This beautiful blue-and-white prestige porcelain vessel dates from the Ming Dynasty, which ruled China between the mid 14th and mid 17th centuries AD and is widely believed  More »

This beautiful blue-and-white prestige porcelain vessel dates from the Ming Dynasty, which ruled China between the mid 14th and mid 17th centuries AD and is widely believed to be one of the most definitive and important in China’s long history. This is partially due to the fact that it was the last indigenous (Han) dynasty before the country fell into the hands of the Manchu-led Qing Dynasty, and partly because it was led by one of only three peasants ever to rise to Chinese imperial pre-eminence. Hong Wu, the leader of the peasant revolt, founded the dynasty on the destruction of the Yuan Mongol Empire. His background and the manner in which he seized power made him almost pathologically cautious and even paranoid. His intention, influenced by Confucianism, was to create a bureaucracy-free set of agriculturally-based communities that eschewed commercial trade – which was abhorred by Confucius. Confucian perspectives on the avoidance of military development went unheeded, however. In addition to accelerating agricultural production – again, perhaps a reflection of his own experience – he increased the standing army to over one million, imposed what approximated to martial law on his people and spent a fortune building defences, notably the Great Wall of China. He also founded the Forbidden City, from which he governed China’s burgeoning population of around 200 million. Because of economic spin- offs of his agricultural policy (which provided major surpluses) untold wealth started to appear, and with it a new elite of merchant families who went on to constitute China’s first Middle Class. The arts and sciences also benefited from this largesse, as did political and – inevitably – bureaucratic policy. In many respects it was the strongest period in Chinese history, and it only collapsed because of a series of natural and economic disasters – namely the undermining of the economy by Japanese trade withdrawal, a series of crop failures and the appearance of the “Little Ice Age”. The eventual collapse of the Ming Dynasty was brought about by ultra-conservative Manchurian nomads (Manchu) who founded the Qing dynasty in 1644.Arts and sciences flourished in the Ming Dynasty, though this was more to do with the flow of unexpected wealth from agricultural surpluses than any particular enlightenment on the part of Hong Wu or his descendents. Painters proliferated, and were very well-paid for their works; Qiu Ying was once paid 2.8 kg (100 oz) of silver to paint a long scroll. Advances were also made in wood/ivory carving, jade-working, lacquerwork, and duotone (blue-white) ceramic design and decoration. The most prestigious pieces were presented as diplomatic gifts to Europe, Japan and SE Asia; lesser works flooded the market as trade goods, giving rise to a global obsession with chinoiserie. The major production centers for porcelain items in the Ming Dynasty were Jingdezhen in Jiangxi province and Dehua in Fujian province. The Dehua porcelain factories catered to European tastes by creating Chinese export porcelain by the 16th century, often painting designs direct from bookplates, paintings or other illustrations, in order to appeal to a wider European audience. The best items remained prestige and diplomatic goods, however, as is the case with the current piece. Just as the Ming potters reformatted their wares for the European market, so they changed them for other parts of the world.The shape approximates to that of an hourglass, with a rounded square lower section cinched at the waist to provide an altogether more sinuous pear-like upper part, tapering to a long, slim neck. The design follows this shape, with white bands at the base of the vessel, a double band at the waist, and another at the top of the neck where the floral scrollwork gives way to a cameo pattern containing a flower. The whole is decorated with floral scrollwork patterns. It is topped off with a bell-shaped silver cap with perforated, arched design. It is ambiguous in terms of cultural assignation, if one analyses it as a whole. The appearance is essentially that of a minaret, yet the painting is clearly Chinese in origin. The metal mount is Islamic in appearance. The lack of representationalist figurative design is indicative of Islamic trends, but there again this trait is not necessarily unique and there are myriad painting forms within the Chinese repertoire. It is also possible that the piece was made by an Islamic potter under the influence of early Ming pieces; the Iznik potters of Turkey are known to have done this in the late 16th century. However when one considers the nature of contemporary naval trade and relations, and also the fact that the silverware seems to be an add- on (partly obscuring the cameo design on the neck), it would seem very likely that this was a prestige piece made for the Islamic (probably Turkish) market, which was then adapted upon arrival. This is therefore a socially-important and historically significant piece of porcelain and silver. As diplomatic pieces are usually c.30cm in height, its large size makes it yet more exceptional. The preservation and colouring are perfect. This is the finest such piece that we have ever seen. - (AM.0095 (LSO))   « 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.This remarkable set, composed of fifteen individually modeled and painted warriors, is a type of work known as mingqi. This army of sculpted warriors was discovered buried in the tomb of an elite member of the upper strata of Western Han society. Discovered outside of modern X’ian, the site of the ancient capital of China, Chang’an, this tomb find recalls the famous tomb of Emperor Shihuangdi. While much smaller in scale, both in regards to the number of figures and their size, this set still invokes the marvel and majesty of Ancient China. Each warrior is individually hand painted with a slightly different expression: some feature smooth faces, others have wispy mustaches. Each warrior wears a unique outfit. Some feature certain emblems that are thought to signify rank. Other warriors sport quivers on their back, suggesting that they were archers. Most of the figures have holes in their hands, implying that they once carried weapons, such as a spear or a bow, that have since disappeared. Most likely, these weapons were made out of wood and deteriorated over the centuries. Considering how damaging time and the natural elements can be to a work of art, the condition of this set is outstanding. Much of the original pigment remains intact. Beautiful red, blues, greens, and grays decorate their uniforms and provide insight into the fashions of Ancient China. This set was created specifically to be buried alongside the deceased to protect his soul throughout the afterlife. Today, this collection of painted warriors is a monument to the cultural glories of Han Dynasty, one of the most impressive ages of artistic creation in the history of human civilization. - (H.1073)   « Less

