Cloisonn é vase during the Kangxi reign of the Qing Dynasty
This is a Qing Dynasty cloisonn é vase, now collected at the Minneapolis Museum of Art in the United States. Cloisonn é technology was introduced to China from Byzantium (now Istanbul) between 1200 and 1400 AD, but Chinese craftsmen endowed it with unique Chinese characteristics. During the reigns of Emperor Kangxi (1662-1722) and Emperor Qianlong (1736-95) of the Qing Dynasty, the craft of cloisonn é was perfected and reached its artistic peak. At the bottom of the vase, there is a delicate moire band. Each moire is like Ruyi's head, and there is a narrow lotus curl.
Qing Dynasty cloisonn é cloisonn é enamel lotus pedestal
The Qing Dynasty cloisonn é cloisonn é enamel lotus pedestal is made of copper wire cut into various patterned contours, then filled with enamel glazes of different colors. After firing, polishing and other processes, it finally forms a brightly colored and exquisitely patterned artwork. These paintings often depict Buddhist scriptures, images of saints, or religious symbols, which not only have high artistic value, but also carry profound religious and cultural significance.
Qing Dynasty relief dragon patterned vase
This Chinese cultural relic is a porcelain vase from the Kangxi period of the Qing Dynasty (1662-1722), which is now collected in the Smithsonian Museum.
Gilded Bodhisattva Statues of Qing Dynasty
The artifact is one of a pair of gilded bodhisattva statues from 18th century AD China. It is now housed in the Minneapolis Museum of Art. Although the two statues are mirror images of each other, they do not represent the same bodhisattva; they are Maitreya and Guanyin, respectively. They stand in elegant poses, holding the stems of a lotus flower, probably part of a sculptural trinity that surrounds a larger Buddha.
Late merchant bronze three-legged jue wine vessel
Jue is a vessel used in ancient China to serve warm wine in ancestor worship rituals. It is ovoid and supported by three spreading triangular legs, with a long curved beak on one side and a balanced handle on the other. Many examples have one or two ring handles on the sides and two column protrusions on the top, which may be used to enable people to lift the vessel with a belt. They are usually gorgeously decorated and have gluttonous decorations.
Shang Dynasty Bronze Gong Wine Ware
It's a ritual used to hold wine. It was mainly made during the reign of King Wu and King Zhao in the late Shang Dynasty (1300-1046 BC), and during the early Western Zhou Dynasty (1046-977 BC). Found in Anyang, this deep, boat-shaped wine-tipper demonstrates almost perfect craftsmanship. On the lower part of the handle and side are carved Taotie masks.
Western Zhou tripod
This relic is a tripod, a bronze vessel, and its ceramic prototype can be traced back to the Neolithic Peiligang culture. In the early Shang Dynasty (1600-1300 BC), bronze versions of the Pingzu Ding were cast. Ding is an ancient Chinese cooking or storage vessel, usually with two handles at the edge, supported by three or four columnar legs. The shape of the tripod is almost ubiquitous in China's early eras, including Neolithic ceramic vessels and Shang dynasty bronze vessels, as well as many later bronze and glazed pottery imitations. This artifact is in the collection of the Minneapolis Museum of Art.
Big Mouth Water Bottle (Cultural Relic of Haihun Marquis Tomb)
The Haihun Marquis Tomb is located in Guanxi Village, Datang Ping Township, Xinjian District, Nanchang City, Jiangxi Province. It is the tomb of Liu He, the Haihun Marquis of the Western Han Dynasty. It is the best preserved, structurally complete, functionally laid out, and has the most complete sacrificial system of the Western Han Dynasty marquis cemetery in China so far. It is also the largest known area, rich in connotation, and relatively well preserved tomb of Han Dynasty local marquis levels in southern China. More than 10000 pieces (sets) of precious cultural relics such as gold, bronze, iron, jade, lacquered wood, bamboo slips, and wooden slips showcase the dream and glory of the Haihun civilization.
