This tea bowl has a wide mouth, in the shape of a five-petalled sunflower, tapering off below the rim of the mouth; it has a ring foot. The bowl is decorated all over with green glaze, with a ring of white glaze running a round the mouth, which creates a striking visual effect. The lustrous glaze is covered with a delicate crackle; in places, marks can be seen that were made during the process of drawing from the kiln, and the traces of the supports on which the bowl rested during firing are visible on the foot rim. This green-glazed tea bowl with a white rim represents a break with conventional monochrome ceramic decoration; the contrast between the two colors adds an extra level of aesthetic refinement to the piece.

D: 12.5 cm

This dish has a barbed rim, shallow belly, and ring foot. The center of the dish is decorated with a pattern of intertwined branches and chrysanthemum flowers; on the inner walls, six spines divide the surface into six sunflower petals, each of which is in turn decorated with branches and flowers. The dish is decorated all over with green glaze, except for the foot. This small, delicate and refined dish features thick, lustrous glaze, and smooth, precise decoration; it is a truly outstanding example of Yaozhou ware.

D: 11 cm

This tea bowl has a molded mouth rim, rounded belly and shallow ring foot. The rim is decorated with a ring of white glaze; below this white rim, the bowl is marble, with a layer of translucent glaze on top. The foot is unglazed. This type of marble porcelain was created in imitation of the texture of lacquer-ware; different-colored biscuit was used to create a visual effect resembling floating clouds or running water. This piece, believed to be from the Xiuwu Dangyanggu kiln in Henan Province, is an outstanding example of Song Dynasty ceramics.

D: 9.7 cm

This bowl is wide-mouthed, with a rounded belly that tapers off gently, and a ring foot. In the center of the bowl is a roundel formed from two rings. The inside of the roundel is decorated with a chrysanthemum medallion against a background of comb-painted horizontal bands, and approximately two-thirds of the roundel sides are covered with intertwined flowers against a background of horizontal bands. The bowl is covered with white slip, which in turn is covered with a translucent ivory-yellow glaze; the base is unglazed. With its fresh colors and well-balanced decorative motifs, this large bowl has a bold, distinctive aesthetic appeal.

D: 21 cm

This vase has a flared mouth, and a long, narrow neck that widens out towards the top. It has high, broad shoulders, a rounded, overhanging belly, and a ring foot. The vase is covered in black glaze, with the base left unglazed; the glaze has been painted over with flowers in brown slip. The rusty brown color of this type of flower decoration gave rise to the name “rust flowers.” Brown-painted, black-glazed ware was created using paint made from lean iron ore that contains oxidized iron. With its pronounced color contrast and the harmonious variation between lines of different thickness, brown-painted, black-glazed ware creates a smooth, free-flowing visual effect.

H: 27 cm

This ewer is wide-mouthed, with a neck that tapers off gradually towards the bottom, giving it a stem-bowl appearance. It has broad, rounded shoulders, and an ovoid body, with a broad ring foot. Protruding out from one side of the shoulder is a long spout, while on the other side there is a handle joining the shoulder to the neck; the base of the handle is decorated with a pattern of clouds and ruyi auspicious symbols, while the handle itself has a number of vertical lines running up it. The ewer is covered with celadon glaze. There is a firing mark on one side of the body, and glaze “tear stains” near the base, but the lustrous glaze makes this an elegant example of Song dynasty porcelain that is both beautiful and practical.

H: 19 cm

This bowl has a wide mouth with a flared rim, a short neck, angular shoulders, a rounded belly that tapers away at the bottom, and a shallow ring foot. The bowl is covered with lustrous white glaze with a crackle effect; the base is unglazed, and bears the marks of the supports on which the bowl rested during firing. This type of angular-shouldered bowl has a refined appearance with smooth lines; combined with the white glaze, with its slight ivory-yellow tinge to it, this makes the piece a veritable masterpiece of Northern Song Jingdezhen ware.

