Why does ming slouch down

Variations in height or inclination of the head are due to the vicissitudes of mending in each case. The figure carrying the coffer and the one clapping her hands are the only ones that have not suffered decapitation at some time in their careers. A puzzling feature in most of these grave statuettes is the headdress.

Just how much is hair and how much hat—or rat? The members of this group seem to have their hair combed straight up behind and puffed out high up over the ears, while on top, well toward the front, rests a peculiar little flat cap made apparently of folded cloth with the loop of a bow on the right side rising like a short horn and a flat pad of the cloth directly above the forehead. The arms, which were attached to the model after it had come out of the mould, are merely long thin rolled pieces of clay bent to represent elbow and wrist, the hands roughly indicated in the attitude required in each case.

All of these figures are of the white pipe clay so commonly used for the purpose. The bodies are hollow and made in two sections joined half way up. One is reminded of a piece of pipe closed at one end and ornamented with a head. These little white clay figures were all dipped in a colourless glaze which has, nevertheless, a decided celadon green tinge where it is thickest, as in the grooves and hollows of face and hair.

This glaze ends in an even line about an inch and a quarter from the bottom of the skirt. From this fact, together with the observation that the glaze is thickest on the head, we would conclude that the figures were dipped in the glaze upside down and fired in that position.

The glaze is finely crazed all over and the innumerable brownish lines running over the otherwise white figures give them a warm creamy tone. It is a most attractive set. It has a rounded cover, however, instead of the bevelled edge. We know that attendants of princes did carry fans and fly whisks.

In a relief of Pin-yang Grotto at Lung-men we see Prince Vicvantara and his wife represented as bidding farewell to the king and his prime minister and both the former carry what appear to be oval fans. The object carried by No. The fan may have been used in the dance, although I have found no evidence in support of this. Again these objects may be rattles of which the Chinese had many kinds. Other figures from this same mould are well known. The same type of face and headdress appear in two figures in the Metropolitan Museum and one in the British Museum, 8 but they wear heavy cloaks with the fulness gathered over the left arm giving an effect of drapery not seen in these figures which we have been considering.

Five little standing figures of ladies with hands folded under their scarfs or holding up the drapery of their long skirts are also among the objects not before published by the Museum. The material of the first and fourth is a buff clay which has been fired into a heavy stoneware and shows reddish near the base. The other three are of the white pipe clay turned buff near the surface and are light in weight.

All are unglazed but show traces of vermilion, emerald green and black unfired pigments. The first is the short figure of a lady with double peaked headdress, the two knobbed style so familiar in these grave figurines. She wears a long robe cut with round neck and over her shoulders is thrown a scarf whose ends fall down in front over her clasped hands. There are traces of vermilion paint on the scarf, of black on the hair, and the skirt shows maroon stripes.

In the Eumorfopoulos Collection there is a figure exactly like this and doubtless it comes from the same mould. The headdress is of the high rolled type which seems to be the distinctive mark of a woman of high rank and mature years. Whether that is true or not the high roll certainly had the effect of heightening the dignity of the wearer.

The remains of colour show that her high girdle was painted to resemble gorgeous brocade. The skirt was vermilion, the scarf emerald green, the hair black. Eyebrows are delicately penciled in black and lids and pupils of the eyes are indicated in the same way. The second figure is interesting for the costume which shows a style quite different from that worn by the musicians and dancers. There is a close fitting but not tight bodice with high waist line, short sleeves covering the upper arm half way to the elbow and a neck cut round and rather low.

An under waist which is perfectly plain comes up to the base of the neck and has long tight fitting sleeves to the wrist. The skirt seems, like the bodice, to be of heavy material and is full and long, falling in heavy folds from the right hand which lifts it so that the hem will not catch in the rosettes on the slippers. A scarf over the right shoulder is knotted on the left hip and held up gracefully in front. There are traces of vermilion paint on sleeves, scarf and lips, and black of course on the hair.

It is a matronly figure full of dignity and poise. The little lady at the end, No. Her dainty head is turned toward the left but her eyes glance back at you sideways in a flirtatious manner. The face is delicate and pretty and the two elegant knobs of the headdress rise up in royal fashion above the soft parted hair. On her left arm she carries what appears to be a large knitting bag. Probably it was for some kind of embroidery.

The remains of pigments on this charming figure show that the skirt was a yellow ochre with dark red stripes, the scarf was an intense green, the hair black and the bodice probably maroon now disintegrated into a faded lavender. On the face and neck are traces of a grayish pink pigment. He was just unreal physically, and no slouch in terms of fundamental skills, either. Foot injuries are common for extremely tall centers, as the weight of their frame can have a depressing force on the foundation and base of the body.

Tracy McGrady recently had some interesting comments on Yao, though, and brought up another factor that may have played into the decline of his physical abilities — an assistant head coach. When asked about Yao Ming, McGrady had lots of praise for Yao and how skilled he was, but not before pointing out that he was worked extremely hard by the coaching staff, in particular Tom Thibodeau, who was an assistant coach in Houston.

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