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	Object Name:	Description:	Period:

1.	Cizhou-type small jar	This is a Cizhou-type small jar with an inward-turning lipped mouthrim, a short neck, slanting shoulders, two ears connecting the mouth with the shoulders, a globular body and a short footring. The exterior is thinly and evenly white glazed to the area where the body starts tapering to the bottom, leaving the rest and the base of the footring unglazed. As seen from the exposed body, a layer of white slip may have been applied so as to make the coarse body surface smooth and white. The interior of this jar is unglazed with obvious wheeled marks, but the inside bottom is partially glazed in celadon. There are four spur marks inside on the bottom. The exterior of this jar is decorated with four brown 'bowstring' circles, two on top of the globular body and the other two on the lower part. Big underglaze brown splashes are visible around the two ears. Small brown splashes scatter the whole body. Brown splashes are a type of splashed decoration and a technique unique to the northern white wares, especially those produced in the Cizhou kiln* during the Song dynasty. Judging from the shape and the decorative style of this jar, it is highly likely that this piece was produced during the northern kilns of the Song dynasty, possibly from the Cizhou kilns in Hebei province. *The Cizhou kiln, a well-known kiln in the Northern Song and Jin dynasties, was located in the present-day Guantai and Pengcheng area, of the Ci county, in the Hebei province. This was under the administration of the Cizhou prefecture during the Song. The Cizhou kiln commenced firing in the Five Dynasties until the early Northern Song, developed in the mid-and late Northern Song period and then reached its zenith in the Jin dynasty. After the Mongolian army occupied Cizhou, it gradually declined. Its main products include white ware, black ware and wares with underglaze black or brown decoration on a white background, the latter being of the finest Cizhou products. The white ware is often decorated with incised or sgraffito designs, or green or brown splashes, on incised designs on a ground of small punched rings (zhen zhu di hua hua). In the Song dynasty, the Cizhou kiln had a significant influence over ceramic production in other regions. Many other kilns fired Cizhou-type wares.	Attributed to the Song dynasty

2.	Rectangular jade pendant with irregular top	A fine jadeite pendant well carved in low relief with the calligraphic letters cháng mìng fù gùi (long life and wealthy) on one side and a simple stylized narcissus and long leaves on the other side. An important and beloved flower of the Chinese New Year, it is used as a symbol of good fortune and prosperity. Its simplicity and beauty make the narcissus a favorite motif in Chinese decorative art. The flower motif matches the meanings of the letters. This pendant can be given as a New Year gift.	Qing dynasty

3.	The Nan-Hai Guanyin (Guanyin of the South Sea)	A new iconography of the Guanyin, known as the the Nan-Hai Guanyin (Guanyin of the South Sea) came into being around the 12th century A.D. It went into a long period of neglect, then reemerged and triumphed over other forms of Guanyin during the 16th century A.D. This carving of the Bodhisattva Guanyin has strong Indian artistic influence as demonstrated by the facial features, robe, and accessories of the figure. The Guanyin is depicted here as a masculine and heroic being. The carving is simple in form and decoration. Although the Bodhisattva wears a sangha, the traditional robe falls with rhythmic folds, the deep-cut incised lines on his garment are rigid. He has an exposed chest. He carries a lotus branch with a lotus bud in his right hand, which is a symbol of purity. His right hand, with the thumb touching the forefinger, opens at the level of the hip in the Vitarka mudra, a symbolic hand gesture which assumes the sense of calming and consoling. The face is broad and slightly squared. There is a sense of gentleness and calmness. The body is not well-proportioned. Artists have created images of the Bodhisattva that inspire and comfort, drawing on local traditions and materials that venerate the life and the teachings of the Buddha and Bodhisattva. The dating of this carving is problematic. It is hard to categorize it to any artistic period in Chinese art, due to the minimal incised lines.

