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	Object Name:	Description:	Period:

21.	Amber ornament carving	Dark yellow amber ornament carving. Design of a hermit seated under a pine tree attired in official robes. Auspicious clouds above him. His attendant, a boy, carries a musical instrument. This piece is placed on a wood stand.	Ming dynasty

22.	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

23.	Amulet in the form of a coin with Pa Kua characters	This is a souvenir item for tourists, from China. It takes the form of Chinese round coins with a round hole in the center like a ring. One side is engraved with the 8 characters of the Pa Kua: qian, dui, li, zhen, sun, kan, ken, k'un.* On the other side are Chinese inscriptions that mean 'the God of Thunder will kill evils and bring peace and prosperity to good people.' The object has an original carved wood stand. It may also function as an amulet. * The Pa Kua or Eight Diagrams, are represented by an arrangement of certain cabalistic signs consisting of various combinations of straight lines arranged in a circle, created from the two primary forms called Yang I and Yin I. This plaque may be considered to have the power to help the wearer by warding off misfortune and assuring prosperity. It may also be put over a house door as an emblem of felicity.	Republican period

24.	Amulet, Ling Chi Fungus	At the center of the front of the amulet is the image of Ho-Ho Shên, one of the two merry Genii of Harmony and Concord. He has two hair buns on his head. He tramples around and carries a Ju-I scepter, which also means, "as you wish." The playing-boy motif was especially popular during the Qianlong period. Often boys were seen carrying auspicious objects like this to represent the phrase jiqing, or "happy occasion." This is a common wish for harmony and good harvest. On the reverse is a seal inscription in a rectangular cartouche, which reads "good luck as you wish." It reinforces the message of the image on the front. The spray of fungus leaves above this frame gives emphasis to the piece. The design of the image on the front and the inscription on the reverse of jade ornaments, plaques, and pendants was common during the Ming and Qing periods. Taoist deities and Buddhist figures hold in their hands the Ju-I scepter as a religious symbol of power. According to Stanley Charles Nott, the Ju-I was one of the earliest composite ritualistic symbols of the Chinese.	Qing dynasty

25.	Ancestral Altar Hu	This Hu vessel derives its shape from the archaic sacrificial bronze wine jar of ancient Chinese cultures. From the Song to the early Qing dynasty, it functioned as a sign of sanctification or consecration during religious ceremonies, as a storage container of sacred fluid or oil that was poured into the bowl-like hsi or lei. This vessel has an overall flattened cross-section and a sloping profile with a broad neck that flares outwards at its angular shoulders. The cover is surmounted by simple two-tier ridges. Its surface is divided into four registers, profusely adorned with stylized representations of animals in low relief. Two loose-ring handles, positioned at the neck, are supported from taotie finials. The incurvate neck is adorned with shields of pair fish (or yu), symbolic of abundance, power status, connubial felicity, or marital harmony. The bands at the cover and the shoulders carry succeeding motifs of mandarin ducks, another symbol of love and of a blissful marriage. The defining element of the vessel is the register around the body adorned with the taotie motif by a plain narrow negative space. The fish ornamentation is echoed in the narrower bottom band of the vessel body. The straight footring is finished at the hollow base by a thick ridge. The taotie-amidst-stylized-cloud motif is of uncertain origin and cannot be easily categorized among the earliest taotie bronze masks. My personal take is that such amalgamation of the prevailing idea of the propagation of life-aquatic life and animal form (the universal energy ch'ih of the ancient Chinese's mind)-and the mysterious taotie might create some discordance in theme and design. Recent pieces interestingly open developments of new idioms that are inclined to suit everyday necessities and special requisites. Bronze forms were only occasionally copied in jade in the ancient period. Since the dating of this jade vessel is challenging; it could securely be placed anywhere from the late Qing to recent time.	Qing dynasty; Republican period;

