A figure modelled in kaolin ware and decorated in amber, green and cream-coloured 'sancai' glaze (三彩). It is hollow on the inside, and during its execution it was made in two parts that join at the waist.The figure is standing on a recumbent animal on an irregular pedestal, whose head is stepped on with its right leg. The details are well elaborated, and the complete and articulated armour can be seen. The different overlapping parts can be distinguished, glazed in the "sancai" colours.The bodily expression and the face show ferocity with the intention of instilling fear as a guardian. The head, neck and hands are unglazed and covered with a white slip. The pigments that decorated the face have practically disappeared with the passage of time. The features are perfectly distinguishable: piercing eyes, a broad nose above a moustache and a tight mouth with thick lips; together they express drama.The posture of the upper part simulates the drawing of a bow, which has not survived. The weapons were made of perishable materials such as wood. The right arm is bent at the level of the nose, while from the waist the torso is tilted and the left shoulder is raised. The opposite hand is fully stretched out with the hand pointing to the side. The gaze is directed towards that place as if he were aiming at a target. Finally, the headdress on his head is a leather cap.Height: 90 cmIt is in an exceptional state of preservation, considering its age. It presents some restorations, although preserving its integrity.Documentation:It is accompanied by a report and "Thermoluminescence Test" carried out by the TL Laboratory of the Autonomous University of Madrid (UAM). The result confirms, from the extraction of material from the piece, compatibility with ceramic materials fired in the Tang dynasty period.Provenance:Spanish private collection.This important private collection comes from a successful businessman dedicated to national and international construction and investment who lived in different parts of Spain and the south of France. This part of the collection, exhibited exclusively for the first time at auction, focuses on Chinese ceramics from the Tang Dynasty and is a collection of museum quality pieces. The family's tradition of travel dates back to the success of an ancestor who in the 1930s travelled to Manila, Shanghai, Cairo, Havana, etc., practising the sport of "cesta punta", and in particular, motivated by an interest in discovering different cultures, which led them to build up a large collection. In general, their interest in art is such that their collection includes pieces of both Asian and European origin.The acquisition of the collection began in the 1990s and was built up during years of study in Madrid and on various trips to Paris, New York, Hong Kong, Spain and Germany; at reputable antique dealers such as "Arch Angel" in Hong Kong and international auctions such as Nagel. To this end, specialists have also collaborated in the selection, study and verification of the pieces, as can be seen in the accompanying documentation: invoices, studies and reports.Additional information:The function of these figures was to protect the tombs and accompany the deceased, and they were endowed with visual qualities for this purpose. The first such figures were seen in the tombs of Li Feng, Prince of Guo (622-675). Large 'sancai' figures of better quality were included in the tombs of royalty and nobility, both in the Chang'an capital of the time and in the city of Luoyang. During the Tang dynasty, Henan province was one of the richest places in the empire.They are decorated with brightly coloured glazes that can be seen on many pieces from the Tang period, from the 7th century onwards. The type of glaze was called "Sancai" (三彩) because of the use of three low-temperature firing colours. They are coloured by metallic oxides of copper, iron, cobalt and manganese. They are an evolution of the tradition of Han and Wei single-colour ceramics. The material used to make these ceramics is kaolin with fine white texture and glossy glazes, representing the peak of the development of coloured glazed ceramics in China. The result is a magnificent and dazzling artistic effect. Similar examples are preserved in the Luoyang Museum's "洛陽博物館" figure set and the Shaanxi Museum of History "陕西历史博物馆".The origin of these figures lies in the Buddhist tradition to protect the four cardinal points or directions of the universe. In the tombs they were accompanied by a pair of warriors, a pair of officials and beasts protecting against evil spirits. The main guardians were the so-called "lokapalas", they stand in a group, assume similar postures and wear warrior attire in keeping with their protective role.