CONTENTdm Collection : Browse

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


Browsing item(s) in

results 201-220 of 796 item(s)

page 11 of 40 : ( << 11 12 13 14 15 16 17 18 19 20 >> ) :: previous : next

select all : clear all : add to favorites

	Object Name:	Description:	Period:

201.	Feng Huang carved horn	This horn carving is of the famous Feng Huang, which is known to westerners as the Phoenix. Notice the long tail feathers and distinctive head shape. This bird is considered the head of the feathered kingdom in Chinese culture. It is considered second of the four auspicious animals, behind the dragon and ahead of the unicorn and tortoise. As the Emperor is associated with the dragon, the phoenix is associated with the Empress. It is a symbol of harmony and peace, as it hides in times of war. It is perched on a tree, which may be the legendary wu t'ung tree. This is apparently the only tree the phoenix will come from the sky to sit on. The bottom portion of the carving has been hollowed out. This has made the object very delicate in that region. Notice the very good detail of the feathers along its back and tail. The brownish-red color of the horn probably means this object was carved from water buffalo horn. It seems to have aged at least over 100 years.	Qing dynasty

202.	Figure of Guanyin	Guanyin or the Bodhisattva Avalokitesvara is variously portrayed in jade carvings. Here the carver uses aventurine. Chinese spiritualists have long held that aventurine has the ability to ground the spirit and bring balance to male and female energies. Its capacity to calm a troubled spirit or mind, and bring inner peace make aventurine a very important stone in the spiritual realm. It is a powerful healer and some have called it the "Healer of the Heart and the Soul." The use of this medium perfectly matches the Bodhisattva's vows to help suffering and ailing people. This carving shows Guanyin in a Chinese traditional garment holding a lotus bud. The carving is rather stiff with deep carving lines and a high relief sash. Based on the disproportion of the body and the style, it can be dated as early Qing period.	Qing dynasty;

203.	Figurine of a Japanese peasant	This demonstrates the recurring subject in Japanese ivory carving of a farmer standing on an attached ivory stand wearing his peasant attire carved with a floral motif and a gourd on his belt. There are many symbolic meanings of the gourd in Japanese art motifs. In this figurine, perhaps the peasant uses it to either carry water or keep the fishes. His hair is tied and pulled back from his jovial face. There are two holes in both hands, perhaps for holding gardening tools (the tools are missing). He goes barefoot and looks very relaxed. This piece display a naiveté and charm similar to Chinese folk art pieces. This style of this figurine may belong to the Meiji period or later.	Attributed to the Meiji period

204.	Figurine of Ho Hsien Ku	This statuette represents Ho Hsien Ku, one of the Pa Sien or Eight Immortals of the Taoists. She was the daughter of a man of Tsêng-ch'êng near Canton, who dreamed that a spirit gave her instructions on how to obtain immortality. She fed on mother of pearl, vowed herself to virginity, and passed her life wandering among the hills as swiftly as a bird, gathering herbs, until she was enabled to dispense with ordinary human food. News of her wonder reached the ears of the Empress Wu, who invited her to the Court. However, while journeying, she disappeared in broad daylight, only to be seen once more floating upon a cloud above the temple of Ma Ku, again near her native place. This carving depicts Ho Hsien Ku holding a stem of lotus against her shoulder and carrying loquat fruits she gathered for her mother. The carver may have tried to show her wandering around the hills with her askance look and a rather odd posture, the right leg advanced and the left turned sideways. The stand is part of the figure. With her emblem, the self-raising lotus flower, she is the patron deity of virgins and unmarried ladies. She is also a celebrity chef and Goddess of Housekeeping.	Republican period

205.	Floral carved concentric ball with ivory stand	The outside ball includes 18 individual carved balls. They are different in design. Each ball has 14 circles or openings and its own lacy design. This meticulous carving has an adroit design of Peony blossoms, buds, and stems. Major centers of concentric ball production are in Beijing, Guangzhou and Canton, with each city claiming its own style. Guangzhou creates exquisitely hollowed-out concentric ivory balls, boats, and floral towers. Cantonese artists are known for their more distinguished and complex patterns than for artistic feeling.	Republican period

