Tang Dynasty (618–906)

  • Seated Musician
    2006.156
  • Buddha, probably Amitabha (Amituo)
    19.186
  • Standing court lady
    1978.345
  • Horse with Female Rider
    51.93ab
  • Standing attendant
    2002.501
  • Belt buckle and ornamental plaques
    2008.299a-i
  • Buddhist stele
    30.122
  • Night-Shining White
    1977.78
  • Standing female attendant
    1997.442.7.2
  • Set of ten belt plaques
    1992.165.22a-j
  • Dish in the Shape of a Leaf
    1974.268.11
  • Phoenix-headed ewer
    1991.253.4
  • Buddha Vairocana (Dari)
    43.24.3
  • Horse and rider
    54.169
  • Mirror back
    1985.214.22
  • Wine cup
    1991.159
  • Floral medallions
    1996.103.1
  • Flask
    1972.274

Essay

After 300 years of division and fragmentation following the collapse of the Han dynasty in 220 A.D., China was once again unified under the Sui dynasty (581–618). The political and governmental institutions established during this brief period lay the foundation for the growth and prosperity of the succeeding Tang dynasty. Marked by strong and benevolent rule, successful diplomatic relationships, economic expansion, and a cultural efflorescence of cosmopolitan style, Tang China emerged as one of the greatest empires in the medieval world. Merchants, clerics, and envoys from India, Persia, Arabia, Syria, Korea, and Japan thronged the streets of Chang’an, the capital, and foreign tongues were a common part of daily life.

In the beginning decades of the Tang, especially under the leadership of Emperor Taizong (r. 627–50), China subdued its nomadic neighbors from the north and northwest, securing peace and safety on overland trade routes reaching as far as Syria and Rome. The seventh century was a time of momentous social change; the official examination system enabled educated men without family connections to serve as government officials. This new social elite gradually replaced the old aristocracy, and the recruitment of gentlemen from the south contributed to the cultural amalgamation that had already begun in the sixth century.

The eighth century heralded the second important epoch in Tang history, achieved largely during the reign of Emperor Xuanzong (r. 712–56), called minghuang—the Brilliant Monarch. It is rightfully ranked as the classical period of Chinese art and literature, as it set the high standard to which later poets, painters, and sculptors aspired. The expressions and images contained in the poems of Li Bo (ca. 700–762) and Du Fu (722–770) reflect the flamboyant lives of the court and the conflicting sentiments generated by military campaigns. The vigorous brushwork of the court painter Wu Daozi (active ca. 710–60) and the naturalist idiom of the poet and painter Wang Wei (699–759) became artistic paradigms for later generations. Although the An Lushan rebellion in the middle of the century considerably weakened the power and authority of the court, the restored government ruled for another century and a half, providing stability for lasting cultural and artistic development.

Department of Asian Art, The Metropolitan Museum of Art

October 2001

Citation

Department of Asian Art. “Tang Dynasty (618–906).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/tang/hd_tang.htm (October 2001)

Further Reading

Benn, Charles. Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press, 2002.

Schafer, Edward H. The Golden Peaches of Samarkand. Berkeley: University of California Press, 1963.

Watt, James C. Y., et al. China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art, 2004. See on MetPublications

Whitfield, Susan. Life along the Silk Road. Berkeley: University of California Press, 1999.

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