19th Century Qing Dynasty Cultural Relics Guan Dao
A Cargo Ship Loading Jingdezhen Porcelain in Qianlong Period of Qing Dynasty
On-glaze painted pot of Jingde carp, a cultural relic of the Qianlong period
Eighteenth Century Qing Dynasty Relics Lioness and Cub Jingde overglazed porcelain
This artwork is from Jingdezhen, China, and was made between 1700 and 1720. This is a porcelain statue, its special feature is the use of "glazed" decoration technology, painted on the unglazed body (also known as "green color").
Qing Dynasty Yongzheng Cultural Relics Hollow Golden Overglaze Color Porcelain Bowl
This porcelain is an antique from the Yongzheng period of the Qing Dynasty (1723-1735) and was produced in Jingdezhen. Yongzheng period porcelain is famous for its exquisite craftsmanship and unique aesthetic style. Yongzheng period porcelain glaze color variety, including pastel, enamel, fighting color and so on. Enamel porcelain has been greatly developed in the Yongzheng period and has become a work of art integrating poetry, calligraphy, painting and printing.
On-glaze painted pot of Jingde carp, a cultural relic of the Qianlong period
Jingde glazed painted carp fish tank during the Kangxi period of the Qing Dynasty
This fish tank is from Jingdezhen, China, and was made during the Kangxi period of the Qing Dynasty (1700-1720). It features glazed painting and gold decoration, showing the exquisite craftsmanship of Jingdezhen porcelain at that time. The fish tank is decorated with plants and carp patterns, implying auspiciousness and prosperity, and is a common symbol in traditional Chinese culture.
19th century Qing Dynasty cultural relic porcelain gold-plated vase
This vase dates back to the 19th century. It is embedded in a gold-plated metal frame with dragon-shaped handles and feet with ear-shaped decorations.
Qianlong Ancient Yuexuan Porcelain
This porcelain vase was made between 1736 and 1795. It belongs to China's Qing Dynasty (1644-1911) and Qianlong (1736-1795). The porcelain vase is decorated with colored franc glaze and belongs to "ancient yuexuan porcelain". The overall height of the porcelain vase is 15.4cm (6 and 1/16 inches). This porcelain vase is currently in the collection of the Cleveland Museum of Art, funded by the John L. Severance Foundation (collection number: 1963.514).
18th century Qianlong period palace carved lacquer box
The carved lacquer box was created by the Qing court workshop during the period of Emperor Qianlong. Carving lacquer is a fine traditional process, made by multi-layer lacquer coating and complex engraving technology. These crafts usually display superb skills and exquisite design, symbolizing imperial power and nobility. This carved lacquer box is currently in the collection of the Jaguelon University Museum in Poland.
Kirin Statue in Qing Dynasty
18th Century Chinese Cloisonne Vase
Cloisonne, also known as cloisonne enamel, is a traditional Chinese metal handicraft. It originated in the Ming Dynasty and reached its peak in the Qing Dynasty. Cloisonne products are usually bright colors, exquisite patterns, common themes are flowers, birds, auspicious patterns and so on. It is not only practical, but also has a high artistic value, known as the "mother of porcelain".
Bronze Lion Incense Burner in Qing Dynasty Temples
The "Bronze Lion Incense Burner in Qing Dynasty Temple" is a pair of 17th century Chinese cultural relics, currently collected at the Minneapolis Museum of Art in the United States. This lion shaped incense burner is a guard lion, and each of these auspicious beasts (Lin) has a unicorn. They are mythical animals endowed with the ability to distinguish between good and evil. These legendary animals appear in pairs and are used to stand on both sides of the imperial throne in the Forbidden City, representing the dignity, virtues, and wisdom of the royal family.
Qing Dynasty cinnabar lacquer snuff pottery pot
The "Qing Dynasty cinnabar lacquered snuff pottery pot" is a Chinese cultural relic from 1780-1850 AD, currently housed in the Minneapolis Museum of Art in the United States. This cultural relic is made of ceramics and decorated with cinnabar paint on the outside.
