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This image from Guandong wears typical Taoist priest or shaman attire – an undergarment crossed at the neck, an overcoat clasped at the waist and a double-winged high hat centered with an image of a taotie. The taotie is a mystical animal sometimes on the hat of Taoist priests or shamans as a guardian or…
This fascinating thick Song pottery brick is a low-fired depiction of a dwarf foreigner with a rotund belly, a large head and nose, an open mouth and abnormal features. The Chinese believed dwarfs could ward off evil spirits and sickness, attract peace and blessings (fu) and were very wise. Images of dwarfs became so popular, some were produced in numbers.
As part of the The Song dynasty cultural expansion, government and public buildings and tombs were built with interior walls decorated with earthenware unglazed mold-made brick tiles. This fanciful vibrant tile with a scalloped frame portrays two people playing a board game called wéiqí which originated in China over 2500 years ago. It is the world’s oldest and most complex board game still played.
This carved hardwood human figure is an honored Dyak ancestor effigy (hampatong) used to protect villages, people, graves, longhouses and paths to rivers and rice fields. Like most Dyak standing figures, this one is carved in comparatively low relief with arms held placed at the heart and chest and/or sometimes covering the covering the genitals and its facial and bodily features have deteriorated a bit, are rather shallow but are recognizable. It comes on a black Lucite base and was purchased in Bali in the mi 1970s. This piece is featured in a VA instagram post.
Cocoon jars were mingqi made for placement in tombs to comfort the deceased on their journey to and in their afterlife. An elixir of Immortality made from mulberry leaves or their ashes was placed inside for the deceased to drink and transmigrate into the world of the beyond. Ovoid in shape to resemble a silkworm cocoon, ajar rests on a small trumpet-shaped foot and has a narrow neck and a wide lip at its mouth. Painted after firing with vertical bands dividing it into panels, swirling cloud scrolls, and circular “eye” motifs at each end, this beautiful vessel is in excellent condition for its age with expected paint losses, scrapes, and dirt adhesions.
Luristan nomads made sophisticated and imaginative bronzes prized in the ancient world for their inventive designs and fine craftsmanship. This Iron Age finely cast figurine depicting a long horned goat, a major source of food for survival has a detailed head with long antlers, tall thin legs, large eyes and a slightly curved body and is mounted on a Lucite base.
This earthenware brick tile bordered with a deep scalloped frame depicts a vase with a bouquet of propitious flowers: a chrysanthemum and a peony wrapped with an elegant ribbon. Tiles like this were made to decorate the large numbers of buildings created during the prosperous Song dynasty and to adorn tombs. This elegant brick is in good condition for its age with expected chips and cracks, some restoration of background and a re-glued frame break on each side. It has earth adherents from its burial in a tomb.
This Guanyin image was probably one of a pair of images along with the Taoist Queen Mother of the West (16206A-WACK) placed together on a community, local temple or home altar. Created by the same local artisan, they are provincial rather than imperial style having a humble, unadorned and simple rendering, seated on backless thrones, hands covered by a ritual cloth, uncharacteristic of Guanyin but common for Taoist goddesses. Both wear layered robes and a high pointed crown – the Queen Mother’s centered by a phoenix and Guanyin’s by a flower surrounded by symbolic aureole of radiating light. Both have soft blissful smiles with eyes cast slightly downwards to engage their devotees. Initially covered in bright polychrome colors, there are traces of surviving red, yellow, green, brown and black.
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…
This late Song brick tile portrays a feasting couple with a figure points to a stylized image of a bat flying (for good luck) in the sky.
Song brick tiles like this decorated government, public and religious buildings, often depicting mythical animals, auspicious objects and holiday celebrations. This tile shows a traditional lion dance performed at Chinese New Year to attract prosperity and good luck for the coming year.The lion is flanked by 2 frightened children and a person in anjali mudra, symbolizing composure that could counter balance the children’s fear.
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…
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