26.	Ancestral altar spill vase	This jade altar spill vase has the strong archaistic flavor of ancient bronze vessels. It was attributed to the creation of the Yuan dynasty and excellently represents the jade used during that period, which the Chinese obtained chiefly from the upper regions of the Yurungkash River of Khotan in eastern Turkestan. According to Mr. Stanley Charles Nott, the vase was originally made as a 'spill container' for altar use. This vase may have functioned later solely as a reception container for 'prophecy spills.'* The cover has protruding spill ends of sufficient length for easy access of selection. The cloud-like texture of the stone makes the vessel an excellent medium to demonstrate the Chinese fondness for the cloud motif that evokes T'ang and Song paintings. Together, the stone's cloudy texture, the vase's flattened and undecorated form, and the simplicity of the overall design convey a sense of the ethereal that is perfectly appropriate for an altar object. There is a consistency in the use of the fungus and cloud motifs. The fungus, an all time favorite motif, is echoed on the lid and at the loose ring handles that join the incurvate neck. The vase lip, cover rim, and base are finished by a delicate key-fret motif. When appearing together on one piece, they evoke the perpetual quest of the Chinese for immortality. The use of these forms and motifs from antiquity is a splendid example of the aesthetic essence of Chinese art, the evolved maturity of style, and the continuity of jade carving techniques.	Attributed to the Qing dynasty

27.	Archaic yue-axe shape pendant	This plain pendant takes the shape of an archaic Yue-axe. In ancient Chinese history, the actual Yue-axe was used to behead human or other victims, mostly for sacrificial purposes. Many jade personal ornaments of ancient times also take the shape of the Yue-axe. The earliest types of jade pendants of this Yue-axe shape were often found in Shang aristocratic or elite families' tombs (such as the well-publicized tomb of Lady Fu Hao). They were also found in Eastern Zhou deposits or burials, where there was a multitude of small pieces of pendants and ornaments; some were earlier than the date of the burials. The two gem-like minerals identified as jade in most Chinese stone artifacts are nephrite and jadeite. Although both minerals share certain physical qualities and earn similar value, they are chemically quite different. Nephrite is opaque, much tougher and does not fracture. The so-called jade used in China appears to have been exclusively nephrite until the eighteen century A.D., when jadeite from Burma began to be imported. While Nephrite is much prized (especially in later periods), Jadeite is of less importance and only began to be used in China in the Ming or Qing period. Nephrite was worked with abrasive sands over a long period of time. As Jessica Rawson explains, while early stone axes have a rather thick, solid body, often lens-shaped in sections, later Neolithic blades have even less thickness. The carving technique is crude (Prior to the Han period, instruments used in jade cutting and carving had yet to be devised). Pendants of later times are thinner and served more to demonstrate the virtuosity of the carver, and the power of the patron to command expert workmanship. This pendant has an uneven thickness; it may have been a product of the technique of cutting boulders into thin slices, and of a wish to make economical use of the stone. The perforation on the top of the axe was probably drilled from both sides with a rotating drill. Very rarely was the surface of ancient nephrite objects embellished. At the end of the axe blade, there is a peculiar indentation in the lateral side. The smooth surface has no trace of any grinding marks like those of earlier times made by the abrasive sands. It exhibits a rusty warm, dark brown color, and is opaque with a dull luster. From the Shang period, the stone axe seems to have been the victorious and power emblem of the sovereign. Many Jade objects of the pre-Han period were originally left undecorated by a group of peoples; yet, later they were often adapted and extended by another. This pendant survives remarkable time without being altered. Its artistic shape and decoration is from the Zhou period, which is plain, unpretentious, and much simpler than any of the Han dynasty. It certainly does not belong to subsequent periods. I am inclined to place it in the Zhou period.	Attributed to the Zhou dynasty

28.	Archaic Yue-axe shaped pendant	This plain pendant differs from most pendants of the Qing period by its rendering of the archaic form of a Yue-axe (the earliest ones were found during the Shang dynasty, in the tomb of Lady Fu Hao). In ancient Chinese history, the Yue-axe was used to behead human or other victims, mostly for sacrificial purposes. Its surface was usually designed with the tiger or dragon, human face, taotie, and leiwen (square spiral) motifs. Not only the Yue-axe form but also the early symbolic decorative motives of jade carvings are present in this piece. The front and reverse sides are identical. The surface is divided into four registers. The top of the pendant has the joo-i* head pattern, followed by a narrow band of geometric design. The shallow criss-cross incise in the middle register reinforces the archaic form of the lower blade-like part of the pendant decorated with the conventional shield form or sometimes called the "stiff leaf" type (or plantain leaf jiao ye wen), a mode of decoration on jade carvings and porcelains during the Ming and Qing periods*. The overall design, the archaic Yue-axe form, the choice of old nephrite and the particular plantain leaf of the Wanli reign help identify the date of this pendant. joo-i means 'as you wish'. It is a short sword with a sword-guard, used by the ancients for self-defense. Later, it signifies good wishes for the prosperity of the recipient. * *Art historians used different terms for this pattern. Sometimes it is called a "cloud pattern".	Ming dynasty; Wanli reign

