In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is  More »

In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is itself composed of two periods that historians have dubbed Western (1122-771 B.C.) and Eastern (770-221 B.C.). During the Western period, the Zhou ruled from their capital Zongzhou (near modern X’ian). While the Zhou were highly influence by the Shang, over time, they developed their own unique style of decorating bronze and terracotta vessels. Perhaps their most important artistic innovation was the creation of primitive glazes. However, ambitious campaigns to expand their territory westward failed, and in 771, nomadic invaders ransacked Zongzhou, forcing the Zhou to flee eastwards to the city of Chengzhou, which became their second capital.Thus began the second period, the Eastern Zhou Dynasty, also known as the Spring and Autumn Period, a name taken from one of the oldest histories of China which was recorded by season. Along the road to Chengzhou, the Zhou relied upon the aid of the powerful Qin and Jin states to secure their escape. Yet, once the Eastern Zhou was established, infighting and succession struggles plagued the house and the Zhou were never able to recapture their ancient dominance, merely ruling in name alone. Instead, a coalition of powerful states, including the Qi and Chu in addition to the Qin and Jin, ruled ancient China. However, by the 5th Century B.C., internal quarrels began to shake the foundations of these independent states and the peace that characterized most of their coexistence began to rapidly disintegrate, culminating in the brutal defeat of the Qi, an event that ushered in the appropriately named Warring States Period.This two-part bronze steamer (alternately known as a Yan or Xian) was discovered buried inside the tomb of an elite member of the Zhou Dynasty. The raised four-legged vessel at the bottom (individually known as a Li) would have been filled with water and placed over a fire. As the water boiled, the steam would rise upwards through the grated opening of the upper vessel, where it would cook the food contained within. No doubt, modern culinary techniques have altered little from this ancient device. However, this work is remarkable not so much for the sophisticated culinary culture of the Zhou, as much as for the beauty and sophistication of the design. The shape of the rare four-legged Li appears to be fairly zoomorphic, similar to a quadruped with thick, stout legs, such as an elephant. Likewise, the small loop handles could then be interpreted as curling tails. Furthermore, the exterior sides of the flaring food container have been elegantly decorated in low relief with abstract swirling patterns divided into two bands. Such decorative elements are typical of the Zhou period.This glorious utensil surely would have been a treasured possession. However, this Yan was not interred with its owner as a sign of wealth. Instead, this steamer was expected to continue cooking meals in the afterlife. The Ancient Chinese believed that the afterlife was an extension of our earthly existence. Thus, it seems logical to reason that as we require food to nourish our bodies on earth, we will require food to nourish our souls in the afterlife. This Yan was created to steam eternally, ushering the deceased into the next world. The bountiful feast that this Yan symbolizes continues throughout eternity. Today, we marvel at this work both for its historical and cultural significance as well for its overwhelming beauty. - (H.654)   « Less

In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is  More »

In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is itself composed of two periods that historians have dubbed Western (1122-771 B.C.) and Eastern (770-221 B.C.). During the Western period, the Zhou ruled from their capital Zongzhou (near modern X’ian). While the Zhou were highly influence by the Shang, over time, they developed their own unique style of decorating bronze and terracotta vessels. Perhaps their most important artistic innovation was the creation of primitive glazes. However, ambitious campaigns to expand their territory westward failed, and in 771, nomadic invaders ransacked Zongzhou, forcing the Zhou to flee eastwards to the city of Chengzhou, which became their second capital.Thus began the second period, the Eastern Zhou Dynasty, also known as the Spring and Autumn Period, a name taken from one of the oldest histories of China which was recorded by season. Along the road to Chengzhou, the Zhou relied upon the aid of the powerful Qin and Jin states to secure their escape. Yet, once the Eastern Zhou was established, infighting and succession struggles plagued the house and the Zhou were never able to recapture their ancient dominance, merely ruling in name alone. Instead, a coalition of powerful states, including the Qi and Chu in addition to the Qin and Jin, ruled ancient China. However, by the 5th Century B.C., internal quarrels began to shake the foundations of these independent states and the peace that characterized most of their coexistence began to rapidly disintegrate, culminating in the brutal defeat of the Qi, an event that ushered in the appropriately named Warring States Period.A ding is essentially a tripod vessel with two raised handles. Originally, the ding was utilized for cooking meats, hung over a fire by its handles. Later, the function of the ding would evolve from the preparation of foods to the presentation and serving of foods at certain rites and festivals. Dings with inscription were primarily used for offering sacrifices to the gods. Their sheer size and stately proportions convey an impression of confidence and majesty, symbolizing both wealth and statehood. - (X.0423)   « Less

In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is  More »

