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	Object Name:	Description:	Period:

61.	Buffalo horn figure of one of the Eight Immortals	Research in Progress

62.	Bulb bowl with dragon design (patina has been removed)	This brass bowl is probably a fine example of Chinese decorative art. Its surface illustrates some sections from The Journey to the West (Xiyouji), one of the renowned and most popular classical Chinese novels dated back to some four hundred years ago. This popular and imaginary fiction is based on the true story of Xuan Zang, a famous monk, of the Tang Dynasty (618-906). Sent by the Tang Emperor to India in search of the Buddhist sacred texts, Xuan Zang was escorted by the brave and endearing Monkey King and his two other companions. After myriads of trials and quandaries, they arrived on foot to what is today India, the birthplace of Buddhism to obtain the Buddhist holy books. After his return to China, Xuan Zang translated the Sutras into Chinese, thus making a great contribution to the development of Buddhism in China. On the bottom of the bowl, a high-relief carving of swirling dragons-fighting-over-pearl (qiang zhu long) frames a mark of six characters in plain style "Ta Ming Hsüan Tê Nien Hao." Although it is not unusual to have these characters aligned horizontally in other medium, it is atypical on bronze and brass vessels. On the inside bottom, there is an etching of a full-faced dragon. Presumably its function is for burning incense.	Ming dynasty

63.	Café au lait-glazed bowl	This is a bowl with a deep body tapering to the bottom and a footring. The exterior of the body and footring as well as the interior with the exception of the much lighter caramel-glazed inner mouthrim, are in a glassy café au lait glaze. Overall the glazing is exceedingly smooth. The inner sides and the base of the footring are white glazed, leaving the bottom rim unglazed and exposing the white body. On the base of the footring there is a reign mark "da qing xuan tong nian zhi" (Made during the Xuantong Reign of the Great Qing; 1909-1911) in standard script, a blue underglaze and two columns. On the right of the reign mark is a red stamp "CHINA". 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 bowl is an object specifically designed for the foreign trade and produced during the early 20th century.	Republican period

64.	Cage	Research in Progress

65.	Calling card box	This is a small ivory carved calling card box. There are two carved scenes on each side. One scene is on the top of the box and the other is a slightly larger scene on the central portion. The central scene consists of a male figure sitting at a desk fanning himself. He has servants in attendance and is surrounded by buildings and two different types of trees. The trees are willow and pine. The willow tree is a symbol of protection and the pine tree can symbolize either longevity or scholarship. The scene at the top is again of a sitting man and either a servant or a student. The scenes on the other side are similar to these. The box is of small size and the carving is done on very thin ivory. One will notice that the ivory is aged by looking at the darkened color.	Qing dynasty

66.	Carnelian snuff bottle	This is a carnelian snuff bottle with a wood stand. It appears mostly white in color with brownish spots and a beautiful orange-yellow top. This snuff bottle is carved to depict a fishing scene. There is a boat on one side and a fish jumping out of the water on the other. There are two lion head handles on either side.

67.	Carved arm rest	Research in Progress

68.	Carved bamboo root brush holder	There are two types of scholar's decorated brush holders: the P'i T'ung and the Ch'ien T'ung. They are different and dissimilar in form and decorative designs. The P'i T'ung is usually not as elongated as the Ch'ien T'ung. While the P'i T'ung has a wide variety of forms with decorations that embody literary symbols rather than representations of a scene or a mythical legend, the Ch'ien T'ung is either cylindrical or square and lavishly decorated with mythical hunting scenes embodying some subtle reference to skill in archery, or scenes of military prowess. This amazingly light and intricate brush holder (P'i Tung) has an organic form, an asymmetrical design, and a natural texture of old bamboo root. It is carved in bold undercut relief of a uniform pattern of pine, a symbol of longevity and immortality for its ability to remain evergreen. To the Chinese, the Pine also signifies the superlative achievements of the scholar, loyal friendship, and successful scholarship. The apparent choice of using bamboo root as its material is clever. An emblem of longevity, vitality, and an abundance of "life essence", bamboo is the most beloved plant of the Chinese. The carver skillfully uses the natural form and texture of the bamboo roots and cells around the lowest part of the stem to create openwork of a strikingly and dramatically realistic pine trunk, branches, and leaves. There is a large opening at one end of the brush holder, probably due to the process of uprooting the bamboo's subterranean stem part and cutting it off its main running roots. It stunningly embellishes the organic quality of the object. The combination of material and motifs in this scholar's object is a clear statement of the scholar's principles of righteousness and the ability to endure and withstand adversity.	Attributed to the Qing dynasty

