Asian Dynasties

Asian Dynasties

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Neolithic Period (7000 -1600 BCE)

The Neolithic period is characterized by the development of settled communities that relied primarily on farming, rather than hunting and gathering. The Neolithic Period is renowned for the painted pottery vessels that demonstrate the use of the brush to express movement. During this period, the use of jade was a major contribution to Chinese civilization. Due to its durability, jade was used for tools, but gradually transcended its functional purposes and became used for objects of social and aesthetic significance.. (top of page)

#597

Date: Neolithic (c. 2500 BCE)
Medium: Painted Pottery
Subject: Vessel
Size: 12 ¼” H

A very nicely painted grain vessel with “burnished” look

Xia Dynasty (2100-1600 BCE)

It was once believed to be a mythical dynasty. We now know, however, that the Xia Dynasty descended from the Longshan Culture of the Neolithic Period. With the establishment of larger settled communities came the burial practice of including common objects of daily life, including the earliest Chinese bronzes. (top of page)

Shang Dynasty (1600-111 BCE)

This dynasty was the most advanced bronze-working civilization in the world. The rulers were deeply concerned with ensuring their immortality, and members of royalty were buried with much of their personal wealth, including bronze vessels, weapons, jade, personal servants and concubines. (top of page)

Western Zhou (1111-770 BCE)

This is the Dynasty were we begin to see the introduction and development of mingji (spirit wares) as substitutions for their living counterparts. The Zhou people are remembered for their advanced bronze casting abilities, which were still centuries ahead of the west. The shapes and decoration of art objects were largely dependent on their use as commemorative and ritualistic objects. During this period, inscriptions on bronze vessels detailed important events that give us a valuable insight into Chinese history. (top of page)

#523

Date: Western Zhou (c. 1111-770 BCE)
Medium: Bronze
Subject: Vessel
Size: 14 ½” L
Mineralogical and metallographic report, and X-rays available

A large and fine pair of footed and lidded bronze gui

This pair is decorated allover with stylized dragon and phoenix patterns. Even the flared knobs on the lids are decorated with these shallow-relief patterns. Each leg is topped with a zoomorphic mask, suggestive of a tiger.

Eastern Zhou (770-256 BCE)

After the take-over of the capital by barbarians, the Zhou moved the capital eastward. The human figure became popular subject matter for this period’s art. Bronzes were now commonly used for gifts and decoration. Precious metals and semi-precious material were now being inlayed into the bronze to create a new style of ornamentation. Sculptures in wood, lacquerwork, and glazed ceramics began to develop. The Eastern Zhou is divided into two periods, the Spring and Autumn Period, and the Warring States Period. (top of page)

Spring and Autumn Period (722-481 BCE)

This period, named after a book titled The Spring and Autumn Annals, saw the rise of new ideas and philosophies, the most important being Daoism, Confucianism and Legalism. (top of page)

#627

Date: Spring and Autumn Period (c. 722-481 BCE)
Medium: Copper inlaid-bronze
Size: 23 ½”H
Microscopic, Mineralogical, Metallographic and Metallurgical reports available

A massive hu-form vessel with ladle

There are rare copper intertwined dragons inlaid in four circular medallions on the sides of this large hu. The vessel also has finely modeled graduated taotieh masks with patterned loose-ring handles. The very high relief dragon handles, with scaled bodies and articulated rings, decorate the elegant satin textured silver tone body. This combination of decorative and ritual designs (compared to thousands of known hu in virtually all archaic material) has so far shown to be unique. The unusual inside-and-out light blue patina further enhances this already exquisite visual feast.

Warring States (453-221 BCE)

A few hundred years of disunity gave this period its due name. This was a period of social and political unrest and feudal states, which, strangely enough, gave rise to exceptional artistic creativity. Though the vast majority of bronzes continued to be cast using traditional piece-molds, the art of bronze casting by the lost- wax technique was perfected. Inlays of gold, silver and other materials became very popular, and lavishness of decoration was a characteristic of this era. (top of page)

#1330

Date: Warring States 453-221 BCE
Medium: Inlaid bronze
Subject: Needle case
Size: 6”H

A rare silver inlaid bronze cylindrical needle case with a flat cover.
This case is also known as a sewing case or possibly a scholar’s container. It is inlaid with a continuous pattern of interlocking scrolls, and has inlay on the lid as well as the bottom. There is a side handle that would have been used to attach this case.