In 1122 B.C., at the battle of Muyeh, the rebellious Zhou tribe defeated the imperial troops of the Shang Dynasty, China’s first Imperial Dynasty. The Zhou Dynasty is itself composed of two periods that historians have dubbed Western (1122-771 B.C.) and Eastern (770-221 B.C.). During the Western period, the Zhou ruled from their capital Zongzhou (near modern X’ian). While the Zhou were highly influence by the Shang, over time, they developed their own unique style of decorating bronze and terracotta vessels. Perhaps their most important artistic innovation was the creation of primitive glazes. However, ambitious campaigns to expand their territory westward failed, and in 771, nomadic invaders ransacked Zongzhou, forcing the Zhou to flee eastwards to the city of Chengzhou, which became their second capital.Thus began the second period, the Eastern Zhou Dynasty, also known as the Spring and Autumn Period, a name taken from one of the oldest histories of China, Lushi Chunqiu, the “Spring and Autumn Annals”. Along the road to Chengzhou, the Zhou relied upon the aid of the powerful Qin and Jin states to secure their escape. Yet, once the Eastern Zhou was established, infighting and succession struggles plagued the house and the Zhou were never able to recapture their ancient dominance, merely ruling in name alone. Instead, a coalition of powerful states, including the Qi and Chu in addition to the Qin and Jin, ruled ancient China. However, by the 5th Century B.C., internal quarrels began to shake the foundations of these independent states and the peace that characterized most of their coexistence began to rapidly disintegrate, culminating in the brutal defeat of the Qi, an event that ushered in the appropriately named Warring States Period.A ding is essentially a tripod vessel with two raised handles. Originally, the ding was utilized for cooking meats, hung over a fire by its handles. Later, the function of the ding would evolve from the preparation of foods to the presentation and serving of foods at certain rites and festivals. Dings with inscription were primarily used for offering sacrifices to the gods. Their sheer size and stately proportions convey an impression of confidence and majesty, symbolizing both wealth and statehood. - (H.1098)   « Less

Origin: China Circa: 4 th Century BC to 2 nd Century BC Collection: Chinese Art Style: Zhou/Han Medium: Bronze

Origin: China Circa: 4 th Century BC to 2 nd Century BC Collection: Chinese Art Style: Zhou/Han Medium: Bronze   « 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 oval shaped Bian Hu bronze vessel is decorated with a Taotie ring holder mask chain- linked to lid through the mouth of a two-ended dragon. Due to the tumultuous times, the exact date of this vessel is hard to determine but influences from the Late Warring State/Qin transitional period and vestiges of the tradition of ritual practice is evident in the workmanship. Bronze was an especially valued material during the Warring States period for its sturdy, solid attributes to be used in casting ritual vessels and weaponry. With the victory of so-called barbarian Qin, the primary goal for the new rulers continued to be military conquest and consolidation. They introduced a new system of politics based on the ethical doctrines of Legalism which taught frugality in mortuary practices as well as in life. Thus, the hint of simplicity in this ritual vessel reflects the conservative and utilitarian thrust that emerged as a result of conversion to a new dynastic order. Used as an offering vessel in ancestral mourning and worshipping ceremonies, the Bian Hu represented one of the many styles of Hu vessels. Its simplistic beauty and symbolic representations of the dragon, a creature of power and royalty, and the Taotie, a mysterious animal-like motif common in all Chinese ancient art, must still generate reactions of awe and veneration for those who behold its essence as holy. - (FZ.343)   « Less

Obverse: ANTONINVS PIVS AVG; Laureate and Draped Bust of the Emperor Facing Right. Reverse: PONTIF TR P VIII COS II; Mars, Standing to the Left, Resting his Foot on a  More »

