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	Object Name:	Description:	Period:

1.	Large sand-red clay vase	This large sand-red clay vase has a dish-shaped mouth with an outward-turning mouthrim, a waisted neck, slanting shoulders, a bulging belly tapering to the bottom and a tall concave foot. Its exterior is finely wheeled and polished. It is decorated with multi-layered applied decoration in high relief. The bottom of the neck is enclosed by an upward wide border engraved with regularly spaced vertical cord patterns. Four unevenly placed small solid dots are adorned above the rim. A bigger similar border with a foliate-rim bottom encloses the lower shoulders. Evenly spaced vertical and semicircular cord patterns are incised on the outer surface. Like the previous border, it is surmounted by five (one is missing now) small solid dots. The lower part of the bulging belly is ornamented with an applied broad border in the shape of sliding pleats. This border is crowned with a band of continuous inward-turning floral petals. On the center of the foot there is a protruding 'bowstring' circle. Originally this large sand-red clay vase was claimed to be a Han piece; however, it is actually a recent copy in terms of the shape, decoration and condition. First, the shape of this vessel is not of the Han style. The Western Han (BC 206-8 AD) vases usually have a slightly outward-turning mouthrim, a slender and short neck, a flat globular belly, and a flat base or a false footring. During the Eastern Han dynasty (25-220 AD), the necks of the vases became thicker or relatively straight and the footring became taller. Several examples can be found from Mr. and Mrs. Mascarelli's book titled The Ceramics of China: 500 BC to 1912 AD (Atglen, PA.: Schiffer Publishing Ltd., 2003; pp.39-40, 45-46, and 53). Evidently, the shape of this large vase does not bear any of the above-mentioned Han features. Actually, its shape bears much resemblance to a typical Sui (581-618) vase with a dish-shaped mouth. Secondly, the decoration of this large vase is excessively 'sophisticated' when compared with the dated Han pottery vases from archaeological excavations. The Han vases are commonly ornamented with wide or narrow bowstring designs, cord patterns, incised decorations, impressed decorations, and painted decorations. Such complex applied decoration is rarely found on the Han pieces. It may be commonly found on later pottery or porcelain objects. Third, since all the Han pottery pieces are discovered from archaeological excavations at present, they are generally covered with much dirt. However, this large vase appears quite clean. It is possible the original dirt was removed by the previous owner. Nevertheless, if the dirt was really caused by a long-term burial, it would have been already integrated with the vessel as if glued on it, and would be very difficult to remove. In conclusion, it can be inferred that this piece should be a recent copy, approximately made during the late 19th century to the mid-20th century.	Qing dynasty; Republican period

2.	Small dou cai (contrasting colors) trapezoid container	This is a small dou cai* (contrasting colors) container with a flaring rectangular mouth, a trapezoid body tapering to the bottom, and a splayed footring. The exterior is decorated with two registers of designs. On the top is a band of cloud collars on a yellow background. The second and main register primarily illustrates stylized lotus flower sprays alternated with red phoenix diagrams. These are represented against the supplemental man cao wen (coiling vine and leaf design) on an underglaze blue background. According to Chinese mythology, the phoenix, or feng huang in Chinese, is an ancient supernatural bird and considered an auspicious symbol. The male bird is called feng and the female huang. Commonly referred to as the "King of Birds," it ranks second of the "Four Supernatural Spirits," the dragon being the first, the lin (unicorn) third and the tortoise fourth. The phoenix only appeared in times of peace and prosperity. It was the emblem of the Empress and of beauty. It also embodied the five virtues of benevolence, righteousness, propriety, wisdom, and sincerity. 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 four sides of the footring are adorned with red hui wen (key fret patterns) on a pink background. Its interior and base are plainly decorated in a bluish green glaze. On the base of the footring there is a seal mark 'da qing qianlong nian zhi" (Made during the Qianlong Reign of the Great Qing) and two red stamps "CHINA". Evidently, the reign mark is not written in the Qianlong 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 clear that this is an object specially designed for foreign trade. *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; Republican period