4.	Altar ching	A pale celadon-toned white Buddhist altar ching. A small round jade ring has suspended from it the ching which is decorated with the grain pattern and scroll design. Suspended from this is the dual dragons design embracing a sphere, and through the base of the dual dragons is a red cord which is tied to a white round circle which forms part of the main bell. Around this part are four dragon heads. Body of the ching is decorated with key fret design. There are also bats on this part. There is a wood stand that suspends the bell, but it is broken.	Ming dynasty

5.	Lacquer box	A rectangular red lacquered box with black lacquer on the inside of the box and lid. On the back side of the box is a figure of Hotei or Pu-Tai. He is thought to be an incarnation of Maitreya and attributed with the virtue of magnanimity. He is represented as a Buddhist monk: bald, unshaven, smiling, and with a huge bell. He holds a non-folding fan in the right hand and leans on a large sack which contains endless treasures. He is incorporated into Buddhist and Shinto cultures and is based on an eccentric Chinese Ch'an (Zen) monk. His image graces many temples, restaurants, and amulets. Hotei has become a deity of contentment and abundance. On the front side are the Takara-Mono, symbols of good augury or emblems of good fortune.

6.	Lotus leaf ashtray	A soapstone ashtray in the form of a curled lotus leaf with a lotus bud at one side and two seed pods at the other side. Simple carving lines radiate from a circle in the center, and suggest the veins of the leaf. The style is not very adroit. Another smaller rectangular curled lotus leaf with four stiff folds serves as the linked base of this astray. The artisan perhaps wanted to imitate the Qianlong period artistic style, however this piece is rather awkward.	Republican period

7.	Belt buckle with Buddhist endless knot design	A thin and elegant jade buckle with a square plaque elaborately carved with the endless knot motif. This mystic knot pattern, from which the Swastika was possibly derived, is one of the ancient Buddhist motifs. The Endless Knot (Sanskrit: shrivasta) is the infinite knot that may have originated as two intertwining snakes, and signifies long life, eternal love and the interconnection of all things. The simple, balanced form, with no beginning and no end, symbolizes the infinite knowledge of the Buddha. It is sometimes called the Knot of Eternity, an ancient symbol representing the interweaving of the Spiritual Path (or Dharma), the eternal flowing of time and movement. All existence is bound by time and change, yet ultimately rests serenely within the divine Eternal. The two decorative ends of this belt buckle carving are an additional stylized part of the endless knot, often seen in Tibetan Buddhist motifs. There are two small knobs on the reverse: one is like a button, the other is drilled (supposedly to insert a silk cord or silk thread).	Qing dynasty; Qianlong reign

8.	White wedding piece	A thin and elegant round jade ornament at the center of which is a stylized letter "Two-fold Joy" or wedded bliss, a mark that occurs on jade pendants, jade ornaments, porcelains, and enamels intended as gifts (Shuangxi Chinese character which means "double happiness," and was a popular wedding symbol of both happiness and longevity). The motive consists of two Hsi characters placed sided-by side with the horizontal strokes/bars running right across to unite the two characters. The open work is framed and filled with stylized foliage and tendrils. There are two flowers on both sides of the letter and two stylized bats at the bottom and the top of the letter. The symbol for bat is used to imply happiness. For several thousand years, the auspicious designs have been widely disseminated and admired in China because they are symbols of happiness, peace and safety, longevity, wealth, and honor. The piece was not intended to be worn by the newly weds; it was an expression of congratulations and of blessing the wedding.	Qing dynasty; Qianlong reign

