CONTENTdm Collection : Browse

browse : advanced search : collections : preferences : my favorites : special collections : musselman library : gettysburg college : contact us : help


Browsing item(s) in

results 181-200 of 796 item(s)

page 10 of 40 : ( << 1 2 3 4 5 6 7 8 9 10 >> ) :: previous : next

select all : clear all : add to favorites

	Object Name:	Description:	Period:

181.	Cylindrical brush pot	This is a cylindrical brush pot. The exterior is primarily incised with plum blossoms. 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. There is an inscription on one side, which says, "qianlong yuannian eryue. dong xi hua ke ji" (In the second month of the first year of the Qianlong reign <1736>, this inscription and the painting were done by Dongxin). According to the dedication, this brush pot may be dated to 1736. Dongxin (the first character literally means winter and the second literally means heart) is probably the zi (style name) of the artist. Following the inscription is a red inscribed signature in seal script reading 'peng' (literally meaning roc), which is most likely, another style name of the same artist.	Qing dynasty

182.	Cylindrical snuff bottle	Research in Progress

183.	Dan ping vase	One of a pair, this rounded-belly vase is called a dan ping, or gall-bladder bottle, made by the Imperial kiln long yao. The bottle extends upwards through slanting shoulders to a tall, slender neck, ending with a straight mouth. The potters of the Qing Dynasty copied this from original Song wares. It has a sprinkled blue glaze.	Qing dynasty; Kangxi reign

184.	Dark amber pendant	This oval shape Jade landscape is intricately adorned and carved in high relief with a full-faced, ominous dragon (zheng mian long) on the front, occupying the entire top segment and foreground of the piece. It nervously hovers over a gem ball placed next to a temple gate in waves. The dragon's wagging tail amidst the clouds can be seen on the back of the piece. The carving style of the piece, manifestly seen in the dragon and the wave pattern, is possibly of the Chia-ching period (late Ming).* It is mounted on a very well-designed wood stand, elaborately embellished with two back-to-back archaic feline dragon profiles. This oversized pendant is a standard representation of popular subjects of the period. Unlike earlier periods, jade carvings of this era became a simple part of a world of images in which the image took precedence over the material and the function of the piece. Complex landscape compositions as subjects for jade carving developed rapidly during this period.	Ming dynasty

185.	Dark turquoise blue gold bell-shaped Peking glass cup	Made of Peking glass, this is a gold bell-shaped cup (jin zhong bei) with a flaring mouth, a deep and flaring body, and a bi-shaped footring (yu bi xing di) in dark turquoise blue. This cup is named after its body, which resembles an upside-down bronze bell. It is often decorated in the underglaze blue or famille verte (kang xi wu cai) palette. Those made in the Official Kilns have a six-character reign mark 'da qing kang xi nian zhi' meaning 'Made during the Kangxi Reign of the Great Qing' in regular script on the base. As to this Peking glass gold bell-shaped cup, it was approximately produced during the early 20th century in terms of the thick body and average quality. Peking (Beijing) glass was first made in China in the late 1600's, during the Qing Dynasty, when a German priest introduced glass-making techniques to the Imperial court. Early Peking glass was made to imitate porcelain (it often has a translucent, milky sheen). Later (after 1725), an overlay technique was developed in which two (or more) layers of glass are fused together, and then the upper layer(s) are partially carved away, creating a multi-colored bas relief (similar to a cameo). Peking glass and overlay glass is used for vases, bowls, dishes, beads, snuff bottles, and other objects.	Republican period

186.	Decorative jade vase in the form of an archaistic bronze hu vessel	This jade vessel is likely to be a Ming jade carver's free interpretation of an archaistic bronze hu vessel,* or a ritual wine vessel. Its large, globular body sits on a low footring. It has a straight mouthrim, a thick and short neck, a footring with a concave base, and no lid. The outer wall is left plain with only two parallel ribbed circles that form an embossed register at the belly. Above is a pair of finely incised taotie or animal masks in high relief on the shoulders of the vessel that carry large ring-handles, passing through their mouths. The monster taotie face is an anthropomorphic creation of the ancient Chinese that frequently occurs in conventionalized designs on early bronzes. These mask handles are very similar in treatment, even down to the details to those found from the Ming period. The craftsmen of this period produced copies of earlier forms, but in a purer type of stone. The stone used in this specimen is limpid white and glossy like mutton fat, a Chinese designation of the purest translucent white nephrite. The vessel still carries some of the late Song style-a certain softening of the outlines, a lack of angularity, and an apparent bonelessness. The style, the carving technique, and motives employed are all consistent with a late Ming date. This fine vessel shows the excellent workmanship of this period with the manifestation of a definite external influence. So far, there is no firm attribution of date to this piece; it is basically in the style of the Song period, but can be accepted as a standard archaic vessel of the Ming jade carving.	Ming dynasty; Qing dynasty