D: 13.7 cm

This tea bowl is wide-mouthed, with a slight protrusion under the lip, a sloping belly that tapers off rapidly towards the bottom, a thin base, and a ring foot. The bowl is covered with reddish-brown glaze, with the base left unglazed. The inner walls of the tea bowl are decorated with a radiating “Rabbit’s Hair” pattern of thin lines that vary in hue between reddish-brown and black. This small, elegant bowl features rich, lustrous glaze; the delicate biscuit gives off a wood-like tone when touched. A beautiful example of Tenmoku ware, this is one of the finest tea bowls to have been produced by the Jianyang kilns.

D: 11 cm

This vase has a lipped mouth, a long neck, angular shoulders, a cylindrical body, and a ring foot. On opposite sides of the neck there is a pair of fish-shaped handles, with head pointing up and the tail pointing down. The vase is covered with plum glaze, with a crackle effect. The sides of the foot are unglazed, leaving the gray biscuit exposed; there is a red firing mark at the point where the glazed and unglazed portions meet on the ring foot and base. This type of twin-handled vase was mainly produced in the Song Dynasty; the handles come in a wide range of different shapes and forms. The vase is suitable for filling with water and putting flowers in, or simply for use as an attractive ornament.

H: 12.5 cm

This bowl has a wide mouth, a rounded belly that tapers off towards the bottom, a thin base, and a ring foot. There is a raised band on the inner wall of the bowl near the belly, surrounding a roundel. The inside of the roundel is decorated with a flowing water pattern made using a comb-like instrument; this in turn is inlaid with a branch and flower motif, creating a poetic image of blossoms falling into flowing water. The bowl is covered with lustrous celadon glaze, with brownish-yellow glaze at the base. With its combination of stillness and dynamism, this celadon bowl has a naturalistic appeal full of life and sparkle; its lively, invigorating form inspires a strong sense of aesthetic pleasure.

D: 13 cm

This box with lid has two openings. A ball of petal patterns decorates the middle of the lid. The petal patterns surround six floral frames with flowering branches painted inside. The inside and outside of the case and lid are glazed in bluish-white. Because this blue hue develops in white, people praise the coloration as a “shadowy blue.” This elegant box features regular patterns. Its crisp, cool, smooth glazed texture is especially unique and attractive, and the innate beauty of this delicate piece continues to make it a favorite of serious collectors.

D: 10 cm

Featuring a wide mouth with a folded rim, shallow belly, and round base, this brush washer is glazed in greenish-white and the whole body is covered in portions of glazed patterns. The base is unglazed, revealing clear firing marks. The inside wall of the brush washer is painted with a continuous curly grass pattern shaped in one circle and two squares while patterns of flowering branches are carved along the base. This brush washer features a lightly colored glaze and clearly carved evocative patterns, making it a rare piece made from the Jingdezhen Kiln.

D: 13 cm

Featuring a flared mouth, long neck, smooth shoulders, drooping belly, and a round base, this porcelain vase is glazed in black with portions of brown spots. The bottom of the vase is unglazed, exposing a grayish-white body. The graceful hue and soft shape make this quite an eye-catching piece. The innovative curvature on this vase also makes it a feast for the eyes.

H: 27 cm

Featuring a wide mouth, curved wall, shallow belly, and a flat bottom, this brush washer was fired multiple times. The mouth is unglazed but inlaid with golden clasps on the rim. The heart of the washer is decorated with a circlet of string patterns in which flowering branches and daylily patterns are prominently outlined with vivid splendor. The whole body is glazed in white, which takes on a milky white that reflects the serene atmosphere of this elegant vessel. Featuring simple embossed curves, this handsome brush washer made by the Ding Kiln is a testament to the exquisite craftsmanship of porcelain art from the Northern Song Dynasty.

D: 11 cm

Featuring a wide mouth, narrow neck, swollen belly, and a ring-shaped bottom, this jar is supported by three beast-shaped feet. Two embossed string patterns are engraved on the upper and lower sides of the belly. The jar above the neck and the three beast-shaped feet are glazed in yellow while the belly is glazed in yellow, white, and blue. The bottom of the jar is unglazed. This jar features a lively shape and an artistic aesthetic that flows between the colored glazes. The cobalt blue glaze on the jar is especially noteworthy because it is a color rarely seen in Tang tricolor pottery, making this jar a precious and one-of-a-kind piece.

