This was a period of history when “foreigners” were coming from the North and conquering the rest of China. They brought their culture and practices, and instead of domination, they were integrated into river of Chinese civilisation.
Amber-glazed Flat Ewer with Huteng Dance Scene 黄釉胡人乐舞扁壶
Porcelain | Northern Qi Dynasty (550-577) | Height: 18 cm, mouth diameter: 3.8 cm, base diameter: 7.5 cm | Transferred by the No. 9 Divisionz of the Luoyang Municipal Public Security Bureau, Collection of the Luoyang Museum. 瓷器｜北齐 （公元550年-577年）｜高18厘米，口径3.8厘米，底径7.5厘米｜洛阳市公安局九科移交，洛阳博物馆藏
This ewer is covered entirely with an amber glaze. It has a flattened and rounded shape, narrower at the top and wider at the bottom, with a flared mouth and a short neck.
The base features opaque amber glaze droplets, the glaze is uneven, and the bottom shows glaze drips.
At the junction of the neck and shoulders, a band of linked beads is applied. Each shoulder has a perforation for threading a strap, resembling the leather bags used by nomadic peoples.
The body of the ewer prominently features two musical and dance scenes: At the centre, a figure dances with grace on a lotus pedestal, extending the right hand forward while the left hand hangs downward, both feet lifted in a leap, with the head turned back, capturing a dynamic posture. To the left are two figures: one, bearded, playing a flute with both hands; the other stands sideways, watching the dancer, with both hands raised as if clapping.
To the right are two more figures: one appears to be playing a five-string pipa, while the other faces the dancer, clapping cymbals. All five figures have deep-set eyes and prominent noses and are dressed in long, narrow-sleeved robes tied at the waist, wearing boots indicative of the Western Region 西域1 attire of the time. The dance depicted is identified as the 胡腾舞 “Huteng Dance.”
As its name suggests, the Huteng Dance involves energetic leaps and movements traditionally associated with the Hu people, originating from the Western Regions. This dance primarily features rapid up-and-down movements, akin to the quick, bird-like leaping suggested by its name. It was introduced to China from Sogdiana 粟特2 of the Western Regions via the Silk Road during the Northern Dynasties and was highly popular during the Sui and Tang dynasties.
Historical accounts highlight the widespread dissemination of Western music and dance, especially 龟兹乐3 “Kucha music,” from the Northern Wei (386-535) through to the Tang Dynasty (618-907), greatly influencing the Central Plains.
Consequently, many artefacts from that era, unearthed from tombs, exhibit figures depicting the Hu people, reflecting the frequent cultural exchanges between the Central Plains during the Northern Dynasties period and the Western Regions.4
Grey Pottery Musicians (5 pieces) 灰陶伎乐俑（5件）
Pottery | Northern Wei (550-577) | Excavated from the Northern Wei tombs at Yuchang Jiayuan, Datong City in 2013, Collection of the Datong Museum. 陶器｜北齐（公元550年-577年）｜2013年大同市御昌佳园北魏墓出土，大同市博物馆藏
This group of female music figurines wore draped skirts and hats, and played various musical instruments. The first person from the left raises her hands playing the flute. The second person’s body turned slightly to the left, and plays a neck lute in her arms. The third person should be playing percussion instruments with her head up and smiling. The fourth person has a drum on her lap, and her right hand seems to be striking the drum. The last person leans forward slightly, with her right knee high and her left hands low. She should be playing the zither. The female statues are all beautiful and happy, presenting a peaceful and prosperous era.5
About Chinese National Treasure Series
中華國寶系列 Chinese National Treasure series feature specific artefacts and relics from museums all around the world that are historically significant to be considered a National Treasure. The series covers the 5,000 years of Chinese civilisation from Neolithic periods before the Xia dynasty (c. 2070-1600 BC) to modern day.
