The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China  More »

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China from trade along the Silk Road and initiated a period of unprecedented luxury. Stunning bronze vessels were created and decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. Yet the artistic revival of the Han Dynasty is nowhere better represented than by the 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 that were buried alongside the dead for use in the next life. Such actions reflect the Chinese belief that the afterlife is an extension of our earthy existence. Thus the material goods that we require to sustain and nurture our bodies in this life are just as necessary in the next life.This sculpture was commissioned by the family of the deceased to be buried alongside their departed relative. It served both as a symbol of their wealth and familial piety. Only elite members of the social hierarchy could afford to be honored with such elaborate burials. The tombs of nobles and high-ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. Each one of these Mingqi were expected to perform their functions continually throughout the afterlife. The guards would watch over the soul of the deceased while the chef prepared meals utilizing the meats of the livestock and the musicians would perform songs to nourish the spirit throughout eternity.While mounted warriors were interred inside the tombs of military generals, this tall gently undulating attendant most likely accompanied a high-ranking member of the Han bureaucracy. Her hands are hidden within the full sleeves of her long robe which is tightly gathered around her legs before flaring widely to the sides. The various layered robes are visible at the neck and chest, molded in V-shaped necklines painted in red and white with a faint black border on the outermost robe. The facial features are delicately painted over white slip, the elongated eye area in black pigment and mouth in red while the nose is slightly molded in the middle and raised high above the ears.Han Dynasty tomb figures are noted for their naturalistic style and graceful slender portrayals of human figures. They are not created as works of art; they were made to answer the needs of a particular belief about life after death and the spiritual world. The sculptor strove to capture the life and vitality of the subject rather than create a meticulous portrait as their work was commissioned by the ruling classes to accompany the body and soul of the deceased into the realm of the spiritual world.The gently undulating posture raises the possibility that the standing figure represents a court dancer. It is a gorgeous symbol of the philosophical and religious beliefs of the Han, symbolizing their fundamental beliefs in the beauty of this life and the next.- (RP.160)   « Less

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China  More »

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China from trade along the Silk Road and initiated a period of unprecedented luxury. Stunning bronze vessels were created and decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. Yet the artistic revival of the Han Dynasty is nowhere better represented than by the 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 that were buried alongside the dead for use in the next life. Such actions reflect the Chinese belief that the afterlife is an extension of our earthy existence. Thus the material goods that we require to sustain and nurture our bodies in this life are just as necessary in the next life.This sculpture was commissioned by the family of the deceased to be buried alongside their departed relative. It served both as a symbol of their wealth and familial piety. Only elite members of the social hierarchy could afford to be honored with such elaborate burials. The tombs of nobles and high-ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. Each one of these Mingqi were expected to perform their functions continually throughout the afterlife. The guards would watch over the soul of the deceased while the chef prepared meals utilizing the meats of the livestock and the musicians would perform songs to nourish the spirit throughout eternity.While mounted warriors were interred inside the tombs of military generals, this tall gently undulating attendant most likely accompanied a high-ranking member of the Han bureaucracy. Her hands are hidden within the full sleeves of her long robe which is tightly gathered around her legs before flaring widely to the sides. The various layered robes are visible at the neck and chest, molded in V-shaped necklines painted in red and white with a faint black border on the outermost robe. The facial features are delicately painted over white slip, the elongated eye area in black pigment and mouth in red while the nose is slightly molded in the middle and raised high above the ears.Han Dynasty tomb figures are noted for their naturalistic style and graceful slender portrayals of human figures. They are not created as works of art; they were made to answer the needs of a particular belief about life after death and the spiritual world. The sculptor strove to capture the life and vitality of the subject rather than create a meticulous portrait as their work was commissioned by the ruling classes to accompany the body and soul of the deceased into the realm of the spiritual world.The gently undulating posture raises the possibility that the standing figure represents a court dancer. It is a gorgeous symbol of the philosophical and religious beliefs of the Han, symbolizing their fundamental beliefs in the beauty of this life and the next.   « Less

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China  More »

