The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”Green and brown glaze vessels of the Han Dynasty are generally based on bronze predecessors but feature distinctive variations that are quite pleasing. This hu is notable for its striking surface appearance. The gorgeous green glaze recalls similar works in bronze, and the glaze has acquired a beautiful, soft iridescent patina over the ages that almost gives off a bluish hue. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolved the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl.Groups of parallel bands decorate the surface of the exterior on the rim, at the join of the neck and the shoulder and just below the widest swelling of the body. These bands serve to divide the vessels into segments that creates a nice visual flow to the piece. Zigzag lines weave along the body, creating a rhythmic pattern that plays against the straight bands. The mouth is emphasized with a gently flaring rim, offsetting the low base upon which the vessel rests. 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.811)   « Less

Green and brown glaze vessels of the Han Dynasty are generally based on bronze predecessors but feature distinctive variations that are quite pleasing. This green-glazed hu  More »

Green and brown glaze vessels of the Han Dynasty are generally based on bronze predecessors but feature distinctive variations that are quite pleasing. This green-glazed hu is notable for its elegant simplicity. Three parallel bands rendered in low relief decorate the surface of the exterior at the join of the neck and the shoulder. These bands serve to divide the vessels into segments that create a nice visual flow to the piece. Two purely decorative Tao Tieh mask handles intersect these bands. These stylized animals represent a type of dragon found in Chinese mythology. The gorgeous green glaze recalls similar works in bronze, and the glaze has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. 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.812)   « Less

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of  More »

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of the Sacred Mountain, featuring various animals and mythological creatures climbing towards its jagged peak. The container stands raised on three charming feet molded in the shapes of bears carrying the vessel on their backs. The side of the body is embellished with a panel in low relief depicting a mythological hunting scene. Here, the combination of swirling terrain, undulating tree, and rampant beasts recall the motifs of the lid. The gorgeous green glaze recalls similar works in bronze, and the glaze has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. Although this vessel would have functioned as a food storage container in life, it was found discovered buried in a tomb. Such a work might have originally been buried containing food inside, to be consumed by the deceased in the afterlife. A symbol for the bountiful pleasures of life, for eating and feasting, this lien 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.827)   « Less

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of  More »

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of the Sacred Mountain, featuring various animals and mythological creatures climbing towards its jagged peaks. The container stands raised on three charming feet molded in the shapes of bears carrying the vessel on their backs. The side of the body is embellished with a panel in low relief natural motifs reiterating the Sacred Mountain. Here, tigers and bears are seen frolicking through the countryside. Two purely decorative Tao Tieh mask handles, depicting mythological Dragons, are also visible on the side of the body. These Tao Tieh masks relate to similar bronze examples where the handles are actually functional. The gorgeous green glaze recalls such bronze works. Although this vessel would have functioned as a food storage container in life, it was found discovered buried in a tomb. Such a work might have originally been buried containing food inside, to be consumed by the deceased in the afterlife. A symbol for the bountiful pleasures of life, for eating and feasting, this lien 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.828)   « Less

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant simplicity. Two sets of three parallel bands rendered in  More »

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant simplicity. Two sets of three parallel bands rendered in very low relief decorate the surface of the body. These bands serve to divide the vessels into segments that create a pleasing visual flow to the piece. The vessel stands raised on three charming feet molded in the shape of bears holding up the piece. The lien features a detachable lid decorated with a floral motif and featuring some early Chinese characters around the pedals. The gorgeous green glaze recalls similar works in bronze, and the glaze has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. Although this vessel would have functioned as a food storage container in life, it was found discovered buried in a tomb. Such a work might have originally been buried containing food inside, to be consumed by the deceased in the afterlife. A symbol for the bountiful pleasures of life, for eating and feasting, this lien 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.830)   « Less

Reddish earthenware globular body with a plain band around the shoulder and green lead glaze throughout.Similar in shape to a bronze hu (to which it owes its shape), these  More »