206.	Footstool	Research in progress

207.	Four-case roiro inro	The flamboyant side of Japanese men's fashion during the late Edo period is conspicuously exhibited through their accessories such as the inro. This period fashioned a plethora of high-quality production of inro which Samurai and wealthy merchant used as a status symbol during their gatherings or visits. Originally from China, inro (meaning 'seal pouch') was solely used as functional containers for carrying seals and seal paste.* During the Edo period, they were initially used as carrying pills, medicine, and aphrodisiacs. By the late Edo period, the inro turned out to be a form of affection and wearable art. As popular tastes evolved and lacquer techniques improved, designs became exceedingly intricate with meticulous inlay of mother-of-pearl such as in the case of this inro. Rendered in a two-dimensional fashion, the composition features vines of morning glory (asagao) with large leaves, a full blossom, and a bud that grow out of a thatched roof. The asymmetrical design leaves an extensive negative space of lustrous black background that creates a rustic charm and a sense of airiness. The shoulders of this inro are rather square. Morning glory thrives best in summer. Its short-lived bloom and cool blue shade have made the flower an excellent and popular theme for artists. It is problematic to accurately date the inro since generations of lacquer inro artists used identical names and most inro are unsigned. As Westernization influenced every aspect of Japanese society and culture, the inro was no longer a necessary fashion accessory as men trades their kimono for tailored suits. Though they were no longer functional, collectors in Japan and the West treasure these miniature works of art for their technical perfection and endlessly fascinating designs. * The Inro was attached to the obi (sash) by a cord that was threaded through a netsuke toggle and an ojime (a sliding bead fastener used to keep the inro tightly closed, usually made of precious materials).	Attributed to the Meiji period

208.	Fragment	Research in Progress

209.	Fragment from altar screen	Research in Progress

210.	Fragment of ceramic bowl	Research in Progress

211.	Ge-type gray-glazed bo bowl	This is a Ge-type bo bowl with a wide, open mouth and a flat bi-shaped base (yu bi xing di). Both the exterior and interior are in a gray glaze. Overall the glazing evidently bears large, gray iron-colored and small brownish-golden crackles, or 'jin si tie xian' (gold thread and iron wire), which is unique to the Ge ware. The ring of the bi-shaped base is unglazed, exposing the smoothly wheeled brown body with a circle of spur marks. The recessed center of the base is glazed and crackled, similar to the bowl itself. The bi-shaped base usually appears on bowls made in the mid to late Tang dynasty. A disc is cut away from the flat base of a bowl, leaving the base with a ring resembling a jade bi. The ring is unglazed and the recessed center may or may not be glazed. But as to this Ge-type bo bowl, its bi-shaped base is actually flat rather than raised as the standard practice. Further, the Ge ware was first developed during the Song period. Thus, this piece is a combination of the Song-Song-style crackles and the Tang-style base, a practice frequently adopted by later replicas. Therefore, this Ge-type bo bowl should be a recent copy, approximately made during the late 19th century to mid-20th century. The Ge kiln (elder brother's kiln) refers to a legendary Song kiln whose site is still unknown today. The color of the recognized extant Ge vessels varies from black, dark gray, light gray to earth-yellow. The dark body was known as 'iron bone'. Ge ware is coated in a thin layer of opacified gray-green glaze, with variations such as rice yellow and a paler version of gray-green or rice yellow. The crackles on Ge ware are of two types. One is known as jin si tie xian (gold thread and iron wire) which is a combination of large dark crackles and small yellow crackles. The other is a crackle of similar size. Most Ge vessels were fired on their own foot and only a few used spurs. Common vessel forms include bowls, saucer dishes, washes, vases, cencers, dishes and jars. No mention has been made of Ge ware in Song literature nor have any examples been found in a Song tomb. The shape and technique used on many of these extant Ge ware bear characteristics of Yuan porcelain. Therefore, one point of view among scholars is that the period of Ge ware production could be extended from the Southern Song to the Yuan dynasty. The Yuan scholar Kong Qi first mentioned the terms ge ge dong yao (the kiln in the elder brother's cave) and ge ge yao (the elder brother's kiln) in his Zhi Zheng Zhi Ji (Plain Records of the Zhizheng Reign) of the Yuan dynasty. In the early Ming, author Cao Zhao also used the term 'ge ge yao' in his Ge Gu Yao Lun (The Essential Criteria of Antiquities) 1388. The first reference to ge yao (Ge kiln or ware) has been found in Xuande Ding Yi Pu (A Manual of Xuande Ritual Vessels) of 1428. At the end of Yuan, the difference between the old and new ge ge yao was noted. From the Xuande and Chenghua reigns of the Ming, Jingdezhen started making imitations of Ge wares, which continued into the Qing dynasty.	Qing dynasty; Republican period

