This dynamic pair of matched vases is a supreme masterwork from the Southern Song dynasty. They are very tall and graceful, with the widest section in the bottom one third of  More »

This dynamic pair of matched vases is a supreme masterwork from the Southern Song dynasty. They are very tall and graceful, with the widest section in the bottom one third of their total height. They then taper progressively to the top one third, where they flare again to a rather wider apex, crowned with extremely ornate lids, each bearing a crane with outstretched wings. The bottom third is banded with fine lines above a small, plain pedestal base. A ring of roped beading separates this from a line of standing court officials, interspersed with animals such as deer. Above this is a taller section, liberally decorated with floral motifs and featuring a long and highly complex dragon – and an accompanying lotus flower (?) – rendered in very high relief. The entirety is decorated with transparent glaze over a cream/yellow slip.The Song Dynasty was founded after the fall of the Tang Dynasty and a period of major social unrest. Perhaps because of this, it is viewed as a Golden Age for Chinese civilization. It was also highly complex, as different areas of China were ruled by different dynasties and traditions. The Northern Song was founded in 960 AD, and quickly developed art styles and social changes that were remarkable for their liberalism. Many of China’s greatest landscape painters, sculptors and ceramicists worked during their supremacy, while literary achievements – notably translation of ancient texts and a revival of Confucianism – also benefitted from enlightened leadership. Foreign trade also flourished, leading to major networks of luxury goods running to and from China. However, the stability was threatened by the invasion – in 1125 AD – of Northern China by the Jurchen, a semi-nomadic people from the steppe area. The validated their leadership by founding the Jin Dynasty, although the Song court – who had fled to Hangzhou in the South – continued to govern their area for another 120 years. The Southern Song eventually collapsed due to a combination of internal intrigue and invasion by the Mongols in 1279 AD.The Song Dynasty is considered to be the golden age of Chinese ceramics, for mass production was perfected, leading to an explosion of different styles and traditions. The elite ceramicists became ever more adventurous, producing remarkable creations for a native class of aristocrats. the ruling elite, high-ranking government officials and wealthy merchants. Technical innovations led to breakthroughs in the fields of glazing and firing, culminating in the first true porcelain to be produced in any significant quantity.Known as Qingbai ware (also called Yingqing ware), this distinctive, blue- glazed, thinly wheel-thrown stoneware with moulded and applied decoration was produced mainly in Jiangxi province at Jingdezhen and in the Hebei province. Qingbai ware continued to be made well into the Ming Dynasty, with Jingdezhen remaining as an important production centre.This outstanding pair of vessels was made towards the end of the Song Dynast, in retreat in to the South, and is a major masterwork of ancient China.- (CK.0149)   « Less

This magnificent set of 51 hammered gold sheets most probably originated in the State of Qin (modern-day Gansu province) during the period of the Western Zhou. Stylistically  More »

This magnificent set of 51 hammered gold sheets most probably originated in the State of Qin (modern-day Gansu province) during the period of the Western Zhou. Stylistically they are comparable to a set of gold plaques discovered in the tomb of a Qin nobleman (possibly Qin Marquis Zhong (845-822 BC) or Qin Duke of Zhuang (822-778 BC) in the district of Li, Gansu. This set has been dated to the Western Zhou period by scientific analysis of the wooden rivets to which some of the gold adhered. The majority of the plaques are rectangular in shape with small triangular projections on one side. The circular holes would have served as fastening points. The sheets are variously adorned with a ‘lip’ design and C-shaped clouds. After hammering, the sheets would have been worked with a wooden burin and the holes cut with a knife. These plaques would have been used as ceremonial horse trappings by the upper echelons of Qin society. The longest elements would have ornamented the sides of the face and the other panels the saddle.The Qin dynasty are today best known for the achievements of Qin Shihuangdi, China’s first emperor and patron of the terracotta warriors (r. 221-220 BC). These ornaments however belong to a much earlier phase in their history, when the State of Qin was subordinate to the Zhou king. Indeed it was responsible for breeding and rearing horses for the Zhou. Gold objects from this period are extremely rare but this set testifies to the high levels of craftsmanship amongst the Qin, centuries before they became an imperial power. The source of the gold has also fascinated historians of this period, as there were no natural reserves in Qin territory, Instead it seems that gold was acquired further west, in the region of the Altai mountains. As evidence of exchange and contact with Central Asia, this pre-empts the later development of the so- called ‘Silk Road.’ The historical and artistic significance of these plaques cannot be over- emphasized and they would form the centre- piece of any serious collection of ancient gold.   « Less

The Tang 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.  More »