3.	Cong, symbol of Earth	The cong occasionally appeared during the late Neolithic period (c. 2500 B.C.) in the Western Zhou, in western Shaanxi (Northwest China). One of the six ritual jades, it was among the most impressive and least understood of all ancient Chinese jades and never held any important position even at the end of the Zhou period.* Like the zhang, the cong did not have a long or continuous history. There are variations of cong. Based on appearance, there are two broad categories: cong that are relatively tall in proportion to their width and the shorter cong. Although the common design of the cong consists of a decorated (with distinctive taotie face designs) or undecorated tube with a square outer cross-section and a circular inner hole, bracelet-shaped jades also display similar characteristics of the cong.** This cong comprises a large block of semi-translucent creamy-white nephrite with light brown veining (densely at one end) and a large dark brown blotch at one corner. The unilateral arrangement of patterns on this object is curious. Its sides are subdivided into four sections marked by horizontal divisions; each carries shallow ridges and a smaller band decorated with key-fret motifs on the top ridges. The tube has two open ends: the upper and lower short collars are also square in the cross-section with rounded corners. The two sides of the inner hole taper to the middle segment as if drilled from both ends. In ancient Chinese cultures, the square shape of the cong is emblematic of Earth and the central circular hole is emblematic of Heaven. Having been subjected to numerous interpretations, the cong has been related to totemism and shamanism by contemporary scholars. It is generally thought of as appearing only in men's tombs. The combination of all elements such as its opaque function, square and circular forms, decorative motifs, designs, and sizes contribute to the intrigue of the cong. * Jessica Rawson quotes a passage from the Zhou li, one of the three surviving ritual texts (the others being the Li ji and the Yi li, compiled in the Han dynasty as an attempt to systemize earlier ideas and beliefs), which categorizes six ritual jades (or qi): - the cong tube - the bi disc - the gui ceremonial scepter or blade - the zhang blade - the hu tiger pendant - the huang arc pendant Chinese Jade: from the Neolithic to the Qing, (p 56). ** Ibid., p 122.	Attributed to the Neolithic period; Attributed to the Han dynasty

4.	The Nan-Hai Guanyin (Guanyin of the South Sea)	A new iconography of the Guanyin, known as the the Nan-Hai Guanyin (Guanyin of the South Sea) came into being around the 12th century A.D. It went into a long period of neglect, then reemerged and triumphed over other forms of Guanyin during the 16th century A.D. This carving of the Bodhisattva Guanyin has strong Indian artistic influence as demonstrated by the facial features, robe, and accessories of the figure. The Guanyin is depicted here as a masculine and heroic being. The carving is simple in form and decoration. Although the Bodhisattva wears a sangha, the traditional robe falls with rhythmic folds, the deep-cut incised lines on his garment are rigid. He has an exposed chest. He carries a lotus branch with a lotus bud in his right hand, which is a symbol of purity. His right hand, with the thumb touching the forefinger, opens at the level of the hip in the Vitarka mudra, a symbolic hand gesture which assumes the sense of calming and consoling. The face is broad and slightly squared. There is a sense of gentleness and calmness. The body is not well-proportioned. Artists have created images of the Bodhisattva that inspire and comfort, drawing on local traditions and materials that venerate the life and the teachings of the Buddha and Bodhisattva. The dating of this carving is problematic. It is hard to categorize it to any artistic period in Chinese art, due to the minimal incised lines.