29.	Archaistic vessel	Miniature vessels in the shape of archaic bronze vessels began to be made on a significant scale during the Ming period. It was not until the Qing period, however, that pieces from exceptionally fine stone were carved, as in the case of this censer. It is an archaistic vessel based upon an ancient bronze. It has a round body with two dragon-head loose ring handles, supported on three paw bowed feet. The knob of the domed cover is an openwork design of a Fo dog. Its simplicity in design, ornamental quality, and the choice of agate as its carving material indicate that it functioned as a decorative object for the home of the literati and wealthy class.	Qing dynasty

30.	Archer's thumb ring	This archer's thumb ring is unquestionably problematic. It is also called Küe. The ring was initially attributed to the Former or Western Han (206-A.D. 25). The ring is moderately polished. Its surface has tiny white flecks and speckles. It illustrates a delightful motion-picture of five Lion Dogs, depicting the action of animal life in bas-relief.* The Lion Dog occupied a well-defined place in ancient Chinese mythology and religion. The object is categorically not of the Han period. I do not share Mr. Chen's opinion on the dating of this piece for several reasons: - Although naturalistic in its outline, animal carvings from the Han era (including the two periods: Former and Western Han) are very stylized. The artistic creation of this ring is way too sophisticated. The details on the animals are too descriptive. - The carving style with low incised lines and sophisticated details can be attributed to the Song period when personal ornaments such as belts, plaques, pendants were modeled on earlier examples. This self-conscious reproduction of past forms asserts the continual linear of Chinese jade carving. - Archer's thumb rings made during the Han period have either the t'ao-t'ieh designs or abstract forms of animals; yet there is rarely a pictorial motif. - The artistic evolution of the Han period took over themes from the style of the Warring States with all its impulsive vigor and unbridled fancy. The Han style is mostly symmetrical in arrangement. - Jade of this period is hardly ever decorated with Chinese characters in the form of the archaic seal script. In this case, the surface of the ring bears the reign mark of the Emperor Kuang Wu Ti and the so-called title "Wu Hu Tu" (meaning the picture of the five tigers). - Jade artifacts from Han period were rarely buried; therefore, very few have survived. * It is actually not a scene of the renowned Five Dragon symbolizing Emperor Kuang Wu Ti (as claimed by the antique dealer).

31.	Bamboo box	Research in Progress

32.	Bell-shaped tea cup	This is a small bell-shaped teacup jin zhong bei with a flaring mouth, a deep and tapering body, and a very small footring. It resembles an upside-down bronze bell, and has a peachbloom color (jiang dou hong). This cup was very popular in the Kangxi reign of the Qing dynasty. Porcelain of the famille rose of the Qianlong period, if it would be the case of this cup, has a thin, milky white inside. The cup usually has 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. This cup carries a four-character mark 'Ch'êng-hua nien hao' underneath a stamp 'CHINA'. The surface fails to give a sense of smoothness and has some defects. As requested by the United States law, any exported wares to the United States after 1891 were marked "China", or "made in China'. Of course, unmarked pieces were brought back by businessmen, missionaries, and tourists as personal property.

