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	Object Name:	Description:	Period:

141.	Chinese export bowl	This is a Chinese export bowl with a wide open mouth and a footring. It was made approximately during the late 19th century to the mid-20th century. Its exterior is decorated with two bigger panels of theatrical scenes and two smaller panels of landscape scenes in many colors against a brocade background. Both of the theatrical panels depict three people in costumes of the Qing style, and taking part in some activity. All of them are represented in dramatic and stiff poses. The illustration of the other two landscape panels is in the western drawing style. The frames of all the panels as well as the sides of the footring are adorned with painted gold decorations.	Qing dynasty; Republican period

142.	Chinese Fan	Chinese fan wtih sixteen fingers. Outer two fingers are carved ivory. Both of these pieces are thicker than the other arms which are a very thin piece of carved ivory. Entire fan is held together with the paper of the fan which has been painted with a depiction of people in either a court or market setting. The outfits of all the characters are tiny pieces of fabric and all of their faces are painted ivory. Fan is held together at the bottom with a metal clasp which has two tassels tied to its end, each with two beads. Black laquered box with gold decorations stores this piece.

143.	Chinese folding fan	This Chinese folding fan has two ivory ribs on the outside. The covering of the fan is decorated. The front side represents a blue-and-green landscape of scenery in the West Lake on a golden painted background. Major sights are marked with names. The West Lake, one of the most famous and beautiful lakes in China, is located in the Hangzhou, Zhejiang province. It is well-known for "the Ten Scenic Sights in the West Lake" which formed as early as the Southern Song dynasty (1127-1279). Their names are su di chun xiao (Sudi Causeway in Spring Dawn), qu yuan feng he (Breeze-Caressed Lotus in Yeast Courtyard), ping hu qiu yue (Autumn Moon on Calm Lake), duan qiao can xue (Melting Snow on Broken Bridge), liu lang wen ying (Orioles Singing in willows), hua gang guan yu (Viewing Fish at Flower Harbor), lei feng xi zhao (Thunder Peak Pagoda in Sunset Glow), shuang feng cha yun (Twin Cloud-Piercing Peaks), nan ping wan zhong (Evening Bell at Nanping Hill), and san tan yin yue (Three Pools Mirroring the Moon). On the reverse side is beautiful calligraphy in black on a golden painted background as well. The text is from mengquan wai shi (meng quan informal history) according to the signature at the end. It contains names of major scenic places including the ten most famous ones in the West Lake, their locations and features. On the far most right end of this side there is a red seal mark "zhe sheng shu lian ji zhi" (Made by the shu lian ji Workshop in Zhejiang Province) within a double frame. The shu lian ji workshop was once renowned for their folding fans in Hangzhou especially during the late 19th century to the early 20th century. Accordingly, this folding fan was probably made during that period.

144.	Chinese scholar's ink palette	This small artist's ink pallet or yen belongs to an extensive group of objects made for the Chinese scholar's personal use, as identified by the T'ao Shuo and the KuYü T'u P'u texts. Typically oval in shape with a curved depression at one end, this remarkable agate ink pallet has an oblong shape of a lotus leaf with an uncharacteristically curvy outline. The amber color and moss-like inclusions texture enhance the special attractiveness of this delicate piece. An extended vine of (non-lotus) leaves embraces the base of the carving, forming a marked leaf at on side and two loop handles in the stylized form of lotus seed pods on the other side. The lotus motif has been used in the Chinese literary and artistic world as an emblem of purity and righteousness (it stands upright from the mud). Objects from the scholar's writing table like this were valued possessions of the elite and essential to the representation of their identity in material terms. Distinctive flower-shaped and foliate carvings were very common during the Qing period, especially those of great refinement of shape that were from a wide variety of other media besides of jade.	Qing dynasty