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China from trade along the Silk Road and initiated a period of unprecedented luxury. Stunning bronze vessels were created and decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. Yet the artistic revival of the Han Dynasty is nowhere better represented than by the 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 that were buried alongside the dead for use in the next life. Such actions reflect the Chinese belief that the afterlife is an extension of our earthy existence. Thus the material goods that we require to sustain and nurture our bodies in this life are just as necessary in the next life.This sculpture was commissioned by the family of the deceased to be buried alongside their departed relative. It served both as a symbol of their wealth and familial piety. Only elite members of the social hierarchy could afford to be honored with such elaborate burials. The tombs of nobles and high-ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. Each one of these Mingqi were expected to perform their functions continually throughout the afterlife. The guards would watch over the soul of the deceased while the chef prepared meals utilizing the meats of the livestock and the musicians would perform songs to nourish the spirit throughout eternity.hile mounted warriors were interred inside the tombs of military generals, this tall gently undulating attendant most likely accompanied a high-ranking member of the Han bureaucracy. Her hands are hidden within the full sleeves of her long robe which is tightly gathered around her legs before flaring widely to the sides. The various layered robes are visible at the neck and chest, molded in V-shaped necklines painted in red and white with a faint black border on the outermost robe. The facial features are delicately painted over white slip, the elongated eye area in black pigment and mouth in red while the nose is slightly molded in the middle and raised high above the ears.Han Dynasty tomb figures are noted for their naturalistic style and graceful slender portrayals of human figures. They are not created as works of art; they were made to answer the needs of a particular belief about life after death and the spiritual world. The sculptor strove to capture the life and vitality of the subject rather than create a meticulous portrait as their work was commissioned by the ruling classes to accompany the body and soul of the deceased into the realm of the spiritual world.The gently undulating posture raises the possibility that the standing figure represents a court dancer. It is a gorgeous symbol of the philosophical and religious beliefs of the Han, symbolizing their fundamental beliefs in the beauty of this life and the next.- (RP.162)   « Less

Three bands of decoration cover the belly of this urn that stands on a flared base and contracts at the neck. The decorative bands that are spaced over the belly of the urn  More »

Three bands of decoration cover the belly of this urn that stands on a flared base and contracts at the neck. The decorative bands that are spaced over the belly of the urn represent shapes of abstracted animals intertwined in a swastika-like design. From the neck, the urn slightly extends outward with half-inch wide decorative band applied just below the ridge of the mouth. Both sides of the shoulder have animal shaped handles with rings attached. Known as taotie, these images of a mystical tiger/dragon/bird creature date back to ancient times as the motif evolved into becoming a standard feature of bronze décor. The taotie pattern assures that the powers of the animal world have been correctly ritualized.   « Less

The swollen belly and long slender neck of this flask characterizes it as a vessel used to contain liquids. A unique feature is the shape of the mouth which is modelled after  More »

The swollen belly and long slender neck of this flask characterizes it as a vessel used to contain liquids. A unique feature is the shape of the mouth which is modelled after the voluptuous contours of a flower. It rests on a small circular base, with traces of incrustation throughout. The virtues of simplicity and subtlety are exhibited through its elegant line and form. The Han Dynasty is known as the cultural blossoming period in Chinese history. Common belief held that if the way of the Sages was restored, then social order and moral uprightness of men could be achieved. Bronze vessels served an important role in the world of rites and ritual as well as in the realm of men who longed for expensive bronze ware to demonstrate their power and prestige. - (H.023)   « Less

The angular contours of this vessel distinguish it from other vessels used to hold liquids for ceremonial use. Its large voluminous shape with a protruding belly and tapered  More »

The angular contours of this vessel distinguish it from other vessels used to hold liquids for ceremonial use. Its large voluminous shape with a protruding belly and tapered neck make it suitable for storage as well. As opposed to the common hu, this vessel comes equipped with a decorative lid mounted with s-shaped images of animals, possibly of a snake or swan. A set of taotie masked handles are attached to two sides of the vessel. Traces of incrustation appear throughout. The Han Dynasty is known as the cultural blossoming period in Chinese history. Common belief held that if the way of the Sages was restored, then social order and moral uprightness of men could be acheived. Bronze vessels served an important role in the world of rites and ritual as well as in the realm of men who longed for expensive bronze ware to demonstrate their power and prestige. - (H.037)   « Less

This Hu has a pear shaped body which swells at the belly above a flared circular base and contracts at the neck. From the neck, the vessel flares out forming a wide mouth  More »