After the collapse of the Tang Dynasty (906 AD), there was a succession of short-lived governments (known as the Five Dynasties). This period of unrest came to an end with  More »

After the collapse of the Tang Dynasty (906 AD), there was a succession of short-lived governments (known as the Five Dynasties). This period of unrest came to an end with the establishment of the Song Dynasty in 960 AD. Renewed political stability helped to usher in a period of economic prosperity and a massive rise in population. Amongst the many cultural achievements of the Song Dynasty, the re- invigoration of the examination system and the invention of movable type rank highly. It was also the period which witnessed the development of Neo-Confucianism- a philosophical movement heavily influenced by Buddhist teachings. Although there is evidence that Buddhism had reached China from India during the Han Dynasty, it took time for the new faith to make progress. This was partly because it had to compete with native ideologies, namely Confucianism and Daoism. It was possible, however, to find common ground between these belief systems and by the Tang Dynasty Buddhism was experiencing a golden age in China.It is extremely rare to find such an early and well-preserved Buddha head on the market. The head is a fragment from an over life-size sculpture that would probably have depicted the Buddha in a seated position. The hair consists of small, finely carved, spiral curls which are arranged in regular horizontal tiers above the forehead, rising up into a mound that denotes the Buddha’s spiritual wisdom. The eyes are downcast with heavy, deeply cut eyelids. The expression is one of calm serenity and a meditative state. The elongated earlobes reference the historical Buddha’s life of luxury (the elongation was caused by wearing heavy earrings), before he set out of the path to enlightenment. This sculpture is a unique object that recalls the piety of early Buddhists as well as the refined sensibilities of the Song era. (AM) - (AM.0157)   « Less

A pair of magnificent museum quality pottery fat nobleman from the T'ang Dynasty . Each painted with red flower pattern on their robe. - (DK.108)

A pair of magnificent museum quality pottery fat nobleman from the T'ang Dynasty . Each painted with red flower pattern on their robe. - (DK.108)   « Less

Origin: China Circa: 550 AD to 577 AD Dimensions: 47" (119.4cm) high Collection: Chinese Style: Qi Medium: Terracotta Condition: Very Fine

Origin: China Circa: 550 AD to 577 AD Dimensions: 47" (119.4cm) high Collection: Chinese Style: Qi Medium: Terracotta Condition: Very Fine   « Less

Origin: China Circa: 500 BC to 200 BC Dimensions: 4" (10.2cm) high Collection: Chinese Style: Warring States Medium: Gilt Bronze

Origin: China Circa: 500 BC to 200 BC Dimensions: 4" (10.2cm) high Collection: Chinese Style: Warring States Medium: Gilt Bronze   « Less

Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 59" (149.9cm) high Collection: Chinese Art Style: Tang Medium: Terracotta Condition: Very Fine

Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 59" (149.9cm) high Collection: Chinese Art Style: Tang Medium: Terracotta Condition: Very Fine   « Less

These outstanding sculptural panels are Song Dynasty representations of the Lotus Sutra, which was compiled in the first century AD and is one of the most important texts in  More »