The Tang 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 quasi- 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. Tang 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 Xi'an), 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 Tang 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.During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual's social rank. In spite of the limitations, a striking variety of tomb furnishings, known as mingqi, have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs and never meant to be seen by the living.“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.”This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and maintain its own nutrients, surviving for months without fresh supplies of water. The government kept vast herds of these invaluable creatures, presided over by civil officials, for hauling their precious commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artist began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.This magnificent camel has been represented kneeling down on its front legs, as if preparing to be laden with bundles of merchandise for a journey along the Silk Road. This is the largest example of a Tang Dynasty camel that we know of, and certainly the largest in this rare posture. - (CK.0559)   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 10" (25.4cm) high x 17.5" (44.5cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 10" (25.4cm) high x 17.5" (44.5cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta   « Less

Carved in a hard stone, this figure is modelled raising its arms to its chest, perhaps holding an offering or performing a symbolic gesture of humbleness. The image appears  More »

Carved in a hard stone, this figure is modelled raising its arms to its chest, perhaps holding an offering or performing a symbolic gesture of humbleness. The image appears to be sculpted from the original shape of the stone, its elongated head rounded at the tip and its stout body flushed at the base. Incised lines extending from the forehead represent hair, while the facial features are delicately carved forming wide eyes and brow line, long nose and traces of a closed mouth. The transition from a nomadic, hunting existence to one of farming before the use of metals marks the beginning of the Neolithic period which began around 7000 B.C. in China. The peoples of different settlements can be identified and understood through such artifacts as pottery, tools, and architectural remains. This unique stone carving of a figure probably served part of the religious belief system that became incorporated into the practice of burying the dead and propitiating supernatural forces. During this period, human figurines bore curious, self confident expressions and appeared in anthropomorphized forms. Geometric patterns and fish designs also characterize Neolithic period artifacts. - (H.045)   « Less

This piece is a masterpiece from a highly inscrutable time and place – Neolithic China. While the dynastic periods are comparatively well studied and understood, the  More »

This piece is a masterpiece from a highly inscrutable time and place – Neolithic China. While the dynastic periods are comparatively well studied and understood, the nature and relationships of the early societies living in agricultural communities between 4000 and 2000 BC are still somewhat nebulous. Even the geography was different. When this piece was made, it was much wetter, with most of Northern China being swamps and marshes, and much of the central area covered in an enormous lake. The climate was warm and moist, rather than the colder, arid China of today. The mountains were well forested and there was a variety of animals. Villages were small and arranged around prime agricultural areas; village structure was based along kinship lines. Most artistic expression was achieved through ceramics, which were often highly ornate and painted. Comparatively little is known of religion, but there are some hints in the iconography of the ceramics. For instance, the 5th millennium BC site of Banpo (near Xi’an) has produced ceramics with fantastical animals, including, significantly, fish with human faces/ masks. These are unlikely to have been a completely secular creation. The oldest religions of East Asia – and indeed the world – are based around a form of animism that bestows spiritual characteristics upon natural phenomena, from mountains to weather systems, and economic staples have enjoyed similar reverence in other parts of the world. It has been theorised that the Banpo people, who lived in a riverine environment, may have revered fish as their main food source and expressed this on their ceramics. It has further been suggested that they even based some form of belief system around fish – perhaps with a magically-trained individual to perform ceremonies that guaranteed prosperity in the forthcoming season, although this is necessarily speculative. Numerous subsequent and contemporary cultures possessed animal effigies, and it has generally been assumed that – due to the expertise and time required to produce them – they must have formed part of some belief system that transcended mere secular diversion. One might speculate that the effort involved in stone carving would exceed that of pottery making, and there is collateral evidence for this in the jade works of the Liangzhu culture (Yangzi delta, 3300-2300 BC), which were almost all zoomorphically decorated works in evidently elite graves (amulets, ornaments, necklaces etc).The rarity of works such as the current piece argues against personalised ownership, and instead for a wider audience within a substantial community. The identity of the creature portrayed is deliberately ambiguous, as it has a clearly humanoid head with slanted coffee-bean eyes (a marker of extreme antiquity in every continent), a small raised nose connected to the brows, and a small pursed mouth. The surface of the head is covered with indented linear marks possibly indicating hair, while the most forward- pointing part of the piece is what appears to be an ear. This might be challenged on the basis of the rest of the piece, as it has hatching that could be interpreted equally as feathers or fish- scales, making the “ear” a beak or protuberant mouth. The flat side of the piece has elevated sections that could be seen as a tail (if a fish) or furled wings (if a bird). Significantly, the piece has an unadorned back and a plain base, so it was clearly meant to be seen only from the front, or from above. It might then have been mounted into an altar, or been a decorative finial in some other structure made of earth or similar. The texture of the surface indicates that it was worked at using abrasion and small hand tools, so the quantity of work involved must have been immense. Whether a deity of a spirit, this is a truly significant and important masterwork, and an invaluable addition to any serious collection. - (H.510)   « Less

This piece is a masterpiece from a highly inscrutable time and place – Neolithic China. While the dynastic periods are comparatively well studied and understood, the  More »

