東漢 綠釉陶犬

standing foursquare, the hound with head forward, conveying an air of alertness, the round observing eyes with stylized tufts of hair above, the muzzle with long incised whiskers to either side, the mouth slightly open, wearing an ornamented harness around the neck, a large ring at the top, and down the back, the tail curled up against the back haunches, applied with a bright green glaze stopping just above the short legs revealing the red earthenware body

1987年紐約入藏

All four legs have been replaced. There are restored breaks to the body and restoration to the ears, tail and glaze flakes.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Figures of dogs are a highlight among tomb wares of the period. The dogs appear to serve as guardians and are modeled in various sizes and poses. The present example is noteworthy for its finely incised detailing and its lustrous green glaze. While there is indication that glazes were being used earlier, evidence reveals that glazed pottery became more frequent by the end of the Western Han and increased in production into the middle of the Eastern Han. Despite their popularity it is important to note that glazed wares are still proportionally very rare. Of the 4,713 pottery objects found in 225 Han dynasty tombs in Shaoguo in Luoyang only 4.3% were glazed. This may be due to the difficulty of creating and controlling the glazes and perhaps also the expense involved in making them. For further discussion please read Li Zhiyan "Ceramics of the Warring States Period and the Qin and Han Dynasties", Chinese Ceramics, New Haven, 2010, pp. 145-146. A figure very closely resembling the present piece is in the Asian Arts Museum, San Francisco and illustrated in He Li, Chinese Ceramics, A New Comprehensive Survey, London, 1996, p. 83, no. 82.