These outstanding sculptural panels are Song Dynasty representations of the Lotus Sutra, which was compiled in the first century AD and is one of the most important texts in Buddhism. The pieces concern a series of parables that are being outlined by Buddha, who sits to the right surrounded by his followers. His words are recorded in the columns of text on each side of the pieces, and are represented pictorially in the centre. There are seven parables in the Lotus Sutra, all embodying the essence of Mahayana Buddhism and the attainment of Buddhahood. They concern humble people who rely upon the guidance and wisdom of an older, paternal figure, and in so doing learn the path of righteousness and thus attain equilibrium with the cosmos. These examples date to the Song Dynasty (960-1279 AD), which is often referred to as the Third Great Flowering of Chinese Culture.The Lotus Sutra, also known as the Sutra on the White Lotus of the Sublime Dharma is one of the most influential Mahayana sutra in East Asia, and was compiled in Kashmir in the first century AD. It represents an address made by Buddha in his later life, and which was then stored away for half a millennium in the realm of the dragons until humankind would be able to comprehend it. It was first translated from Sanskrit into Chinese in c.209 AD. It made several landmarks in Buddhism, notably the concept of the Buddha’s eternal nature, its skilful use of parable, and the fact that it is one of the first sutras to employ Mahâyâna ("Great Vehicle") Buddhism. Buddha is seen to be a father, essentially immortal in the sense of continuing influence and power even after his earthly demise. It repudiates emptiness (úûnyatâ) as the ultimate vision, and states Buddhic Wisdom to be a transcendental, bliss-bestowing state. The tenets of full Buddha-hood are the understanding of truths expressed in the Lotus Sutra, and thus a more fundamental understanding of the cosmological order that results in the elevation of lesser beings to full Buddha status. It is highly significant in that it also implies that all religious paths may lead to this enlightened state, thus opposing doctrinal confrontation.Representations of the parables follow certain conventions for the placement and representation of the most important elements – especially the appearance and positioning of the Buddha, the text and the parable story. It is thus not possible to identify the parables in all cases. The seven parables are described below:1) The carts and the burning house: The rich man entices his children from a burning house by offering them carts laden with objects with which to play. When they emerged unscathed, they were greeted with carts laden with objects far beyond their expectations.2) The wealthy man and the poor son: A son deserts his father to wander abroad. Many years later he returns, not recognising the wealthy man his father has become. The latter, realising that his son is unable to act as a reliable heir, disguises himself and builds up his son’s confidence through giving him increasing responsibility and kindness, thus making him worthy and upstanding.3) The medicinal herbs: All growing things – be they trees, grasses or herbs – differ in size, name and form, yet they benefit from the same rain and grow in the same soil, yet when they fruit or blossom all are different.4) The gem and the magic city: A leader led people along a dangerous road to the place of treasures; only he knew the proper route. The people following became weary and wanted to return, upon which me conjured up a magic city and promised them rest there. Once they had rested, it vanished, and he took them onwards to the true place of treasures.5) The gem in the jacket: A beggar visits an old friend who takes pity on him and attached a priceless gem to his jacket while he sleeps. The beggar, unaware, leaves the next day and for years travels the road, homeless and weary. His friend meets him and scolds him for having been so blind to his potential wealth.6) The brilliant gem in the king’s topknot: A great king demanded the obedience of other, warring states, which disobeyed his orders. He went in and suppressed them, but was much taken by the fierce and loyal fighting his foes displayed. He gave them presents and gifts, excepting a jewel he kept hidden within his hair. This he kept, and only gave it up to those who accepted his dominion.7) The excellent physician: The physician’s children ate poison in his absence, and begged him to cure them on his return. He made an elixir to cure them, and the rational ones took it at once and thus were saved. The irrational ones, however, refused to believe its benefit and did not take it. He found it necessary to trick them, and left the medicine with an exhortation to take it. He went away, and sent a messenger to state that he had died. His children, bereft, were so saddened they remembered his parting wish, obeyed it, and thus were cured.All of these illustrate the avuncular/paternal nature of Buddha and the efforts – and even trickery – to which he goes to save his children/mortals. He is also the cloud which waters the earth and all in it, great and small. In all cases, the righteous receive rewards, which are inevitably the enlightenment of Buddha-hood.This Song Dynasty example is a masterful rendering of this important theme. This period saw enormous social change under comparatively enlightened monarchs, who introduced sweeping reforms of social and administrative bodies, instituting examinations and abolishing hereditary and aristocratic rights, and introduced a standing navy. Corruption was essentially halted, paving the way for the world’s first paper money, producing a stable climate for scientific and artistic advances – notably the world’s first astronomical clock tower, the refinement of woodblock printing, the invention of movable type, and advances in cartography, engineering, philosophy and mathematics.This remarkable pair of panels would have once adorned a major building or the tomb of a very prominent personage. They constitute a remarkable survival and a superb reminder of the grandeur of ancient China.- (AM.0346 (LSO))   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 36.5 " (92.7cm) high x 12" (30.5cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Glazed Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 36.5 " (92.7cm) high x 12" (30.5cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Glazed Terracotta   « Less