187.	Deity	This is a soapstone figure of a female with her hair tied neatly in two buns. This was a typical hairstyle of a maid during the Ming and Qing periods. Both Chinese men and women in these periods tied back their hair, pulling it back from their faces. Standing in a demure pose and with modest composure, the woman has chubby cheeks and a smiling face. She cautiously holds a bundle of flowers and leaves tightened with a sturdy strand. It is not clear what kind of flower she carries, but there is an apparent big carving of a leaf at the front of the cluster and an indication of several stems at the lower part of the bundle. The folds of the robe and the sleeves indicate the lightness of the silk, but the carving style is stiff and simple, with very little details. The small tip of her right silk slipper is visible.	Qing dynasty; Qianlong reign

188.	Dish with floral design	Research in Progress

189.	Dou cai (contrasting colors) double-gourd bottle	This is a dou cai* (contrasting colors) double-gourd bottle with a small outward-turning mouthrim, two chilong (chi dragon, namely a dragon with two tails and without an antler) shaped handles connecting the upper bulb with the lower bulb, and a footring. The origin of the double-gourd bottle can be traced back to the pottery gourd bottle from the Banpo site of the Yangshao culture, to the Shijia culture and to the polychrome bottles made in the Tang dynasty. The double-gourd is associated with Li Tieguai, one of the Eight Immortals. According to legend, the gourd contains more than five blessings (long life, wealth, health, love of virtue and a natural death). Therefore, the double-gourd shaped bottle is an auspicious symbol in China, usually associated with a wish for a long life and many sons. Each of the two dragon-shaped handles represents a three-clawed chi dragon with an underglaze blue body, an overglaze pink head and an overglaze green beard. Both dragons are shown looking up while mounting on the bottle, with their mouths open and fangs exposed. The chi dragon is believed to be an auspicious mythical creature that can exorcize evils and provide protection from disasters. The Qianlong emperor in particular adored the chi dragon design and considered it as xi (happiness). From that point on, designs that resembled both the chi dragon and the imperial dragon frequently appeared on imperial objects. Overall this dou cai double-gourd bottle is exquisitely adorned with moulded appliqué decorations against a yellowish green background of continuously incised rosette diagrams. The upper bulb, gradually tapering to the mouth, is adorned with two registers of moulded appliqué decorations on both sides. The first register represents two pink rosette scrolls, one on each side. Below them are two medallions representing a dragon with double antlers and three (the other has four) claws among flames, clouds and a pearl. The two dragons are posed in an echoing position. Their eyes and tongues are movable. The pearl is movable, too. Both dragons are rendered in underglaze blue except their beard is in overglaze green. The lower bulb displays more delicately moulded appliqué decorations. It shows two big medallions of moulded appliqué shuang long xi zhu wen (two-dragons-fighting-over-a-pearl design) as primary motifs and incised man cao wen (coiling vine and leaves design) as supplementary motifs. The shuang long xi zhu wen first appeared on Yue ware vessels of the Five Dynasties (907-960) and is often seen on Ming and Qing official wares. It is usually emblematic of good fortune and a good harvest year. Each medallion is surrounded by four of the Eight Daoist Emblems. In each medallion one dragon with double antlers and five claws is in overglaze green except for its overglaze pink beard; the other dragon, however, with double antlers and four claws is in overglaze pink except for its overglaze green beard. The pearl, the dragons' eyes and tongues are also movable just like those on the upper bulb. Generally speaking, the shape of all the moulded dragon appliqués is after the Kangxi model (1662-1722), but their luxuriant decorative style is characteristic of the Qianlong reign (1736-1795). This dou cai double-gourd bottle is excellently preserved, except that three appliqué clouds on one side of the lower bulb and one appliqué cloud on the other side seem to have been repaired. They are now re-painted in a dark green pigment that was not glazed. It has been placed in a blue carton box with a red paper label which reads "qianlong sancai jiduan jiamei zhi ciping" (an extremely exquisite three-color porcelain bottle during the Qianlong Reign). On the base of the footring there is also a Qianlong seal mark "da qing qianlong nian zhi" meaning "Made during the Qianlong Reign of the Great Qing" in three columns and in overglaze green. The dragon is one of the most important and complex of mythical animals in China. It ranks first of 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), symbolic 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. During the Qing dynasty, vessels with dragon designs were exclusively owned by the imperial families and higher officials who had special authorization from the emperor. According to the Yuanshi fuzhi (History of the Yuan Dynasty Records of the Costumes), "shangjiao wuzhua longwen chenshu bude shiyong" (subjects and the ordinary people cannot be allowed to use dragon designs with double antlers and five claws). The restraint lasted until the end of the Qing period. Therefore, this double-gourd bottle may have been an imperial vessel once exclusively used by the Qianlong Emperor because it is primarily adorned with exquisite dragon motifs including double-antlered and five-clawed dragons symbolic of the emperor. This term, in its broad sense, refers to a painted decoration combining the underglaze blue and overglaze polychrome. The tem dou cai first occurred in Nan Yao Bi Ji (Notes on the Southern Wares, 1730s-40s). It has been suggested that a term used in the Ming dynasty 'qing hua jian zhuang wu cai' (overglaze decoration complemented by underglaze blue) referred to the same technique. During the Xuande reign of the Ming dynasty, the underglaze blue was combined with the overglaze five-colors to form a design. However, strictly speaking, dou cai was invented in the Chenghua reign when part of the design was drawn in underglaze blue on the body. After the vessel was coated with a layer of transparent glaze and fired, the overglaze pigments were added to complete the design. Dou cai wares continued to flourish during the Jiajing and Wanli reigns of the Ming dynasty and continued into the Kangxi reign of the Qing. The enamels on the fen cai (famille rose) palette were used in the dou cai decoration during the Yongzheng reign. * The Eight Daoist Emblems depict only the emblems of the Eight Daoist Immortals and not the immortals themselves. Each symbol is associated with an individual immortal: the fan with Zhong Liquan, the bamboo drum with Zhang Guolao, the flute with Han Xiangzi, the double gourd with Li Tieguai, the castanets with Cao Guojiu, the sword with Lü Dongbin, the flower basket with Lan Caihe, and the lotus with He Xiangu. This set of designs became popular after the appearance of the Eight Immortals as a decorative theme, and was in vogue during the Qing dynasty.	Qing dynasty; Attributed to the Qianlong reign

