair reflect both fashion trends and the social custom practiced during the springtime "Flower Morning" festival. 

The ink and color on silk handscroll, 179.6 cm long x 45.75 cm wide, Liaoning Provincial Museum in Shenyang (https://www.lnmuseum.com.cn/#/collect/detail?id=21010302862117A000064&pageType=3)

(Lady Guoguo’s Spring Outing by Zhang Xuan)

Zhang Xuan (618-907), known for his figure paintings of the elite, was born Chang’an (now Xi’an), he excelled in capturing the essence of his subjects, especially during the Tang's flourishing period. One notable work is “Lady Guoguo’s Spring Outing.” Although the original is lost, a Song Dynasty replica is now a national treasure. Lady Guoguo, the sister of famed beauty Yang Yuhuan (Yang Guifei), exemplified elegance, requiring only light makeup to enter the palace, unlike other women who sought to enhance their appearances. Her beauty and grace are immortalized in Du Fu’s poem “Liren Xing,” highlighting the allure of beautiful women. (The original painting is lost, the extant work is a copy produced in Song dynasty)

The ink and color on silk handscroll, 148 cm long x 51.8 cm wide, Liaoning Provincial Museum in Shenyang (https://www.lnmuseum.com.cn/#/collect/detail?id=21010302862117A000061&pageType=3) 

(Emperor Taizong Receiving the Tibetan Envoy by Yan Liben)

Yan Liben (601–673) was one of the most revered Chinese figure painters in the early years of the Tang Dynasty. Emperor Taizong Receiving the Tibetan Envoy depicts the meeting of Emperor Taizong of the Tang Dynasty (618–907) and Ludongzan, Gar Tongtsen Yulsung, an envoy sent by Songtsan Gampo (617–650), the ruler of Tibet, to accompany Princess Wencheng back to Tibet to be his queen. 

The ink and colour on silk handscroll, 129.6 cm long x 38.5 cm wide, Palace Museum in Beijing (https://minghuaji.dpm.org.cn/paint/detail?id=4b24c04a7a544661a1d523b98f74fdd3) 

(Five Oxen by Han Huang)

Han Huang (723-787) was born in Chang’an during the reign of Emperor Xuanzong (685–762), and served as a chancellor during the reign of Emperor Dezong. Han was renowned for painting people and animals with detailed facial expressions. He was especially distinguished at painting agricultural life and livestock, including oxen and goats. The painting, as the name suggests, is of five oxen without any background. The oxen are positioned in a line, each with distinctive appearance, walking or standing, holding their heads high or low. The oxen have bright, piercing eyes and different temperaments: lively, docile, romping and even eccentric. 

The ink and colour on silk handscroll, 139.8 cm long x 20.8 cm wide, Palace Museum in Beijing (https://minghuaji.dpm.org.cn/paint/detail?id=801ccb3a553d0c8470e9ead3269dbd29) 

(Court Ladies Swinging Fans by Zhou Fang)

Zhou Fang (618–907) is a well-known Tang court artist, born in an aristocratic family in Chang’an (now Xi’an), so he was very familiar with the luxurious life of the aristocratic class. The painting features five palace ladies and a maidservant enjoying a garden scene, reflecting the Tang dynasty's ideals of feminine beauty and social customs. 

The painting portrays thirteen round-faced court ladies seeking respite from the summer heat as they engage in activities like embroidery or hairstyling. Adorned in tall hairstyles, silk gowns, and flowing skirts, these aristocratic women exude a plump and languid demeanor, which stands in stark contrast to the more sprightly, petite figures of the lively maidservants.

The ink and colour on silk handscroll, 204.8 cm long x 33.7 cm wide, Palace Museum in Beijing (https://minghuaji.dpm.org.cn/paint/detail?id=4ypisy9ovzzxa0izcix1vftt999kbzwz) 

*If you would like to know more about the Tang Dynasty, you may visit Shaanxi History Museum (https://www.sxhm.com/) or contact Ms. Jessica Huang: huang.jessica@china.ahk.de