5.	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

6.	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

7.	Set of six bowls	This is a set of six bowls, each with a flaring mouth and a footring. Except for one bowl which is bigger in size, the other five bowls are the same size. Each bowl is adorned with qing hua wu cai* (overglaze five-colors with underglaze blue design). The exterior is primarily decorated with two groups of stylized lotus, western lotus and peony scrolls in overglaze blue, yellow, green and red, framed by double 'bowstring' circles in an underglaze blue. On the upper side of the exterior is a band of stylized floral designs in an overglaze blue, green and red. The bottom of the inside of each bowl is illustrated with a medallion of two connected stylized lotus scrolls which face opposite directions and are that are surrounded by stylized floral designs within an underglaze blue double 'bowstring' circle. All of the designs in the medallion are in an overglaze blue, green, red and brown. 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 peony, known as fu gui hua (the flower of wealth and rank), conveys a wish for official rank in the emperor's civil service as well as a salary and perquisites to ensure wealth. On the base of the footring each bowl bears a reign mark "da qing dao guang nian zhi" (Made during the Daoguang Reign of the Great Qing) in seal script, three columns and underglaze blue. The decorative elements and style of this set of bowls are characteristic of the later reigns of the Qing dynasty such as the Qianlong, Jiaqing and Daoguang reigns. On the exterior of a similar-sized Jiaqing bowl with a horizontal mouthrim are the identical stylized floral designs in qing hua wu cai as on the six bowls (p.136, from Li Zongyang's book titled zhongguo mingqing ciqi mulu <xia> <Catalogue of Chinese Ming and Qing Porcelain, vol.2) <Haikou: nanfang chubanshe, 2000>). In addition, the motifs on the bottom of the inside of each bowl are almost identically reproduced on the interior bottom of a blue-and-white dou cai* (contrasting colors) dish with floral designs dated to the Daoguang Reign (1821-1850) (p.110, from Chen Yong, mingqing ciqi zhenyan duibi jianding <Connoisseurship of the Genuine and Fake Ming Qing Porcelain> <Shanghai: shanghai guji chubanshe, 2002>). This dish also bears a Daoguang reign mark on the bottom of the base, in seal script, three columns and the underglaze blue. Moreover, several Daoguang blue-and-white dou cai bowls with floral and leafy designs bear similar stylized floral designs on their exterior (p.166, also from Li Zongyang's book). Since the overglaze blue did not exist in the Ming dynasty, the blue on a polychrome-painted vessel had to be an underglaze blue. Such a combination is known as an overglaze five-colors with underglaze blue design (qing hua wu cai). It was in vogue during the Jiajing, Longqing and Wanli reigns. In the Qing dynasty, the overglaze blue replaced the underglaze blue in polychrome decoration. 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; Daoguang reign

8.	Pair of dou cai (contrasting colors) garlic head vases	Each of these two garlic head vases has a short dish-shaped mouth, a waisted neck, a pear-shaped belly tapering to the bottom, and a footring. The exterior of both vases is primarily decorated with dou cai* (contrasting colors) designs. The first register, on the border of the dish-shaped mouth, depicts evenly spaced flower buds in underglaze blue. Below are zigzag patterns against a green background of overglaze black oblique lines. The bulging garlic head is adorned with a band of ruyi (as you wish) cloud pendants in underglaze blue and overglaze red. On the neck are continuous peony scrolls in overglaze black, yellow and red as the primary motifs and overglaze green man cao wen (coiling vine and leaves design) as the supplemental motifs on a white ground. The peony, known as fu gui hua ("the flower of wealth and rank"), conveys a wish for official rank in the emperor's civil service as well as a salary and perquisites to ensure wealth. The pear-shaped belly mainly represents shuang long xi zhu wen (two-dragons-fighting-over-a-pearl design) underneath a band of hui wen (key fret pattern) in underglaze blue and overglaze red. Both dragons have double antlers and five claws which were symbolic of the imperial emperor in ancient China. Surrounded by overglaze red flaming pearls and three-color (namely overglaze yellow, green and black) ruyi clouds, they are almost all in underglaze blue except for their green beard and yellow antlers. 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 because the dragon is believed to be the god of rain, who brings thunder, lightning, rain and thus fertility and abundance to the land. On the bottom of the belly is a band of detached petal-like patterns in overglaze yellow and black on a green ground. The border of the footring is depicted with stylized semicircular patterns in underglaze blue and overglaze red. On the bottom of the footring there is a reign mark "da qing kang xi nian zhi (Made during the Kangxi reign of the Great Qing; 1662-1722) in underglaze blue, standard script and three columns. However, this pair of garlic head vases is not a Kangxi product as claimed by the reign mark. Actually, the Kangxi reign mark on them is distinctly written in hollow lines, a practice frequently adopted on later replicas of the early 20th century. Besides, their shape and depiction of the dragons are not in the Kangxi style. The dragons here seem to follow the Guangxu model (1875-1908) a great deal. In conclusion, these two garlic head vases are recent copies, approximately made from 1900 to 1930. Anyhow, they display a good grade of workmanship. *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; Republican period

