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- With the Sui (581 -618) and Tang (618-907) dynasties, external tomb sculptures became extremely popular. Numerous examples of Tang funerary sculptures have survived in situ near Xian at the mausoleums and graves of the imperial family and nobility. In their tomb sculptural alleys there is a swing away from using just imaginary beasts to the use of real animals such as horses, rams, tigers and lions, as well as humans. The Tang preference for long spirit paths with numerous stone statues would have a major influence on later dynasties. The most outstanding Tang dynasty stone funerary sculptures are the rhinoceros from the tomb of the first Tang emperor (fig. ix), the reliefs of "Six Swift Horses" from the tomb of the second Tang emperor (fig. x), the winged horses from the tomb of the third Tang emperor, and the winged deer-like creature at the tomb of Tang Empress Wu Zetian's mother (fig. xi).
When the Tang dynasty gave way to the Five Dynasties and the Ten Kingdoms period (907-960), the country was divided and the tombs of the emperors and nobles were constructed on a much more modest scale. The best known stone sculptures of this period are the single standing official at the tomb of Emperor Wang Jian of the Former Shu dynasty (907-925) in Chengdu (fig. xii), and two stone figures at the tomb of the Duke of Lu of the Southern Han dynasty (917-971) near Qufu.
By 960, most of China was once again unified under the Northen Song dynasty (960-1127). Their imperial mausoleums at Gongxian followed the example laid down by the Tang tombs and have long lines of statues leading to square, earthen, pyramid-like tumulii. In the sculptural alley are pairs of octagonal columns, elephants with grooms, tigers, rams, foreign envoys, lions, civil officials, warriors and eunuchs (fig. xiii). The imperial mausoleums of neighbouring non-Chinese dynasties in the north (the Liao, theXi Xia and the Jin) emulated the Song tomb sculpture tradition, but their tombs have been badly damaged over the centuries. The imperial tombs of the Southern Song dynasty (1127-1279) near Shaoxing, Zhejiang, were completely destroyed by the Mongols. The Mongols of the Yuan dynasty (1271 -1368) followed their own funerary traditions and discontinued the use of earthen tumulii and stone sculptures at tomb sites, thus keeping the location of their graves totally secret.
In 1368 China was restored to native rule by Zhu Yuanzhang, who unified the country under the Ming dynasty (1368-1644). The Ming reinstated the funerary tradition of long, impressive alleys of stone sculptures leading to earthen tumulii (fig. xiv). Not only did the tomb statuary at the Ming imperial tombs in both Nanjing and Beijing survive, but also much of the external tomb architecture. The Ming stone statues are massive, consisting of pairs of lions, two types of imaginary animals, camels, elephants, horses, and court officials. Scattered through the Chinese countryside are thousands of tombs, which belong to the Ming elite, with alleys of stone animals and officials similar to those at the emperors� mausoleums, but on a smaller scale with the number and type of sculptures determined by rank.
The sculptured alleys and architecture of the Manchu imperial mausoleums of the Later Jin (1616-1635) in Shenyang, and of the Qing (1644-1911) near Beijing, have also survived relatively intact, faithfully continuing the long tradition of erecting external stone statuary at tombs, which dates back to the second century b.c. Even Yuan Shikai, who declared himself an emperor in 1916, has a set of stone sculptures in front of his tomb at Anyang, Henan (fig. xv).
The stone images placed outside the individual�s tomb seem to have some relationship to the ceramic figurines placed inside the tomb. The function, in both cases, of these images is to guard and to serve the master of the tomb. Both also served to show the high social status of the deceased and enhance the dignity of the tomb. In many cases, the same figures such as horses, rams, lions, camels, mythical animals, foreigners, warriors, and officials appear both above ground and inside the tombs. Often the carving style of the monumental stone animals and the costume
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