D: 20 cm

Featuring a flared mouth, curved wall, deep belly, and a round base, this bowl is decorated with a floral pattern in addition to two cranes on its interior wall and the characters “Shu” “Fu” carved on each side. The whole body is glazed in egg-white. The bottom is unglazed, revealing warm brown-red spots due to a rich iron content. This piece typifies Jingdezhen porcelain fired especially for the Shu Fu Council (Privy Council) of the Yuan Dynasty.

D: 18.8 cm

Featuring a wide mouth, shallow belly, folded rim, and a round base, this plain saucer is glazed in a brilliant sky blue. A portion of the bottom is left unglazed, and the rim of the mouth is slightly glazed in butter yellow. This saucer, which was crafted by the Jun Kiln, has a simple shape and richly colored glaze. Although there are no decorative patterns, a thought-provoking sense of Zen seems to pervade the entire item, making it a considerable treasure for discerning Song porcelain collectors.

D: 17 cm

This six-petal-shaped dish features a slightly open mouth, shallow belly, and a round base. The whole body is glazed in white and was fired repeatedly. The rim is unglazed. The heart of the saucer is decorated with flowering branches and under the mouth of the inner wall is surrounded by square thunder patterns. Two continuous interlocking floral patterns are visible underneath the patterns and outside the center of the dish. The dish has an elegant colored glaze and an orderly composition. With an intrinsic aesthetic that seems to silently emerge from the vessel and a soft and smooth shape, this piece is truly a rare and exquisite work made by the Ding Kiln.

D: 17.5 cm

This pair of bowls shares similar patterns. Featuring a flared-rim, curved wall, shallow belly, and a round base, the exteriors of the bowls are carved with linear patterns. The interior walls, on the other hand, are filled with water patterns and decorated with a fish turning into a dragon and leaping over the waves — a symbol of propitious blessing in Chinese culture. The whole body is glazed in green with a rich and smooth hue. The round base is sharply slanted outward but contains some kiln dreg stains. The overall design of the pattern appears complex yet orderly. These two items are truly rare antiques made by the Yaozhou Kiln.

D: 14 cm, 13.5 cm

This tea bowl features a flared rim that is slightly recessed under the opening. The body of the bowl begins to narrow from the belly downward and has a thin bottom and round base. The whole body is glazed in a deep black finish. The bottom is unglazed, revealing a purplish black body resulting from the rich iron content of the clay used to create this piece. Black and brown rabbit-hair patterns are interspersed throughout the glaze. The rim is inlaid with a circlet of silver clasps which have since become mottled as a result of exposure to the elements after excavation. The body of the tea bowl is sturdy, and the glaze remains a rich black hue. This is an exemplary piece of fine artwork that typifies the famous Tianmu Tea Bowl.

D: 12.6 cm

This brush pot is carved from a section of bamboo, with rosewood inlay at the mouth and base. The exterior of the pot is decorated with an openwork carving image of a scholar drinking wine under a pine tree. In the background, a diagonal line running from top right to bottom left helps to create a sense of distant hills. On one side of the pot, an ancient pine tree shades a scholar who is depicted seated on the ground surrounded by wine bowls. The scholar has his left arm extended behind him and his right arm raised; a servant is supporting him and helping him stay upright. The scholar’s joyful expression suggests a state of happy intoxication. The pot as a whole represents an exquisitely detailed composition with superb layering; it is a testament to the power of art to move the human soul.

H: 14.3 cm

This carving, made from a bamboo root, depicts a sage wearing a headcloth, with a wrinkled forehead, protruding hip bones, a long beard and busy eyebrows, and a thin, spare face. The sage shoulders are slightly hunched; he wears a long gown with a crossed collar, tied at the waist by a cord. His left arm hangs down loosely by his side, holding a bag, while his right arm is raised, holding a basket which contains the medicinal plant glossy ganoderma and other plants and flowers. He is resting on an exquisitely shaped stone, with his knees bent and right foot raised. This bamboo carving is superbly executed in a way that brings the subject matter to life. The basket of glossy ganoderma that the sage is carrying has auspicious connotations of long life.