9.	Jue or Libation Cup	The Shang and Zhou ruling class emphasized sacrifices to the ancestors. However, the strong sense of spirituality and the ardent ancestor worship of the Early or Western Zhou period were less zealous than those of the Shang. Bronze decoration and design of this period were fundamentally a continuation of the later Shang with some modifications.* Although major techniques such as piece-mold were more sophisticated, the percentage of Jue vessels gradually diminished. More mesomorphic than the preceding vessel of late Shang (#65H4), the body of this Jue demonstrates an obvious change of shape with a more defined body, a curvy middle section bulging below the waist, and a more articulate bottom. It is slightly taller with a boat-shape body, a flaring trumpet-like spout, and a pronounced tail, supported by three blade-shaped feet splaying outwards. Two protracted rectangular posts, flat on the outer face and rounded on the inner face, are fractured and insecure, indicating that the post caps were casted separately. They stand on opposite sides of the rim, holding domed nail-head-like finials. Visible seams, running under the spout and the tail of the vessel, divide the main broad register densely decorated with symbolic bulging eyes with lozenge-shaped slit pupils emerging from coiled animal motifs; these fine incised sunken lines of the background resemble the leiwen spirals (of #65H4). The spreading of the décor onto the spout is rare on Jue, but not unique. The flat handle, surmounted by a head of an archaic dragon, is still in strong shape. Jue was one of the ritual wine-drinking bronze vessels for the élite class, exclusively used in sacrifices and rituals. It was used to warm wine for libation.* The interruption in the overall shape of the Jue and the coiled animal mask are leading motifs from Western Zhou. However, the bronze surface designs signify that these patterns are still zoomorphic. Prehistoric bronzes were mostly found from large hoards or graves, evidently indicated on the inner and outer surfaces covered with emerald-green patina and traces of earthy incrustation. However, through the process of examining this vessel, it has become obvious that it is indeed not an ancient bronze for the fact that it lacks the relative softness and thickness of bronze; that the handle is perfectly shiny and the worn out tips of the vessel's feet show traces of reddish brass, a material used in late Qing period to make reproduction of ancient artifacts; and that the brassy and shiny patina is indeed a simulated one that will not come off easily and yield a sharp acrid smell. In later times, reproductions of bronze vessels have continued to be fabricated to meet the endless demands of ceremonial functions and of enthusiastic Western collectors. Yang, Xianeng offers two reasons for Western Zhou décor transformation: 1) the Zhou had neither the military power to control the whole country, nor an acceptable religious system to replace that of the Shang nationwide. 2) The Zhou nation itself was a member of the Shang ritual network. The Zhou rulership was established so quickly that the time was not yet ready to modify their religious beliefs overnight (Reflections of Early China: Decor, Pictographs, and Pictorial Inscription, p 372). * In some earlier catalogues and textbooks, the term Jue is spelled Chüeh instead. *** From the Li Ki (or Book of Rites, original attributed to Chou Kung, Yuan edition, 1322 A.D.), one the principal source on religious cult in prehistoric China. In his dissertation Reflections of Early China: Decor, Pictographs, and Pictorial Inscription, Yang Xiaoneng categorized three idiosyncrasies of bronze decoration flourished from late Shang and early Zhou: 1) animal motif (such as animal mask, dragon, and phoenix) or an animal-shaped vessel often made from the parts of several different creatures (already created by prehistoric craftsmen), 2) various motifs occur on a single bronze in a fantastic composition of general plastic forms and the surface motifs that condense the spirit of the "wild world" (often a zoomorphic vessel in the round such as a bird-shaped vessel), 3) non-natural, unequivocal, and undistinguishable "animal masks" taotie. Bronze decor, including abstract or sophisticated images, composite or hybridized motifs, and designs of groups of "animals," all were animated by religious interactions and developments of late prehistoric China and the polytheism of the Early Bronze Age. It is a generic pictorialization of "pantheistic creature" veneration and an incarnation of zoomorphism of the spiritual world of those societies.	Qing dynasty;

10.	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;

11.	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;

12.	A set of salt and pepper shakers with colorful landscape scenes	This is a set of ivory pepper shakers with colorful landscape scenes including willows, bridges, rocks, etc. A line of a poem is inscribed on one side of the pepper shaker, which reads "hao han ru ming yue" meaning "as broad and bright as the moon". At the end of this line is a year of 1955. These objects were once popular in shops from Hong Kong.