145.	Chrysanthemum bowl with loose rings	The translucent white bowl has the shape of a chrysanthemum that is echoed in the two small chrysanthemum blossoms that adorn the handles. There is a loose ring on each handle. The whole bowl and its elements are carved in the same medium. Although the chrysanthemum has not been listed in most resources of Buddhist symbols in Chinese and Tibetan cultures, it generally symbolized power and protection in early Asian culture. The ancient Chinese considered it an emblem of the autumnal season. The flower played an important part in the decorative embellishments of their various ritual vessels prepared for the observance of the numerous ceremonies dedicated to the natural essences of the autumn of both Nature and Life. The aristocrats used small bowls in which to serve a special drink made from the dried petals of the chrysanthemum flower mixed with a wine mixture that is similar in appearance to tea. Whether this elegant bowl is carved with Agate or Tibetan jade, it is exquisitely and intricately executed. The wooden base has a stylized chrysanthemum motif.	Qing dynasty

146.	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

147.	Circular jade box	Research in Progress

148.	Circular lacquer box	Research in Progress

149.	Circular prayer wheel	This carving is an archaic version of the Dharma Wheel. The most important and best-known form among the Eight Auspicious Symbols in Buddhism is the Wheel of Dharma (or the Wheel of Law). This symbol, from the fabulous footprints of Buddha, takes the form of a disk-like rim supported by eight spokes radiating from a movable center or "button". Buddha set The Wheel of Dharma (or the essence of his teaching) in motion with his first discourse. This Wheel also symbolizes the endless cycle of birth and rebirth. The thin circular plaque is an exquisite representation of the Wheel. It is carved in openwork and essentially consists of an outer circle or rim, an inner circle, a hub, and eight spokes. The rim represents the training in concentration on the practice of the Buddha's teaching; its surface is adorned with the conventional cloud decoration in low relief. The eight spokes connect the inner circle with the outer rim and extend beyond it, in twelve points or protruded notches. They signify the Noble Eightfold Path, which stands for the application of wisdom in regard to emptiness. The twelve points denote The Twelvefold Chain of cause and effect. The movable center or hub is formed with four sets of the two-pointed vajra, amalgamated at the center that represents the Four Noble Truths. It stands for the training in moral discipline, through which the mind is supported and stabilized. This type of disc-like rim is very rarely seen in a doubling of the movable button, producing the effect of a "wheel within a wheel." Both sides of the carving are identical. It functioned as a Buddhist prayer wheel in the temple or on a private altar. The person turns the Wheel by holding the central button between the finger and thumb of one hand, while the other hand revolves the Wheel. Its minute details, smooth surface, individualized style represents the distinctive and exceptional Qianlong jade carving style. Jade, the sacred stone of the early Chinese, during this period became a medium for not only mythological representation, but also the one that inspired the most highly skilled craftsmen. The choice of pure white jade clearly emphasizes the solemnity of religious objects. Sometimes jade prayer wheels can be invariably carved from white nephrite. The two-pointed vajra is a very rarely used form of vajra, which represents the duality of appearance.	Qing Dynasty; Attributed to the Qianlong reign