#22

Date: Warring States Period/Han Dynasty (c. 3rd century BCE)
Medium: Tinned-bronze fittings
Size: frame 23 ¾” x 17 ¼”
Metallographic and mineralogical report Included

Two rare and beautiful, complimentary sets of Chinese tinned bronze bridle fittings used on chariot horses

The silvery-white surface is tin, applied over a bronze core. Both harness and chariot fittings were often plated with tin, producing an attractive and relatively corrosion resistant object. In addition, there are red pigment traces still evident on some of the fittings. Bold and striking designs are used on each piece of the set.

#5

Date: Warring States Period (c. 300-400 BCE)
MediiumL Silver inlaid-bronze
Size: rings 5 ¹/₈” diam, handles 2 ½” H x 4” W, cylinders 3”- 3 ³/₁₆” H
Metallographic and mineralogical report available

An extraordinary set of Chinese silver inlaid-bronze chariot and horse fittings

The curvilinear and geometric inlay is remarkably intact. The condition of the inlay, combined with the number of pieces, makes this among the finest and most complete sets offered anywhere.

Qin Dynasty (C’hin)(221-206 BCE)

This time period gave rise to the first Emperor of China, (prior to this time dynastic heads were referred to as kings). Emperor Qin Shihuangdi, a devote legalist, unified China, and the country is actually named after him. His accomplishments included the unification of China, and a standardized system of weights and measures. This dynasty gives us one of the most admired art products of China, the famous terracotta army. (top of page)

Han Dynasty (206 BCE-220 CE)

After a short civil war, the Han dynasty emerged with its capital at Chang’an (now known as Xian). During this period we see the expanded use of mingji. Replicas of actual possessions, such as human figures, animals, buildings and objects of daily life furnished tombs. These mingji included glazed or painted pottery. The Han Dynasty is divided into two periods Western Han (Early Han), and Eastern Han (Later Han). (top of page)

	#538 Date: Han Dynasty (c. 206 BCE - 220 CE) Medium: Glazed pottery Subject: Recumbent dog Size: 4” high x 8” long Han Dynasty amber glazed recumbent dog This dog has an alert and charming expression.
	#694 Date: Han Dynasty (c. 206 BCE-220 CE) Medium: Bronze Size: 9 ¹/₈” diameter Mineralogical & Metallographic report available Inscribed bronze mirror with “TLV” design The term “TLV” refers to the T, L, and V shaped decorative elements on the mirror back. The back is also decorated with the four directional animals, or sishen. A forty-two character inscription is set further out, in a large circle. The inscription mentions that the craftsman of the mirror, Chu, was well known for making very good bronze mirrors in Xian, during the Han dynasty. It expresses his wish that the mirror protect his parents, by having the dragon on the left and the tiger on the right, and that his family may have food and wine in the afterlife, just as in the Wei Yang palace. He wishes Wei Yang city wealth and prosperity, its people promotion at work, and that the god(s) protect the palace. He goes on to wish the county wealth, hoping that they have many cows and goats.
	#22 Date: Warring States Period/Han Dynasty (c. 3rd century BCE) Medium: Tinned-bronze fittings Size: frame 23 ¾” x 17 ¼” Metallographic and mineralogical report Included Two rare and beautiful, complimentary sets of Chinese tinned bronze bridle fittings used on chariot horses The silvery-white surface is tin, applied over a bronze core. Both harness and chariot fittings were often plated with tin, producing an attractive and relatively corrosion resistant object. In addition, there are red pigment traces still evident on some of the fittings. Bold and striking designs are used on each piece of the set.

Western Han Dynasty (206 BCE-9 CE)

This Dynasty is noted for its military prowess. The period saw the development of the administrative model of bureaucracy that would also be employed by the following dynasties. Poetry, literature and philosophy flourished during the reign of Emperor Wudi (141-86 BCE).. (top of page)

#1592

Date: Western Han Dynasty (206 BCE-6 CE)
Medium: Painted Pottery
Subject: Standing Horse
Size: 23 ½” high
TL tested

A superb bold and lively painted standing horse.

This slightly oversized sculpture has one of the most expressive and finely done facial features of all of this form we have ever encountered.

#588

Date: Western Han Dynasty (c. 206 BCE - 9 CE)
Medium: Painted pottery
Subject: Vessel
Size: 13 ¼” H

A rare and finely detailed pottery wine vessel in the form of a long-billed bird

Pottery wine vessels in bird forms were at their most popular during the Han Dynasty.

#304

Date: Early Western Han Dynasty (c. 206 BCE – 9 CE)
Medium: Painted pottery
Subject: Ox
Size: c. 15 ½” H, 27 ½” W

A rare and highly pigmented Chinese standing ox, from the Yang-Ling area of Shaanxi Province

Eastern Han Dynasty (9-220 CE)

Following a brief Wang Mang interregnum, a short period of peasant rule that lasted from 9 to 22 CE, Liu Xui (who was a member of the Imperial family) took control of the ruined capital of Chang’an. He proclaimed himself emperor and moved the capital east to Luoyang in Henan Province. The furnishings of funeral chambers reflected the life of the deceased and were a testimony both to a will to survive beyond death, and to the Confucian virtue that regarded death as a pivotal stage between two lives linked by the tomb. (top of page)

#361

Date: Eastern Han (c. 25-220 CE)
Medium: Glazed pottery
Subject: Oil lamp
Size: c. 32” H
TL tested.

