The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed  More »

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own Dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The bureaucracy started under the Qin was now firmly established. The vast lands of China were now under the strong grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth pouring into China from trade along the Silk Road initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,” these works depicted a vast array of subjects, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.Although it is possible that this splendid terracotta dog was intended to represent a source of food for the deceased, it is more likely that it was a domesticated animal. His ears stand upwards, as if attentively guarding his master throughout eternity. The heavy folds of skin around the eyes and the curly tail, as well as the general size and stature, suggest that this dog may be an ancestor of the modern Chinese Shar Pei breed. - (DL.2091)   « Less

This style of very rare black earthenware amphorae was produced from the Warring States period and throughout the Han Dynasty. The reign of the Han Dynasty is commonly  More »

This style of very rare black earthenware amphorae was produced from the Warring States period and throughout the Han Dynasty. The reign of the Han Dynasty is commonly considered within China to be one of the greatest periods in its entire history. As a result, the members of the ethnic majority of Chinese people to this day still call themselves "People of Han," in honor of the Liu family and the dynasty they created. An alternative term Chinese people often use is the term "Descendants of the Dragon" as a sign of ethnic identity. During the Han Dynasty, China officially became a Confucian state and prospered domestically: agriculture, handicrafts and commerce flourished, and the population reached 50 million. Meanwhile, the empire extended its political and cultural influence over Vietnam, Central Asia, Mongolia, and Korea before it finally collapsed under a combination of domestic and external pressures. In his work regarding these wares, Krahl states that amphorae of this distinct type are characteristic products of Western Sichuan province where they were made by non-Chinese peoples. Hence, this type of vessel is known as Lifan, named after the area of Sichuan province in the far west of China in which such jars have been found. The everted mouth opens elliptically as if it were two human lips opening to receive liquid refreshment in large quantity. The corners of the mouth form two pointed spouts opposite one another from which the liquid contents might have been poured out. This angular shape follows from the corners of the mouth down the elegantly curved and tapered, almost almond shaped neck of the vessel. The neck itself is decorated with three rows of short vertical engraved lines that encircle the neck in the form of a shapely chocker. On either side, the angular neck fades into the large round belly of the jar toward the middle where it meets one of a number of very unusual polychrome appliqué metal bosses or studs that decorate the curved features of the body and the handles of the vessel in a symmetrical fashion; giving the impression of eyes and other zoomorphic features to the jug and bringing it all the more to life in the eye of the beholder. These studs would have burst forth from the bright and shiny black burnished body in a pyrotechnic display of color. It is clear that each of these studs would have had a different color whether bronze, blue, red, silver or gilt. The zoomorphic imagery of this beautiful and exotic creature has been enhanced by the potter who has engraved four symmetrically placed large deeply molded spirals that form two exaggerated crescent swirls on each side of the vessel from whichever direction we choose to view from. Might these be the eyes or perhaps arms or even wings? The vessel has two strong broad smoothly arched handles that emanate from either side of the jar’s elliptical mouth and flow down to join themselves seamlessly to either side of the lower center of the vessel’s body (at 90 degree angles towards the tapering neck). Toward the top of each arm there remains a bronze stud one of these still has blue decorative pigment traces the other a thick red-brown pigment. Each of the arms also has markings that indicate where two more such studs would have been superficially fixed and have now come off with wear and time, but without damaging the earthenware itself in any way. The base of the jig is recessed creating a relatively shallow foot ring. It is noteworthy that many stylistic similarities occur between these Lifan and much earlier periods and cultures such as the Neolithic cultures of Machang (circa 3000-2000 B.C.) and Xindian (circa 1500 B.C.). Similar blackware food containers with two handles have also been unearthed in Dena County, Yunan, an area that was the home of the Southwestern Yi tribe during the spring and Autumn Period (770-476 BC). The surface of the vessel has then been shaped with tools and then burnished. This process of manufacture gives the jar its beautiful rugged, yet carefully detailed distinctive characteristics. As most apparent from the inside of the mouth and neck of the jar, the surface of the amphora was originally highly burnished to give a shiny black sheen. The surface of the body is an amalgamation of complex curves and convex and concave shapes. These characteristics, in addition to the unusual presence of symmetrically attached bronze bosses on the sides and handles, make this piece extraordinary and particularly rare. Comparable Literature: S.J. Vainker, Chinese Pottery and Porcelain from Prehistory to Present, New York, George Braziller, Inc., 1991. Oriental Ceramics. The World's Great Collections, 1974, Vol.5, no.1 Krahl, Chinese Ceramics from the Meiyintang Collection, 1994, Vol.1, no.65. Yuegutang, A Collection of Chinese Ceramics in Berlin (Regina Krahl, G+H Verlag Berlin,2000) Item 35 Page 55. - (DJ.1035)   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 11" (27.9cm) high Collection: Chinese Style: Han Dynasty Medium: Bronze Condition: Extra Fine