190.	Dou cai (contrasting colors) shallow dish	This is an elegantly decorated dou cai* (contrasting colors) shallow dish with a flaring mouth and a short footring. Its exterior is decorated with 2 pairs of double-antlered dragons vigorously walking among the clouds in various colors on a smooth and even white glazed background. The leading dragon of each pair is depicted looking back while stepping forward, while he is followed by the other dragon. Between them is a flaming pearl in different colors. The two leading dragons are represented primarily in overglaze yellow and green, while the two that follow are primarily in underglaze red and blue. Except for the one five-clawed dragon in underglaze blue, the other three dragons are four-clawed. The interior is finely glazed in white without decorations. The dragon is one of the most important and complex of mythical animals in China. It ranks first of 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. During the Qing dynasty, vessels with dragon designs were exclusively owned by the imperial families and higher officials who had been given special authorization from the emperor. According to the Yuanshi fuzhi (History of the Yuan Dynasty Records of the Costumes), "shangjiao wuzhua longwen chenshu bude shiyong" (subjects and the ordinary people cannot be allowed to use designs of dragon with double antlers and five claws). The restraint lasted until the end of the Qing period. As this shallow dish bears a double-antlered and five-clawed dragon primarily in underglaze blue, it is evident that this object is an imperial vessel once exclusively used by the Yongzheng Emperor. The representation of the four dragons on this shallow dish is in a combined style of the Kangxi and Yongzheng periods. The depiction of the two leading dragons is just a case in point. The portrayal of their faces is characteristic of the Kangxi style while the illustration of their bodies and claws is typical of the Yongzheng style. The representation of the two other following dragons, especially the dragon with the double antlers and five claws largely in underglaze blue, corresponds more to the Kangxi style. Actually, this underglaze blue dragon bears much resemblance to a dragon design represented on a blue-and-white stem bowl with dragon and phoenix designs in the Palace Museum in Beijing. (Cat. 69, from Geng Baocang, Gugongbowuyuan cang wenwu zhenpin quanji: Qing hua you li hong (xia) <Complete rare works from the Palace Museum, Beijing: underglaze blue and red decorations, vol.3> <Hong Kong: shangwu yinshuguan, 2000.>). On the base of the footring, within a double 'bowstring' circle in underglaze blue, there is an inscribed three-column "da qing yong zheng nian zhi" (Made during the Yongzheng reign of the Great Qing) in standard script and underglaze blue. Moreover, a paper labeled 'Yungcheng 1723-1736, no. 48' and another paper labeled '#1029 (history) Yungcheng' are placed just outside the double-outlined circle in underglaze blue. The 'qing' character in the reign mark shows a variant written style. Such a type is said to have probably appeared on early Yongzheng porcelains. A bowl with dragon designs attributed to the Yongzheng reign, and listed in page 177 from Mr. and Mrs. Mascarelli's book titled The Ceramics of China: 500 BC to 1912 AD (Atglen, PA.: Schiffer Publishing Ltd., 2003), bears a reign mark with the 'qing' character in the same variant style. Further, when taking a closer view, the surface of the glaze clearly exhibits the orange skin patterns (ju pi wen) that typically appear on Yongzheng vessels. *This term, in its broad sense, refers to a painted decoration combining the underglaze blue and overglaze polychrome. The tem dou cai first occurred in Nan Yao Bi Ji (Notes on the Southern Wares, 1730s-40s). It has been suggested that a term used in the Ming dynasty 'qing hua jian zhuang wu cai' (overglaze decoration complemented by underglaze blue) referred to the same technique. During the Xuande reign of the Ming dynasty, the underglaze blue was combined with the overglaze five-colors to form a design. However, strictly speaking, dou cai was invented in the Chenghua reign when part of the design was drawn in underglaze blue on the body. After the vessel was coated with a layer of transparent glaze and fired, the overglaze pigments were added to complete the design. Dou cai wares continued to flourish during the Jiajing and Wanli reigns of the Ming dynasty and continued into the Kangxi reign of the Qing. The enamels on the fen cai (famille rose) palette were used in the dou cai decoration during the Yongzheng reign.	Qing dynasty; Yongzheng reign;

