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 firm 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 subject, 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.During the Han Dynasty, sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. This bovine sculpture is exceptional for two reasons. While similar examples exist, most were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this sculpture was discovered buried as part of a herd, contained inside a pen with other domesticated animals, suggesting that this ox served as food. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. The painted coat of white spots against a black background imitates the classic black and white pattern typical of bovines. Such delicate painted surfaces rarely survive the ravages of time and the stresses of excavation.The Han culture believed that the afterlife was a continuation of our earthly existence. Thus, logically, as humans require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. However, even in this incomplete state, the evocative nature of this sculpture is uncanny. The charming facial structure of this ox is so naturalistic that one feels the presence of the animal possessing this sculpture. Created to serve as food for the afterlife, this work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of the Han Dynasty. This ox effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.662)   « Less

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 firm 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 subject, 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.During the Han Dynasty, sculptural effigies of animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. This bovine sculpture is exceptional for two reasons. While similar examples exist, most were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this sculpture was discovered buried as part of a herd, contained inside a pen with other domesticated animals, suggesting that this bull served as food. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. Removable horns and a tail can be attached, completing the astounding illusion of the animal. Such delicate attachments rarely survive the ravages of time and the stresses of excavation.The Han culture believed that the afterlife was a continuation of our earthly existence. Thus, logically, as humans require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. However, even in this incomplete state, the evocative nature of this sculpture is uncanny. The charming facial structure of this bovine is so naturalistic that one feels the presence of the animal possessing this sculpture. Created to serve as food for the afterlife, this work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of the Han Dynasty. This ox effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.664)   « Less

Whereas before, war was characterized as a civilized contest between aristocratic armies, during the Warring States Period (475-221 B.C.), war evolved into the chaotic  More »

Whereas before, war was characterized as a civilized contest between aristocratic armies, during the Warring States Period (475-221 B.C.), war evolved into the chaotic conflict we know it as today. Kings and princes were replaced on the battlefield by infantries lead by military generals. Peasants were recruited to serve on the front lines. Warfare intensified, especially in terms of the duration of campaigns. New arms and armor were invented, including the halberd and crossbow. Chariots rode alongside archers outfitted in iron helmets and body armor. Defensive walls were erected in order to repel invaders. However, despite the turmoil of the times, the arts continued to thrive. Bronze casting was revolutionized by the introduction of the lost-wax technique, while the alterations of kiln structures enabled new firing techniques that resulted in fully developed glazes.China was perhaps the most civilized culture of the ancient world. Their science, philosophy, art, and technology were all years ahead of most other cultures. One gains an idea of their sophistication and wealth when viewing this stunning bronze Bian Hu. Once, long ago, at ceremonial feasts held by the noble elite, this vessel would have been used to dispense fine wines. Both the beauty and luxury of this work implies that it would have been the possession of the King, or perhaps a close member of his royal entourage. Quite simply, few people but the king could afford such a treasure. By far, the most exquisite feature of this vessel is the stunning, intricate curvilinear designs incised throughout the body. Additionally, the sides contain two Tao Tieh masks depicting stylized dragon heads rendered in strong relief holding loose ring handles in their mouths.A rare feature of this Bian Hu is the incised mouth, resembling a clove of garlic, and the lid which has been incised with decorative Tao Tieh masks. It is believed that this form was introduced in bronze during this chaotic period in Chinese history known as the Warring States that followed the demise of the Zhou Dynasty and precipitated the formation of the Han. Discovered inside an ancient tomb, this Bian Hu was treasured as much in life as in the afterworld. During this era, the Chinese believed that the afterlife was an extension of our earthly existence. Thus, important people were often enshrined with their treasured possessions as well as works specifically commissioned to be interred. Over the centuries, this work has acquired a fantastic and varied patina that further enhances the beauty and texture of the work. - (H.671)   « Less

Whereas before, war was characterized as a civilized contest between aristocratic armies, during the Warring States Period (475-221 B.C.), war evolved into the chaotic  More »