212.	Ge-type pale gray-green glazed square bottle	This is a Ge-type square bottle with a thick and coarse body, a flaring and outward-turning mouth, a short inward neck, a long four-sided body tapering to the bottom, and an integrated four-footed stand. The stand is dark brown glazed, leaving the base uncovered. The exterior of the bottle and the inner walls of the neck are in a pale gray green glaze. Overall the glazing evidently bears large gray iron-colored and small brownish golden crackles, namely 'jin si tie xian' (gold thread and iron wire), which is unique to the Ge ware. A large area of surplus pale greenish blue glaze can be seen on the integrated stand. The four-sided body of this bottle is decorated with two adjoined groups of raised decorations within double raised panels. One group represents a monster head biting a two-tasseled ring in high relief. The other group illustrates a band of embossed hui wen (key fret patterns) which is only carved halfway. In terms of the thick and coarse body, large area of surplus glaze, and average quality, it is highly likely that this piece is a recent copy of Ge ware produced in the folk kilns. The Ge kiln (elder brother's kiln) refers to a legendary Song kiln whose site is still unknown today. The color of the recognized extant Ge vessels varies from black, dark gray, light gray to earth-yellow. The dark body was known as 'iron bone'. Ge ware is coated in a thin layer of opacified gray-green glaze, with variations such as rice yellow and a paler version of gray-green or rice yellow. The crackles on Ge ware are of two types. One is known as jin si tie xian (gold thread and iron wire) which is a combination of large dark crackles and small yellow crackles. The other is a crackle of similar size. Most Ge vessels were fired on their own foot and only a few used spurs. Common vessel forms include bowls, saucer dishes, washes, vases, censers, dishes and jars. No mention has been made of Ge ware in Song literature nor have any examples been found in a Song tomb. The shape and technique used on many of these extant Ge ware bear characteristics of Yuan porcelain. Therefore, one point of view among scholars is that the period of Ge ware production could be extended from the Southern Song to the Yuan dynasty. The Yuan scholar Kong Qi first mentioned the terms ge ge dong yao (the kiln in the elder brother's cave) and ge ge yao (the elder brother's kiln) in his Zhi Zheng Zhi Ji (Plain Records of the Zhizheng Reign) of the Yuan dynasty. In the early Ming, author Cao Zhao also used the term 'ge ge yao' in his Ge Gu Yao Lun (The Essential Criteria of Antiquities) 1388. The first reference to ge yao (Ge kiln or ware) has been found in Xuande Ding Yi Pu (A Manual of Xuande Ritual Vessels) of 1428. At the end of Yuan, the difference between the old and new ge ge yao was noted. From the Xuande and Chenghua reigns of the Ming, Jingdezhen started making imitations of Ge wares, which continued into the Qing dynasty.	Qing dynasty; Republican period

213.	Ghee pot (no lid)	The ghee pot's intended use is to store ghee, an Indian clarified butter, that has both spiritual and medicinal significance in South Asia, and is used in cooking. This ghee pot is a one foot tall, solid brass piece. About three quarters up the pot, it bulges out to eight inches across. Encompassing the pot are seven sets of double rings, spaced evenly. Atop the eight inch bulge, from which a 2.5 inch section rises to the opening, rests an inscription, written in Gujarati, the last symbol of which is the number 4. Inscription (Gujarati) - Joshi 4

214.	Ghee pot with lid	This ghee pot of polished brass originated, most likely, from the Gujarat region of India. The lid has with a rounded knob with a floral design at its base. The body of the pot bears circumference lines grouped in sets of two and three. The worn nature of the pot suggests that it had a practical function rather than decorative. The inscription on the pot and lid contains four identical alphabet symbols along with the number 4 on the lid and the number 5 on the pot. The lack of any recognizable Gujarati word and the presence of a number suggests that this is the mark of the artist or the workshop where it was produced. The pot's intended use is to store ghee, an Indian clarified butter, that has both spiritual and medicinal significance in South Asia, and is used in cooking.