9.	Carved jade screen "Carp"	Aesthetically speaking, the Chinese have a special appreciation for fish, especially the carp (or li yü), as an emblem of wealth or abundance, because of the similarity in the pronunciation of the words yü, fish and yü, superfluity. Unlike most altar spill vases that had the three-dimensional design of the carp motif during the late Ming or early Qng dynasty, this piece is flat and thin, almost two-dimensional, with the form of the Dragon-fish (Yü lung P'ing). The object is cleverly carved with fine undercutting, representing a legendary leaping carp about to be transformed into a dragon.* It is supported by fine high-relief waves. The uplifted head of the dragon-fish is crowned with an openwork horn. The fins, scales, and oversized tail have simple enclosing stippling and fine striations. With its scaly armor, the carp symbolizes martial attributes. It is admired for its struggles against the current, and therefore, it is the emblem of perseverance. From various legends mentioning that letters were found in the bellies of carp, the fish is also an emblem of epistolary correspondence. Although this piece is representational, it lacks the massiveness and plasticity of the late Ming period. By the end of the Ming period, the religious significance of the fish during previous eras seems to have been forgotten. Naturalistic carvings are typical of the late Ming period, when jade carvings of the fish were made to stand in the study of the scholar as an emblem of exalting achievement of the highest merit. However, under the Qng dynasty, the jade carver used the fish as a mere mode of decoration. This carving may approximately be dated to the late Qing period. * Chinese legends had it that the carp was a native of Huang Ho (the Yellow River). During the third month of each year, the carp had to leap the Wu-Mên cataract, overcome all the obstacles of the rapids of Lung Mên, leap the waterfall, and ascend the river to become a dragon. The fish is also a symbol of vigor, endurance, perseverance, and power.	Attributed to the Qing dynasty

10.	Shou-Lao (God of Longevity)	Also known as SHOU-HSING, SHOU-LAO, NAN-JI-XIAN-WENG, his name means "Star of Long Life". He is the God of Longevity and of Old Age and the most venerable member of the SAN-XING happiness trio.* He always carries the Golden Peach of Immortality from Xi Wang Mu's Holy Peach Garden.** He is always old, bald, and happy with a big smile and a long drooping mustache. In this carving, he holds in his right hand a pronged staff sculpted as a branch of peach. His elongated and protuberant head leans towards his left shoulder. Being softer and amorphous, this stone does not take the high polish jade; hence, the choice of using Agalmatolite in this carving makes it less clean and sharp than those carved in jade. The deep lines and the high relief carving validate that this piece belongs to the Qianlong period. Agalmatolite was a name applied in the past; it is now labeled pyrophyllite. * The three stellar gods of good fortune, which is a favorite motif in Chinese folk art. They are historical personalities who were deified in recognition of the special merits they accumulated. The San-Hsing are: Fu-Xing (Lucky Star), Lu-Xing (Star of Honor) and Shou-Xing (Star of Longevity). See Doré, Researches into Chinese Superstitions, 1918 (Bibliography).	Qing dynasty; Qianlong reign

11.	Amitabha Buddha	Amitabha Buddha is the Buddha of Infinite Light, one of the pentad of five transcendent Buddhas of the Mahayana and Vajrayana doctrines. "He whose splendor is immeasurable" is the Buddha of the Pure Land, the western paradise in which all mortals are reborn without distinction of sex; that the 'soul' is not bound by impurities and worldly desires. The Buddha resides in Sukhavati, the Western Paradise. He is seated in the half-lotus position; one leg is hidden beneath the other. He is represented in the meditation pose (dhyana mudra) but the hand gesture is unidentifiable. With the hands fashioned from terracotta, the whole carving consists of three pieces: 1) The stylized lotus throne. 2) The flaming aureole (jvala) with a protruding sliver that provides a backdrop to the Buddha and can be secured to the throne. It comprises two sections: the stylized flame on the outer rim in yellow glaze and the main plaque in uneven green glaze with a center vertical calligraphic line that reads "The statue of the Buddha was made on a blessed day of the fifth month, in the twelfth year of Wan-li reign" (c. 1585). 3) Some of the Buddha's prominent thirty-two physical markings (or lakshanas that characterize the Buddha) such as the urna (mole) between the eyes, the ushnisha (a bump in the middle of his head) and the long ears, are well emphasized. Although originally dated from the Ming period, this statuette may probably be a recent piece since the carving style is not sophisticated (the ushnisha and the hand gesture are gauchely and peculiarly represented), and the overall glaze is very uneven and dull.	Republican period