Whereas before, war was characterized as a civilized contest between aristocratic armies, during the Warring States Period (475-221 B.C.), war evolved into the chaotic conflict we know it as today. Kings and princes were replaced on the battlefield by infantries lead by military generals. Peasants were recruited to serve on the front lines. Warfare intensified, especially in terms of the duration of campaigns. New arms and armor were invented, including the halberd and crossbow. Chariots rode alongside archers outfitted in iron helmets and body armor. Defensive walls were erected in order to repel invaders. However, despite the turmoil of the times, the arts continued to thrive. Bronze casting was revolutionized by the introduction of the lost-wax technique, while the alterations of kiln structures enabled new firing techniques that resulted in fully developed glazes.This luxurious wine table, called a Juizhou, reveals the unrivaled wealth and sophistication characteristic of the Warring States period in Chinese history. Surely the value of the gilt bronze alone suggests that this work was the treasured possession of a noble or elite member of the social hierarchy. However, when one considers the mastery of the artistry, including the incised decorations, this Juizhou becomes even more splendid. Originally, the gilt bronze pieces that survive would have been fitted onto a wooden table. The frame would fit around the edges of the table while the legs would have been inserted into carved slots. Although the wood has long since decomposed, an approximation of the original has been recreated in plastic to hold the pieces in their proper position. While the frame segments are smooth and unfinished, the legs, shaped like stylized horse legs, have been embellished with detailed incised depictions of dragons along the sides with abstract and curvilinear motifs adorning the top and “hooves.” Interestingly, the insides of the legs have not been gilt, nor the upper half of the insert tabs.This gorgeous wine table was discovered buried inside the tomb of its owner. However, this Juizhou is more than a symbol of earthly wealth, for it was meant to be used in the next world. The early Chinese believed that the afterlife was an extension of our earthly existence. Thus, when this work was first forged, it was expected to last for eternity, as it seemingly has. While this table hosted many sumptuous wine feasts on earth, it continued to be used in the heavenly celebrations and feasts of the afterlife. This extraordinary Juizhou represents the wealth and luxury of ancient China, simultaneously symbolizing their religious and philosophical beliefs. Today it is a masterpiece of art that astounds us with its beauty and history alike. Like a fine wine, the beauty of this table has been aged to perfection. - (H.673)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This large sculpture of a groom might just represent one of the foreigners who imported such horses. Elegantly dressed in a colored tunic held in place with a black sash tied at his waist, his stature reveals the wealth that these creatures provided their owners and trainers with. His distinctive plump, round face, broad, flat nose, and large eyes reveal his foreign status.During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture. He holds his right arm in the air, as if reaching for the reigns. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.698)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.The great influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in large part to the horse. The rapid mobility of horse allowed for quick communication between far away provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) led to the creation of the Silk Road. The importance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting, and literature, horses were glorified and revered. Horses were believed to be related to mythological dragons, reflecting their sacred status within society. During the T’ang Dynasty, the adoration of the horse can be seen through their burial art. Horse models excavated from mausoleums of the period are among the most splendid and easily recognizable works of Chinese art.This impressive, large sculpture of a horse still retains much of its original white pigment in tact. However, even more impressive, is the superb condition of the polychrome painted saddle blanket, featuring a delightful floral pattern painted in red, green, and black hues. The remarkable preservation of this saddle blanket reveals the love and admiration the Chinese had for these majestic creatures, embellishing them with the finest regalia to enhance their natural beauty. This horse steps forward, the muscles of the legs carefully defined. Both the proportions of this horse and its non-removable saddle suggest its origin near Xian (the modern name for the ancient T’ang capital known as Chang’an). This gorgeous sculpture is a testament to the admiration and adoration the Chinese had for this marvelous creatures. Although they were an integral part in the expansion and defense of the empire, they were equally regarded for their beauty and grace as revealed by this sculpture. - (H.694)   « Less

Obverse: DIVVS ANTONINVS; Bust of the Emperor Facing Right. Reverse: CONSECRATIO; A Large, Tiered Funeral Pyre Surmounted by Antoninus in a Quadriga. Antoninus Pius is  More »