H: 8.2 cm

This bamboo root carving shows the Shoulao and boy in a standing posture. The deity is depicted with a bald head, bushy eyebrows, a long beard, a protruding jaw and forehead, and a peaceful, harmonious expression. He is shown bending slightly forward from the waist, wearing a wide-sleeved long gown. His right arm is raised above his shoulder, holding a long staff; his left arm is extended straight out to the side, holding a branch from a peach tree. A boy is stood just in front of the deity’s left knee; with his hair tied up in two topknots, and holding a peach-tree branch in his hand, he has a comical appearance. Imposing in size, and with smooth, flowing lines that reflect first-class carving technique, this piece succeeds in bringing across both the auspicious aspect of the shoulao and boy and the humorous relation between the two figures. Overall, this is the work of a master craftsman.

H: 28.2 cm

This work has been carved from a section of bamboo into a tubular shape supported by three short feet. The outside of the pot is decorated with deeply incised carving, with a motif based on the theme of “Impending Promotion” or “Promotion Beckons.” The scene shows mountains and forests receding into the distance, with curiously shaped rocks, ancient pine trees and creepers depicted with immense vigor. Amongst them, three old men are seen from behind under the shade of a pint tree, all of them looking upwards. One old man is pointing forwards, bringing across the symbolic meaning of “Impending Promotion.” With its masterly carving and emotional power, this is a truly outstanding piece of bamboo carving.

H: 13.5 cm

This washer, carved from agate, has a wide mouth, rounded sides, a shallow, tapering body, and a ring foot. The inside of the bowl has been left plain. The outside is decorated in relief carving with a neatly arranged leaf vein pattern. On opposite sides of the rim, two hanging chrysanthemum rings serve as handles. The carving demonstrates a sublime combination of complexity and simplicity; with its lightweight, streamlined appearance, the pot exudes a sense of freshness and vivacity.

D: 7.8 cm

Carved from celadon jade, this washer has a “jade flower” striation pattern on some parts of its surface. The washer has been carved in the shape of a slightly flattened peach, with a rounded mouth at the top; the interior has been hollowed out so as to be able to contain water. At one end of the “peach,” a “calyx” has been carved in openwork; the leaves of the calyx spread out to the sides and towards the base, creating a vivid, lifelike feel. In addition, the rim of the washer has been decorated in relief carving with a pair of bats and with chrysanthemums, adding an additional playful touch, and giving the piece auspicious symbolism with wishes for good fortune and long life.

L: 11 cm

This water-pot is carved out of crystal in the shape of a peach, with a round opening at the top, covered by a lid. The surface of the lid is decorated in relief carving with a branch and leaf pattern; the rim of the pot’s mouth displays impact marks. The body of pot is decorated with a pattern of winding branches and leaves; the interior is hollowed out so that it can be filled with water. The pot has a zitan stand decorated with twining glossy ganoderma. This full-bodied, refined, exquisitely-made water-pot would have been vital desk accessory for traditional Chinese literati, combining practical and aesthetic value in a single object.

L: 8.8 cm

The exterior of this flower pot is decorated all over in red lacquer; the interior and base are coated with black lacquer. The rim of the pot’s mouth, the waist and the base each have a band of copper gilt running round them. A neat fluting pattern runs round the exterior of the bowl. Each strand of fluting is decorated in relief carving on red cinnabar lacquer with a different decorative motif; from top to bottom, the motifs are: cloud collar motif, bat motif, persimmon calyx motif, bat motif again, left-facing Buddhist swastika motif, persimmon calyx motif again, and cloud collar motif again. The piece as a whole resembles a woven bamboo pot, while the neatly ordered decorative motifs create a visual effect reminiscent of a bouquet of flowers. With its exquisite workmanship, this is a work of art fit for a palace.