13.	Porcelain vase	The powder blue glaze or chui ging is a blue glaze porcelain fired in the official kiln Jingdezhen in the Kangxi reign of the Qing dynasty to imitate a blue glaze from the Xuande reign of the Ming. YU LI HUNG is a glaze relatively unknown to art collectors since it has not been produced any longer after the Qianlong period. The Chinese called it YU LI HUNG, which to them means "red inside the oil." Looking at it carefully in bright sunlight, it looks like drops of oil with a bright red color in each drop. Certain degrees of iron oxides in different concentration and under different firing conditions are the most commonly used to achieve this monochrome soft lavender blue glaze. The glaze is blown onto the body through a bamboo tube covered with gauze at one end; the vessel is coated with a layer of transparent glaze and fired at a high temperature. The vase appears to consist of numerous tiny blue dots or snowflakes and is known as sprinkle blue (sa lan), or fish-roe blue (yu zi lan). Although the base of this vase suggests the form of a gallipot, its long cylindrical neck actually affirms that it belongs to the category of the hand-bell vase yao ling zun, which was popular in the Kangxi period. The slender neck has a beautiful ivory tone resembling curdled milk. This ivory tone of the Kanxi blue-and-white is due to the presence of a minute quantity of iron and the use of an iodizing atmosphere to finish off the firing. It is decorated with a red three-clawed full-faced dragon, zheng mian long, leaping amidst clouds. The dragon/vase has a small mouth, broad shoulders, an elongated globular belly, and a tapered base. These little blue vases with a red three-clawed full-faced dragon are probably dated to the end of the Kangxi era. They bear a six-character reign mark on the base (da qing kang xi nian zhi) meaning 'Made during the Kangxi reign of the Great Qing' in regular script. T he long reign of the Emperor Kangxi saw the beginning of what art historians refer to as "the golden age" of Qing porcelain, which exhibits several changes in style. The blue-and-white porcelains of this period continued a decorative tradition of 350 years' standing. Those made in the imperial kilns like this vase are highly valued. These late Kangxi blue vases are fine examples of the pure, deep, luminous blue. They are almost identical. However, the H1 vase is slightly smaller and the neck has a straighter cylindrical shape. Although it has the same dragon decorative motif, the red tone is lighter.	Qing dynasty; Kangxi reign

14.	Mo Juan or ink jar	This impressive Mo Juan or ink jar (one of the basic accessories the Chinese scholar's study) is quite different from other versions with a design of the Fo Dog. It has an early Qing artistic style with a vigorously modeled demoniacal figure of a Buddhist lion (tai shih-tzu). The substantially intense opacity and uniform green color are distinctive; it almost has no inclusion. The upper body is hollow with a circular opening, supposedly for holding water. The animal sits with two forelegs facing each other, and it is raising its broad chest and upper body up. Its head is lifted and half turned toward the left side. Its ferocious face is embellished with three-dimensional horn-shaped ears, an unusual pointed projection on the head, ominously pointed fangs, and a protruding nose with two deep nostrils. The eyes, adroitly carved to show the eyeballs within the sockets, look directly at the viewer. The swirling mane and huge tail are carefully worked to represent the hair. The contours of the body and head are carefully modeled and enhanced with deep grooves, delineating the shape of the muscles, the folds of skin below the jar, and the sinews of the legs. Because of many years of handling, the tip of its tail has been broken off. However, its impressive exquisiteness has not been drastically diminished. Within the Chinese scholar's studio, the ink stone (a carved stone slab with a reservoir for grinding ink and mixing it with water) ink-stick, brush, and paper are known as the Four Treasures of the Study (wenfang sibao), indicating the high esteem in which the materials of calligraphy are held. Ancient tools of calligraphy also included some accessories such as the brush holder, brush washer, water pot, water-dropper, hand rest, ink box, paperweight, seal, and seal box made of materials such as pottery, porcelain, copper, iron, lacquer, wood, bamboo, stone, jade, jadeite, agate, and coral. Together, they represent the essential, indispensable components of the Chinese scholar's studio. For generations these tools of the upper class have defined and shaped some of China's greatest literary and philosophical voices. These treasures embodied the shared wisdom, traditions, and values of the Chinese literati who governed China for more than two millennia.	Attributed to the Qing dynasty; Shunzhi reign

15.	Brush washer	This is possibly a small Pi hsi or brush washer made of serpentine. The design is unadorned and symmetrical. Although this is a small and shallow tray form carving, an apparent miniature replica of a very popular carving technique of the Song and Yuan periods, its four short feet confirm that this is definitely not a tray (as labeled). This quatrefoil form has four well-formed thick-lobed sides rising from a flat base to mould a broad rim with ridges as divisions of the cavetto. The indented ridges remind us of Stanley Charles Nott's quotes from the T'ao Shou's descriptions of various types of this vessel as "round and saucer shaped, of the form of an althæa flower with a rim of the foliated outline of a Buddhist stone gong…"