191.	Double figure of two boys	This is a brownish-green jade openwork carving of two identical boys. According to the Chinese legendary subject Ho-Ho Shên, they represent the two merry Genii of Harmony and Concord with long straight hair trampling upon the emblems of luck, one holding a lotus and the other a sceptre (Ju-i) and a salver filled with gems and spurs of coral. The bat is one of the top symbols for good luck, happiness, and longevity. The word "bat" in the Chinese language sounds identical to the word for "Good Fortune". Here, hovering above the boy's head, it is employed for a decorative purpose. The whole design is very symmetrical. To link the elements together, the jade carver cleverly links the hems of the boys' garments together. Similarly, the lotus stem and the scepter are also connected by a lotus leaf in the middle. This piece was carved out of a single piece of jade and placed on a custom designed floral redwood stand. The reverse also has details that suggest the piece can be seen from both sides, and from the front and back.	Ming dynasty;

192.	Double water coupe	Research in Progress

193.	Double-gourd bottle	The origin of the double-gourd bottle can be traced back to the pottery gourd bottle from the Banpo site of the Yangshao culture, to the Shijia culture and to the polychrome bottles made in the Tang dynasty. The double-gourd is associated with Li Tieguai, one of the Eight Immortals. According to legend the gourd contains more than five blessings (long life, wealth, health, love of virtue and a natural death). Therefore, the double-gourd shaped bottle is an auspicious symbol in China, usually associated with a wish for a long life and many sons. This irregular double-gourd bottle has a smaller upper bulb which gradually tapers to the mouth, a larger lower rectangular bulb and a flaring footring. On top of its neck a small area of glaze has flaked off, exposing the white body. Its exterior is well glazed and decorated, while the interior is coarsely made and thinly glazed. The base of the footring is unglazed. It has no reign marks or inscriptions. Several small drilled holes are found on the base of the footring. Both bulbs of this bottle are primarily adorned with the bo gu tu (illustration of diverse antiquities) motifs in the famille rose* palette. The bo gu tu motifs usually illustrate all kinds of antiques such as bronzes, porcelain vases, jades, painting scrolls, potted landscapes (penjing), etc. They denote the Chinese worship and adoration to their traditional treasure and culture. The bo gu tu motifs were especially popular during the late Qing dynasty and early Republican period because of the resurgence of the jinshi xue (the study of inscriptions on bronze vessels and stone steles) at that time. The jinshi xue once reached its peak during the Song dynasty, but declined later on. The upper bulb depicts three groups of diverse antiques. One group represents a red lion standing on a garden seat, looking back with fangs exposed. To the right a dragonfly with yellow wings is flying downward. Several covered jars and small garden seats scatter the foreground. In the center of the second group is a big caramel incense burner surmounted by some of the Eight Buddhist Emblems* (such as three piled caramel conches with two climbing yellow monsters on both sides and a yellow lotus) on a blue round table. A blue monster with a green tail is standing on top of the yellow lotus. A purple umbrella, which is tied with red ribbons and with a light green chrysanthemum inserted through the center, is to the upper left. Below is a chrysanthemum flower pot on a small round table. A white chrysanthemum and a red peony flower are to the upper right. Underneath is a pink vase with pine leaves, together with painting scrolls in a brush holder and an open scroll on a small rectangular table. Small stools, colorful water pots, a covered jar and a brush holder with painting scrolls are in the foreground. The third group shows a red incense burner whose upper part is green standing on a grotesque table. To the left is a red vase with flowers and on the right is a yellow Jue (a bronze wine vessel). A pomegranate, a wood brush holder with painting scrolls, several water pots, a textile and a chess board are spread on the foreground. The lower bulb is decorated with five groups of diverse antiques, alternated with some of the Eight Buddhist Emblems such as the knot, umbrella and canopy. The most impressive group depicts an imperial yellow incense burner surmounted by some of the Eight Buddhist Emblems (such as piled conchs and lotuses) on a small rectangular table. To the left is a brush holder with scrolls and brushes, and a pile of books tied with wide yellow ribbons. To the right is a monster sculpture standing on a small round table. The other four groups have similar content. All of them illustrate vases and