For over two millennia, the horse has shaped the arts and cultures of East Asia — as a celestial mount, a status symbol, and an emblem of strength, power, and virtue. On the occasion of the Lunar Year of the Fire Horse, which according to tradition begins in China, Korea, and Japan on 17 February 2026, paintings and woodblock prints, ceramics and porcelain, bronze sculptures and lacquer objects illustrate the many-layered significance of the horse from the 3rd century BCE to the modern era.
The mythological significance of the horse is illustrated by sculptural grave goods for life in the afterlife, as well as depictions in which it accompanies deities and humans on supernatural celestial journeys.
The use of horses in the military made possession of strong horses a prerequisite for the successful defense of the state and campaigns of conquest from earliest times. This is illustrated by battle scenes as well as portraits of generals and officials.
The art of the Tang dynasty (617–907) impressively attests to the importance of the horse as a valuable trade commodity along the Silk Road and as a tribute gift between the Chinese imperial court and the northern steppe peoples. Beyond its military and economic use, the horse became indispensable for hunting, which is reflected above all in the art of the Qing dynasty (1644–1912).
In Japanese and Korean painting, the horse appears above all as a companion of samurai, scholars, and travelers. Since the Meiji period (1868–1912), it has been depicted in secular woodblock prints, for example at a horse racecourse, as well as an ornament on decorative art objects. Artfully crafted riding accessories, such as saddles, stirrups, and bridles, illustrate its role as a symbol of power and status among the upper classes.
For the exhibition "Zum Mondjahr des Pferdes", filmmaker Jie Lu has artistically reworked and animated a section of the handscroll Herbstliche Treibjagd, a work by anonymous court painters of the 18th century.
A free hands-on activity booklet for families is available at the ticket desk.
Curator: Dr. Daniel Suebsman
With the kind support of Orientstiftung zur Förderung der Ostasiatischen Kunst Fördererkreis des Museums für Ostasiatische Kunst Köln