H: 6.6 cm

This piece comprises the yu vessel itself and its lid. The lid is bowl-shaped with a flat top; a jeweled handle is attached to the lid-top. Designed for use as a spittoon, the vessel has a barbed rim, a “sunflower petal” mouth, a deep, rounded belly and a flat base. The piece is covered in polychrome lacquer (red, yellow and green). On the lid, the handle is formed from a mass of petals; a ring of ruyi symbols run round the base of the handle, while the rest of the lid is decorated with carvings of intertwined lotus flowers against a background of the “thunder” motif. The right-angled rim is decorated on both faces with a continuous pattern of intertwined lotus stems; the mouth is also rimmed by a circle decorated with the “thunder” motif. The other side of the rim is has four protrusions set against a carved background; the interior of the four protrusions is carved in relief with images of the “Four Gentlemen” (plum, orchid, bamboo and chrysanthemum). The body of the vessel is carved with tortoises against a background of flowers. The inner walls and base of the vessel and of the lid are coated with black lacquer, and the inner walls of both vessel and lid have also been decorated with golden flowers and branches. The lacquer on this yu vessel with lid is thickly applied and masterfully executed; the carved symbols have auspicious connotations “wealth and good fortune for ten thousand generations”. Overall, this is a first-class piece that displays outstanding workmanship.

D: 14.3 cm

This crystal washer has been carved in the shape of a lotus leaf that is twisted upwards in such a way as to create an enclosed space that can hold water. The inner walls of the pot are smooth and shiny; on the outer surface, lotus leaves carved in relief radiate out from the calyx at the base. The piece as a whole has a brilliant luster; besides the realism of the carving, the piece has a unique visual appeal as a refined ornament. The washer comes with its original lotus leaf shaped stand.

L: 10.8 cm

Carved from fragrant huanghuali, this brush pot is cylindrical with a flat base. The exterior of the pot is decorated with a carved image of branches and plum blossoms; lines of poetry by the painter and calligrapher Jin Nong have been carved in an area of blank space. A “seal impression” bearing the character Ping has also been carved at the bottom; the image used on the pot was apparently based on a painting from the Plum Blossom Album by the Qing Dynasty artist Luo Ping. Using the knife instead of the brush, the craftsman that created this piece made effective use of line to bring across the lofty and indomitable spirit of the plum tree. The carving succeeds in creating contrast between light and dark, while also embodying the original artist’s message that one should face up to life’s trials and tribulations with the same relaxed fortitude as the plum tree. The expert knife-work has produced a work that is both fresh and meaningful, reflecting the spirit of the traditional Chinese literati; this would have been an ideal ornament for a scholar’s desk.

H: 10 cm

This stout, solid brush pot is carved from zitan in the shape of a tubular tree burr. The pot retains much of the original external appearance of the zitan trunk from which it was carved, but some relief carving has been added in places to enhance the impression of a tree burr, creating a diverting contrast in size. Full-bodied with smooth, flowing lines, this would have been a first-class ornament for a scholar’s desk.

H: 21 cm

This cylindrical brush pot is carved from zitan. The exterior has been inlaid with precious materials – including mother-of-pearl, ivory, coral, agate and jade – over a carved preliminary sketch to create a colorful picture of birds in plum trees and bamboo. The picture is neatly and simply executed, well-composed and full of life. The positioning of the birds on the plum branches has auspicious connotations.

H: 12.5 cm

This carved bamboo root depicts an adult lion squatting with his head twisted round to look over his shoulder. The lion has bushy eyebrows, a large nose, bright eyes, a smile that shows his teeth, a flattish head, and a powerful body. A young lion rests up against him, creating the auspicious image of “Adult Lion and Young Lion.” While this piece appears at first glance to be only a bamboo root carving, it has been carefully designed so that, if the lions are turned upside down, the big lion’s flat head can serve as a base, and the hollowed out portion of the underside can be used as a container for liquids; this is in fact a practical, stylish cup. Examining this item prompts the viewer to think how different things can seem when seen in a different light.

H: 10 cm

This piece is made in two parts, the tray and the incense holder itself. The tray has a wide-flared mouth, a shallow, rounded body, and a flat base; three short feet are attached to the rim of the base. A gilt copper alloy incense holder in the shape of a gourd is positioned in the center of the tray. The rim, the base, and the three short feet of the incense holder are all decorated with copper gilt. The center, exterior and base of the incense holder have been given a coat of sky-blue enamel, on which a pattern of flowers has been created in copper gilt. This small but perfectly formed piece is exquisitely made. The base bears a “seal inscription” in copper gilt hollow relief carving reading “Made in the Qianlong Period” in Clerical Script calligraphy.