Footnotes:
- The Western Regions or Xiyu (Hsi-yü; Chinese: 西域) was a historical name specified in Ancient Chinese chronicles between the 3rd century BC to the 8th century AD[1] that referred to the regions west of the Yumen Pass, most often the Tarim Basin in present-day southern Xinjiang (also known as Altishahr) and Central Asia (specifically the easternmost portion around the Ferghana Valley), though it was sometimes used more generally to refer to other regions to the west of China as well, such as Parthia (which technically belonged to West Asia) and Tianzhu (as in the novel Journey to the West, which refers to the Indian subcontinent in South Asia). https://en.wikipedia.org/wiki/Western_Regions ↩︎
- Sogdia or Sogdiana was an ancient Iranian civilization between the Amu Darya and the Syr Darya, and in present-day Uzbekistan, Turkmenistan, Tajikistan, Kazakhstan, and Kyrgyzstan. Sogdiana was also a province of the Achaemenid Empire, and listed on the Behistun Inscription of Darius the Great. https://en.wikipedia.org/wiki/Sogdia ↩︎
- 龟兹乐是古龟兹的音乐。古龟兹人擅长音乐舞蹈；(唐)玄奘在《大唐西域记》写道：“屈支国……管弦伎乐特善诸国”。龟兹乐器有竖箜篌、琵琶、五弦、笙、笛、箫、篦篥、毛员鼓、都眃鼓、答腊鼓、腰鼓、羯鼓、鸡籹鼓、铜钹、贝、弹筝、候提鼓、齐鼓、檐鼓等二十种。龟兹乐曲有：《万岁》、《藏钩》、《七夕相逢》、《投壶》、 《舞席》、《同心髻》、《玉女行觞》、《神仙留客》、《掷砖续命》、《斗鹳子》、《斗百草》、《泛龙舟》、《还旧宫》、《长乐花》、《十二时》、《善善摩花》、《婆伽儿》、《小天》、《疏勒盐》等。https://zh.wikipedia.org/zh-sg/龟兹乐 ↩︎
- 壶全身施橘黄色釉，底部并有凝脂状酱色釉珠，釉色不均匀，底部挂釉。形体扁圆，上窄下宽，敞口短颈，颈与肩连接处，施联珠一周。两肩各有一孔作穿带用，类似游牧民族的皮囊。壶身以两幅乐舞场面最为突出：中央一人婆娑起舞于莲座上，右手前伸，左手下垂，双足腾跳，反首回顾，动态盎然。左边两人：一有髭须者双手持笛吹奏；另一人，侧身，注视舞者，双手扬起作拍打状。右边两人：一人手执五弦琵琶作弹奏状；另一人面向舞者，双手击钹。五人均深目高鼻，身穿窄袖长衫，腰间系带，着靴的胡装应属当时西域人形象。从其舞姿来看，为“胡腾舞”。
胡腾舞，顾名思义是西域胡人腾跳的一种舞蹈，这种舞蹈以蹲、站的上下运动为主，“急如鸟”般的上下快速腾跳，故名。北朝时期由西域粟特地区经丝绸之路传入中国，在隋唐时期十分盛行。按文献记载，西域的乐舞，自北魏、北齐至隋唐，传播内地者，至为广泛，其中所谓“龟兹乐”尤其盛行一时。因此在这一时期的墓葬出土物中出现了不少胡人形象，反映了北朝时期中原和西域频繁的文化交流。Museum Information Plaque, Jan 2025 ↩︎ - 这组女乐俑头戴垂裙帽，跽坐，手持各种乐器弹奏。左起第一人双手上举，手心相对，作吹笛状。第二人身体略间左转，手臀左下右上怀抱一曲颈琵琶进行演奏。第三人抬头微笑，双手置于腹部，左下右上，应在演奏打击乐器。第四人一鼓置于膝上，右手似持鼓槌，做击鼓状。最后一人身体略微前倾，右膝拾高，双手左低右高，应是弹奏古筝。女俑皆面容秀丽，神情愉悦，呈现出欢乐悠然的画面。Museum Information Plaque, Jan 2025 ↩︎
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