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	Object Name:	Description:	Period:

1.	Zisha (purple sand) stoneware teapot	Originally produced in Yixing city, in the Zhejiang province, this life-like (xiang sheng) zisha (purple sand) stoneware teapot has a brown mushroom-shaped lid, a black handle in the form of the lotus fruit that resembles a bat, an ivory white lotus root-shaped spout, a globular brown belly tapering to the base, and three feet in the shape of lotus buds, lizhi nut and walnut. It is interesting to notice that one of the lotus buds contains tiny moveable seeds. Around the shoulders there are watermelon seed, water chestnuts, peanuts, and almonds in high relief. Two more almonds are visible on the bottom. Inside the mushroom-shaped lid there is an engraved gourd which bears some Chinese characters that are too indistinct to be identified. The interior of this zisha teapot is plainly decorated, and it feels coarse. The zisha stoneware teapot has a good reputation for boiling excellent tea because it keeps the original taste of tea which will last for a long time. Its popularity corresponds with the tea culture that was in fashion from the mid-Ming dynasty. During the Ming and Qing dynasties the potters in Yixing produced a great number of life-like zisha stoneware teapots. They continue to be produced up to the present day. This piece was originally dated to the Ming dynasty by the dealer. It is in an excellent grade of workmanship.	Attributed to the Ming dynasty

2.	Yuhuchun vase with underglaze red floral decorations	This is an underglaze red yuhuchun vase with a flaring mouth, a waisted neck, a pear-shaped body, and a footring. The vase is named after the famous ancient wine, yuhuchun. It was a typical vessel shape of the Song dynasty, and was continuously produced until the Qing dynasty. The flaring mouthrim of this yuhuchun vase is decorated with a band of classical scrolls framed by 'bowstring' circles. The top of the neck has a band of plantain leaf designs, followed by classical scrolls and wave patterns. All three registers of design are separated by double 'bowstring' circles. The pear-shaped body is primarily adorned with continuous peony scrolls, with continuous cloud collars on the top and stylized lotus petals on the bottom. The peony, known as fu gui hua (the flower of wealth and rank), conveys a wish for official rank in the emperor's civil service as well as a salary and perquisites to ensure wealth. Within each stylized petal are ruyi (wish fulfilling) clouds. The outer borders of the footring are decorated with classic scrolls. The interior and the base of the footring are white glazed without any decoration. The bottom rim of the footring is unglazed, exposing the smooth white body. The shape of this yuhuchun vase is of a mid-Qing type, but the underglaze red and decoration appear coarse and dim with many defects. The red glazing on some stylized lotus petals is even blurry. The porcelain body of this vase is not smooth, either. Therefore, this vase should be a recent copy.	Qing dynasty; Republican period

3.	Yellowish green jade rectangular snuff bottle	With the introduction of snuff to China during the late Ming dynasty, snuff taking became a nation-wide habit, especially among the Manchus during the Qing dynasty. Accordingly, small bottles used for storing the powdered snuff became popular products. This yellowish-green jade snuff bottle has a short and straight neck to the mouth, sloping shoulders, a rounded and flat rectangular body, and a short, slightly concave foot. It contains a green jade stopper that is not likely the original one. One side of the snuff bottle, including both the narrow borders, is carved with a landscape scene in relief. It depicts high mountains, cottages, pine trees, a small fishing boat, and a scholar who stands at the middle of a bridge. The reverse side is inscribed with a poem in clerical script reading "bian zhou xi cu shui yun chun. Yi pian kong ming jie jing hui. Xiao li qiao tou ren bu shi. Lin yuan cai zuo xian yu ren." According to Dr. Chaoming Chen, the poem can be translated as follows: "A small and flat leaf-sized boat gently moves towards the direction where the water and clouds meet in the springtime. The sky bestows a portion of its bright and pure weather to those who are deserved to enjoy it by the purity of their hearts. A scholar who stands at the middle of a bridge is not noticed by anyone, but his attitude may be interpreted as one who admires the school of fishes when he looks at the abyss of water. (Note: A Chinese proverb says, when one admires a school of fishes in the water, he had better go away to make a net and then he will be able to achieve his aim, otherwise he can never get what he wants)." Evidently, the landscape scene on the previous side precisely illustrates this poem. At the end of this poem there is a reign mark in clerical script as well "qian long yu zhi" (Made by Imperial Commission in the Qianlong Reign [of the Qing dynasty]). Accordingly, this yellowish-green jade snuff bottle is attributed to the Qianlong period.	Qing dynasty; Attributed to the Qianlong reign;

