Showing 157–168 of 207 results
This rug was made in China for Vajrayana/Tibetan Buddhists who were taught this form of Buddhism by Tibetan monks invited there to teach Tibetan Buddhism. Rugs like this were made both for domestic Chinese use and for export to Tibet. Made from wool and natural dyes, this fringed small square has a cotton foundation and…
The Chinese Republic (1912-1949) was established after the downfall of Qing Dynasty and imperial kilns were taken over by private porcelain production complexes that preserved the late Qing quality and integrated Western influences while creating stylistic advances, a colorful aesthetic, and unique shapes and styles. Republic Period and later 20th-century porcelains are recognized for their…
Most jauk keras (strong, scary) masks of a giant are often red or orange to reinforce a volatile dance with jerky movements. This jauk manis (good, sweet) mask dance is a more controlled, regulated and enacted with more calm and human movements. Personally collected in Bali in the 1970s, it is in excellent condition with expected minor scratches and paint losses.
Influenced by Islam for centuries, Javanese theater in Indonesia is stylized, didactic and full of central characters said to be cultural and historic icons of morality. Mask drama theater (Topeng Wayang) in Java is dominated by the conservative central Javanese palace courts (kraton) of Surakarta, Solo and Jogjakarta (Yogyakarta) which have long supported mask makers,…
This small antique elmwood cabinet from Fujian, a city known for ornate furniture for a newly emerging nouveau riche merchant class towards the end of the Qing dynasty. A center for mostly vernacular furniture and accessories from 1850-1930, their production was destined for ordinary people unconnected to the imperial court. Their mini cabinets were constructed…
After the Qing dynasty fell in 1912 and was replaced with the Chinese Republic, porcelain production declined in imperial kilns but was revived in Southern China’s Jiangxi Province which made high-quality finely designed Chinese-Republic porcelains in private kilns. With few restraints, they produced more colorful pieces with unique Western shapes and styles. These late Qing,…
The Song dynasty (960–1279) is considered the most culturally brilliant era in later imperial Chinese history. A massive expansion during this dynasty produced government, public and religious buildings and tombs with walls decorated with earthenware unglazed mold-made brick tiles. Some were purely decorative and others were wishes for happiness and comfort in the deceased’s afterlife called…
The Song dynasty (960–1279) is considered the most culturally brilliant era in later imperial Chinese history. A massive expansion during this dynasty produced government, public and religious buildings and tombs with walls decorated with earthenware unglazed mold-made brick tiles. Some were purely decorative and others were wishes for happiness and comfort in the deceased’s afterlife…
The Song dynasty (960–1279) is considered the most culturally brilliant era in later imperial Chinese history. A massive expansion during this dynasty produced government, public and religious buildings and tombs with walls decorated with earthenware unglazed mold-made brick tiles. Some were purely decorative and others were wishes for happiness and comfort in the deceased’s afterlife…
Chinese funerary tiles, as forms of mingqi adorned tomb as early as the Han dynasty depicting everyday scenes, entertainment, mythical beasts, folklore, history, literature and poetry. A Han stone tomb relief rubbing in Stories from China’s Past (p. 173) labeled “Ascending to Heaven in Deer Chariot” is reflective of this Song brick-tile. During the Song…
During the Song dynasty, mold made unglazed earthenware brick tiles decorated the doors and walls of the government, private religious buildings as well as the doors and tomb walls of the rich used as funerary decorations (mingqi) to wish the deceased happiness and comfort in their afterlife. This thin brick presents two images. The figure…
This lovely carving is likely the Queen Mother of the West (Xiwangmu) and may be a puppet head or an attachment to a larger figure. Xiwangmu is the most important female deity in the Taoist pantheon generally identified by a single phoenix in her headdress. The unique headdress here has three phoenixes instead of her…
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