This piece is a masterpiece from a highly inscrutable time and place – Neolithic China. While the dynastic periods are comparatively well studied and understood, the nature and relationships of the early societies living in agricultural communities between 4000 and 2000 BC are still somewhat nebulous. Even the geography was different. When this piece was made, it was much wetter, with most of Northern China being swamps and marshes, and much of the central area covered in an enormous lake. The climate was warm and moist, rather than the colder, arid China of today. The mountains were well forested and there was a variety of animals. Villages were small and arranged around prime agricultural areas; village structure was based along kinship lines. Most artistic expression was achieved through ceramics, which were often highly ornate and painted. Comparatively little is known of religion, but there are some hints in the iconography of the ceramics. For instance, the 5th millennium BC site of Banpo (near Xi’an) has produced ceramics with fantastical animals, including, significantly, fish with human faces/ masks. These are unlikely to have been a completely secular creation. The oldest religions of East Asia – and indeed the world – are based around a form of animism that bestows spiritual characteristics upon natural phenomena, from mountains to weather systems, and economic staples have enjoyed similar reverence in other parts of the world. It has been theorised that the Banpo people, who lived in a riverine environment, may have revered fish as their main food source and expressed this on their ceramics. It has further been suggested that they even based some form of belief system around fish – perhaps with a magically-trained individual to perform ceremonies that guaranteed prosperity in the forthcoming season, although this is necessarily speculative. Numerous subsequent and contemporary cultures possessed animal effigies, and it has generally been assumed that – due to the expertise and time required to produce them – they must have formed part of some belief system that transcended mere secular diversion. One might speculate that the effort involved in stone carving would exceed that of pottery making, and there is collateral evidence for this in the jade works of the Liangzhu culture (Yangzi delta, 3300-2300 BC), which were almost all zoomorphically decorated works in evidently elite graves (amulets, ornaments, necklaces etc).The rarity of works such as the current piece argues against personalised ownership, and instead for a wider audience within a substantial community. The identity of the creature portrayed is deliberately ambiguous, as it has a clearly humanoid head with slanted coffee-bean eyes (a marker of extreme antiquity in every continent), a small raised nose connected to the brows, and a small pursed mouth. The surface of the head is covered with indented linear marks possibly indicating hair, while the most forward- pointing part of the piece is what appears to be an ear. This might be challenged on the basis of the rest of the piece, as it has hatching that could be interpreted equally as feathers or fish- scales, making the “ear” a beak or protuberant mouth. The flat side of the piece has elevated sections that could be seen as a tail (if a fish) or furled wings (if a bird). Significantly, the piece has an unadorned back and a plain base, so it was clearly meant to be seen only from the front, or from above. It might then have been mounted into an altar, or been a decorative finial in some other structure made of earth or similar. The texture of the surface indicates that it was worked at using abrasion and small hand tools, so the quantity of work involved must have been immense. Whether a deity of a spirit, this is a truly significant and important masterwork, and an invaluable addition to any serious collection. - (H.512)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.When Neolithic mankind began to settle in areas further removed from sources of water, transportation of this vital fluid became a foremost necessity. After unsuccessful attempts to create water resistant vessel from wicker baskets caked in mud, pottery was invented. The creation of pottery in China dates back as early as 6000 B.C. when villagers first realized that the earth around fires became hard and impervious to liquid. From this realization came the birth of pottery, fulfilling the practical necessity of water transportation and allowing civilization to expand. While pottery was created to answer a need, it soon progressed to be more than functional: it was also beautiful. While Neolithic vessels would have been used to carry water or to store grains, they are also spectacular artistic creations. The forms of the vessels, built up from coiled clay, are elegant and refined.The generic name for the Neolithic culture that created these vessels is Yangshao (3000-1500 B.C.). They are thought to have been the first to harvest silk from the silkworm, initiating a tradition the Chinese are still famous for today. While few specifics are known about the Yangshao culture, information gathered from archaeological excavations of tombs and tribal villages has provided a rudimentary vision of life in prehistoric China. Furthermore, the geometric paintings that decorate Neolithic vessels represent some of the earliest evidence of the origins and evolution of calligraphic writing in China. While these designs are purely abstract and in no way constitute a written language, the patterns, motifs, and application of paint all serve to give us insight into the intellectual and aesthetic atmosphere that would eventually foster the creation of Chinese symbols.The decoration of this vessel is rather simplistic. The short neck has been embellished by a serrated motif painted in black. Concentric rings mark the interior of the rim. Two lug handles connect the rim of the lip to the join of the neck and shoulder and would have facilitated the transportation of goods once contained within. The handles have been adorned as well with a series of horizontal black lines. The majority of the body has been covered in paint while the lower portion remains unfinished (a characteristic of the Neolithic style). A thick band wraps around the