4.	Yellow-glazed pottery square-style official seal of Han Qi	This is a large pottery square-style official seal with a detachable seal base surmounted with a knob in the shape of four connected double-antlered dragon heads facing different directions. The knob and the exterior of the seal base are covered with low temperature yellow glaze. The rest of the seal and base is unglazed, exposing the coarse reddish-brown clay. Raised dragon designs with double antlers and five claws among clouds are represented on the top and four sides of the outside seal base. All dragon designs here were symbolic of the imperial emperor in ancient China. The seal is carved with nine relief characters in seal script reading "zhao tao shi han qi yin" (Seal of Enlisting and Suppressing Rebels and Attacks Commander Han Qi). Han Qi (1008-1075), with style name or zi or Zhigui, is a prestigious scholar and politician of the Northern Song dynasty (960-1127). He and Fan Zhongyan (989-1052), another contemporary renowned scholar and politician, once held the reputation of defending attacks from the Xixia dynasty in the west and were well-known as "Han Fan" at that time. However, this pottery square official seal is not a Northern Song product as claimed by the seal characters. Actually it should be a later copy. First of all, the official seal is beyond the normal size of Song official seals. Generally speaking, the Song official seals are around 5.3 cm long and they are not necessarily of the square style. Secondly, the knob on the Song official seals is always inscribed with the era name (nian kuan), but this large pottery seal does not bear any era name on the knob. Further, the knob on the Song official seals is usually placed on the center of the base top. Nevertheless, the knob on this piece occupies the whole top of the seal base. Third, the writing style of the seal characters here is not of the Song style. They are just carved in regular seal script. However, the Song official seals are characteristically engraved in 'jiu die zhuan' (seal script with nine winding brushstrokes). This type of seal script began to appear during the Sui and Tang periods, thrived during the Northern and Southern Song dynasties and continued until the Qing dynasty. In conclusion, it is evident that this large pottery square-style official seal of Han Qi is a recent copy, and was produced approximately during the late 19th century to the mid-20th century.	Qing dynasty; Republican period;

5.	Xi Wang Mu with bird	This is the earliest representation of the Queen Mother of the West, Xi Wang Mu, referred by the Zhuangzi (a philosophical text), as an exemplary being who had achieved the dao. She was living in the Shaoguang Mountain; no one had knowledge of her beginning or her end. She wears a flower and a sheng crown on her hair, which is often shaped on a transverse rod with discs at its ends, as clearly shown here. She also wears a stylized long-sleeved garment and a flapping sash. This motif is one of the principal ways of identifying the deity. Birds such as peacocks and cranes are always associated with the image of Xi Wang Mu. She is flanked by a tall, upright, compacted-body bird that bears resemblance to a crane. It has very straight legs and a long curved beak, is represented standing next to the deity, and is braced against her long, right sleeve. The crane confers immortality and may indeed have an escorting function. The figure of Xi Wang Mu is carried out in low relief with clear instance under the swept-over waist sash. She also carries on her right hand a long fly flap or chowry, an ancient Taoist emblem of immortality (sometimes an emblem of royalty or rank, if seen with a different figure), usually made of yak-tails or coir. The stylized lotus motif for the wooden base can confuse viewers that this is a representation of Guanyin. The above description may help reaffirm that this is indeed a Xi Wang Mu figure.	Qing dynasty; Qianlong reign

6.	Xi pendant	This emerald green pendant plaque is carved with a raised relief of the double character of xi, written in regular script k'ai-shu, meaning 'double happiness' or 'marital bliss'. Surmounted by clouds in rui form, it is defined by a relief frame that imitates wooden frames in furniture and architecture.	Qing dynasty; Qianlong reign

7.	Wooden sculpture	Wooden sculpture of a water buffalo with a boy on his back. Very intricate detail (notice the tiny hairs on the water buffalo). Boy has a hat on his back and is holding reigns which attach to the water buffalo's nose. Teeth and eyes of boy and water buffalo are ivory. Sculpture is accompanied by a custom-made wooden stand with some flowers carved into it.