33.	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

34.	Bi disc with rows of gu ding wen	Discs of large diameter with relatively small holes are regarded as the quintessential ancient Chinese jade and traditionally categorized as bi.* As described in Eastern Zhou and Han ritual texts, especially the Zhou li, the bi was considered a suitable offering to Heaven. In the spring and autumn period (c. 722-481 B.C.), it was offered as a gift or sacrifice. Many variations of the disc type existed concurrently.** Whatever the name, large discs were not burial items; they were rare and considered to be too valuable to bury. However, probably during the second half of the Eastern Zhou and the state of Chu (c. 5th century B.C.), the function of the bi significantly shifted as they appeared more frequently in tombs. They were used in the mortuary ritual to protect the body of the dead. In the Han period tombs (206 B.C.-220A.D.), bi discs were found in great numbers. They were placed on the bodies of the aristocrats, with the belief that they could protect them. Both side surfaces of this large and light green bi disc are smooth and neatly carved with regular criss-cross patterns of small gu ding wen (raised grain bumps) that reflect the light evenly. The grain bump design, commonly found on jade objects of the Warring States Period (480-221 BC) and Han dynasty (206-220 AD), is symbolic of life because the grain is recognized as the principal food in China. This bi has two typical narrow ridges of same size (0.5 cm), one around the circumference and the other at the central hole. A Stone of Heaven, Jade occupies a perpetual and exceptional place in the history of China and in Chinese culture. Valued for its discernible qualities of toughness, textures, sensuous qualities, and attractive colors, it has been considered an emblem of Immortality, a metaphor for human virtue, and an expression of spiritual and earthly powers. Originally this large and light green bi disc was dated to circa. 200 AD, or the Eastern Han dynasty (25-220 AD). However, it is actually a later product, although it appears to have a similar size and design to those found at that time. As a matter of fact, all Han (both Western and Eastern Han) bi discs are made of the Hetian jade from the Xinjiang Province, most commonly white Hetian jade and green Hetian jade. The Hetian jade is a kind of precious stone with a hardness of 6.0-6.5 degrees. It is considered the highest grade of jade because of its fine quality, pure texture and luster of mutton tallow. Evidently, this jade piece is not made of the Hetian jade as it contains a considerable number of impurities and it is not glossy. Further, the brownish discoloration on it seems to be rendered intentionally rather than naturally due to long-term burial. Moreover, the raised grain bumps lack a refined, lustrous and transparent quality which is characteristic of the Han style. Therefore, it can be inferred that this piece is a recent copy, probably made during the early 20th century. * In her book Chinese Jade: from the Neolithic to the Qing, Jessica Rawson mentions the debatable definition of the bi whether it is correct to treat only the larger discs, decorated or undecorated, as bi, and the smaller rings as ornaments and pendants. ** Based on their dimensions, she proposes these two general categories: 1. Discs of the types usually called bi and larger rings will be considered as discs 2. Smaller rings are included with pendants. Based on the decorations, Rawson distinguishes three different designs of the bi: 1. Rings and discs ornamented with versions of the spirals typical of Later Eastern Zhou, with relief spirals and scrolls supplemented by hexagonal projections. 2. Discs of dark green jade, bordered with animal faces and adorned with hexagonal relief across the main surfaces, evolved from the sequences of spiral patterns and borders of animal faces with intertwined limbs. 3. Discs in which features of bi and pendants are combined with openwork dragons arising out of their sides, probably influenced by openwork ornaments. Sometimes they include characters such as talismans or emblems for particular events (pp247-251).	Republican period

35.	Black pottery	Research in Progress

36.	Blue and white bowl with painted gold ling long	This is a regular blue and white bowl with a footring. Its exterior is decorated with three registers of designs on a white glazed background. The first register on top, framed by two painted gold 'bowstring' circles, is a band of double lozenge patterns in underglaze blue. The following and main register represents painted gold ling long* (piercing and filling) mi hua (rice grain patterns) decoration, alternated with seemingly sun-like ling long icons outlined in red on a white background. The third register on the bottom depicts three za bao* (miscellaneous treasures) in underglaze blue, two of which are a pile of books and an umbrella. The interior of the bowl is primarily adorned with two registers of the underglaze blue decorations. Both registers denote auspicious meanings. On top are four bats alternated with three patterns in underglaze blue. The inside bottom is adorned with the wu fu peng shou (five blessings and longevity) design which is represented by a big circular painted gold 'shou' character in seal script surrounded by five bats in underglaze blue. These two designs are based on a pun in Chinese because the characters for bat and for blessing are both pronounced 'fu'. According to the chapter "Hong Fan" in Shang Shu, the five blessings are a long life, wealth, health, love of virtue and a natural death. Two 'swastika' characters in red and four painted gold Chinese characters jiang xi chu pin (Made in Jiangxi) in semi-cursive script are inscribed in the outer circle of the inside bottom. 'Swastika' is used as a pun for the word wan or 'ten thousand.' Here the two swastika characters may have been intended to multiply the blessings manifested by the wu fu peng shou design. On the base of the white glazed footring there is an inscribed reign mark of "kang xi nian zhi" (Made during the Kangxi Reign) in underglaze blue, running script and two columns. The dated Kangxi reign mark usually consists of six characters "da qing kang xi nian zhi" (Made during the Kangxi Reign of the Great Qing). The four-character Kangxi reign mark frequently appears on later copies. A red stamp "CHINA" is next to the reign mark. 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. Therefore, this bowl is obviously a recent copy of the similar products made during the Kangxi period (1662-1722). * This term refers to a decorative technique whereby a body is pierced with an openwork design and then glazed in such a way that the openings are filled with the glaze. Works which show rice-like dots under the light are variously known as rice grain pattern (mi hua), rice openwork (mi tong), eye-like openwork (ling long yan), or sesame seed leak (zhi ma lou). The earliest products with this decoration were made in the Hongzhou kilns around the Luohu, Fengcheng, Jiangxi province, during the Sui and Tag dynasties. In the Yongle reign of the Ming, extremely fine porcelain with the ling long decorations were produced in the imperial kilns. After the Qianlong reign of the Qing, both the imperial and folk kilns manufactured such wares. * Items of 'miscellaneous treasures' appear on porcelains as supplementary decorative elements. Within the stylized lotus-petal design on the shoulders or around the foot of the Yuan blue-and-white ware are painted various 'treasures' such as a pair of horns, silver ingots, rhinoceros horn, flaming pearl, flame, coral, Buddhist conch, flaming wheel, a pair of case coins, etc. Since they appear irregularly and some of them repeatedly, they are called "miscellaneous treasure." On the Ming wares, they are placed between the main designs and more objects are added to the category, such as an auspicious cloud, ling zhi fungus, scrolls of painting or calligraphy, ding tripods, yuan bao ingots, qing chime stone, double lozenges, mugwort (wormwood) and plantain leaves, etc.	Qing dynasty; Republican period