69.	Carved blade	Research in Progress

70.	Carved coral piece	Research in Progress

71.	Carved elephant tusk ivory beauty (also called Sing Song Girl)	This ivory carving of a slender and lovely court musician is a beautiful example of polychrome ivory that shows the mastery of Northern Chinese craftsmanship of the 19th century. Every single detail on her body as well as on her dress is carefully carved to show the canon of Chinese female beauty of the time. The figure is of the most beautiful ethereal expression. Her long hair is partially covered by a beautiful scarf tight with a fan-like hairpin. She seems to be rhythmically playing a small drum hung with a cord from her right shoulder. This is one of various types of well-known Chinese musical instruments. Note the sophisticated lines and fine movement, the delicate silk robe embroidered with the cloud-like pattern variously referred to as 'ju-i pattern'. This design was especially common from the Qianlong period onward.	Ming dynasty; Qing dynasty; Qianlong reign

72.	Carved Fo Dog	This small red figurine depicts a Chinese Fo-dog which is a magical creature in their culture. The figure resembles a combination between a lion and the Chinese breed of dog called Shar-Pei. There are scales running down the back of the figure and its tail is similar to that of a mermaid. The figure is seated and rests on a carved wooden stand. One will notice if they look in the bottom cavity of the figure that it is not made of red horn, but has been painted to look so. The paint in this cavity has either flaked off or was never applied. This tells us that the object was produced as an imitation. One can easily compare the other red horn objects in the collection to realize that this is not authentic. When we compare the detail of the carving to that of object #68H25 we see that it does not add up.	Qing dynasty

73.	Carved fo dog	Research in progress.

74.	Carved girdle ornament	Research in Progress

75.	Carved horn cup	This carved rhinoceros horn cup contains motifs which represent the divine realm. We notice on the foot and the lip of the cup a cloud and thunder pattern. This particular pattern is symbolic of otherworldly realms and also good fortune. The dragons are obviously symbolic of the divine. Rhinoceros horn is said to have magical protective properties. The cup would have probably been held on the end with the dragons with a left hand. The thumb would be on the inside of the cup and the fingers would be on the exterior. The other end of the cup would have been held to the lips of the drinker. The base of the cup is made from the narrow end of the rhino horn.	Qing dynasty; Qianlong reign

76.	Carved horn figure	This is a small carved horn figurine of a lion. The lion is commonly referred to as the Buddhist lion or the Fo-dog; the lion is not native to China and was brought in the art of the Buddhists to China. Notice the detail around the neck which represents the animal's mane. The tail is bushy and the body of the lion is stocky. The animal seems to be sitting on his haunches in a typical pose. There is a carved wooden stand with this object which was probably made for it. The carving was produced from a solid piece of horn. The wooden stand could represent clouds which are a symbol of ethereal realms. The lion looks to its right. This object comes as one of a pair.	Qing dynasty

77.	Carved horn figure	This smallish carved horn figure represents a hunting dog or greyhound. The dog plays a dual role in Chinese culture as both a hero and villain, a guardian and scavenger. Notice the long nose and ears on this animal. Those and the slender tail help us identify the animal as a hunting dog. The dog points its head to its left as it slightly hunches its back. This object is one of a pair with the carving of a lion; when pointed at each other, the two look the same way. There is a carved wooden stand that was probably custom-made for this object. The stand could represent clouds, which are symbolic of otherworldly realms. The red color of the horn used here indicates that it is water buffalo horn.	Qing dynasty

78.	Carved horn figure	Carved water buffalo horn figure of Liu Hai with frog. Color is a reddish-brown. Transparent when put in front of a light. Liu Hai seems to be pulling something from the frog's throat. Wooden base has four legs and a space has been left which matches the base of the figure exactly.

79.	Carved horn figure	Carved water buffalo horn of a man holding a peach in his one hand and a peach branch in his other which is also resting over his shoulder. There is a Chinese character on his clothing. Figure forms an unusual concave quality. Color is reddish brown and becomes somewhat transparent when placed in front of a light. Wooden base includes a decorative motif with flat base for the figure to stand on.

80.	Carved horn figure	This horn carving represents the ancient Chinese personage of Hwang Ch'u-p'ing. He was a 4th century figure who, at the age of 15, took a herd of goats into the mountains and lived in a cave. He meditated for 40 years and the goats turned to stone. When his brother found him after the forty years he noticed that there were no more goats. He is frequently represented in art by himself changing the goats from stone for his own pleasure. Notice that in our representation he is holding his sleeve over his mouth. This could be an indication of laughing. Hwang Ch'u-p'ing's forehead is large and his hair and beard are long, from meditation having increased his knowledge.The staff he holds could be made from peach tree wood; the peach is a symbol of longevity. There is a goat that stands at the feet of this figure. This object comes with a carved wooden stand.	Qing dynasty