150.	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

151.	Clair de lune-glazed water coupe	The vessel has a hemispherical (beehive-shaped) form, and is shaped similar to the Taibai water pot or tai bai zun, also known as the pot in the shape of a fisherman's basket (yu fu zun). The only difference is that it has no neck. It has a small inverted mouth of only 3 cm and a shallow footring. Both the mouthrim and footring are left in a regular white glaze. The exterior of the hemispherical body is decorated with three evenly spaced medallions of archaic dragon designs. The dragon is one of the most important and complex of mythical animals in China. It ranks first among the "Four Supernatural Spirits," the phoenix being the second, the lin (unicorn) third and the tortoise fourth. A great variety of dragons are portrayed in Chinese art, often chasing a pearl and almost always surrounded by flames. Although its appearance always looks ferocious, it is the most benevolent of creatures. It was the god of rain, who brought thunder, lightning, rain, and thus fertility and abundance to the land. The dragon also represents the male principle of nature (yang), a symbol of vigor and fertility. In the early period it was worshiped by the Chinese as one of the four beasts of good augury. Later on it became one of the symbolic animals of the Four Directions. It stands for the east, which is associated with the sunrise, fertility, and spring rain. Its counterpart is the white tiger of the west, the land of the underworld. The other two animals of the Four Directions are the bird of the south, and the snake and turtle of the north. In certain manifestations, the dragon exclusively represented the emperor who sat on the dragon throne, and was borne aloft by dragons when he died. Since the Han dynasty, the five-clawed dragon has been the symbol of the emperor. This special monochrome blue glaze is described in contemporary technical terms as clair de lune (moonlight) in French. This is a high-fired light blue glaze created in the first half of the eighteenth century (early Qing). Containing 1% cobalt, it is quite the equal of the peach bloom (jiang dou hong) glaze in delicacy and appeal. The best pieces are mainly small vessels produced in the imperial kiln during the Kangxi and Yongzheng reigns. On the base of the footring there is a reign mark "da qing kang xi nian zhi" meaning "Made during the Kangxi Reign of the Great Qing," in three columns and in underglaze cobalt blue. However, this is not a genuine Kangxi reign mark. First of all, the characters 'da' and 'qing' exhibit a defective and odd writing style. Further, when taking a close look, the mark is actually written in hollow lines, a practice frequently adopted on later replicas of early 20th century. Therefore, this clair de lune-glazed beehive-shaped water coupe is dated to the early 20th century, approximately from 1900 to 1930.	Republican period

152.	Cloisonné ash tray	This is a cloisonné ash-tray with two small spouts on the wide open mouth. Its exterior is decorated with floral scrolls (such as peonies, rosettes, chrysanthemums, lotuses, etc.) on a yellow enameled background. The floral designs here symbolize wealth, autumn, fortitude, purity, good fortune, etc. On the bottom is a band of stylized lotus petal designs. The inside bottom is illustrated with a squirrel perching on a branch and eating red grapes, against a white enameled ground. It is obviously a modern product given its average quality and decorative style.	Republican period

153.	Cloisonné container	Research in progress.

154.	Cloisonné covered urn	Research in progress.

155.	Cloisonné dish	Research in Progress

156.	Cloisonné hinged rectangular box	This is a cloisonné* hinged rectangular box with four copper cast feet. Its exterior is decorated with floral designs such as plum blossoms, peonies and lotus flowers on a white background. 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. 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. 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. All the designs are in gilt outlines. The interior of this vessel and the base of the box are green enameled. An embossed "CHINA" is carved on the base of this box. As requested by the United States Law (U.S. Stamp Act of 1892), any exported wares to the United States from 1891 were required to be marked with "CHINA". It is evident that this is an object specially designed for foreign trade and was produced approximately during the late 19th century to the mid-20th century. * Cloisonné is an enamel ware, in which the colors of the design are kept apart by thin metal strips. It is typically called the "Blue of Jingtai" as blue is the dominant color adopted for enameling and cloisonné became prevalent during the reign of Jingtai (1450--1456) in the Ming Dynasty. Major work processes include: making the red-copper roughcast, forming patterns on the roughcast with thin copper strips, filling patterns with enamel of different colors, firing, and polishing. The making of cloisonn�� integrates bronze and porcelain-working skills, traditional painting and etching. It is the pinnacle of traditional Chinese handicraft. The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. Beijing is where cloisonné making originated. The earliest extant cloisonné was made in the Yuan Dynasty (1271-1368). The best was made during the Xuande period (1426-1456) of the Ming dynasty. During the Jingtai period (1426-1456) of the Ming, handicraftsmen found dark-blue enamel which gave cloisonné the gorgeous, solemn look which is still used today. During the Qianlong period (1736-1795) of the Qing Dynasty, the skills of making cloisonné reached their pinnacle when pure copper began to be used for rough casts. During the Ming and Qing dynasties, the most famous workshops which produced cloisonné were called the "folangqian kiln" (the cloisonné kiln), also known as the "guiguo kiln" (kiln in the devil's country).	Qing dynasty; Republican period

157.	Cloisonné plate	Research in Progress

158.	Cloisonné snuff bottle	Research in progress.

159.	Cloisonné tray	Research in Progress

160.	Cloisonné tray	Research in Progress