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, 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.623)   « 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 of this vessel, depicting swirling foliate and abstract motifs, is quite rare. Seldom do more than traces of pigments survive in tact. Here, designs rendered in red and white are easily discerned against the dull gray hue of the fired terracotta. Bands highlight the low neck, accentuating the join of the neck and body. This food storage container 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. Although these vessels remain empty today, they once held grains or other substances meant for consumption in the afterlife. A symbol for the bountiful pleasures of life, for ceremonial feasting and celebrations, this container 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.625)   « 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 of this vessel, depicting swirling foliate and abstract motifs, is quite rare. Seldom do more than traces of pigments survive in tact. Here, designs rendered in red and white are easily discerned against the dull gray hue of the fired terracotta. Bands highlight the low neck, accentuating the join of the neck and body. This food storage container 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. Although these vessels remain empty today, they once held grains or other substances meant for consumption in the afterlife. A symbol for the bountiful pleasures of life, for ceremonial feasting and celebrations, this container 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.626)   « 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.This three-part steamer (alternately known as a Yan or Xian) was discovered buried alongside an important member of the Han Dynasty social hierarchy. The raised tripod vessel at the bottom would have been placed atop a fire as water boiled inside. The steam would rise upwards through the grated opening of the middle vessel, where it would cook the contents housed inside the upper two portions. The top piece served to trap the steam inside and thus quicken the cooking process. No doubt modern culinary techniques have altered little from this centuries old device. However, this work is not remarkable so much for the sophisticated culinary culture of the Han, as much as for the beauty and sophistication of the design. Rarely does the amount of unfired pigment that grazed this Yan survive the ravages of time and the stresses of excavation.Wonderful red and white highlights give an elegance to the otherwise dull gray surface. Swirling foliate patterns cover the sides of the upper parts while the tiered elevations of the tripod are embellished with alternating red and white bands. Such a 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 Han 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.627)   « 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.This extensive variety of this stunning collection is equaled only by its rarity. A splendid example of mingqi, literally translated as: “items for the next world,” this dining set was specifically commissioned for use in the afterlife. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existence. Thus, logically, as we require wood and drink to nourish our bodies while on earth, we would require the same to nourish our souls throughout eternity. This unrivaled collection attest both to the wealth of their deceased owner as well as the familial piety of his ancestors who commissioned the many works. With such an extensive set, surely the soul of the deceased would be well provided for.While similar collections have been discovered, rendered in a variety of media, this set is unique both for the breadth of forms and for the uniformity of medium and style. Featuring food and wine vessels, bowls, dishes, plate, and serving ladles, this set still retains most of its original bright red pigment, making the set that much more astounding. Some of the bowls are adorned with marvelously detailed handles in the form of dragon heads. Gorgeous Tao Tieh masks, depicting stylized dragon heads holding handles in their mouths, decorate the side of a large bowl. This set presents us with a magical picture of the sophisticated culinary and ceremonial traditions of ancient China. However, furthermore, this collection symbolizes the spiritual and philosophical beliefs of the Han Dynasty. Overall, this set is a testament to the enormous cultural wealth, history, and heritage of China. - (H.655)   « 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, blue, 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.624)   « 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 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.”This vessel, covered in remnants of white paint that may have originally served as a base coat for additional colors that have since faded away, has taken the form of a recumbent stag. The large, hollow oval body serves as the container. The outstretched legs rest on the ground and stabilize the vessel, keeping it from rolling over on itself. A stag head emerges from the front end. However, the face does not particularly evoke the image of a stag; instead, the facial features are more related to Han era equine sculptures. It is the undulating, spiky antlers that emerge from the top of the head that identify the creature as a stag. Otherwise, an opening projects from the top of the animal’s back. Precious liquids like wine or water would have been poured into the vessel through this opening. On the back end, a truncated tail functions as a spout. We can imagine servants presenting this vessel to guests at an elegant dinner party for nobles and court officials: as the containers was tipped, wine would have gently poured forth from the tail; a truly charming way to serve refreshments. 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. - (H.1035)   « 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 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.”This vessel, covered in remnants of white paint that may have originally served as a base coat for additional colors that have since faded away, has taken the form of a recumbent ram. The large, hollow oval body serves as the container. The outstretched legs rest on the ground and stabilize the vessel, keeping it from rolling over on itself. A ram head emerges from the front end. However, the face does not particularly evoke the image of a ram; instead, the facial features are more related to Han era equine sculptures. It is the arching horns that rise out of the top of the head that identify the creature as a ram. Otherwise, an opening projects from the top of the animal’s back. Precious liquids like wine or water would have been poured into the vessel through this opening. On the back end, a truncated tail functions as a spout. We can imagine servants presenting this vessel to guests at an elegant dinner party for nobles and court officials: as the containers was tipped, wine would have gently poured forth from the tail; a truly charming way to serve refreshments. 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.1034)   « 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 term “Fang” is a prefix used to describe a squared-off or faceted variation of a normally rounded form, in this case the Hu wine storage vessel. The extensive polychrome painting that decorates the sides and the lid of this vessel, depicting charming avian and geometric motifs, is quite rare. Seldom do more than traces of pigments survive in tact. The beautifully Tao Tieh masks, depicting stylized dragons holding handles in their mouths, are noteworthy for their fine relief details and painted highlights. 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. The wine once contained within this Fang Hu has vanished, perhaps consumed during the celestial feasts of the afterlife. While this vessel represents the sophisticated artistic and culinary traditions of the Han, it also symbolizes their religious and philosophical beliefs. This Hu once contained wine to nourish the spirit of the deceased eternally. Today, the vessel itself nourishes our eyes with timeless beauty and fills our minds withhistorical and cultural insight. - (H.644)   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 16" (40.6cm) high x 17" (43.2cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 16" (40.6cm) high x 17" (43.2cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less