incense burners either respectively or in group on a table, surrounded by flower pots, scrolls in a brush holder, water pots, etc. Around the shoulders of the lower rectangular bulb are the Eight Daoist Emblems, a set of antiques from the Eight Immortals. On the bottom are the supplemental floral designs. The shape of this double-gourd bottle is unusual because the larger lower bulb is rectangular rather than round as commonly seen, but the form of the smaller upper bulb appears almost identical to the typical Jiaqing model (1796-1820). Since the arrangement of the Eight Buddhist Emblems does not follow the usual order established during the Qianlong reign and actually there are just a few of them, it can be inferred that this bottle may have been produced after the Qianlong period. As such, the dating of this piece should be around the Jiaqing reign, probably much later than it given its average quality and workmanship. Famille rose (fen cai) refers to a palette developed in the same basis of the famille verte palette (kang xi wu cai) of the Kangxi reign of the Qing dynasty and which was under the direct influence of the enamel decoration ware. In the last years of the Kangxi reign, foreign rouge-red enamel was used to color flower petals. This started the trend toward a new palette (known in the West as famille rose) during the succeeding Yongzheng and Qianlong reigns. The famille rose is characteristically used in this way: glassy white (bo li bai) in which an opaque white enamel (lead arsenate) is employed as the base for coloring garments or flower petals; also, rue oil is used as the drying oil in mixing some pigments. Many enamels of the palette include certain imported materials, such foreign red, foreign yellow, foreign green, and foreign white. Compared with the famille verte, the new palette fires at a lower temperature and has a wider color range. It also appears softer and gentler, hence its other name 'soft colors' (ruan cai). During the Yongzheng reign, famille rose wares reached their zenith, replacing the famille verte of the Kangxi reign and becoming the dominate palette in overglaze decoration. The decoration was painted not only on a white background, but also on such colored backgrounds as coral, red, light green, caramel, black, etc. During the Qianlong reign, new techniques continued to develop. As a departure from the earlier simple washing method, flower petals in rouge red were outlined. More colors began to appear as the background. The designs also grew increasingly complex, especially in the case of wares with a red or green phoenix tail design as the background (feng wei wen), which was fashionable in the late Qianlong and early Jiaqing period. As this new decorative technique used many imported materials, and it method of mixing pigments was also 'foreign', it acquired the name 'foreign colors' (yang cai) in the Qianlong reign. * The Eight Buddhist Emblems consist of the wheel, the conch, the canopy, the umbrella, the lotus flower, the vase, the fish, and the knot (sometimes one of these is replaced by the flaming pearl). Often, each of the emblems is combined with a lotus spray to form a design. They were introduced from the Tibetan Lamaist art in the Yuan dynasty and were popular decorative elements during the Ming and Qing. These emblems were impressed on Yuan Jingdezhen egg-white wares and Longqun celadons, and also on Ming sweet white wares of the Yongle reign. From the Xuande reign on, they were painted in an underglaze blue, in the five-color (wu cai) palette, in the contasting color (dou cai) technique and in yellow decoration on a green ground. During the Qianlong and Jiaqing reigns of the Qing dynasty, this design was painted in the famille rose palette and enamel decoration. The arrangement of the emblems had been random before the Yongle reign, when the order of the wheel, the conch, the canopy, the umbrella, the lotus flower, the fish, the vase, and the knot was established. During the Wanli reign to the Qing dynasty, the established order was the wheel, followed by the conch, the umbrella, the canopy, the lotus flower, the vase, the fish, and the knot. After the Qianlong reign, this order was not followed on some vessels. Wares with this design were all produced in Jingdezhen except for some fa hua glazed wares. * The Eight Daoist Emblems depict only the emblems of the Eight Daoist Immortals and not the immortals themselves. Each symbol is associated with an individual immortal: the fan with Zhong Liquan, the bamboo drum with Zhang Guolao, the flute with Han Xiangzi, the double gourd with Li Tieguai, the castanets with Cao Guojiu, the sword with Lü Dongbin, the flower basket with Lan Caihe, and the lotus with He Xiangu. This set of designs became popular after the appearance of the Eight Immortals as a decorative theme, and was in vogue during the Qing dynasty.	Qing dynasty