Obverse: ANTONINVS PIVS AVG; Laureate and Draped Bust of the Emperor Facing Right. Reverse: PONTIF TR P VIII COS II; Mars, Standing to the Left, Resting his Foot on a Helmet, Holding an Olive Branch and a Spear. Caracalla was born April 4,188 in Lyon, where his father, Septimius Severus, was serving as governor of the province of Gallia Lugdunensis under Emperor Commodus. His name was changed from Lucius Septimius Bassianus to Marcus Aurelius Antoninus at the age of seven. The name change was a way of connecting the family of Severus to that of the Antonines. The nickname Caracalla was taken from the name of a type of cloak popularized by the emperor, but this nickname, originally derisive, was never used officially. From the time of his name change to Antoninus, Caracalla was the designated heir of Severus. Less than three years later he was proclaimed emperor, officially joining his father as co-rulers of the empire. At the age of 14, he was married to the daughter of the praetorian prefect Plautianus, but the teenager despised his wife. The marriage ended less than three years later and there were no children. Upon his father’s death in 211, Caracalla ruled the empire jointly with his brother, Geta, until he was murdered later the same year, leaving Caracalla in sole control at the age of 23. The year 212 saw a flurry of administrative reforms under the young emperor's leadership. Soldiers received increases in pay and in legal rights, but the most noteworthy change was the bestowal of Roman citizenship upon all free residents of the empire. Construction was also well underway on the magnificent baths in Rome that would bear the emperor's name. In 217, Caracalla was assassinated on the road back from his military campaigns against the Partians in the east. Although Caracalla remains a rather dubious figure, historians often overlook the energetic, reformist and even intellectual character of Caracalla's reign. The changes brought about in the little more than five years of Caracalla's sole rule would have long-lasting implications throughout the empire for generations to come. 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 ancient coin is a memorial to an emperor’s reign passed from the hands of civilization to civilization, from generation to generation that still appears as vibrant today as the day it was struck. - (C.6303)   « 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 anthropomorphic representation of a guardian beast conveys the embodiment of prowess and valor during the internecine war period of early China. As it lunges backward on its hind legs to amass strength, the animal roars ferociously intimidating us with its raised paw as if it were to tear an enemy into shreds with one swoop of its mighty foreleg. The chest is muscular and wide, its forelegs winged, and paws clawed revealing its awesome composition of the best attributes of the four classes of beasts. Lips curled back, it flashes its long fangs and flares its nostrils. Detailed eyebrows accentuate its bulging eyes that are said to have extraordinary vision to "see evil." The snout is flat and horns are tapered to its forehead. These fabulous creatures of West Asian inspiration often stood guard at royal mausoleums, performing an evil-averting function. They were also thought to serve as righteous guardians of justice and order. - (FZ.347)   « 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 gorgeous bowl is the epitome of luxury. Even during the tumultuous, chaotic times of the Warring States, wealthy nobles still sought to surround themselves with beauty, both in this world and the next. In this era of ancient China, the afterlife was viewed as an extension (and perfection) of our earthly existence. This belief resulted in the creation of mingqi, literally translated as: “objects for the next world.” Elite members of the social hierarchy were interred with elaborate imitations of their earthly dwellings. Architectural models, guardians and warriors, attendants and musicians, livestock, furniture, and cooking utensils rendered in all media are commonly discovered in such tombs. These various replicas served a variety of functions. They partly symbolized the wealth and class of the deceased, as well they attested to the familial piety of the descendants who arranged and commissioned (often to the point of financial uncertainty) the works.However, the mingqi do not simply reflect the earthly wealth of the deceased and his family, for they also serve a vital function in the afterlife. Human figures provided company and security while herd of livestock provided food and sustenance throughout eternity. Stoves and utensils were entombed to prepare feasts and celebrations as well as wine and grain storage vessels. The courtly entourage and ceremonial hardware would accompany the deceased into the afterlife. This gilt bronze bowl is a splendid example of mingqi. It is possible too that this bowl was treasured in life and not specifically created to be buried (as most of the terracotta sculptures and utensils were). The fact that this bowl may have been valued as much in life as in the afterlife makes it that much more splendid. Such a bowl would have been likely used as a wine tasting cup, a required object for any proper feast or ceremony. Elegantly decorated with incised geometric and curvilinear motifs, this bowl was surely the much-admired centerpiece of ancient ceremonial rituals both in this world and in the next. - (H.645)   « 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.Although the Warring States Period was marked by almost constant upheaval, it also represents a golden age of Chinese culture and thought. Needless to say, the arts continued to flourish as this exquisite terracotta Hu reveals. Such as vessel would have been used for storing, transporting, and serving fine wines. The neck has been divided into bands of various widths, some of which feature an incised pattern of subtle undulating lines that give the impression of the waves of the ocean. Meanwhile, the shoulder of the body has been decorated with an intricate incised panel. Groups of lovebirds roost close together among stylized foliate motifs. The texture of the birds’ feathers has been replicated by a series of tiny dots that stand out against the smooth glaze of the vessel. This band is interrupted by two Tao Tieh mask handles, one on either side of the body. These masks are a common feature on such vessels and represent stylized dragon heads. Although the handles that emerge from their mouths are sometimes functional, they are generally decorative and reveal the influence previous bronze examples had on their terracotta replicas. Although this vessel would have functioned as a wine container in life, it was found discovered buried in a tomb. A symbol for the bountiful pleasures of life, for drinking and feasting, this Hu would have represented the joys to be experienced in the afterlife and the feasts and celebrations yet to come. Today, this vessel is not only a gorgeous work of art, treasured for its history and rarity; but also a stunning reminder of the richness and luxury of the Ancient China, both in this world and the next. - (H.672)   « 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.Although the Warring States Period was marked by almost constant upheaval, it also represents a golden age of Chinese culture and thought. Needless to say, the arts continued to flourish as this exquisite terracotta vessel reveals. Such a container would have been used for storing, transporting, and serving fine wines or grains. Almost the entire exterior of this wide vessel has been covered in a gorgeous incised pattern of closely grouped vertical lines. These groups have been arranged in a grid-like pattern that creates a rhythmic flow across the surface. Although this vessel would have functioned as a wine or grain storage container in life, it was found discovered buried in a tomb. A symbol for the bountiful pleasures of life, for drinking and feasting, this vessel would have represented the joys to be experienced in the afterlife and the feasts and celebrations yet to come. Today, this vessel is not only a gorgeous work of art, treasured for its history and rarity; but also a stunning reminder of the richness and luxury of the Ancient China, both in this world and the next. - (H.807)   « Less