Guardian of the Sancai Temple. China, Tang Dynasty, AD 618-907. Glazed terracotta. Provenance: private collection, Paris. Attached thermoluminescence test. Measurements: 95 cm (height). Figure of an earth spirit (protector and guardian of tombs) made in ceramic and decorated with the glazes or lead glazes typical of the Sancai style (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. Such grave goods, both figurines and vessels, were called 'mingqi' ('shiny object'). This particular figurine is decorated with the so-called wax technique, which uses wax as the material for applying varnish. The procedure consisted of applying the wax before the colours, in areas that were to be left in reserve, as is the case here with the front legs of the beast and the upper part of the horns. The varnishes are applied over the wax, and once the piece is in the kiln the wax melts and disappears. The base, back and armoured shoulders of the animal are also decorated with the so-called robin-feather technique, a very fine stippling that mixes the two varnishes. The Tang dynasty is considered by historians to be a period 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 guardian spirit belongs, an important new feature is introduced: three-coloured 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 period, between 581 and 683, is dominated by figures decorated with engobes, even without glazes. The second period, from 683-779, was the great Sancai period, with a predominance of glazes. Finally, until the beginning of the 10th century, pieces with Sancai enamels continued to be made, albeit of a lower quality than those of the previous period.