Obverse: DIVVS ANTONINVS; Bust of the Emperor Facing Right. Reverse: CONSECRATIO; A Large, Tiered Funeral Pyre Surmounted by Antoninus in a Quadriga. Antoninus Pius is regarded as one of the "Five Good Emperors" in Roman history. He was born in 86 AD. Around 133-136, he served in Asia as proconsul, and there he earned the respect of Emperor Hadrian. After Hadrian's return from the Jewish war, Antoninus was made a member of his council not only on grounds of friendships and family connection, but also because of his experience as a jurist and administrator. After the sudden death of Lucius Aelius Caesar, Antoninus was officially adopted by Hadrian on February 25, 138 as successor to the throne. After administering the imperial offices, Hadrian died and Antoninus became emperor. Antoninus married Faustina and they had four children: two sons and two daughters. However, only one daughter was alive at the time of his adoption by Hadrian. Later, he adopted Marcus Aurelius, who was to be the successor to his throne. In 139, he gave to Marcus the name of Caesar and made him consul designate. In 146, Aurelius was recognized as Antoninus's colleague in rule, and the hopes of Rome and the fortunes of the dynasty rested upon him. Antoninus managed to govern the empire capably and yet with such a gentle hand that he earned the respect, acclaim, and love of his subjects. How many hands have touched a coin in your pocket or purse? What eras and lands have the coin traversed on its journey into our possession? As we reach into our pockets to pull out some change, we rarely hesitate to think of who might have touched the coin before us, or where the coin will venture to after it leaves our hands. More than money, coins are a symbol of the state that struck them, of a specific time and location, whether contemporary currencies or artifacts of a long forgotten empire. This stunning hand-struck coin reveals an expertise of craftsmanship and intricate sculptural detail that is often lacking in contemporary machine-made currencies. This coin is a memorial to an ancient emperor passed from the hands of civilization to civilization, from generation to generation that appears as vibrant today as the day it was struck. - (C.9789)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This sculpture of a groom might just represent one of the foreigners who imported or cared for such horses. Dressed in an elegantly glazed green coat featuring a turquoise lapel, this groom features an expressive and emotive face that reveals his foreign origins. While his mouth, held slightly ajar, is painted red and his distinctive hat is black, it is the turquoise lapel that is most unique. The rarest of all the colored glazes, turquoise is know to appear on a mere half a dozen sculptures during the T’ang era, this splendid example being one of them.While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture. He holds his arms aloft in the air, as if reaching for the reigns to lead a horse. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.697)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.Known as Lokapala and as the Devaraja, or Celestial King, this guardian figure is a more general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. This guardian was most likely interred, always in pairs with a companion, in order to ward off potential tomb robbers or perhaps evil spirits in the next world that might try to infiltrate the tomb. Traditionally, this fierce, armored guardian stands upon a recumbent ox, symbolic of the Celestial King’s authority; however, in this example, the guardian tramples on a fully modeled demon, complete with webbed feet and hands, who bites on the guardian’s foot. Originally, this type of figure had its origins in Buddhist philosophy; however, over the ages, as society became more secularized, they began to fulfill the more generic role of tomb guardians. As society evolved, these figures lost their religious significance and became symbolic of the military might that protected the wealth of the T’ang from the nomadic barbarian invaders of the North.Clearly, this imposing figure warded away the forces of evil and protected the deceased throughout eternity. Although this work was never meant to be viewed by the living, its refined artistry and sophisticated beauty amazes us. Especially pleasing is the delicate modeling of the spectacular bird headdress that crowns his head. With spread wings (bearing traces of green paint) and undulating neck, this gorgeous headdress is a fine example of the masterful artistry of T’ang sculptors. Also impressive is the stylized zoomorphic armor that decorated his shoulders. Appearing like some exotic elephant with arched trunk and tusks, the guardian’s arms seems to emerge from the mouths of these creatures. While this Celestial King is supposed to frighten us with his stern glare and aggressive posture, originally he would have brandished a wooden spear or sword that has vanished over the ages, we are instead drawn to his overwhelming beauty and history. - (H.701)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.Known as Lokapala and as the Devaraja, or Celestial King, this guardian figure is a more general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. This guardian was most likely interred, always in pairs with a companion, in order to ward off potential tomb robbers or perhaps evil spirits in the next world that might try to infiltrate the tomb. Traditionally, this fierce, armored guardian stands upon a recumbent ox, symbolic of the Celestial King’s authority; however, in this example, the guardian tramples on a fully modeled demon, complete with webbed feet and hands, who bites on the guardian’s foot. Originally, this type of figure had its origins in Buddhist philosophy; however, over the ages, as society became more secularized, they began to fulfill the more generic role of tomb guardians. As society evolved, these figures lost their religious significance and became symbolic of the military might that protected the wealth of the T’ang from the nomadic barbarian invaders of the North.Clearly, this imposing figure warded away the forces of evil and protected the deceased throughout eternity. Although this work was never meant to be viewed by the living, its refined artistry and sophisticated beauty amazes us. His face is finely modeled. Red paint highlights his lips while remnants of black lines detailing his beard are visible as well. Especially pleasing is the delicate modeling of the stylized zoomorphic armor that decorated his shoulders. Appearing like some exotic sea creature with undulating ears and arched trunk, the guardian’s arms seems to emerge from the mouths of these creatures. While this Celestial King is supposed to frighten us with his stern glare and aggressive posture, originally he would have brandished a wooden spear or sword that has vanished over the ages, we are instead drawn to his overwhelming beauty and history. - (H.702)   « Less