Tiger Phoenix Frame Hanging Drum
Cultural relics of Hubei Provincial Museum. Tiger Phoenix Hanging Drum, also known as Tiger Phoenix Hanging Drum or Tiger Bird Hanging Drum. Excavated from Tomb No. 2 of the Warring States Chu Dynasty in Jiuliandun, Hubei, it is a typical representative artifact of Chu musical instruments. This is one of the largest tiger shaped phoenix frame drums excavated from a Chu tomb in China. Its height is about 1 meter, with symmetrically arranged double phoenixes and double tigers as the drum frame. The base consists of two crouching tigers with their backs facing each other, with a phoenix standing on each tiger's back. The overall shape of the work is unique and elegant, with exquisite design, reflecting the designer's brilliant imagination and superb artistic expression, and possessing strong Chu cultural characteristics.
Minneapolis Institute of the Arts Clay Ceramic Tianma
In the Eastern Han Dynasty from the 1st to the 3rd century AD, Chinese ceramic art reached a high level, and one representative work is the ceramic heavenly horse. It is an exquisite ceramic artifact that vividly depicts a galloping horse. It is usually made of fine clay and crafted through meticulous sculpture and painting techniques. The shape of Tianma is lifelike, sculpted according to the actual form and movement of the horse, expressing elegance, freedom, and a sense of power. Its smooth lines, graceful posture, and lifelike details showcase the ceramic artist's superb skills and observation of horses.
Chinese antique bronze wine vessel owl jar
Chinese antique bronze wine pot
Chinese sacrificial wine vessels bronze square Yi
Antique Chinese copper square teapots and wine vessels from the Eastern Zhou Dynasty
The Chu musical instrument "Tiger Seat Phoenix Frame Hanging Drum" from the Warring States period
Tiger Phoenix Frame Hanging Drum, also known as Tiger Phoenix Frame Hanging Drum or Tiger Bird Frame Drum. Excavated from Tomb No. 2 of the Warring States Chu Dynasty in Jiuliandun, Hubei, it is a typical representative artifact of Chu musical instruments. This is one of the largest tiger shaped phoenix frame drums excavated from a Chu tomb in China. Its height is about 1 meter, with symmetrically arranged double phoenixes and double tigers as the drum frame. The base consists of two crouching tigers with their backs facing each other, with a phoenix standing on each tiger's back. The Tiger Seat Phoenix Frame Hanging Drum was an important type of musical instrument in the Chu state during the Warring States period. It is a lacquerware from the Eastern Zhou Dynasty, unearthed from Tomb No. 2 of Jiuliandun in Zaoyang City, Hubei Province. It is an exquisite handicraft that combines lacquer, carving, and painting techniques organically.
Changsha Kiln Lion Candlestick "created by Hu Wuqiang
The Tang Dynasty Changsha kiln blue glazed brown green colored lion shaped candle holder has a height of 13.2 centimeters, a diameter of 2.2 centimeters, and a base diameter of 9.8 centimeters. The device is in the shape of a sheep, with vertical ears, closed mouth, rolled tail, and a horizontal view. Carrying a cylindrical candle tube, crouching on the carved throne with bent limbs. Round seat, flat bottom. The front, left, and right sides of the abdomen each have pointed leaf shaped doors, which resemble the shape of a lion. The tire is gray and white in color, with light brown green stripes on the body and a light yellow green glaze on the outer cover. The device has a stable shape, a gentle and cute animal image, and colorful glaze decoration. Early celadon candle holders were mostly shaped like animals. During the Three Kingdoms period, there were also sheep shaped candlesticks.
Shang Dynasty Sanxingdui bronze ware "Shang Bronze Man Head"
This cultural relic is a bronze ware from the Shang Dynasty, with a human head of Fang Yi. It comes in two types: flat topped and round topped, with large or vertical ears and perforated earlobes. Garlic nose, wide mouth, and thick neck. Wrap the hair backwards and add braids or hair accessories to the back of the head. It is currently collected in the Sanxingdui Museum.
Qing Dynasty Qianlong period vase "Carving Peacock Stone Vase"
The Qianlong seal is located within the square border on the bottom. In the form of a water basin decorated with character patterns and dragons, surrounded by flower branches.