12.	Ivory amulet	Amulets and charms are used for two main purposes, the first being protection from pernicious ills and evil spirits, and the second being emblems for good wishes and fortunate lives. The amulet is traditionally a gift given to a child by a grandparent to express blessings on the life of those who wear them. In some cases the amulet contains an inscription to further express good wishes. It appears ivory was used in the twilight of the 19th to the 20th century as chips because of its durability and feel. Ivory is lightweight, smooth, and does not crack as easily when dropped compared to other mediums. This amulet contains no inscription or relief detail. However, it is still an amulet of protection as its very shape (the circle) indicates.	Qing dynasty

13.	Ivory amulet	Amulets and charms are used for two main purposes, the first being protection from pernicious ills and evil spirits, and the second being emblems for good wishes and fortunate lives. The amulet is traditionally a gift given to a child by a grandparent to express blessings on the life of those who wear them. In some cases the amulet contains an inscription to further express good wishes. It appears ivory was used in the twilight of the 19th to the 20th century as chips because of its durability and feel. Ivory is lightweight, smooth, and does not crack as easily when dropped compared to other mediums. This amulet contains an inscription which reads "May your life be like a gentle breeze blowing on the surface of the water."	Qing dynasty

14.	Ivory amulet	Amulets and charms are used for two main purposes, the first being protection from pernicious ills and evil spirits, and the second being emblems for good wishes and fortunate lives. The amulet is traditionally a gift given to a child by a grandparent to express blessings on the life of those who wear them. In some cases the amulet contains an inscription to further express good wishes. It appears ivory was used in the twilight of the 19th to the 20th century as chips because of its durability and feel. Ivory is lightweight, smooth, and does not crack as easily when dropped compared to other mediums. This amulet contains no inscription or relief detail. However, it is still an amulet of protection as its very shape (the circle) indicates.	Qing dynasty

15.	Cicada with dark markings	An old nephrite jade pendant carved as a cicada. This low-relief carving has minimal details with folded wings, protruded eyes and other stylized bodylines. Ancient Chinese regarded the cicada as a symbol of immortality. Because of its life history, the cicada is regarded as a symbol of resurrection. The lava works its way into the earth, and, after a long subterranean existence of many years, emerges to the surface in the pupa stage from which the cicada is transformed. The exuviate of the cicada also symbolizes the re-birth of the mortals. It is said that the cicada brings longevity to its owner. In ancient times, the cicada was usually found among the goods in a tomb. At one time, they were placed in the mouths of the dead at burial.	Ming Dynasty

16.	Woman's hair ornament	An ornament worn by Chinese ladies in their hair. Very intricate design. Has coral, carnelian, jade, kingfisher feathers, and a type of pearl. The ornament is attached to a metal rod that would fasten to the woman's hair.	Qing dynasty; Qianlong reign

17.	Jade ornament	An oval light green jade ornament or charm. Smooth rounded edges, slightly domed and decorated wtih a low-relief floral motif. Top has also been highly polished with details added through small areas cut into the jade design. Although the purpose of this piece is unclear, it seems likely that it was inserted into some other material. Japanese copy of Chinese original.

18.	Nephrite sword handle	Archaic artifacts may trick the eye of an enthusiastic art collector, but they are unlikely to trick the fingers. Handling this carving gives us a sense of instinctive recognition of the excellent workmanship and the distinctive aesthetics of the Qing period. The eighteenth century love of jade pebbles was such that many of them were left in their natural state; the shapes of the jade boulders were sometimes left unaltered.* During this era, what mattered were the specific qualities of stone in service of certain functions. The jade carver of this epoch achieved a definite individual style characterized by sweeping forms and vigorous designs. Until the eighteenth century A.D., before jadeite from Burma began to be imported, jade used in China appeared to have been exclusively nephrite. This handle for a sword is simple in form, but possesses an undoubted strength and vitality, certainly drawn from the remarkable nephrite marble texture and its unusual infusion of dark russet brown and pale green. The stone fit into the palm of the hand. It was probably left as it came to the jade carver; its surface is weak in luster. This tapering handle is carved out of a boulder with a small, flat base, but retains the natural surface of the boulder for the sides. Its ochre and sienna hues and opaque aspect are probably due to a long period of burial or an extensive exposure to a certain weathering condition. This is an example of the use of part of the natural surface of the jade boulder in a finished object. In more recent times, large pieces of "mountain material" are sometimes worked to resemble "river pebble material". The use of the stone obviously imbues the virtues and characteristics of an ideal man/warrior in an ideal state. On one side of the object, close to the top rim of the object is a circular mark of the Eight Trigrams (or Pa Kwa), one of the oldest designs known, representing the basis of ancient philosophy and divination. One the other side at the bottom is a lingzhi fungus. Five lying bats adorn the almost intact and rugged surface. The Chinese motif of five bats indicates the five blessings: long life, happiness, wealth, large posterity, and natural death. The Chinese name for bat is pien fu or fu i, very similar in sound with the Chinese character fu that means happiness.** The amalgamation of these motifs-the lingzhi, the bats, the Pa Kwa mark-conveys the theme of happiness, longevity, and immortality.	Attributed to the Qing dynasty

