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	Object Name:	Description:	Period:

101.	Carved jade handling piece	Research in Progress

102.	Carved jade immortal figure	This is a female figure of Ho Hsien-ku, one of the Eight Immortals or Pa Hsien, the legendary beings of the Taoist sect, believed to have lived at various times, and to have attained Nature's secrets of immortality. She is always depicted carrying a lotus in one hand and a flywhisk in the other. She is thought to assist in house management.

103.	Carved jade ink stone	The respect the Chinese have had for education and literature has persisted from very ancient times and has shown itself through artifacts. From the Song to the Ming dynasty, items for writing (such ink blocks, ink stones, paperweight, brush holders, and so forth) found in tombs, gave evidence of the use of jade in connection with literary life. They were valued possessions of the elite and essential representations of their identity. In addition, economic expansion and the emergence of a new wealthy class led to an unprecedented necessity to invest in objects of art. The jade carver of this period desired to convey beliefs and superstitions associated with the emblems throughout times. The front surface is adorned with a stylized rosette of a wild plum flower. With its delicate petals, its endurance of harsh weather, and its promise of spring, the plum is a winter symbol and an emblem of long life.* Flowers and floral rosettes were part of the repertory of Northern jade sculptors and a common form of the Ming period. The shape of the stone is slightly curved. The ink well is not perfectly rounded. This carving is evidently for personal enjoyment rather than for use at the Court or in burial. The end of the late Ming period began to show signs of instability and decay from the effects of a progressive civilization. The art of carving jade gradually reverted to the style employed at the beginning of the early Ming period. As seen in this carving, the characteristics of this era are the conventional form, the loss of the intricacy of decoration, and the simplicity of design, in either the floral or mythical motifs. * (Pine, bamboo, and plum are symbols known as the "Three Friends in Winter" and represented Buddha, Confucius, and Lao-tze)	Ming dynasty

104.	Carved jade object	Research in Progress

105.	Carved jade pendant	Research in Progress

106.	Carved jade screen	Research in progress.

107.	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

108.	Carved jade statue with two figures	Research in Progress

109.	Carved jade statuette	Research in Progress

110.	Carved jade statuette	Research in progress.

111.	Carved jade sword guard	This is typical trapezoidal shaped sword-guard called a pêng. This is a term defined by the dictionary Shuo wên as an ornament for the upper part of a sword made of jade for the Emperor and of gold (or metal) for the vassal princes. Carved from brown and yellow jade, this sword guard has the shape of a trapezoid, hollowed out through the center where it would be placed on the sword. On one side is a symmetrical design of two tail-joined archaic dragons, carved in high relief. On the surface of the other side is a T'ao T'ieh mask motif. The incised lines are not ornate, thus creating problems with the dating of this piece. A blue string runs through the center of the guard so that the item can be hung. According to ancient Chinese tradition, this personal weapon fitting was buried with the dead. Weapon fittings of the Shang and Western Zhou were frequently reproduced in jade.	Eastern Han dynasty

112.	Carved peacock feather holder	This is an unusual, carved white jade peacock feather holder for a Mandarin's hat. A Mandarin is a Chinese official, either civil or military, but the word itself is not Chinese. It is a name given indiscriminately by foreigners to designate any Chinese official of whatever rank. The recognized official grades of mandarins are nine, each distinguished by its dress. The so-called button or feather holder on the hat-the mandarin button-is noticeable. It is worn under precise regulations. The mandarin's dress and hat show his rank. Peacock's plumes represented the civil class. The design is cylindrical and simple. On top of the holder, there is a small opening (hook/loop/crown) in arch form with a hole to put a feather through it. It is adorned with a back-to-back stylized dragonhead. The piece is adorned with patterns of a peacock feather.	Qing dynasty; Kangxi reign

113.	Carved pendant	The main elements of this openwork pendant are fully rounded in bold relief and pierced carving. The enmeshed design has a phoenix standing upright amid outsized leaves of bamboos. The shapes of these elements are organic. The jade carver adroitly uses the bamboo culm and nodes to define the contour of the pendant.* Fantastical creatures play an important part in Asian art. The mythical phoenix is considered the most beautiful auspicious bird-the supernatural creature presiding over the southern quadrant of the heavens-and symbolizes the sun and warmth. Considered the emperor of all birds, the phoenix is believed to show itself only during the reigns of just rulers. The bamboo is an emblem of resilience and longevity. The ornamental pattern of the phoenix amid bamboo signifies the Chinese gentleman's righteousness that stays unbent in adversity. Although the proportion of the bird and the bamboo leaves is odd, the distinctive floral design of this pendant is beautiful and decorated in high relief, similar to the style and form of early Qing jade carvings. Ornamental objects carved in vivid color jadeite began during the Kangxi reign; jade carvings at this phase were robust in structure, and mainly represented floral designs. They were for use in the homes of the aristocrat and the wealthy.

