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Individual figurines representing infantrymen in charging position, both hands clasped as to hold a weapon, with their right arms lifted as to carry a spear no longer there, More »
Individual figurines representing infantrymen in charging position, both hands clasped as to hold a weapon, with their right arms lifted as to carry a spear no longer there, and their left hands along the side; the long tunics pigmented in different colours, the upper torsos with a short red apron, a concised armoured vest and a white v-shaped collar. The angular faces with individual traits briefly drawn.No need was felt to replicate the specific individuals who composed the original army (if available) -only their functions, since their personalities were fully subsumed by their roles within the military group. Nonetheless, particularising the individual soldiers enabled the artisans to differentiate within groups, and indicate that our set is indeed composed by infantrymen. The group would have belonged to a larger terracotta army meant for interment and by stylistic comparison can be safely attributed to the late Western Han period. They would have all been created in moulds and individually painted, while their weapons would have been carved out of perishable wood.The first instance of massive deployment of tomb figures in early China, is represented by Qin Shihuangdi's terracotta army (c. 210 BC). Yet the use of figurines and models in the mortuary context developed during the middle and late Eastern Zhou periods, particularly in the state of Qin. Small anthropomorphic clay figurines have been unearthed from several pre-dynastic Qin tombs; pottery models of granaries have also been found in 6th century BC Qin graves. A separate tradition of wooden tomb figures developed during the end of the Eastern Zhou period (5th-4th c. BC) in another area with distinct cultural traits – the state of Chu.Such figures and models and other miniature or non-functional objects are collectively known as mingqi ('spirit articles') and have been traditionally interpreted as substitutes for the animal and human victims sacrificed during the funeral, as well as surrogates for objects of value placed in the tomb. Yet recent archaeological evidence have highlighted that these objects might have instead constituted an integral part of the strategy to recreate the earthly dwelling of the deceased.The replication of the living world and its constituents within the tomb might have been induced by various ideological factors, including a new religious trend emphasising the separation of the dead from the living and other material manifestations of different philosophical ideas, but also possibly by the effort to reproduce a self-sustaining version of the world- a fictive and efficacious comprehensive replica, made up of both real sacrificed humans and animals (the 'presented') and elements such as the terracotta army (the 're-presented'). Chinese tombs and burials signified the power and status of their builders and occupants; soldiers, concubines or animals, or to put precious articles in the tomb constituted a sign of power.As clearly reflected by our powerful soldiers, by the Qin period and throughout the Han period, the ability to have them depicted -possessing the aesthetics, cognitive, technological and economic resources to reproduce the world- became a more efficient way of asserting power and status.References: Yang Shaoneng ed. The Golden Age of Chinese Archaeology, 1999, and Kesner, L.â€Real and Substitute in the Early Chinese Mortuary Context, Mysteries of Ancient China, 1996. - (LA.531) « Less
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Ancient Asian
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Barakat Gallery |
405 North Rodeo Drive |
Beverly Hills |
California-90210 |
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Email : barakat@barakatgallery.com |
Phone : 310.859.8408 |
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This exceptionally rare green-glazed money tree stand was excavated in the Henan Province. It is very unusual to find representations of a chimera and small figures on such More »
This exceptionally rare green-glazed money tree stand was excavated in the Henan Province. It is very unusual to find representations of a chimera and small figures on such pieces. According to Chinese tradition, the chimera was associated with peace and prosperity and is often found in tombs as a means to glorify the deceased and guard against evil spirits. This mythical creature is depicted with horns, the head of a dragon, the body of a lion and the wings of a bird. The face has been expertly modelled, with its tongue visible in its wide open mouth. Despite this, there is nothing sinister about this legendary creature; its expression is friendly and endearing. Recent studies suggest that sources for the chimera can be found in Mesopotamian art. The image first appears in China on bronze vessels from the 5th and 6th centuries B.C. By the Han period it was represented in a whole variety of media, including gold, silver, stone and jade.The charm of this terracotta sculpture is increased by the four small figures seated on the chimera’s back and on a ledge which runs around the stand. It is possible to identify at least two musicians amongst them, including a kneeling flute player on the far left. No area of this impressive work has been left unadorned; the stand itself is embellished with stylised leaves and flowers. The surface of the clay is enhanced by a gorgeous green glaze, a hallmark of pottery sculptures produced during the Han Dynasty. Over time this glaze has acquired a beautiful, soft iridescent patina. Commonly referred to as “silver frost,†this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. This imaginative piece allows us to enter the world of fantasy and provides a unique window into the artistic culture of the Han period. (AM) - (DL.997)