215.	Gilded porcelain Wheel of Dharma	This Precious Wheel or the Wheel of Dharma (one of the Eight Symbols in Buddhism) is placed on a stylized lotus stand and carved in a Tibetan style (not to be mistaken with the Perpetual Flame of Buddha). The jewel is usually represented in the form of a round ball with a pointed top. It is sometimes shown alone, but can be grouped in threes, representing the triratna or the three jewels of Buddhism: the Buddha, the Dharma (or Law), and the Sangha (or monastic community). The Wheel is sometimes placed on a lotus throne, on clouds surrounded by flames, or on a staff used in esoteric rituals. It is an extremely powerful sign, representing the Wheel of Buddhist doctrine, from which a symbolic equation of cakravartin and Buddha can be deduced. The eight spokes symbolize the Noble Eightfold Path. The jewel is often an attribute of a particular Buddha, Bhodisattva, or deity. The symbolic equation of cakravartin (WHO turns the wheel) and the Buddha (WHO has set in motion the Wheel of Dharma) signifies the unlimited spiritual power to overcome all limitations and to discover the non-separateness of all things. The Wheel has semi-precious gem inlays.	Qing Dynasty

216.	Girdle ornament	Research in Progress

217.	Girdle ornament	This carving is a representation of a Michelia alba flower, a native of Southern parts of China. The flower is small, delicate, creamy white and has a very sweet fragrance. It is often used by artists to symbolize beauty and grace. The shape of the flower is graceful with its full form, vigorous symmetrical design, the simplicity of the carving style, and the remarkably aged look of the jade. Its petals have thin down-turned edges, elegantly carved to give some sense of realism. The reverse side has a few fine striations that beautifully accentuate the petals and give the flower a sense of the life-like. Fruits and flowers have always been dominant elements in Chinese art. Flower-shaped ornaments and vessels were carved in large numbers, especially from the Tang to the Qing dynasty. Yet, it is rare to see a life-size representation of an actual flower. There is a hole at the end tip of the flower. This ornament was probably used to attach to a girdle or long sash of a lady's dress, encircling the waist. The fact that the collector's and dealer's statement attributed this flower carving to the Han period needs to be reconsidered. So far, there is very little evidence of this type of carving dating to the Han period. Small ornaments and utensils have been found in tombs from the end of the Tang period. Possessions most dear to the tomb occupant were often buried with him or her. Based on the above stylistic analysis, this flower carving may belong to the Sui and Tang epochs when excellent artifacts were probably influenced by contact with Buddhist monks who had either come from or made journeys to India and Turkestan. This enabled the jade carvers to achieve such individual style and a remarkable quality of expressing the motion of life.	Sui dynasty; Tang dynasty

218.	Glass bowl	Research in Progress

219.	Glass cup	This object is a blue cup in an inverted bell shape. The cup is made from glass which is translucent. There is a chip taken out of the lip of the object. There are no markings or detail on the object. It was probably used for wine based on its shape. The mouth of the cup is large compared to the belly and foot.	Republican period

220.	Glass pheasant	One of a set of pheasants (view each through front and back images) made from dark-blue glass. When we hold the birds up to the light they are slightly translucent. There is little detail in the glass which may indicate that they were made from a mold. The greenish color is reminiscent of Peking glass, which was an export item in the late 19th and early 20th centuries. The birds are typical pheasant style and not a phoenix, as the tail is too short; pheasants are symbols of beauty and good fortune in Chinese culture. The detail of the heads of the birds is scant. The objects have their own carved wooden stands which may represent a root or limb of a tree. The style of these objects suggests that they were probably made for the foreign market.	Qing dynasty; Republican period