Origin: China Circa: 206 BC to 220 AD Dimensions: 11" (27.9cm) high Collection: Chinese Style: Han Dynasty Medium: Bronze Condition: Extra Fine   « Less

Origin: China Circa: 600 AD to 900 AD Dimensions: 5.5" (14.0cm) high x 7" (17.8cm) depth Collection: Chinese Style: Tang Medium: Terracotta Condition: Fine

Origin: China Circa: 600 AD to 900 AD Dimensions: 5.5" (14.0cm) high x 7" (17.8cm) depth Collection: Chinese Style: Tang Medium: Terracotta Condition: Fine   « Less

Origin: China Circa: 206 AD to 220 AD Dimensions: 10" (25.4cm) high x 16.2" (41.1cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 AD to 220 AD Dimensions: 10" (25.4cm) high x 16.2" (41.1cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less

Origin: China Circa: 100 BC Dimensions: 12" (30.5cm) high x 11" (27.9cm) wide Collection: Chinese Art Style: Han / with impressions of coins Medium: Terracotta

Origin: China Circa: 100 BC Dimensions: 12" (30.5cm) high x 11" (27.9cm) wide Collection: Chinese Art Style: Han / with impressions of coins Medium: Terracotta   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 9.75" (24.8cm) high x 6" (15.2cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 9.75" (24.8cm) high x 6" (15.2cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less

Origin: China Circa: 206 AD to 220 AD Dimensions: 16" (40.6cm) high x 18" (45.7cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 AD to 220 AD Dimensions: 16" (40.6cm) high x 18" (45.7cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less

This magnificent terracotta boar dates to the Han era, the golden age of ceramic funerary sculpture. The fashion for terracotta grave goods, also known as mingqi, was  More »

This magnificent terracotta boar dates to the Han era, the golden age of ceramic funerary sculpture. The fashion for terracotta grave goods, also known as mingqi, was undoubtedly stimulated by the example of the first emperor of the Qin Dynasty whose terracotta army is now legendary. Terracotta replicas of attendants, entertainers and domesticated animals were among the items interred to ensure the material comfort of the deceased in the afterlife. This practice continued to flourish until the fall of the Tang dynasty in the early tenth century, after which it became more common to burn the items intended to accompany the deceased.This example is full of character; the boar stands with his head lowered and his front legs slightly apart. The body is compact and the stance is defensive, as if anticipating an imminent attack. Incised lines indicate the joints and the thick bristles on the animal’s back. The facial details are particularly impressive, especially the short protruding ears and the wide upturned snout. In many ancient cultures the boar was associated with strength, courage and fearless aggression. In China he also represented wealth and good fortune. Clearly well-nourished, this magnificent beast reflects the high status of its original owner. The time and skill that went into the manufacture of grave goods is extraordinary given the fact they were destined for obscurity in the ground. The impressive naturalism, especially in the depiction of animals, reflects Chinese religious beliefs. The more life-like the sculpture, the more likely it would perform its correct function in the afterworld. Our knowledge of the social and religious lives of Han has been vastly enriched by such finds which continue to impress us today. (AM) - (TF.026)   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 11" (27.9cm) high x 10" (25.4cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 11" (27.9cm) high x 10" (25.4cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less