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Beverly Hills |
California-90210 |
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Email : barakat@barakatgallery.com |
Phone : 310.859.8408 |
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The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed More »
The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own Dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The bureaucracy started under the Qin was now firmly established. The vast lands of China were now under the strong grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth pouring into China from trade along the Silk Road initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,†these works depicted a vast array of subjects, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.Although it is possible that this splendid terracotta dog was intended to represent a source of food for the deceased, it is more likely that it was a domesticated animal. His ears stand upwards, as if attentively guarding his master throughout eternity. The heavy folds of skin around the eyes and the curly tail, as well as the general size and stature, suggest that this dog may be an ancestor of the modern Chinese Shar Pei breed. - (DL.2091) « Less
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This animated ceramic dog is a classic example of the Han sculptural tradition. Standing four- square on slim legs, its blocky body is in fact carefully sculpted, with More »
This animated ceramic dog is a classic example of the Han sculptural tradition. Standing four- square on slim legs, its blocky body is in fact carefully sculpted, with detailing of the muscles, tail, paws and even claws. However it is the head and face that particularly stand out. The proportions are deliberately exaggerated, with a thick neck giving way to a deceptively graceful profile to the lower jaw and top of the head. The mouth – with sharp teeth clearly displayed – is open, the head tilted back and the ears pricked up as far as their floppy form will permit. Its alert stance suggests that it is in a position of defence, perhaps guarding someone/something from the threat of harm. The piece is covered with a creamy-ivory coloured glaze, applied over a light fineware body.The Han Dynasty was arguably the most important in Chinese history, and indeed many modern Chinese people refer to themselves as Han. It was a particularly dynamic time, its origins being found in the warring factions that caused the collapse of the Qin Dynasty in 206BC, upon which the once-unified Chinese nation was divided into 19 feudal states under the aegis of the insurgent leader Xiang Yu. The bitter fighting between these states resulted in the eventual victory of the first emperor of the Han Dynasty, Liu Bang, and the suicide of Xiang Yu in 202BC. The small principality (one of the 19) over which Liu Bang ruled was named Hanzhong, and lent a shortened version of its name to the eventual multi-state agglomeration that was to become China.The Han Dynasty consolidated its power over the two subsequent centuries, and engineered massive agricultural reform that lent economic weight to social changes. This, in turn, led to trade expansion, with new trade routes (such as the Silk Road, and the route to Parthia) and a burgeoning middle class that brought new prosperity across the social system. Military expeditions expanded across Asia as far as Ukraine and the shores of the Caspian Sea, while China also kept up cautious diplomatic contact with the Roman Empire and the Kushans. Early Han rule was based around the Taoist model, and was comparatively at the mercy of powerful neighbours such as Xiongnu, nomadic tribes and petty internal squabbles. However, by the reign of Emperor Wu, the Han Dynasty had achieved its apogee and was able to assert itself over neighbouring areas. Wu also instituted Confucianism as the official modus operandi for the Chinese state, a major departure from the preceding Qin Dynasty where followers of Confucius were frequently buried alive.This was a time of true enlightenment for China, which saw the laying of technological and artistic foundations for almost all that was to follow. Science and engineering saw major achievements, with the invention of steel, paper, mechanical gears, the rotary fan, the mechanical trip hammer, seismometers, the blast furnace, the winnowing machine, armillary spheres, the concept of the water cycle (in meteorology), the recognition of the cause of eclipses and thunder and much else besides: most of these were first recognised by Wang Chong, who has a reasonable claim to being the world’s first Renaissance man.Art also flourished, due in part to the flood of new ideas from across the continent, and also to the burgeoning middle classes who were eager to demonstrate their gentility and to patronise professional