An unusually large Chinese multi-piece green glazed oil lamp with dragons, oil cups and extensive animal designs done in high relief on the base

#631

Date: Eastern Han Dynasty (25-220 CE)
Medium: Pottery
Subject: Pig
Size: 10 ¾” high x 19 ½” long

A large and well defined pig/boar.

This charming red pottery figure represented wealth and good
fortune in Sichuan Province during the Eastern Han Dynasty

#727

Date: Eastern Han Dynasty (25-220 CE)
Medium: Green glazed pottery
Subject: Lien form vessel with mountain top lid
Size: 7 ½”H x 6 ½”W

A green glazed lien form vessel with a “Sacred Mountain” or hilltop lid

The lid of this vessel is decorated with medium relief animal forms surrounded by mountain tops done in a translucent green glaze. This vessel has charming feet in the shape of bears. A delightful decorative scene of human and animal figures, possibly a hunting scene, covers the exterior of this richly glazed vessel.

Six Dynasties (220-581 CE)

This is the period between the fall of the Han and the re-unification of China under the Sui dynasty. The Six Dynasties consists of the Three Kingdoms (220-280 CE), Western Jin (265-316 CE) and the Northern and Southern Dynasties (317-589 CE). The northern capitals of Luoyang and Xian were attacked by the northern tribesmen, and the Jin court fled to the south and set up their new capital at Jiankang (present day Nanjing). The regions of the Northern and Southern Dynasties reigned simultaneously, with separate successions of dynasties. Buddhism strengthened, reaching all classes of society. Buddhist sculpture developed, and heavily armored figures dominated the mingji. This period is marked by originality in art, literature and thought. (top of page)

	#591 Date: Northern Qi (550-577 CE) Medium: Pottery Subject: Lion Size: 8 ¼" high Northern Qi lion, seated atop an ornamental base
	#726 Date: Northern Qi (550-577 CE) Medium: Pottery Subject: Ox Size: 13” high x 15 ½” long TL tested An unusually large and finely made “walking” ox with raised foreleg. One may assume from the fine fittings covering the ox that this beast would have been used in ceremony rather than in normal work situations.
	#1644 Date: Western Jin Dynasty (c. 265-316 CE) Medium: Painted Pottery Subject: Horse Size: 21 ½” H x 24” L TL Tested This is the largest example of the rare Western Jin stylized pottery horses that we have ever encountered. Additionally, the extensive relief decorations and good color are very unusual
	#324 Date: Northern Qi (c. 550-577 CE) Medium: Painted pottery Subject: Ox Size: c.15” L TL tested Extremely finely modeled and well-proportioned Chinese Ox with full fittings The “walking” pose and outstretched neck have combined with fine color and detail to create a desirable masterpiece from this short era.
	#630 Date: Northern Wei Dynasty (c. 386-535 CE) Medium: Painted pottery Subject: Ox Size: 11” H x 16 ½” L TL tested A rare and finely modeled one-piece ox and cart

Sui Dynasty (581-617)

This was a short-lived but important dynasty, which set the stage for the following Tang Dynasty. The Sui re-unified Northern and Southern China, after three hundred years of division, reformed the administration, and introduced the elements needed for imperial rule. Northern and Southern styles in art were also unified during the Sui Dynasty. The renowned glazing technique of this time period is a straw (lemon colored) glaze. The Sui also saw the combination of both glazing and painting techniques on a single piece. (top of page)

Tang Dynasty (618-906 CE)

The Tang is one of the great dynasties of China, unifying vast territories, and the cultures of surrounding states and people. This period saw the only woman to ever hold the title of Emperor of China, Empress Wu. The Tang Dynasty was a period of immense cultural achievement, and it earned the title of “The Golden Age”. Ceramic production flourished, giving rise to the famous Sancai (three-color) Glaze. The period is famous for its beautiful pottery sculptures of the Ferghana or “heavenly horse”. (top of page)