This Hu has a pear shaped body which swells at the belly above a flared circular base and contracts at the neck. From the neck, the vessel flares out forming a wide mouth decorated on the side with a plain band. A second band divides the mouth and upper belly, and a third band appears accross the center of the belly below two taotie mask handles. During the Han Dynasty, the tradition of casting bronze vessels for use in ritual ceremonies continued. By this time, the shapes of vessels had become canonized and subject to many stylistic restrictions. However, technological advances had enabled foundries to increase production, making them more accessible to wealthy patrons. This Hu is classified as a wine holding vessel, serving an important role in the indulgent lifestyle of the wealthy and the rites and ritual of the Han. - (H.038)   « Less

The period from 206 B.C. to 220 A.D. is known as the Han Dynasty. Under the Han rulers, science and technology made remarkable strides; paper, the compass, and the  More »

The period from 206 B.C. to 220 A.D. is known as the Han Dynasty. Under the Han rulers, science and technology made remarkable strides; paper, the compass, and the seismograph were invented; and steel was manufactured. The empire expanded into southern China, northern Vietnam and parts of Korea, and forged trade routes through Central Asia to India and Persia. Confucianism was reinterpreted and adopted as the official state ideology, and a national university was established for the training of Confucian officials. The political unity of the Qin was preserved, but sanctioned by Confucianism so that Chinese of today still look back on this epoch with pride and call themselves "men of Han." Diversity developed within the culture: native and foreign, Confucian and Taoist, courtly and popular.A beautiful blue/green patina attests to the age of this vessel. The elegant shape of the body reveals the expert metalwork of the Han artists. The flaring lip of the vessel and the two circular handles complement the forms of the oval body. This bowl may have been used for ritual offering in ancestor worship ceremonies. Perhaps, it functioned secularly for dispensing sauces or rice at Imperial banquets. Considering the rarity and value of bronze during the Han era, this vessel was clearly a prized possession reserved for the Imperial elite or their close intimates. This ancient treasure has only become more splendid and more precious with age. - (FZ.398)   « Less

This bronze fang hu is notable for its elegant simplicity. Such a vessel would have functioned as a ritual container for the storage and transportation of sumptuous wines.  More »

This bronze fang hu is notable for its elegant simplicity. Such a vessel would have functioned as a ritual container for the storage and transportation of sumptuous wines. This refined fang hu is essentially unadorned, save for two decorative Tao Tieh mask handles that have been attached to the swelling body. These stylized animals represent a type of dragon found in Chinese mythology. Their abstracted representation demonstrates, as well as the incised patterns, the influence of previous styles such as the Zhou Dynasty. A lid caps this fang hu, embellished with four abstract “handles” that appear to be highly stylized birds. Over the ages, the bronze has acquired a fabulous patina of green hues, adding both delightful colors and pleasing textures to this otherwise sparsely adorned vessel. Such a work, forged from bronze, would have been the treasured possession of an elite member of the social hierarchy. Quite simply, only a court nobility of wealthy merchants could afford such a luxury. Although this vessel would have served 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 Han Dynasty, both in this world and the next. - (H.813)   « Less

This diminutive bronze hu is notable for its elegant simplicity. Such a vessel would have functioned as a container for the storage and transport of sumptuous wines. A band  More »

This diminutive bronze hu is notable for its elegant simplicity. Such a vessel would have functioned as a container for the storage and transport of sumptuous wines. A band in low relief decorates the surface of the exterior along the join of the shoulder and the neck. This band complements the lower half of the body that is raised slightly when compared to the neck and middle. As well, two decorative Tao Tieh mask handles have been attached to the shoulder of the hu. These stylized animals represent a type of dragon found in Chinese mythology. Their abstracted representation demonstrates the influence of previous styles on the art of the Han, including the Zhou Dynasty. A lid caps this hu, embellished with a stylized foliate motif rendered in low relief. Over the ages, the bronze has acquired a fabulous patina of alternating green and rusty brown hues, adding both delightful colors and pleasing textures to this otherwise sparsely adorned vessel. Such a work, forged from bronze, would have been the treasured possession of an elite member of the Han Dynasty social hierarchy. Quite simply, only a court nobility of wealthy merchants could afford such a luxury. 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 Han Dynasty, both in this world and the next. - (H.814)   « Less