8.	Wood carving of Shou Lao	Yellow aspen wood carving of Shou Lao. He is attired in an official robe which is elaborately depicted in the pattern of Ju-I with the medallions of a stork scattered over the robe. Girdle with long tassel around waist. Leans on a tall staff. Holds a peach in other hand. Has a custom-made stand.	Qing dynasty; Qianlong reign

9.	Wood carving	Research in Progress

10.	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

11.	Wine red-glazed meiping vase	This is a meiping vase with a short and straight neck, a flaring mouth, an elongated ovoid body with rounded shoulders and a flat base in a wine red glaze. Originally a vessel for alcoholic beverages, the vase is named after its small mouth into which a slender plum blossom spray can fit. The mouthrim of this meiping vase is gilt. The interior and the bottom of the base are glazed in white. Overall the glazing of this piece is even and smooth, but unfortunately some of the glaze has been chipped off, exposing the white body. In addition, this vessel has previously been repaired. A small patch can be seen on the bottom of the base. The exterior of this meiping vase is decorated with elegant plum blossom sprays outlined in black and filled in with three colors. The plum blossom, one of sui han san you (Three Friends of Winter, namely pine, bamboo and plum, which still keep their integrity when all other plants wither and their leaves fall), is important to the Chinese as a symbol of longevity and good fortune. Here, the plum blossom is finely crackled in overglaze ivory white while the center of each plum blossom is yellow glazed. The branches are in a blue overglaze. The shape of this meiping vase appears similar to a small meiping vase with bats and floral designs in red underglaze dated to the mid-Qing dynasty (p.201, from Li Zongyang's book titled zhongguo mingqing ciqi mulu <xia> <Catalogue of Chinese Ming and Qing Porcelain, vol.2> <Haikou: nanfang chubanshe, 2000>). However, its mouth is more flaring and its shoulders are shorter than the mid-Qing piece. It is highly likely that this wine-red glazed vase was produced later than the mid-Qing piece according to the chronological development of the meiping vase shape. Therefore, this object is attributed to the late Qing period, approximately the early 19th century to the early 20th century.	Qing dynasty

12.	Wine Cup	This miniature wine cup is undecorated. It offers very few hints of style and characteristics. Its shape and form resemble the wine cup of the Ming period with its straight sides, deep belly, and footring. It was probably made after the invention of the rotary tools. This wine cup could be named as the Jade cups or yü chan; it is also called the scholar's cup. Wine drinking was one of the literati's most favorite forms of leisure. The dating of this object is quite challenging. Based on the shape and surface, it is probably one of the recent small jade vessels used for decorative purposes.

13.	White-glazed scholar's water pot	This small scholar's water pot has slanting shoulders, a compressed body and a footring. Its exterior is white glazed and decorated with incised floral sprays, alternated by a row of double connected lozenges. The base of the footring and the interior are plainly adorned and covered with a white glaze as well. A considerable number of black stamped dots can be seen on the inside bottom. The bottom rim of the footring is unglazed, exposing the white body. Originally the dealer dated this scholar's water pot to the Yongzheng period of the Qing dynasty (1723-1735). However, when taking a closer view, the surface of the glaze does not exhibit the orange skin patterns (ju pi wen) that typically appear on the Yongzheng vessels. Therefore, this piece is not a Yongzheng product. It is probably a recent copy made approximately during the late 19th century to the mid-20th century.	Qing dynasty; Republican period

