Adapted from the web:
"1000 years ago, Chinese artisans of the Tang Dynasty (618-907 AD) were creating miniature landscapes in a tray and the practice was known as Pen'Jing, or Chinese Landscape bonsai.
In an effort to capture the realism of a favorite scenic view, such as a countryside or mountain region, rocks and small trees were planted in a large ceramic tray to simulate the panorama on a smaller scale. If one were to view the scene, a harmonious feeling of having visited the area could be brought to mind and the viewer's thoughts refreshed.
An intricate part of that illusion would involve the use of figurines which were of people, animals, huts and temples, which helped to give an appearance of great age and size to the miniature forests. The reason for including this information is to establish the fact that figurines have always had a place in Bonsai as an aesthetic contribution. The Japanese dropped the use of figurines from their version of Bonsai about 400 years ago in order to conform to their idealistic idiom. A nearly lost art form that is once again becoming popular with Chinese bonsai enthusiasts, Pen'Jing is apparently experiencing a revival in modern day China.
The Ching or Manchurian dynasty (1644-1912), one of the most prosperous during the age of the dynasties, began its decline at the end of the 18th century. Having established an export market for fine china in the previous years, China would now be unable to sustain the type of quality and production that had defined the era. Some experts blame the reason on internal strife, in-house fighting, and excess competition for the wares as the primary cause.
Cheap pottery and figurines would dominate the Chinese export trade well into the next century. Now enters the 'mudman'. Mudmen were brightly glazed figurines of women, wise men and sages, sometimes fishing, sitting or standing, holding flutes, scrolls, pots, fish and other objects of mystical importance.
The thing that separates these figurines from the ordinary, is that they were made individually by hand. It has been suggested this was a 'cottage industry' involving nearly every member of the village in the production of these curiosities. As the story goes, when the harvesting of rice was complete and the dry season had set in, the villagers turned to figurine production as a means of establishing a vigorous economy. This accounts for the varying degrees of quality apparent in each of the pieces.
The 'mud' or clay for the figures was pressed into a mold by hand. At this point each part would be individually molded to be assembled by the various crafters at the appropriate time. Fingerprints can often still be seen, immortalized in the fired clay. After the torso was released from the mold, the head, hands and legs or feet would be added. Then hair, hats, beards and other items would complete the ensemble. As a finishing touch, eyes, nose and ears would be pierced to add further detail. Then the entire collection of the works would be fired in a kiln to cure the clay.
The mudmen were then hand painted with a low temperature lead glass glaze in the traditional yellow mustard and cerulean blue. Celadon, a green glaze, has been suggested as being used to represent jade. Finally, the occasional use of white or brown was used to break the monotony of the tri-colors. The head, hands and face were left unglazed to expose the natural color of the mud that was most often a flesh tone. The rocks upon which some mudmen were seated, shoes or sandals, were painted with a dark brown, almost black under-glaze, that was often used to paint hair and facial features as well.
The certain age of an antique mudman can be verified by observing the mark incised on the bottom of the figure. As all imports into the US had to have the point of origin plainly stamped within view, the pottery stamps can actually date the piece. 1890-1919 'China', 1920-1944 'made in China' or 'made in Hong Kong' and occasionally 'made in China', stamped in red ink during the late 1940's. If you have a figurine which has no mark stamped on it, the probable reason is it was not intended for export and was most likely purchased at a local village market.
The absence of the original mudman figure from Chinese export markets after World War 2 have some collectors believing that the earliest molds were destroyed along with the kilns by bombing raids. Others have suggested that the kilns used for pottery were converted to weapons manufacture to help counter the Japanese invasion prior to the war and were destroyed by enemy soldiers, and subsequently, the molds were lost as well, never to be recovered.
Mudman figurines can range in size from 2" to 18" and sometimes larger, the 4" to 7" model being the most popular export, mainly due to the available retail shelving space. Surviving mud figures, for the most part, have knicks to the hair and outer extremities, broken and repaired heads, hands, beards etc. It's not uncommon to find them in good condition with very little damage or no repairs, and sometimes in mint condition.
In the early 1950's, Chinese export companies began a new era of mudman production that continues until the present.
This particular mudman, seated and pointing upwards, is in excellent condition, with no chips, cracks, breaks, or repairs. Putting him near a bonsai or other small plant, a standing figure or perhaps just on a stand, you will see him in a proper, relaxing setting.
He measures 6 inches tall, 6.5 inches long, and
5 inches deep.