Late Shang Dynasty marble sculpture "Double sided bird faced tube of marble carving"
This pole decoration with two owl heads is the same as R005055. The owl faces on opposite sides are identical and separated by carved lines. The shape of the head is a top heavy, top light trapezoid. The curved beak of an owl is presented in deep relief and decorated with raised lines and jagged edges. The owl's horns, ears, and chin are depicted in low relief. The owl has eyes engraved in the shape of "chen". The top and bottom of the cultural relic are not decorated, with a diamond shaped top and an oval shaped bottom. Passing through the middle of the artifact is a tubular hole with parallel grinding tool marks on its inner wall, and it is suspected that the hole was created using tubular drilling technology.
The Tang Dynasty musical instrument "Five stringed Pipa"
The pipa originated in China and is generally a four stringed instrument. The five stringed instrument is specifically called the five stringed instrument. The "Book of Rites and Music" in the Old Book of Tang states: "The pipa, five stringed instrument, and Kabuki have been loved since Wenxiang, and have been particularly popular since the Heqing period." The five stringed pipa was a plucked string instrument played by a few ethnic groups in northern China in ancient times. Abbreviated as Wuxian. With a long history and unique design, it was popular in the vast Central Plains region of China during the Tang Dynasty and spread eastward to Japan, becoming a historical witness to cultural exchanges between China and Japan.
Bronze ware from the Zhou Dynasty, "Zhou Dynasty Food Utensils - Tripod"
The tripod is regarded as a symbol of national importance, power, and prestige. The character "tripod" is also endowed with extended meanings such as "distinguished", "noble", and "grand", such as "one word nine tripods", "famous name", "peak period", "strong assistance", and so on. It is also a ceremonial vessel for recording achievements. During major celebrations or receiving rewards, the rulers or nobles of the Zhou Dynasty would cast cauldrons to record the grand occasion. This kind of etiquette still has a certain influence today.
Ceramic "Three Colored Double Dragon Zun" from the Tang Dynasty
This statue is a vessel used by Tang Dynasty nobles to serve alcoholic beverages. The authentic product was created during the prosperous Tang Dynasty and was unearthed from a Tang tomb in Luoyang. It has now been circulated among the people. The upper half of the statue is glazed with yellow, green, and white spots, while the lower half is plain. Pankou, neck tied, round shoulder, bulging belly, flat bottom, with symmetrical double dragon handles carved between the shoulder and the mouth, symbolizing "two dragons playing in the water". The shape is full and vivid. This exhibit is currently housed in the Luoyang Tang Sancai Ceramics Museum. First stored in the Tang Sancai Ceramics Museum in Luoyang.
Ceramic Tile at the Top of the White Tower at Zhakou during the Song Dynasty
The Zhakou White Pagoda is entirely carved and built with white stone, and is a carved tower in the style of a wooden tower. At the bottom of the tower is the pedestal, carved with patterns such as mountain peaks and waves, symbolizing the "Nine Mountains and Eight Seas", with a Sumeru pedestal standing on top. The waist of the tower seat is engraved with Buddhist scriptures, and the tower body is decorated with reliefs of Buddha, Bodhisattva, and stories of sutras, with vivid character images. The Zhakou White Pagoda is a typical example of a wooden tower architecture from the late Northern Song Dynasty, and therefore has high research value.
The Bronze Statue of Zhou Dynasty's Respectful Posture
This small and delicate figure stood with outstretched arms in a respectful posture. His curled fingers formed a socket that could grip the handle of the oil lamp. The character is wearing a long waistcoat with a regular waistband fixed by a belt hook around their waist. Throughout the entire Shang and Western Zhou dynasties (1600-771 BC), bronze figures were rare, but now several bronze figures have been unearthed from tombs of the Warring States period in the late Zhou dynasty as lamp posts. The strong sculptural quality of this character foreshadows the naturalism encountered in the subsequent Qin (221-206 BC) and Western Han (206-25 BC) eras.
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