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	Object Name:	Description:	Period:

81.	Carved horn immortal figure	Carved water buffalo horn of an immortal holding a staff. The immortal has a beard and is holding a tall staff. Color is a reddish brown that becomes somewhat transparent when placed in front of a light. Wooden base is made of a lighter wood and has a floral pattern carving. Space carved into top of stand that matches the shape of the figure.

82.	Carved ivory ball	This interesting object is a carved ivory ball with a detailed scene which seems to depict an outing. What looks like a stylized pine tree seems to serve as a canopy for this gathering of men; the pine tree is used metaphorically for friends who stick together even in adverse times, and also as an emblem of immortals, longevity, and immortal realms. The carving is well done as even figures in the center of the ball show detail. The exact nature of the scene is unclear, but it seems to be some sort of festive occasion or game and might be taking place in an immortal realm. The bottom portion of the carving seems to be done in a geometric pattern. The ball has some age to it based on the color of the ivory. The style of the carving probably places it in the 19th century, but further investigation will reveal more. This object has a wooden stand which is most likely not original.	Qing dynasty

83.	Carved ivory clam	This carved ivory clam contains a scene with several figures in landscape, including two banana trees, a symbol of alchemy and scholarship as well as the blissful solitude of retired life. On top of the clam there are two carved crabs. The clam could represent the netherworld; the crabs could represent the ocean, where this scene of the afterlife is taking place. Inside is where we see the central scene. There are two men kneeling at a table, playing a board game - possibly chess. The game of chess is symbolic of leisure and culture. The chess board is a symbol of one of the four fine arts. There are two other figures in attendance. To the left we see a smaller figure which could be a child or a woman approaching with a horse and rider behind. At the far left and far right of the scene we see a figure with his back turned. The object comes with a carved wooden stand that may be original.	Qing dynasty;

84.	Carved ivory seal	This object is a carved ivory seal which was never completed by the artist who started it. The top consists of a Chinese Dog of Fo, or Fo-dog. They are creatures which are based on lions and they came to China from India with the first Buddhists, in the first Millennium. Lions are not native to the region. This creature's leonine quality is evident in the finely carved details of the mane, scales, tail and face. Since the stamp was made of ivory it probably was not intended for official court use; in the Ming and Qing Dynasties, all imperial seals were made of gold, jade, or silver. Ivory seals would have been used only for personal and less formal occasions. The stamp itself is long and slender. The characters are not yet deciphered. There is still red ink on the bottom of the stamp.	Qing dynasty

85.	Carved ivory table screen	This carved ivory table screen seems to be produced from several pieces of ivory connected after being carved. One first notices the large size of the screen. Also, it is obvious from the re-attaching of the different parts that the object was not carved from one piece. The actual screen has a border which consists of two facing kui dragon designs (kui long) on each side of a central scene. The kui dragon design first appeared in the Xuande reign of the Ming dynasty and continued to be used during the Qing dynasty. It is usually depicted with the upper lip turning upwards like an elephant trunk. Behind its front leg, the dragon grows stylized, its body assuming the form of a scroll. This accounts for its other names: floral-styled dragon (hua shi long) or dragon-of-fragrant-grass (xiang cao long). One side of the screen depicts a bird perching on a blossom tree and surrounded by flowers, plants, and rocks. This carving reminds us of the bird and flower paintings of the Song Dynasty (960-1279 AD). On the other side two lines of a poem in running script are inscribed reading "zu se bu shui han zhu bian, yu zhi chang ban xiao tan zhong." They can be translated as, "the bamboo does not remarkably change its [green] color when the weather becomes cold. Jade-colored branches always accompany [our] talking and laughing." There are three colophons on this side as well which are highlighted in red. The one on the top left reads "shan ju" (possibly sobriquet or hao of the artist who inscribed the poem). The second one on the upper right side reads, "yu tang qing wan" (elegant collection of the Jade Hall). It is most likely the name of the artist's study (zhai hao). The third one on the lower right is an apocryphal seal reading "dong qi chang yin (Seal of Dong Qichang who is a most prestigious painter, calligrapher and art critic of the Ming dynasty; 1555-1636). This carved ivory table screen bears much resemblance in style to a dated Qianlong ivory screen (p.102 plate 43, Warren E Cox Chinese Ivory Sculpture <New York: Crown Publishers, 1946>). It also resembles more or less another example of an 18th century ivory screen with a scene on one side and a poetic inscription on the other (p.146 figure 162, William Watson Chinese Ivories from the Shang to the Qing <London: The Society: Distributed by Sotheby Publications, c1984>). Therefore, it is highly likely that this piece was made during the Qianlong period as well.	Qing dynasty; Attributed to the Qianlong reign

86.	Carved ivory vase	Here is a carved ivory vase containing two scenes of Chinese (aristocratic and monastic) life. The scenes on the vase consist of a temple scene where men are in boats and others are working on land, and a scene of what seems to be a competition of martial skills. Notice that each of the mounted competitors has an assistant that holds a banner representing his master's family. They seem to be conducting this contest in front of what looks like a palace. The remainder of the vase is decorated in a dragon and cloud motif. It is known that this motif symbolizes ethereal realms. One side of the vase contains a stylized lotus and the other side contains a pearl which the dragons are swirling around. The lotus is known as a symbol of purity and is prominent in both Buddhist and Taoist religions. The pearl is sometimes described as the 'pearl of potentiality' and is emblematic of the dual forces in nature as well as harmony. Based on the carving style and the deep relief, the vase was probably produced in the late 19th or early 20th century.	Qing dynasty

87.	Carved jade	Research in Progress

88.	Carved jade	Research in Progress

89.	Carved jade	Research in Progress

90.	Carved jade	Research in Progress

91.	Carved jade	Research in Progress

92.	Carved jade amulet	Research in Progress

93.	Carved jade container	Research in Progress

94.	Carved jade figure	Research in progress.

95.	Carved jade figure	Research in progress.

96.	Carved jade figure	Research in Progress

97.	Carved jade figure	Research in Progress

98.	Carved jade figure	Research in Progress

99.	Carved jade figure of a horse	Research in progress.

100.	Carved jade good luck charm	Research in Progress