Reddish earthenware globular body with a plain band around the shoulder and green lead glaze throughout.Similar in shape to a bronze hu (to which it owes its shape), these lead glazed ceramic versions emerged in Shaanxi during the second century BCE. They were executed in diverse shapes, the most luxurious examples having moulded low-relief friezes. The two animal masks with rings (pushou xianhuan) here serving as decorative handles, reflect the style of contemporary door-knockers.Examples of this type of globular jar with flat bottom have been found in late Western Han tombs in Shaanxi and Henan. Although a number of scholars have proposed that lead-flux glazes ultimately could have derived from the West, their emergence was probably encouraged by Chinese Daoist practice. In fact, Daoist alchemists in their search for immortality had since the Eastern Zhou period developed formulas involving the use of smelted lead, which were believed to produce elixirs able to transform the body if swallowed. The result of melting lead with sand and clay during the preparation of these immortality-granting potions was likely to have been noticed by the potters, who eventually adapted the process for glazing.For comparable examples see: Kaogu 1982.3: 226; Kaogu xuebao 1991.2: 245-6; - (LA.523)   « Less

Buff earthenware with moulded decoration and straw-coloured lead glaze.Similar in shape to contemporary bronze Hu vases , lead glazed ceramic versions emerged in Shaanxi  More »

Buff earthenware with moulded decoration and straw-coloured lead glaze.Similar in shape to contemporary bronze Hu vases , lead glazed ceramic versions emerged in Shaanxi during the second century BCE, mostly to replace their metal prototype in tomb furnishings (mingqi). They were executed in diverse shapes, the most luxurious examples having moulded low-relief friezes.The two animal masks with rings (pushou xianhuan) here serving as decorative handles, reflect the style of contemporary door-knockers.The scene with various creatures could be interpreted as either a royal hunt or a depiction of the legendary Immortals land. In both cases a customary auspicious scene found on various media, from gilded boshanlu censers to lacquer and textiles.Examples of this type of globular jar with flat bottom have been found in late Western Han tombs in Shaanxi and Henan, confirming the purpose of this type of ceramic ware.Although a number of scholars have proposed that lead-flux glazes ultimately derived from the West, their emergence was probably encouraged by Chinese Daoist practice. In fact, Daoist alchemists in their search for immortality had since the Eastern Zhou period developed formulas involving the use of smelt lead which were believed to produce elixirs able to transform the body if swallowed.The result of melting lead with sand and clay during the preparation of these immortality-granting potions were likely to have been noticed by the potters, who eventually adapted the process for glazing.For comparable examples see:Kaogu 1982.3: 226Kaogu xuebao 1991r.2: 245-6 - (LO.617)   « Less

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of  More »

Lidded food containers of this type are known as liens. This lively green-glazed lien is notable for its elegant decorations. The fabulously molded lid takes on the form of the Sacred Mountain, featuring various animals and mythological creatures climbing towards its jagged peaks. The container stands raised on three charming feet molded in the shapes of bears carrying the vessel on their backs. The side of the body is embellished with a panel in low relief natural motifs reiterating the Sacred Mountain. Here, tigers and bears are seen frolicking through the countryside. Two purely decorative Tao Tieh mask handles, depicting mythological Dragons, are also visible on the side of the body. These Tao Tieh masks relate to similar bronze examples where the handles are actually functional. The gorgeous green glaze recalls such bronze works. Although this vessel would have functioned as a food storage container in life, it was found discovered buried in a tomb. Such a work might have originally been buried containing food inside, to be consumed by the deceased in the afterlife. A symbol for the bountiful pleasures of life, for eating and feasting, this lien 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. - (CK.0302)   « 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.The extensive polychrome painting that decorates the body and the lid of this vessel, depicting charming foliate and geometric motifs, is quite rare. Seldom do more than traces of pigments survive in tact. Here, designs rendered in red, light blue, and white are easily discerned against the dull gray hue of the fired terracotta. This wine vessel was found interred alongside a deceased nobility or elite member of the Han social hierarchy. During the Han Dynasty, it was believed that the afterlife was an extension of our earthly existence. Thus, logically, if we require food and drink to nourish our bodies on earth, we require the same to nourish our souls in the next world. 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.621)   « 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.The extensive polychrome painting that decorates the body and the lid of this vessel, depicting charming foliate and geometric motifs, is quite rare. Seldom do more than traces of pigments survive in tact. Here, designs rendered in red, violet, and white are easily discerned against the dull gray hue of the fired terracotta. This wine vessel was found interred alongside a deceased nobility or elite member of the Han social hierarchy. During the Han Dynasty, it was believed that the afterlife was an extension of our earthly existence. Thus, logically, if we require food and drink to nourish our bodies on earth, we require the same to nourish our souls in the next world. 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.622)   « Less