D: 4.6 cm

This double-tiered scholar’s box in the shape of a six-petaled flower is painted all over its exterior with red lacquer, while the insides and base are painted in black lacquer. A wave pattern runs round the box’s edge, with a flower-like roundel protruding from this pattern. The border of the roundel is decorated with a ring of “thunder” motif, which in turn bears an image of a pavilion set against a background of waves in relief carving; a large number of children are shown playing in the pavilion, creating a lively, boisterous atmosphere. The exterior of the box is decorated with a background of “ancient coin” motif, against which are set a number of flower medallions. This double-tiered scholar’s box is carved with great precision and harmonious composition. The flower medallion decoration is rarely seen on lacquer ware of this period, making this a particularly precious piece.

H: 14.2 cm

This box is tall, with a lid, and a ring foot. The entire piece is covered with red lacquer; the interior of the box and lid, and the base, are coated with black lacquer. The carved decoration on the box is in red cinnabar lacquer. Running round the top of the lid there is a continuous band of “thunder” motif, formed from twin bands of “bowstring” pattern. On top of the “thunder” pattern, on the front there is an image of auspicious clouds and dragons ascending into the air; running round the lip where the lid and box meet, there is another band of “thunder” motif, while the exterior of both the box and the lid has two sets of a pair of dragons playing with pearls; a ninth dragon is on the top of the lid. Inside the lid, towards the top, the four characters for “Nine Dragons Jewel Box” have been written on in gold. On the base, again in gold, there is a “seal impression” of six characters in the Clerical Script, in three lines of two characters each, reading “Made in the Qianlong Period of the Qing Dynasty.” The dragons with which this jewel box is decorated give it an imposing appearance. The variation in the way the clouds and dragons are depicted imbues the box with freshness and vigor; adding to this the purity of the red lacquer coloration and the skillful carving, this is without question a work fit for an imperial palace. Compare with the very similar lacquer box in the National Palace Museum in Taipei has in its collections a similar box. See Ch’en Hui-hsia, Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum , Taipei: National Palace Museum, 2008, p. 135.

D: 28 cm

This incense holder consists of a straight tubular holder and a round tray. The tray has curved sides, a shallow body and a ring foot; it is covered in copper gilt, with hollow relief carving of lotus plants and flowers on the sides, and a double frame on the base bearing four characters in the Clerical Script reading “Made in the Qianlong Period.” The straight tubular holder, which is positioned on the base, is decorated with the “cloud shoulder” motif in blue cloisonne enamel. Within the two bands of clouds, intertwining lotus stems and flowers have been painted on in cloisonne enamel against a sky-blue background. The top of the holder is decorated with three sets of flowers; in the center of the flowers is a hole in which incense sticks can be inserted. This small, delicate piece would add a touch of elegance to a household altar.

H: 8.5 cm

This copper charger has a wide mouth with a flared rim, a shallow body, curved sides, a flat base, and a ring foot. Covered in sky-blue enamel as a background, the charger has in its center a roundel formed from a ring of copper gilt “bowstring” motif. The interior of the roundel is decorated with a pattern of auspicious clouds, dragons and phoenixes playing with pearls, in a variety of enamel colors including blue, red, white, green and yellow. The inner sides of the dish are decorated with intertwined lotus plants, while the front and back of the flared rim are decorated with intertwined flowers. The outside of the bowl, and the base, are painted with a pattern of intertwined lotus plants, while the mouth and the sides of the base have copper gilt applied to them. The decoration of the dish

D: 36 cm

Each lanterns consists of three parts: a base, a goblet-shaped stand, and a lamp-shade. The base has a protective guard protruding from it; the exterior of the main part of the base is decorated with a pattern of intertwined lotus plants on a greenish-blue glaze background, while the protective guard is decorated in openwork with a guaizi dragon pattern. A goblet-shaped stand is affixed to the top of the base, supporting a two-layered copper gilt rack on which stands a copper gilt rectangular hood. The four sides of the hood are inland with translucent white glass. The hood would originally have contained candles for lighting, but a previous owner has modified the lamp to take modern light bulbs, making this an elegant, modern piece suitable for use in the home. This pair of elegant, beautifully colored lamps, emitting a golden radiance, creates an atmosphere redolent of a luxurious palace.