	#1141 Date: Tang Dynasty (618-906 CE) Medium: Glazed pottery Subject: Warrior figures Size: 19”-20 ½”H TL Tested A very rare pair of white glazed dignitary-warrior figures with well defined, expressive faces Each figure is standing, arms clasped at the waist, wearing helmets and ornate armor. We have never seen or heard of figures of this type, found in a creamy white glaze. Actually, they are rare in any glaze.
	#1583 Date: Tang Dynasty (618-906 CE) Medium: Pottery Subject: Prancing Horse Size: 16” high TL tested A fantastic prancing horse from the Fongxian area in North Central China. This is the largest of prancing horses from this location in the Tang Dynasty. The incredibly strong necks, aquiline heads and beautifully rounded and defined bodies make the Fongxian prancer among the most sought after of this style from any region.
	#1589 Date: Tang Dynasty (618-906 CE) Medium: Pottery Subject: Earth Spirit Size: 25” H A delightfully ferocious, Leonine Earth Spirit This rare Sancai and blue glazed sculpture has very fine details in both wings and head, including the highly curled facial hair.
	#1595 Date: Tang Dynasty (618-906 CE) Medium: Glazed Pottery Subject: Standing Horse Size: 17” high A very rare Sancai and blue glazed horse with cropped “royal mane”. The superbly modeled and important blue glazed saddle blanket compliments the very well defined and finely proportioned features on this elegant sculpture of a “four square” horse of the Tang Dynasty.
	#323 Date: Tang Dynasty (c. 618-906CE) Medium: Glazed pottery Size: 20” H An excellent blue and sancai glazed lokapala The rich blue glaze (reserved for nobility) and small size produce a charming effect. It is quite atypical for glazed, and particularly blue glazed, lokapala to be found in this size.
	#339 Date: Tang Dynasty (c. 618-907 CE) Medium: Glazed pottery Size: c. 13” H A rare Chinese sancai (3 color) seated glazed court lady This seated figure holds a goose, with a funnel in its beak.
	#34 Date: Tang Dynasty (c. 618-906 AD) Medium: Glazed pottery Subject: Standing horse Size: 19 ¾” TL tested A beautiful sancai glazed standing horse with painted saddle Among the desirable features on glazed Tang horses are a turned neck and an open mouth. This classic horse displays well-controlled glazing, and is in remarkable condition.
	#40 & #784 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Horse and Groom Size: horse (#40) approximately 17” H and 19” L, groom (#784) 15 ¾” H TL tested A rare model of a “grazing horse” with a painted foreign groom This delightful sculpture is among the most unusual of all the Tang Dynasty horse poses. Both figures are in excellent condition.
	#41 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Walking Horse Size: 30 ½” H TL Tested A large and well modeled painted Chinese pottery “Walking Horse” The most unusual feature about this horse is the carved mane, which is very rare in horses from the Gansu area during the Tang Dynasty.
	#499 Date: Tang Dynasty (c. 618-906 CE) Medium: Glazed pottery Subject: Animal Size: c. 6” H, 8” L A very unusual Chinese cream-colored glazed ram, standing 4 square
	#580 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Camel Size: 9 ½” H x 12” L A very expressive recumbent camel in red pottery This is a finely molded terracotta recumbent camel with a strongly turned neck and head. Excellent detailing and expressive facial features make this a sculptural delight.
	#584 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Camel Size: Camel with ride23” L, 19” H Camel without rider 26” L, 17” H TL Tested A large and rare pair of recumbent camels This pair of camels has finely carved details on the legs, head and humps. The strong bearded foreign rider on the “bellowing” camel is also lively and detailed. Note that the stomachs of the beasts do not touch the ground. This is a feature seldom seen on recumbent figures.
	#590 Date: Tang Dynasty (c. 720 CE) Medium: Glazed Pottery Subject: Lokapala Size: 16 ½” H A finely glazed Sancai (3-color) Lokapala The facial features are of exceptional quality with very extensive original pigments remaining. This smaller size is actually more unusual in a glazed lokapala that are considerably larger.