shoulders. Save for a motif of large “X” shapes rendered in reserve, the band is almost solid black. This pattern is only interrupted in the spaces underneath the handle where a black hourglass-shaped form stands out against two reserve triangles. Although this vessel was originally created t o serve a practical purpose, today it is appreciated as a gorgeous work of art, treasured both for its beauty and history alike. - (H.613)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.When Neolithic mankind began to settle in areas further removed from sources of water, transportation of this vital fluid became a foremost necessity. After unsuccessful attempts to create water resistant vessel from wicker baskets caked in mud, pottery was invented. The creation of pottery in China dates back as early as 6000 B.C. when villagers first realized that the earth around fires became hard and impervious to liquid. From this realization came the birth of pottery, fulfilling the practical necessity of water transportation and allowing civilization to expand. While pottery was created to answer a need, it soon progressed to be more than functional: it was also beautiful. While Neolithic vessels would have been used to carry water or to store grains, they are also spectacular artistic creations. The forms of the vessels, built up from coiled clay, are elegant and refined.The generic name for the Neolithic culture that created these vessels is Yangshao (3000-1500 B.C.). They are thought to have been the first to harvest silk from the silkworm, initiating a tradition the Chinese are still famous for today. While few specifics are known about the Yangshao culture, information gathered from archaeological excavations of tombs and tribal villages has provided a rudimentary vision of life in prehistoric China. Furthermore, the geometric paintings that decorate Neolithic vessels represent some of the earliest evidence of the origins and evolution of calligraphic writing in China. While these designs are purely abstract and in no way constitute a written language, the patterns, motifs, and application of paint all serve to give us insight into the intellectual and aesthetic atmosphere that would eventually foster the creation of Chinese symbols.The decoration of this vessel is rather simplistic. The short neck has been embellished by a serrated motif painted in black. Concentric rings mark the interior of the rim. Two lug handles connect the rim of the lip to the join of the neck and shoulder and would have facilitated the transportation of goods once contained within. The handles have been adorned as well with a series of horizontal black lines. The majority of the body has been covered in paint while the lower portion remains unfinished (a characteristic of the Neolithic style). A thick band wraps around the shoulders. Save for a motif of large “X” shapes rendered in reserve, the band is almost solid black. This pattern is only interrupted in the spaces underneath the handle where a black hourglass-shaped form stands out against two reserve triangles. Although this vessel was originally created to serve a practical purpose, today it is appreciated as a gorgeous work of art, treasured both for its beauty and history alike. - (H.616)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.When Neolithic mankind began to settle in areas further removed from sources of water, transportation of this vital fluid became a foremost necessity. After unsuccessful attempts to create water resistant vessel from wicker baskets caked in mud, pottery was invented. The creation of pottery in China dates back as early as 6000 B.C. when villagers first realized that the earth around fires became hard and impervious to liquid. From this realization came the birth of pottery, fulfilling the practical necessity of water transportation and allowing civilization to expand. While pottery was created to answer a need, it soon progressed to be more than functional: it was also beautiful. While Neolithic vessels would have been used to carry water or to store grains, they are also spectacular artistic creations. The forms of the vessels, built up from coiled clay, are elegant and refined.The generic name for the Neolithic culture that created these vessels is Yangshao (3000-1500 B.C.). They are thought to have been the first to harvest silk from the silkworm, initiating a tradition the Chinese are still famous for today. While few specifics are known about the Yangshao culture, information gathered from archaeological excavations of tombs and tribal villages has provided a rudimentary vision of life in prehistoric China. Furthermore, the geometric paintings that decorate Neolithic vessels represent some of the earliest evidence of the origins and evolution of calligraphic writing in China. While these designs are purely abstract and in no way constitute a written language, the patterns, motifs, and application of paint all serve to give us insight into the intellectual and aesthetic atmosphere that would eventually foster the creation of Chinese symbols.This vessel is especially noteworthy for the reserved simplicity of the decoration. Generally, Yangshao works are elaborately embellished with complex abstract and geometric motifs. However, this vessel reveals the altruism that sometimes less is more. The decoration, kept to a minimum of simple lines and bands, conforms to the shape of the vessel itself. A burgundy band highlighted with three parallel black zigzags demarcates the flaring top-half of the neck while a similar band emphasizes the join of the sloping shoulder and the body. Perhaps the most charming (and significant) feature of this vase is the row of simplified birds that mark along the shoulder just above the burgundy bank. Such abstracted designs provide a useful reference when studying the origins of calligraphic writing in China. Columns of three parallel black lines adorn the length of the body. As well, two small lug hands are attached to the body just below the shoulder and would have facilitated the transportation of goods once contained within. Although this vessel was originally created to serve a practical purpose, today it is appreciated as a gorgeous work of art, treasured both for its beauty and history alike. - (H.618)   « Less