19.	Light green jade archaic vase	Archaic vessels from late Qing like this one are standardized and loose in decoration. The overall motives of this vase are probably copied from Han examples. The lip is edged with a formal key-fret design, derived from Han dynasty jade ornaments. Along the neck are two flanges with the familiar Cloud design in its primitive form; a motif frequently used as a basis in jade decoration. Between the neck and the main body of the vase, there is a thin small rope-like band with fine incised diagonal hatching. Below is an elongated cloud pattern that surrounds the contour of the main body of the vase. This is symmetrically flanked by a Taoist immortal child* with topknots on his hair embracing the vase on the right hand side and an infant feline dragon clinging on the left one. A smiling child stands on the clouds in a dynamic position with his left foot jutting forward while applying his right cheek to the surface of the vase. He also holds a luminous ball, an auspicious emblem, in his left hand. The horned dragon comfortably rests his head to the end of the cloud and stands on a lingzhi (a sacred fungus thought to have the ability to immortalize humans). Both give a sense of youth, relaxation, and playfulness. While we should be cautious in linking the iconography of the child and a infant feline dragon to the specific visual expression of the Neo-Daoism in late Chinese culture, upon seeing the amalgamation of these imageries, one cannot help but think of Daoism's perpetual quest for immortality. The carving style is typical of the late Qing period: a beautiful carving technique, detailed surfaces, and a refinement of shape. * The term shen (god) was also used to refer to a childlike being that was thought capable of bestowing blessings and other benefits in response to prayers and sacrifices by people.	Qing dynasty

20.	Set of large ivory chess figures	As a part of the Chinese European market, Chinese artists carve this chess set with the chessmen representing Chinese mythological and legendary figures. Carved out of natural ivory, although identical, the figures on both sides have different costumes and accessories, with one side in reddish brown dyed ivory and the other in natural white ivory. According to the Chinese way of counting their chessmen, they can be described as follows: Figures that represent the Eight Daoist Immortals with their attributes from Chinese mythology: 1. Lű Dongbin (Pawn), with his attribute, a sword 2. He Xiangu (Pawn), the lady Immortal, with her attribute, lotus blossoms 3. Han Zhongli (Pawn), with his attribute, a feather fan 4. Zhang Guolao (Pawn), with his attribute, a paper mule, which he is carrying in a case behind his right shoulder. 5. Han Xiangzi (Pawn), with his attribute, a bamboo flute 6.Cao Guojiu (Pawn), with his attribute, a castanet 7. Lan Caihe (Pawn), with his attribute, a basket of fruit 8. Li Tieguai (Pawn), with his attribute, an ewer (usually a gourd) Figures that represent the Chinese court: 1. Emperor (King) 2. Queen or Empress 3. Prime Minister (Bishop) 4. Emperor’s son-in-law (Knight) 5. Chinese gate tower (Castle) 6. Minister (Bishop) 7. Emperor’s son-in-law (Knight) 8. Another gate tower (Castle)	Qing dynasty