14.	White-glazed dish with faintly incised sacred lotus sprays	This is a large, round and deep dish with a slightly flaring mouthrim and a short double footring. The double footring was especially popular on some vases, dishes and jars made in the Jingdezhen during the early Kangxi reign of the Qing dynasty. Its exterior and interior are white glazed and decorated with faintly incised sacred lotus sprays. Large crackles can be seen on the exterior. The petals of each sacred lotus are in the shape of the lingzhi fungus. The lotus is a symbol of purity and integrity. It is also one of the eight precious Buddhist things. The lotus comes out of the mud but remains itself unstained. It is inwardly empty yet outwardly upright. It has no branches (no family/offspring) yet smells sweet. The Lingzhi fungus is an ingredient of the elixir of immortality and thus, a symbol of longevity. It resembles the ruyi (as you wish) scepter, or wish-fulfilling wand, popular in later Ming and early Qing art. The double footring is primarily covered with a white glaze as well and some large crackles. The border between the inner and outer ring is unglazed and thus exposes the buff body. In the center there is a reign mark "da qing kang xi nian zhi" (Made during the Kangxi Reign of the Great Qing) in underglaze blue, standard script and two columns within an underglaze blue double-circle ring. When taking a close look, the Kangxi reign mark here is evidently written in hollow lines, a practice frequently adopted on later replicas of the early 20th century. Besides, as far as is known, it seems that no dishes of such a size had ever been fired during the Kangxi period. Therefore, this large dish may have been produced approximately from 1900 to 1930.	Qing dynasty; Republican period

15.	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

16.	White jade vase	This archaistic style jade vessel is a direct descendant of the archaic bronze ritual vessel known as the Chan (one of the six sacrificial objects: the Pi, the Ts'ung, the Kuei, the Chan, the Hu, and the Huang; the Chan was in a red color and symbolized Fire). A ritualistic altar jade vessel, the Chan was reserved solely for use in the Temple Rituals. It functioned as a wine-cup used by the congregation during the Ja ritual services. The lower body of this flattened vessel is divided into four sections by notched flanges. The numerical combination of tooth-like projections shown on the body of the vase operates according to a standard Chinese formula: the two side flanges with 4 tooth-like ridges denoting the Four Stellar Influences, which rule over the Four Quadrants ( Dragon, Phoenix, Tiger, and Tortoise) or Divisions of the Constellation; the two flanges on the front and reverse sides of the vase with 5 tooth-like ridges indicating the Five Elements War, Fire, Metal, Wood, and Earth). The meanings of the tooth-like projections in the ritual emblems created in jade vary from different experts' conclusive findings. This pattern may have originated from the earlier types of jade blades or knives of early ancestral rituals featuring the emblematic dental formulas of the Four Wondrous Creatures and the animals of the duodenary Cycle of the Chinese. The two openwork chi dragons or Shên Lung motif, positioning at the two sides of the neck and looking downward, echo a more abstract 'interlaced dragon' motif on the surface of the vessel. From the Ming to the Qing, the archaic jade vessel was not valued for its beauty, rarity, color, or elaborate carving. Despite the simplicity of the design and the ornamental quality, it was honored for its noble virtues that it represented in ancient time. For more information on the 'interlaced dragon' bronze motifs, see Whitfield, Roderick ed. The Problem of Meaning in Early Chinese Ritual Bronzes p.50-52.	Attributed to the Qing dynasty

17.	White jade ornament	Small, white jade ornament in the shape of Buddha's hand fruit--item is intricately carved in a deep relief. The small jade fruit rests on its side in its specially made wooden stand.	Qing dynasty; Qianlong reign

18.	White jade buffalo	Small white jade carving of a buffalo. Most of the elements of the buffalo are very stylized. The buffalo is lying down with its head resting on its front legs. Color of jade is mostly a light green but it has yellow accents toward the back of the small carving. Buffalo is accompanied by a wood stand.	Qing dynasty;

19.	White jade buckle	Research in Progress

20.	White jade belt clasp with openwork archaic dragons	This clasp comprises two openwork plaques, both identical and lavishly ornamented with archaic dragons with coiled necks, enmeshed amidst stylized clouds. This carving may have been a reproduction in the style of the Ming period. The curved hook on one side, accentuated by a dragon head, fits perfectly into the other oval loop. Such a lavish clasp seems to have been the official form for marking rank, or was used as an aristocrat's ornamental item.	Republican period