	#616 Date: Tang Dynasty (618-906 CE) Medium: Glazed Pottery Subject: Figure Size: 16” TL tested A pair of blue sancai glazed lokapalas The rich blue glaze, which was reserved for nobility and the small size of this pair of lokapalas produce a charming effect. It is quite atypical for glazed, and particularly blue glazed, lokapala to be found in this size. Seen in our Guardian Catalogue page 9
	#618 Date: Tang Dynasty (618-906 CE) Medium: Glazed Pottery Subject: Vessel Size: 6”H x 9 ¼”W TL tested A glazed lidded teapot with a long handle This beautifully crafted glazed teapot has an unusually long handle, and retains its original lid.
	#622 Date: Tang Dynasty (618-906 CE) Medium: Painted pottery Subject: Lokapala Size: 36 ¾" tall TL tested An unusual foreign lokapala in spear holder stance This dramatic lokapala is in the spear holder stance and is atop of an ox illustrating his power. There is extensive original pigmentation including an unusual amount of gold gilt. The unique characteristics of this lokapala include the bearded face of a foreigner, a phoenix headdress and dragon head shoulder plates. The artistic detailing and incredible modeling of this piece add to its uniqueness.
	#66 Date: Tang Dynasty (618-906 CE) Medium: Glazed pottery Subject: Musician equestrians Size: 14”H A selection of unusual Chinese green glazed (three shades) musician equestrians The musicians, with smiling faces and painted head dresses, were likely meant for a parade rather than a martial situation.
	#669 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Camel Size: 25” H A beautifully modeled and finely proportioned camel standing four-square This camel has excellent cut fur details, and an expressive face.
	#695 Date: Tang Dynasty 618-906 CE Medium: Painted Pottery Subject: Lokapala Size: 42”H and 43”H TL tested An outstanding and rare pair of painted pottery Lokapalas One Lokapala is atop an ox and a demon, the other a stag and a demon. The use of both demons and animals in the same base is extremely rare. Extensive pigmentation and a few gold traces are evident. The addition of the more unusual, desirable features, such as open mouths, facial wrinkles and fine detailing, place this pair in the upper echelon of Lokapala sculpture.
	#728 Date: Early Tang Dynasty 618-906 CE Medium: Pottery Size: 19”H x 18”L An early Tang Dynasty kneeling camel with rider. The kneeling pose is one of rarest poses for camel sculptures. This extremely expressive camel, with the widest form of an open mouth, is beautifully sculpted including finely cut fur. The highly animated and detailed rider is removable. This is a three piece sculpture. TL tested
	#793 Date: Tang Dynasty (c. 618-906 CE) Medium: Glazed pottery Subject: Vessel Size: 7 ¼” H TL tested A beautifully decorated and finely glazed “pilgrims” flask The shape, made popular in ceramic form during the Tang Dynasty, is derived from the canteen shape used by the Northern nomads in earlier periods.
	#1389 Date: Tang Dynasty (c. 618-906 CE) Medium: Pottery Subject: Dignitaries Size: 28 ¾” & 29 ½” H A well modeled pair of painted pottery dignitaries in attitude of respect. Each figure is standing, arms clasped at the waist, wearing helmets and ornate armor. We have never seen or heard of figures of this type, found in a creamy white glaze. Actually, they are rare in any glaze.
	#1458 Date: Early Tang Dynasty (c. 625 CE) Medium: Pottery Subject: Horse Size: 41” H TL tested A large Chinese pottery striding horse A rare painted grey pottery sculpture of a striding horse of exceptional size. The expressive features, delightful stylization, and the very rare features of a neck and head heavily turned to the right, make this Fuping (near Xian) equine sculpture a veritable masterpiece.
	#1642 Date: Tang Dynasty (c. 618-906 CE) Medium: Glazed Ceramic Subject: Pair of Horses Size: 19 ½” H x 18” L TL tested These two fine modeled Sancai glazed and pigmented horses are in near mint condition. Both horses have desirable detailed open mouth poses.