During the Qianlong period, a copper gilded incense burner with inlaid gemstones and auspicious beasts was used
This incense burner is made using copper gilding technology and is shaped like a mythical beast. The incense burner has an open mouth, with the neck and back of the beast integrated into one. The animal body is the main body of the incense burner, with the tail curled up and the head looking up. The mouth is open and the teeth are exposed. The details are carved using intaglio and relief techniques, decorated with red, white, green and other colored gemstones. The beast is magnificent and colorful, with a majestic expression. The carving is exquisite, the image is realistic, and it exudes a sense of elegance and wealth. The history of incense burning has a long history in China, and the famous Boshan furnace in the Han Dynasty was designed by people for incense burning. Produced between 1736-1795, it is now housed in the Minneapolis Museum of Art in the United States.
Qing Dynasty gilded bronze statue of Guan Yu riding on horseback
Guan Yu (160-219 AD), also known as Yunchang, was an important general and historical figure of Shu Han during the Three Kingdoms period in China. He is a trusted aide and deputy general of Liu Bei, as well as a legendary figure in Liu Bei's clothing token "Scratching Bones for Healing". Standing at seven feet and five inches in length, with a beautiful and majestic beard, and high martial arts skills. He made significant military achievements for Liu Bei in the Battle of Red Cliffs and was awarded the title of "Marquis of Wu", becoming an important assistant and protector of Liu Bei. He is known for his loyalty and bravery, and is revered as the "Martial Saint" by people. Known as' Guan Gong 'by later generations and widely worshipped. The spirit and story of Guan Yu are widely praised in Chinese culture and have become legendary figures in history.
Qing Dynasty gilded offerings to Buddha
This is a Buddha statue from 1850 AD, currently housed in the Minneapolis Museum of Art in the United States. This Buddha statue sits in the tentacle print on the ground, depicting the scene of Buddha about to awaken under the Bodhi tree. This moment is often described as a powerful battle between good and evil, confusion and insight.
Great Fortune "gourd shaped plaque
The magnificent royal decorative lapis lazuli "Da Ji" double gourd shaped plaque from the Qianlong period.
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.
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.
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.
The ceramic "Fengxiang Pink Porcelain" from the Jiaqing period of the Qing Dynasty
This Chinese cultural relic is a porcelain vase from the Jiaqing period of the Qing Dynasty (1796-1820). The vase is made of transparent and colorless underglaze powder colored porcelain, fired in Jingdezhen, and is now collected in the Patna Museum of Art and History.
Cultural relic from the Qianlong period of the Qing Dynasty: "Recommended Boxes from the Qianlong Period"
In traditional religious beliefs, offering sacrifices or sacrifices is the most common religious behavior. In order to express respect and reverence for gods or ancestors, or to achieve the purpose of communication between humans and gods, people will prepare various foods as sacrificial offerings and offer various types of gold paper as offerings. They will also use various sacrificial and offering utensils to express respect and prayers to the gods, such as shrines, sedan chairs, and other utensils that can be directly used for offerings to the gods; Cups, chopsticks, and poems are used as tools for seeking divine approval; Incense burners, recommendation boxes, and other utensils are used to hold offerings. The utensils used to hold various types of offerings are diverse and complex in variety, and their production techniques and styles are tailored to meet the various forms and purposes of offerings.
Porcelain "Sacrificial Blue Sky Ball Vase" from the Qianlong period of the Qing Dynasty
This vessel shape appeared during the Ming Xuande period, with a large and upright body, a majestic aura, and a sturdy and antique shape. It is named after its round and bulging belly resembling a spherical shape. The sacrificial blue glaze is often used during sacrificial ceremonies, hence it is called sacrificial blue glaze. It is also known as Jilan or Gemstone Blue.
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