194.	Eagle perching on a crouching Lion Dog (shih tzu kou) or Fo Dog	This small jade of an eagle perching on the back of a Fo dog or Lion dog is a typical example of jade animal miniatures carved in the round that stand independently without being part of anything else. Both animals have naturalistic poses. An auspicious creature, this crouching Fo dog (or Lion dog) unusually does not look ferocious; it is carved smoothly with no angular incised lines. It has a contented pose with an uplifted snout and closed mouth. Its front legs quietly stretch out in front of his chest. The paws have distinctive claws. His pointed ears are laid back. The eyes are not bulging but rather half-opened, looking upward to the snooping eagle. The emerald blotches are nicely rendered on the top of the eagle's head, giving it a sense of grace and tranquility. Both the "Fo Dog" and the eagle are symbols of superhuman strength and are known as protectors. Their functions as jade animal figures are debatable. Very few pieces can be accurately and reliably dated. From the Han to the Qing dynasty, they were traditionally used as tomb goods, decorative items, collectibles, or for the enjoyment of officials and scholars. These auspicious creatures were probably viewed in a very different way by their owners. Their symbolic meanings intend to benefit the owners in many ways. This carving might have functioned as a paper weight as it has rectangular, strong features and a steady base. Based on its carving style, this item could be basically attributed to the late Qing period when later animal carvings were essentially pictures. The jade of this period had lost its associations with permanence and immortality.	Qing dynasty

195.	Elephant puja lamp	This lamp bears an elephant, standing on a lotus flower who balances a large leaf on his trunk while supporting a structure on its back. The structure is comprised of what looks like two empty leaves. The four leaves of the lotus flower on which the elephant is standing are also hollow and deep. All the leaves look as if they were made to hold some sort of liquid. This particular lamp appears to have been used in ceremonies.