	#1650 Date: Tang Dynasty (c. 618-9096 CE) Medium: Painted Pottery Subject: Friendly Demon Size: 40 ¾” H This ancient sculpture is one of two known in the world. The conjuncture, at the moment, is that the two figures represent monkey demons that have been turned to the righteous path of Buddhism.
	#1671 Date: Tang Dynasty (c. 618-906 CE) Medium: Glazed Pottery Subject: Camel with pack A finely glazed trumpeting camel This rare Sancai glazed camel also utilizes cobalt blue that indicates that its owner was to be of the nobility. The excellent depth of this imported Persian color, as well as the technical control, are among the most desirable features of glazed Tang sculpture. Historically, one should note that the Tang Dynasty was China’s earliest period to use blue glaze.
	#325 Date: Early Tang Dynasty (c. 630 CE) Medium: Painted pottery Subject: Recumbent Ox Size: c. 9 ¾” L A finely detailed and artistically superior Chinese recumbent ox in gray pottery Extensive attention has been paid to the details on this piece, such as the finely cut neck, the proportions and the unusual position of the legs. This impressive, yet peaceful statue is in excellent condition.
	#333 Date: Tang Dynasty (c. 7^th century CE) Medium: Painted pottery Subject: Lokapala Sizes: c. 27” H & 26” H TL tested A superb pair of expressive Chinese lokapalas on demons These extraordinary figures have exceptional original pigment and gold leaf, with rare removable headdress accessories. These fine sculptures are unusually large for the Fongxian area of Shaanxi.
	#345 Date: Tang Dynasty (c. 618-906 CE) Medium: Painted pottery Subject: Taotieh mask Framed size: 25 ½” H x 22 ½” W TL tested *One of the largest painted pottery Chinese Taotieh* (Demon-Devourer) masks known** This superb sculpture is perhaps the most three-dimensional mask of its type. Remnants of large iron nails are still visible where the mask was mounted to a wall.
	#368 Date: Early Tang Dynasty (c. 630 CE) Medium: Painted pottery Size: 7” H, 12 ½” L A very pleasing Chinese gray pottery “grazing” ox The lowered head and walking stance are among the more unusual poses for oxen.
	#380 Date: Tang Dynasty (c. 700 CE) Medium: Painted pottery Subject: Fat Lady Size: c. 17 ½” H TL tested An extremely rare pose of Chinese court “Fat Lady” This pleasingly rotund court lady appears to be fixing her hair, while looking into a mirror held in her left hand. The nicely painted figure is accented by a beautiful high-relief ribbon that gently flows down the side of her gown.
	#53 Date: Tang Dynasty (c. 700 CE) Medium: Painted pottery Subject: Horse Size: c. 28” H TL tested A rare and incredibly elegant pair of large Chinese painted pottery horses, wearing “cut fur” blankets These “cut-fur” blankets are usually reserved for large glazed horses, or those with removable saddles. In a pose of stately strength, the beautifully arched necks, open mouths and crisp detail, combined with the high quality white clay, set this pair apart. (Shown in Celestial Horses catalogue, pages 58 and 59)
	#71 Date: Tang Dynasty (c. 700 CE) Medium: Glazed pottery Size: c. 21 ¼”H TL Tested A strong and unusual depiction of a glazed “rearing” horse The rearing pose, and the expression on the face of this glazed horse, suggest an agitated state. The piece is in excellent condition.
	#851 Date: Tang Dynasty (618-906 CE) Medium: Painted pottery Subject: Court Lady Size: 21”H TL tested A very unusual painted Tang Court Lady with an elegant draped robe, also a very interesting and charming turn of the head
	#920 Date: Tang Dynasty (618-906 CE) Medium: Painted Pottery Subject: Fat Lady Size: 17 ¾”H A charming painted pottery sculpture of a “Fat Lady” This court lady is nicely posed with one arm raised in front of her displaying a hand with delicately modeled fingers. Her flowing robes subtly expose her left shoe.
	#939 Date: Tang Dynasty 618-906 CE Medium: Glazed Pottery Size: 28”H A beautifully colored and finely proportioned large, glazed standing horse. This horse has a rare three colored high relief mane.