37.	Blue and white covered jar with plum blossoms	This blue and white covered jar (the original cover is missing) bears a short neck, round shoulders, a bulging belly tapering to the bottom and a footring. Below a band of gear wheel-like patterns around the shoulders, the exterior of this jar is primarily decorated with plum blossom on an ice crackle background design (bing mei wen). This design, characteristic of the Kangxi reign of the Qing dynasty, is usually formed with white plum blossoms reserved on an ice crackle background painted in different shades of ungerglaze blue, as manifested on this vessel. Such a design evokes the dazzling plum blossoms of deep winter and often adorns covered jars used for storing new tea in the New Year. The bottom of the jar and footring, as well as the interior are white glazed. The mouthrim, the exterior of the neck and the bottom rim of the footring are unglazed, exposing the buff body. This covered jar bears much resemblance to a dated Kangxi blue-and-white covered jar with a reserved auspicious animal panel over a background of plum blossom on an ice crackle back ground (p.47 cat.40, from Geng Baocang's book 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>). However, the underglaze blue on it is not as bright and multi-layered as that on the Kangxi vessel. No typical Kangxi 'fingerprint mark' (zhi yin wen) can be observed through the underglaze blue, either. There are defects within the glaze when taking a close view. Therefore, this piece may have been made during a recent period, approximately from the late 19th century to the mid-20th century. Nevertheless, it displays a high grade of workmanship.	Qing dynasty; Republican period;

38.	Blue and white cup	This blue and white cup contains a deep body tapering to the bottom and a short footring. Its exterior is decorated with three registers of designs. The first register on the outer sides of the mouthrim is a band of double lozenge patterns in underglaze blue. The second and main register on the body is a ling long* (piercing and filling) mi hua rice grain patterns) decoration. Wide lotus petals in underglaze blue are on the bottom of the body. 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 interior of this cup has two registers of decorations. The first register on the inner sides of the mouthrim depicts three mice alternated with "Z"-shaped patterns in a blue underglaze. The mouse symbolizes good fortune and "plenty", because if a house has mice, it means that there are sufficient stored grains around to feed them. The inside bottom is adorned with chrysanthemum designs that are also in a blue underglaze. The chrysanthemum is a symbol of autumn and of fortitude; it blossoms in the fall despite "the onslaught of frost and icy winds." It is also known as the hermit of flowers because of its association with Tao Qian (style name yuanming), a fourth-century poet-recluse who resigned his official post and retired to his small farm to write poetry. A number of his poems are about the chrysanthemum. On the base of the white glazed footring there is an inscribed reign mark of "kang xi nian zhi" (made during the Kangxi Reign) in a blue underglaze and a red stamp "CHINA". The reign mark is clearly not of Kangxi style. 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. Therefore, this bowl is obviously a recent copy of similar products made during the Kangxi period (1662-1722). * This term refers to a decorative technique whereby a body is pierced with an openwork design and then glazed in such a way that the openings are filled with the glaze. Works which show rice-like dots under the light are variously known as rice grain pattern (mi hua), rice openwork (mi tong), eye-like openwork (ling long yan), or sesame seed leak (zhi ma lou). The earliest products with this decoration were made in the Hongzhou kilns around the Luohu, Fengcheng, Jiangxi province, during the Sui and Tag dynasties. In the Yongle reign of the Ming, extremely fine porcelain with the ling long decorations were produced in the imperial kilns. After the Qianlong reign of the Qing, both the imperial and folk kilns manufactured such wares.	Qing dynasty; Republican period