artists. Many written works – especially poetry and plays – date to this period, as well as paintings and cast bronze or ceramic sculptures. The tradition of interring mingqi (grave companions) with the deceased – which had always been present in Chinese society – reached new heights, as the nouveau-riche competed for prestigious afterlives. The sculptures of this period have a notable charm that is absent in other periods, with considerable less stylistic standardisation, with frequent recourse to expressionism. As a result, Han sculptures are among the most charming and effortlessly fluid of all Chinese artworks. This particular piece demonstrates the exuberance of this period’s artistic heritage with great efficacy; it was probably intended to accompany his owner to the afterlife and to defend him there. However, it also stands as an outstanding piece of ancient art in its own right. - (DK.161 (LSO)) « Less
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Ancient Asian
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Barakat Gallery |
405 North Rodeo Drive |
Beverly Hills |
California-90210 |
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Email : barakat@barakatgallery.com |
Phone : 310.859.8408 |
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Originally part of a set, this individual figurine represents an infantryman in a charged position with both hands clasped as if to hold a weapon. The right hand is lifted to More »
Originally part of a set, this individual figurine represents an infantryman in a charged position with both hands clasped as if to hold a weapon. The right hand is lifted to carry a spear that is no longer there while the left arm is clenched firmly along his side. The soldier wears a long tunic. On his upper torso he wears a short apron with an armored vest and a white v- shaped collar. Angular faces with individual traits are briefly drawn.No need was felt to replicate the specific individuals who composed the original army- only their functions since their personalities were fully subsumed by their roles within the military group. Even so, particularizing the individual soldiers enabled the artisans to differentiate within groups as well as indicate that our group is indeed composed of infantrymen. The group would have belonged to a larger terracotta army meant for burial and by stylistic comparison can be safely attributed to the late Western Han period. The piece would have been created in a mould and painted while the weapons would have been made of perishable wood.Such figures and models and other miniature or non-functional objects are collectively known as mingqi (‘spirit articles’) and have been traditionally interpreted as substitutes for the animal and human victims sacrificed during a funeral, as well as surrogates for objects of value placed in the tomb. Chinese tombs and burials signified the power and status of their builders and occupants. Placing a soldier such as this in a tomb would be considered a way to assert one’s political status. « Less
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Origin: China Circa: 220 BC to 206 AD Dimensions: 19.75" (50.2cm) high Collection: Chinese Art Medium: Terracotta
Origin: China Circa: 220 BC to 206 AD Dimensions: 19.75" (50.2cm) high Collection: Chinese Art Medium: Terracotta
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Barakat Gallery |
405 North Rodeo Drive |
Beverly Hills |
California-90210 |
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Email : barakat@barakatgallery.com |
Phone : 310.859.8408 |
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The most magnificent horses, immortalised in Chinese literature and the visual arts, were the Ferghana horses introduced into central China from the west and first mentioned More »
The most magnificent horses, immortalised in Chinese literature and the visual arts, were the Ferghana horses introduced into central China from the west and first mentioned by Han Wudi’s envoy, Zhang Qian during his campaign against the Xiongnu in Central Asia. These so-called 'celestial' horses, sometimes called 'blood-sweating' horses, were known for their speed, power and stamina. It was these horses that the Chinese armies needed to challenge the cavalry of the barbarian tribes who attacked the western and northern borders of the empire. The Han dynasty Emperor Wudi (r. 141-87 BC) therefore ordered a costly expedition to Ferghana (part of modern Uzbekistan, Tajikistan and Kyrgyztan) to obtain these remarkable horses. Such horses then provided the inspiration for the large, spirited, prancing Han dynasty earthenware burial horse depictions.Significantly, the first of the Eight Trigrams of Chinese divination is linked to the horse. According to Chinese mythology the trigrams (symbols made up of three lines, broken or unbroken) were devised by the legendary Emperor Fu Xi from the markings on the shell of a tortoise. These trigrams were taken to symbolise the evolution of nature and to represent its cyclical changes. According to the famous Yi Jing or I Ching (Book of Changes, believed to have been compiled 13th-12th century BC), the first trigram of three unbroken lines would represent Heaven, the south, inexhaustible strength and the horse. Many early Chinese writers used real and mythological horses as symbols of strength and endurance and their similitudes must have inspired the creation of beautiful burial