Five Dynasties (907-960 CE)

China, never fully recovering from the An Lu-shan rebellion of the Tang Dynasty, was in a state of political chaos known as the Five Dynasties. Capitals were set up in the North, mostly by military adventurers. The jades, wall painting, silverwork and relief sculpture of this period reflect the style of the Late Tang decorative arts. The style of realism, begun in the Tang Dynasty, was developed in the sculpture of this time. (top of page)

Northern and Southern Song (960-1279 CE)

The first half of the Song Dynasty is known as the Northern Song, referring to the period during which the capital was in Kaifeng. The Southern Song began in 1127, when the capital was moved to Hangzhou. The Song saw a renewed interest in the ancient arts, including the re-creation of archaic ritual vessels. The Song is also famous for the Five Imperial Wares, and for its inventive glazed ceramics, focusing on the development of vessels, rather than sculptural forms. The Song Dynasty is also known as the Classical Period. (top of page)

	#1436 Date: Song Dynasty (960-1279 CE) Medium: Glazed Pottery Subject: Figure Size: 22 1/8” H TL tested A rare sculpture of the Taoist Queen Mother of the West, Xiwang Mu Xiwang Mu is the highest ranking of all female Taoist deities. She is in charge of guarding the Taoist peach of immortality. Her hands are positioned in what appears to be a double vitarka mudra. This mudra, with the index finger and the thumb touching, is the sign of the Wheel of Law and means intellectual discussion.
	#742 Date: Song Dynasty (960-1279 CE) Medium: Bronze Subject: Offering Vessel Size: 10 ¾” high, 10” diameter Radiocarbon, Metallographic and Metallurgical reports available An elegant red bronze offering vessel with painted lotus design Unlike most of the Yunnan bronze offering vessels, the decorative elements on this artifact are painted, rather than embossed. Lotus petals are outlined in black on the body, while white petals crown the lid. Nature has minerals adds its own artistic touch with an encrustation of vibrant blue and green minerals. Traces of woven fabric, found on the vessel interior, were radiocarbon dated to the Song Dynasty.
	#805 Date: Song/Yuan (960-1368 CE) Medium: Pottery Subject: Offering Vessel Size: 12 ¼”H Painted pottery offering vessel The painted blossoms are still visible on the black ground of this unusual vessel. The lightly frilled finial on the lid is the only sculpted element.
	#810 Date: Song Dynasty (960-1279 CE) Medium: Glazed porcelain Subject: Vessel Size: 5” diam. A Ying Qing (“shadow-blue”) porcelain bowl This bowl is of tapering cylindrical form, the exterior molded with an overall petal pattern, it is covered in a pale blue celadon tinted glaze on the interior and exterior leaving the rim unglazed. This piece has incredibly thin walls and a meticulously executed petal design.
	#981 Date: Song/Yuan Dynasty (c. 960-1368 CE) Medium: Pottery Subject: Offering vessel Size: 24” high, 17 ½” diameter A large terracotta offering vessel with highly domed lid Lotus petals grace both the body and lid of this large offering vessel from Yunnan Province. The highly domed lid is crowned by a stupa-shaped knob, set above a ring of tiny “piecrust” frills. A ring of larger frills encircles the lid above the rim, and the theme is repeated on the mouth of the vessel.
	#411 Date: Jin/Song Dynasty (c. 1150 CE) Medium: Painted and gilded stucco Subject: Lohan Sizes: range from c. 19 ½”-28 ¼”tall A rare and finely sculpted, complete set of 16 Chinese Lohans A Lohan is a personal disciple of Buddha who has followed the Eightfold Path, has conquered all passions, and who is no longer subject to re-birth or karma. An earthly existence and ignorance are no longer part of his life, he has attained Nirvana. Lohans are said to possess great wisdom, courage and supernatural powers. Each Lohan is appointed to a different position in different parts of the world. Due to their ability to ward off evil spirits, images of Lohans are arranged along the side walls of the main or second hall of Buddhist’s monasteries and act as guardians. Each one posed in a fixed attitude with his distinctive symbol or badge. Originally there were only 16 Lohans, two more were added during the Tang Dynasty. According to legend, in 891, the first portraits of the 18 Lohans were painted by a Buddhist monk named Guan Xiu. The traditional order of the Lohan is based on the order in which they appeared to Guan Xiu in a dream. Later Chinese artists would often base their portrayals of the Lohans on the paintings of Guan Xiu. However, variations in attributes and dispositions of the Lohan’s imagery occurred due to innumerous legends that provided inspiration for the artists, and the individual artist’s method of expression. This set of 16 Lohan has many fine qualities including high-relief calligraphic inscriptions and individual distinctive facial expressions and poses. It is extremely unusual to find a complete set from such an early time period. These Lohan are in particularly fine condition (minor loss of pigment and minor repairs to the lower robe areas).

Yuan Dynasty (1260-1368 CE)

In 1260 Kublai Khan succeeded to the throne of the Mongol rule, and in 1271 he proclaimed this dynastic rule the Yuan. By 1279 the Yuan had unified the whole of China, including present day Xinjiang, Yunnan, and Tibet. The arts of this period are a revision of ancient styles, particularly that of the Tang Dynasty. The forms are traditionally Chinese but are more extravagant in decoration. One technique not borrowed from previous eras was the famous Underglazed Blue porcelain, also known as Blue and White Ware, which was developed during the Yuan. (top of page)

	#1376 Date: Yuan Dynasty (1279-1368 CE) Medium: Pottery Subject: Offering vessel Size: 10” high *A Yunnan script vessel with dharmachakra* lid** Script vessels are the rarest of the unglazed Yunnan offering vessel forms. This example is covered in thirteen rings of neatly incised non-Chinese script, used to write the Sanskrit language. The creamy colored clay is accented by several patches with a soft smoky gray patina, likely the result of firing conditions in the kiln. A Buddhist pattern known as dharmachakra adorns the vessel lid. Also known as the Wheel of Law or the Wheel of Truth, this pattern symbolizes the teachings of Buddha, and the eight paths to enlightenment.
	#1563 Date: Yuan Dynasty (1279-1368 CE) Medium: Pottery Subject: Vessel Size: 14 ½” H A finely modeled and incised red pottery offering vessel This vessel has extensive pigment remaining depicting lotus petal from Yunnan Province.
	#805 Date: Song/Yuan (960-1368 CE) Medium: Pottery Subject: Offering Vessel Size: 12 ¼”H Painted pottery offering vessel The painted blossoms are still visible on the black ground of this unusual vessel. The lightly frilled finial on the lid is the only sculpted element.
	#981 Date: Song/Yuan Dynasty (c. 960-1368 CE) Medium: Pottery Subject: Offering vessel Size: 24” high, 17 ½” diameter A large terracotta offering vessel with highly domed lid Lotus petals grace both the body and lid of this large offering vessel from Yunnan Province. The highly domed lid is crowned by a stupa-shaped knob, set above a ring of tiny “piecrust” frills. A ring of larger frills encircles the lid above the rim, and the theme is repeated on the mouth of the vessel.