114.	Carved pendant	Research in Progress

115.	Carved Rhinoceros Horn Cup with Dragon Handle	This carved rhinoceros horn cup was probably produced for ceremonial purposes as suggested by the magical healing powers of the horn in Chinese culture. The cup is decorated with auspicious animals. These include what looks like a horse or unicorn with a phoenix on its left. Below the phoenix is a pair of tortoises. To the left of the phoenix there seems to be a house sitting on a cliff with a dragon just a litter farther to the left. At the bottom of the cup, below the dragon and house, there is another supernatural creature which could be a fo-dog. Hanging onto the mouth of the cup we see another dragon flanked on each side by smaller creatures. The rest of the exterior of the cup is decorated with clouds which may represent an ethereal realm. The teakwood carved stand is detached from the cup. It does not seem to be original because the base of the cup is a different shape from the shape of the stand. The stand is probably not original as it does not show the age of the horn or the wear and tear. The stand has also been screwed to the horn which is a sign that it is more recent.	Qing dynasty; Qianlong reign

116.	Carved Rhinoceros Horn Cup with Recumbent Horse	This object is a carved rhinoceros horn cup which is attached to a carved wooden stand. Notice how the cup curves with the shape of the horn. It is obvious how the horn was hollowed out to produce the cup. The detail of the cup contains a figure who stands near a horse which is turned upside-down. There are several different species of trees on the cup as well. These include willow, mulberry, and banana trees. The trunks of the trees make up what looks like a handle for the cup. Above the horse and the male figure is what looks like mountains or the roof of a cave. This could provide insight as to what the scene refers to. The carved stand contains geometric motifs and is made of teakwood. The stand is probably not original as it does not show the age of the horn or the wear and tear. The stand has also been screwed to the horn which is a sign that it is more recent.	Qing dynasty; Qianlong reign

117.	Carved rose quartz	Research in Progress

118.	Carved rose quartz	Research in Progress

119.	Carved sash plaque	This ornamental plaque is carved in openwork and encloses a lively scene of two wild geese with elongated necks amid a lotus pond. Although this is a semi-naturalistic design, the shapes of the elements are rigid; the lotus leaves and buds are stiff. The edge of the plaque and the overall thickness are very uneven; in a couple of areas on the edge, the stone is chipped off. The aesthetic quality of this beautiful carving is regrettably diminished by a diagonal section of dark stain in the middle of the piece, probably from the calcification of the stone. The lotus motif in carved jade appeared as early as the Tang dynasty (9th century A.D.). It has usually been used as a sacred symbol in Buddhist art. A lotus pond with a pair of wild geese signifies conjugal bliss. Because wild geese always fly in pairs, and mate for life they symbolize the married state. The goose, like the mythical phoenix, is a bird that embodies the character of Yang. The depressed concave oval-shaped form of the plaque and its deep but jagged carving lines are stylistic features typical of the relatively late Ming period. Despite the carver's effort to show movements and life in the depiction of flowers and animals, the jade carvings of the late Ming gradually lost the intricacy of decoration of their predecessors.	Ming dynasty

120.	Carved Shou Shan Stone Seal	This well carved Shou Shan seal has a square base and a tall shape. The animal niu (or knob) is a good example of fine seal carving; it is intricately pierced and fashioned into two writhing Lung (dragon) with an extending spiral winding around and dividing it into two tiers. The Lung is depicted as the Yang Principle of Nature, as it is formed on Taoistic ritual vessels used in sacrificial offerings to the Influences of the Heavenly Realms.* The snake-like body of the bigger Lung curls around the tiers; its head slightly turnec to one side while the small one looks upward, trying to peak through the open space. The sides of the seal are left unadorned. The most important aspect for the literati was the engraving of the characters which enabled the scholar's self-expression. The bottom base is boldly carved with a scholar's expression: (ping sheng zhi jie guan cheng yuan), meaning 'For all my life I have only made an intimate relationship with the brush.' The characters are carved in Clerical style (or more accurately between Seal script and Clerical style). The style of the calligraphy is regular and formal with well-balanced characters. All is sophisticatedly and smoothly finished in an opaque creamy, white colored Shou Shan stone that originates from the fields, river beds, or sky-high mountains of Shou Shan village, NE of Fuzhou, SE of the Fujian Province, China. Not only an indispensable object in the Chinese literati's study, the seal is a scholar's personal statement or artistic expression. A classical Chinese scholar's studio is comprised of the writing brush, the ink stone, the ink stick, the paper, the ink-stone, the seals, the paper weight, the brush holder, the brush washer, the water dropper, and the brush rest. * Reference from Nott, Stanley Charles, Chinese Jades in the Stanley Charles Nott Collection (p 21).