39.	Blue and white cylindrical snuff bottle	With the introduction of snuff to China during the late Ming dynasty, snuff taking became a nation-wide habit, especially among the Manchu's during the Qing dynasty. Accordingly, small bottles used for storing the powdered snuff became popular products. This blue-and-white snuff bottle has a short and straight neck, a cylindrical body and a flat base. A band of flower-like pendants surrounded by beads is depicted on the neck. The body is primarily decorated with two iron red double-antlered and five-clawed dragons chasing flaming pearls among clouds and flames. There is a third iron red dragon on the bottom, which is looking up and whose body is mostly hidden under sea waves in underglaze blue. 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. 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. Since the Han dynasty, the five-clawed dragon has been the symbol of the emperor. The representation of the dragons here bears much resemblance to an iron red five-clawed dragon chasing a flaming pearl design on a porcelain pear-shaped snuff bottle dated to 1820-1880 from the Princeton University Art Museum (p.225 cat.309, Michael C. Hughes, The Blair Bequest: Chinese Snuff Bottles from the Princeton Art Museum <Baltimore: The International Chinese Snuff Bottle Society, 2002>). As such, it is possible that this piece was produced around the same period. Further, this snuff bottle was probably once owned by the imperial families because of its double-antlered and five-clawed dragon designs. 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 dragons with double antlers and five claws). The restraint lasted until the end of the Qing period.	Attributed to the Qing dynasty

40.	Blue and white jar	This is a large blue and white jar with a lipped mouthrim, a short and straight neck, sloping shoulders, a bulging belly tapering to the bottom and a flat base. Its exterior is finely glazed in white with designs in underglaze blue. Large brownish golden crackles are clearly visible on the bulging belly. The interior has a thin layer of white glaze and it appears coarse. The bottom of the base is unglazed and much has been worn away. The jar is in good condition except that a small part of the mouth is broken, exposing the white kaolin body. In addition, a loop of glaze on the bottom of the bulging belly has been chipped off. Overall the exterior of this large blue and white jar is adorned with five registers of designs in underglaze blue, separated by double 'bowstring' circles. The first register on the neck depicts a band of ruyi (as you wish) head-shaped clouds. The following register is a narrow band of continuous cloud collars illustrated around the top of the sloping shoulders. Below is a wide band of cloud collars, each of which is filled with a ruyi head-shaped cloud design against the supplemental man cao wen (coiling vine and leaf design) background. Between every two cloud collars is a pendant consisting of various beads and rings. The fourth and main register represents the Eight Immortals who are either talking with each other or relaxing under a tree probably just after a good drink, with their emblems such as the sword, (associated with Lü Dongbin) and the fan (associated with Zhong Liquan) spread on the foreground. Trees, clouds and shrubs surround them. On the bottom are wave patterns. The shape of this jar and the coloring of the underglaze blue bear much resemblance to a blue and white jar also with the Eight Immortals design dated to the Tianshun reign of the Ming dynasty (1457-1464) (cat.187, from Geng Baocang's book titled Gugongbowuyuan cang wenwu zhenpin quanji: Qing hua you li hong (shang) ), except that the mouth of this jar is relatively narrow and the underglaze blue appears somewhat darker. As mentioned above, there are two bands of cloud collars represented around the shoulders. As a matter of fact, the depiction of the cloud collars around the shoulders was prevalent as complementary decorative elements during the Yuan and Ming periods before gradually declining during the Qing dynasty. Therefore, it is probable that this piece was produced around the Tianshun reign of the Ming dynasty, approximately in the mid-Ming period.	Ming dynasty; Attributed to the Tianshun reign