This beautiful blue-and-white prestige porcelain vessel dates from the Ming Dynasty, yet also bears the classic markers of the Islamic Empire. This duality is explained by  More »

This beautiful blue-and-white prestige porcelain vessel dates from the Ming Dynasty, yet also bears the classic markers of the Islamic Empire. This duality is explained by the important trade that flourished between these two groups during the fifteenth to seventeenth centuries, and the diplomatic exercises that allowed the networks to develop in the first instance. The vessel is designed in an intriguing and pleasing set of styles. The main form is globular, with a defined band at the neck to a long, tapering spout. The base is slightly everted. The design is floral, with light and dark blue flowers all endlessly linked by stalks and foliate tracery. It proceeds across the vessel and only halts at the base of the neck and at the white-rimmed base. The porcelain is very high glaze, and the surface is flawless. The mouth of the vessel is partially covered by a socketed fixture and a very ornate scrollwork-design silver cap resembling an Islamic dome, surmounted by a slender spire.It is ambiguous in terms of cultural assignation, if one analyses it as a whole. The appearance is essentially that of a minaret, yet the painting is clearly Chinese in origin. The metal mount is Islamic in appearance. The lack of representationalist figurative design is indicative of Islamic trends, but there again this trait is not necessarily unique and there are myriad painting forms within the Chinese repertoire. It is also possible that the piece was made by an Islamic potter under the influence of early Ming pieces; the Iznik potters of Turkey are known to have done this in the late 16th century. However when one considers the nature of contemporary naval trade and relations, and also the fact that the silverware seems to be an add-on (partly obscuring the cameo design on the neck), it would seem very likely that this was a prestige piece made for the Islamic (probably Turkish) market, which was then adapted upon arrival.The Ming Dynasty, which ruled China between the mid 14th and mid 17th centuries AD, is widely believed to be one of the most definitive and important in China’s long history. It is also remarkable for the fact that it was the last indigenous (Han) dynasty before the country fell into the hands of the Manchu-led Qing Dynasty, and also because it was led by one of only three peasants ever to rise to Chinese imperial pre-eminence. Hong Wu, the leader of the peasant revolt, founded the dynasty on the destruction of the Yuan Mongol Empire. His background and the manner in which he seized power made him almost pathologically cautious and even paranoid. In addition to accelerating agricultural production, he increased the standing army to over one million, imposed what approximated to martial law on his people and spent a fortune building defences, notably the Great Wall of China. He also founded the Forbidden City, from which he governed China’s burgeoning population of around 200 million. Because of economic spin-offs of his agricultural policy (which provided major surpluses) untold wealth started to appear, and with it a new elite of merchant families who went on to constitute China’s first Middle Class.Arts and sciences flourished in the Ming Dynasty. Painters proliferated, and were very well-paid for their works. Advances were also made in wood/ivory carving, jade-working, lacquerwork, and duotone (blue-white) ceramic design and decoration. The most prestigious pieces were presented as diplomatic gifts to Europe, Japan and SE Asia; lesser works flooded the market as trade goods, giving rise to a global obsession with chinoiserie. The major production centers for porcelain items in the Ming Dynasty were Jingdezhen in Jiangxi province and Dehua in Fujian province. The Dehua porcelain factories catered to European tastes by creating Chinese export porcelain by the 16th century, often painting designs direct from bookplates, paintings or other illustrations, in order to appeal to a wider European audience. The best items remained prestige and diplomatic goods, however, as is the case with the current piece. Just as the Ming potters reformatted their wares for the European market, so they changed them for other parts of the world. Figurative designs may have been banned under Islamic law, but it would seem from other sources that floral patterning was less frowned upon.This is a socially-important and historically significant piece of porcelain and silver. The preservation and colouring are perfect. This is an extremely fine piece.- (SK.041)   « Less