196.	Elephant-flanked Gaja-Lakshmi lamp (Hindu Lotus Goddess seated on sacred throne)	Given the complexities of the Hindu-India's Goddess's world, a full analysis of the aesthetics and cultural expressions of this sculpture would unfeasibly exceed the limitations and purposes of this report. Evidently, the infrastructure of Indian's religious tradition and the prodigious dedication in honor of the Gods and Goddess shape the very basic texture of Indian life. The center image of this sculpture features the feminine and meditative aspects of the most generally recognized and worshiped Lotus Goddess Gaja-Lakshmi, the prototypal godhead of India's pre-Aryan past. An embodiment of beauty and splendor, of dignity and glory, of good fortune and wealth, of graciousness and prosperity, she is part of the people's everyday life, in cities as in the countryside. This conventional configuration of the Goddess portrays her usual meditative posture on an ornamental sacred throne, flanked by two elephants and with a lotus halo as a backdrop. The elephants are in a water-pouring performance, perhaps derived from the analogous washing ritual that has persisted as an implicit feature of everyday puja.. The elephant is a predominant feature of ancient Indian's scenery. Its giant physique and great strength indicate supernatural endowment. Its unaggressive temperament signifies friendly protectiveness. The revealer of the lotus' nature, Gaja-Lakshmi represented the supramundane analogue of the Feminine's erotic and sexual powers. Omnipresent icons of Lakshmi appear on walls, pillars, lintels and niches of sanctuaries in central India. Puja is the act of showing reverence to a god, a spirit, or another aspect of the divine through invocations, prayers, songs, and rituals. An essential part of puja for the Hindu devotee is making a spiritual connection with the divine. Most often that contact is facilitated through an object: an element of nature, a sculpture, a vessel, a painting, or a print.

197.	Falcon on cypress stump	From the Han to the Qing dynasty, jade carvers had always utilized the falcon (fang yin) as a favorite subject. It is a popular belief that the bird is a demon expeller. Additionally, the falcon was long a favorite pet of the ruling monarchs. Carved in the round, this bird stands independently on a cypress stump. Its body and trailing tail have fine hatching and incised lines indicating feathers. The chalcedony stone quality is rather low. The carving is not very sophisticated. Small animal carvings in jade and other types of stones may have meant more to their owners than just decorative images. In addition to their wide range of functions such as tomb goods or ornaments for the elite's household and the literati's study, animal figures in jade also served the important purpose of protecting their owners.	Republican period

198.	Fan handle	In the Chinese culture, people and fans have a close relationship. The fan is not only an article for daily use but part of the Chinese culture. It is a symbol of leisure, sometimes used as a spirit whisk to drive away evil. Fans are used by both men and women in China. There are two kinds of fans: the stiff fan and the folding fan. This is a dark green jade fan handle for the stiff fan. Its slender shape is precisely worked. At the top, there is a groove where the fan is inserted. Below is a straight portion that tapers to the end with two holes, probably for a silk knot. Without the fan, there is little clue as to the date of this piece. However, the quality of workmanship, the softness of the form, and the quality of the polished surface suggest that it dates to the late Qing period or the mid 20th century.	Qing dynasty

199.	Fei Ts'ui altar dish	The Qianlong period is known for its more distinct and exceptional jade craftsmanship than any previous era. The art of jade carving during this period reached its zenith of decorative and aesthetic excellence. Yet, because this translucent shallow Fei Ts'ui* altar dish was used for offerings on the Altar to the Queen of Heaven, it is, therefore, undecorated. This altar dish is an outstanding example of the art of jade carving of the time with its extreme thinness and refinement. The Queen of Heaven (also known as Ma-tzu or Tien-Hau) or the Patron of Seafarers is a popular deity particularly in Taiwan, since the ancestors of the majority of Taiwan's Chinese population had to sail across the sea to immigrate to the island. These hopeful and desperate passengers often made offerings and promises to Ma-tzu in the hope that she would grant them a safe voyage and success upon their arrival. To the people of Macau, whose history is deeply linked with the sea, her festival is one of the most important of the year. Ma-tzu is usually flanked with two guards, Chien-li-yen (Thousand Mile Eyes) and Hsuen-feng-er (Favorable Wind Ears), who have the power to see and hear long distances so that they might protect her better. Related Gods are the Nine Emperor Gods, as part of a spirit-medium cult known locally as 'Jieu Hwang Yeh', who preside over blessings, life and death, peace and harmony on Earth. These Nine Deities are believed to dwell in the stars in northern heaven under the reign of 'Tien-Hau'. The festival to honor The Queen of Heaven and the Nine Emperor Gods falls on the ninth day of the ninth month in the Chinese lunar calendar.	Qing dynasty; Qianlong reign

200.	Female figure carved horn	This is a carved water buffalo horn of a female figure riding a monster above stylized clouds. The figure is wearing a headdress and carrying an object in each of her hands. The color is a reddish-brown which becomes transparent when placed in front of light.