Ming Dynasty (1368-1644 CE)

In 1368 Zhu Yuanzhang proclaimed himself Emperor and set up the capital in Nanjing. In 1421 the 3rd emperor of the Ming reign moved the capital to Beijing. This is known as the great age of scholarship. Buddhist sculpture declined. Boldly sculpted and brightly colored tiles are typical of the Ming Dynasty, and there was a love for color and luxurious living. The Blue and White porcelain technique of the Yuan was refined, and the popularity of these artistic creations soared. (top of page)

#360

Date: Ming Dynasty (c. 1368-1644 CE)
Medium: Glazed pottery
Subject: Architectural tile
Size: c. 49 ¾” H

A very unusual three-part Chinese glazed architectural tile with a rare elephant and rider rooftop decoration

Of extreme rarity is the calligraphy on the back panel, detailing that this artifact was created in the fourteenth year of Chongzhen (1642 CE), of the Ming Dynasty (1368-1644 CE)

	#1330 Date: Warring States 453-221 BCE Medium: Inlaid bronze Subject: Needle case Size: 6”H A rare silver inlaid bronze cylindrical needle case with a flat cover. This case is also known as a sewing case or possibly a scholar’s container. It is inlaid with a continuous pattern of interlocking scrolls, and has inlay on the lid as well as the bottom. There is a side handle that would have been used to attach this case.
	#22 Date: Warring States Period/Han Dynasty (c. 3rd century BCE) Medium: Tinned-bronze fittings Size: frame 23 ¾” x 17 ¼” Metallographic and mineralogical report Included Two rare and beautiful, complimentary sets of Chinese tinned bronze bridle fittings used on chariot horses The silvery-white surface is tin, applied over a bronze core. Both harness and chariot fittings were often plated with tin, producing an attractive and relatively corrosion resistant object. In addition, there are red pigment traces still evident on some of the fittings. Bold and striking designs are used on each piece of the set.
	#5 Date: Warring States Period (c. 300-400 BCE) MediiumL Silver inlaid-bronze Size: rings 5 ¹/₈” diam, handles 2 ½” H x 4” W, cylinders 3”- 3 ³/₁₆” H Metallographic and mineralogical report available An extraordinary set of Chinese silver inlaid-bronze chariot and horse fittings The curvilinear and geometric inlay is remarkably intact. The condition of the inlay, combined with the number of pieces, makes this among the finest and most complete sets offered anywhere.

	#1592 Date: Western Han Dynasty (206 BCE-6 CE) Medium: Painted Pottery Subject: Standing Horse Size: 23 ½” high TL tested A superb bold and lively painted standing horse. This slightly oversized sculpture has one of the most expressive and finely done facial features of all of this form we have ever encountered.
	#588 Date: Western Han Dynasty (c. 206 BCE - 9 CE) Medium: Painted pottery Subject: Vessel Size: 13 ¼” H A rare and finely detailed pottery wine vessel in the form of a long-billed bird Pottery wine vessels in bird forms were at their most popular during the Han Dynasty.
	#304 Date: Early Western Han Dynasty (c. 206 BCE – 9 CE) Medium: Painted pottery Subject: Ox Size: c. 15 ½” H, 27 ½” W A rare and highly pigmented Chinese standing ox, from the Yang-Ling area of Shaanxi Province

	#361 Date: Eastern Han (c. 25-220 CE) Medium: Glazed pottery Subject: Oil lamp Size: c. 32” H TL tested. An unusually large Chinese multi-piece green glazed oil lamp with dragons, oil cups and extensive animal designs done in high relief on the base
	#631 Date: Eastern Han Dynasty (25-220 CE) Medium: Pottery Subject: Pig Size: 10 ¾” high x 19 ½” long A large and well defined pig/boar. This charming red pottery figure represented wealth and good fortune in Sichuan Province during the Eastern Han Dynasty
	#727 Date: Eastern Han Dynasty (25-220 CE) Medium: Green glazed pottery Subject: Lien form vessel with mountain top lid Size: 7 ½”H x 6 ½”W A green glazed lien form vessel with a “Sacred Mountain” or hilltop lid The lid of this vessel is decorated with medium relief animal forms surrounded by mountain tops done in a translucent green glaze. This vessel has charming feet in the shape of bears. A delightful decorative scene of human and animal figures, possibly a hunting scene, covers the exterior of this richly glazed vessel.