mingqi. For instance, the Shan Hai Jing (Classic of Mountains and Seas) describes a horse with a white silken body, golden eyes and vermilion mane, called Ji Liang. It proclaims that he who rides upon the 'celestial' horse will live for a thousand years. On the other hand, in his Zi Shuo Si (Miscellaneous Opinions) Han Yu used horses to exemplify admirable qualities, and mentioned horses able to gallop a thousand li (Chinese miles). A young man with strength and endurance could be complimented by being called a qian li zhu (a thousand li colt).It is then not surprising that horses appeared prominently during the Han period in burial contexts, mostly concentrated in the north and south-central areas. The majority of them was painted with pigments and unglazed, being either sculpted or moulded, just like ours. Furthermore, our example almost explicitly seems to be imbued with this celestial connotation, with his fluid abstract swirling decoration on the pelt, evoking the swiftness of a galloping celestial horse. Originally four wooden legs would have been inserted under the belly in the pre-moulded holes and secured with small pegs; also, his tail and ears would have been made of leather and attached in the sunken depressions on the head and back, his vivid look and incredibly refined decoration so intensely capturing the extraordinary beliefs of an era. - (LA.563) « Less
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Barakat Gallery |
405 North Rodeo Drive |
Beverly Hills |
California-90210 |
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Email : barakat@barakatgallery.com |
Phone : 310.859.8408 |
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This beautifully rendered Han pottery seated horse represents one of the prized possessions of an elite member of Han society. Elaborate purple scrollwork ripples over the More »
This beautifully rendered Han pottery seated horse represents one of the prized possessions of an elite member of Han society. Elaborate purple scrollwork ripples over the horse’s white body while faint remnants of a once boldly depicted brown and orange saddle reveal that the work still retains much of its original polychromy. The mouth of this elegant creature is left slightly ajar as if to symbolize movement, expression, and life.Valued for their speed, strength and beauty horses were one of the most admired animals in China. According to Chinese tradition, there existed a horse so powerful and beautiful that it was believed to have come from heaven. In early China, owning a horse required wealth and status and eventually became a sign of one's social standing. Equestrian activities encouraged the indulgence of the select few who privilege enough to own horses. The horse thus became a favorite subject of artists who tried to recreate visual representations of this powerful animal. During the Han Dynasty, the horse was rendered in miniature sculptural form and buried with the deceased in order to aid them during the perilous journey to the afterlife.The elegance and refinement of this Han pottery seated horse transports us back in time to appreciate the beauty and strength of this powerful creature. Such a work is a precious addition to any collection of Chinese Art.- (RP.156) « Less
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Barakat Gallery |
405 North Rodeo Drive |
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California-90210 |
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Phone : 310.859.8408 |
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$1350.00
Pre Columbian pottery storage vessel with painted panther.This period pre Columbian pottery storage vessel is in excellent original condition with small rim chips. The More »
Pre Columbian pottery storage vessel with painted panther.This period pre Columbian pottery storage vessel is in excellent original condition with small rim chips. The handles are intact. This "Pre Columbian" earthenware storage vessel or pot measures nine and one half inches high and has a top diam. of 2 and three quarter inches. Wonderful dry patina just the way we like to see it. « Less
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Misc. Antique Pottery
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One Of A Kind Antiques |
PO Box 1080 |
Deep River |
Connecticut-06417 |
USA |
Email : info@oneofakindantiques.com |
Phone : 860-526-9736 |
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$1075.00
Antique Chinese hares fur glaze pottery vase, early to mid 19th century, converted to a lamp in the early 20th century. Wonderful Chinese blue black hare's fur glaze with More »
Antique Chinese hares fur glaze pottery vase, early to mid 19th century, converted to a lamp in the early 20th century. Wonderful Chinese blue black hare's fur glaze with cream and grayish blue drips. There are three animal faces mounted above a rope twist ridge at the shoulder. A second rope twist ridge is above the base. This antique Chinese stone ware lamp measures 14 inches tall, 11 inches across and 28 inches to the top of the harp. Mounted on a wood pedestal. « Less
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Asian Decorative Arts
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One Of A Kind Antiques |
PO Box 1080 |
Deep River |
Connecticut-06417 |
USA |
Email : info@oneofakindantiques.com |
Phone : 860-526-9736 |
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