H: 46 cm

A short neck rising from a flat round body resting on a flattened footring, the slender shoulder of this chicken-bone white grey-jade bottle is decorated with two finely carved elephants as handles while the bottle body is overlay with leaves of water lilies gracefully stemming out of the water, sea swallows flying over the leaves and calm waves of the peaceful sea. On top of the bottle is a narrow-pointed cover with round flattened top decorated with a wide-mouth buckle resting on a base. With the image of covered bottle symbolizing the auspicious sign of peace and prosperity and the decorations of the body representing the calm sea (Haiqing Heyan), this delicate and graceful piece of art is wonderfully suited for a study room.

H: 12.5 cm

Dott ed with yellow brown spots, this white jade plaque is made up of a jade ring (Bi) atop a pointed jade tablet (Gui). With the upper and lower parts of the jade ring clearly seen on one side, the shape of the jade tablet is fully revealed on the other side. Fully carved with grain patterns, the jade ring has a “Hao” hole carved in low relief. A jade tablet and a jade ring were used as jade sacrifices in the ancient times with their respective functions. As an innovative production of an ancient style, this graceful and delicate jade plaque is the fine combination of these two sacrifices.

L: 9.3 cm

As a fine production duplicated the ancient style, this yellow-jade ink rest was originally designed as a sword ornament, but later used as an ink rest for writing in a study room. Of a form of a rectangle bed with two sides curving downward, the ink rest has a square hole on its back and a frame decorated with a flying hornless dragon in flowing clouds on its front. The life-like image of the flying dragon brightens up the ink rest. This delicate and inspiring stationery can be used and appreciated at the same time on your desk.

L: 11 cm

Carved from high quality white jade, the paperweight is dotted with brown spots and comes in the original wood base. The piece is made up of three lychee plants with luxurious foliage and full, rounded fruit. A magpie stands upon the branches. The paperweight is often held in the hand as a plaything. It is an original and unconventionally graceful piece and the design of the magpies with three lychee is a traditional auspicious design, the xibao sanyuan. The sanyuan means “three yuan”, which refers to the jieyuan, huiyuan, and zhuangyuan. Therefore, xibao sanyuan is the perfect picture of success in which a person has obtained first place in the county, capital and country exams.

L: 4.6 cm

Carved from topaz, the design is based on older vessels. The vessel has a wide mouth and is wider at the top and narrower at the bottom. One side flows down and the middle bulges out slightly in a curve; a fold at the intersection of the neck and middle forms an oblique edge. One end of the body has a rectangular handle with an openwork carving on the curved upper half and an outward-turning lower half; the vessel had circular feet. The relief of a hornless dragon clinging onto the wall is carved onto the front and end of the vessel wall. The dragon’s head is close to the vessel’s mouth, a nod to the Chinese idiom “shoukou ruping” (as tight-lipped as a closed jar). The jade vessel copies classical designs and is a cultured and beautiful piece. In addition to its aesthetic value, the hidden meaning of this piece also makes it a wonderful gift.

H: 10 cm

The entire piece is made from grey and white jade and has an open mouth and arced belly; the body closes as it approaches the bottom. The bowl has rounded feet and the body is plain jade without any adornments or decorations. The jade is polished smooth as so to demonstrate the natural texture of celadon jade; the entire piece resembles a magnificent piece of calligraphy of flowing inks in a natural and smooth style which reawaken our abstract imagination. It is a simple, beautiful and elegant piece of jade work.

D: 15 cm

Carved from spinach jade, the piece is made from quality jade of a spinach green color. The piece contains the pot and lid, the lid in a bowl shape with a flat top. The top has a carved ring with a large mouth and high knob; the lid has low reliefs of three sets of animal masks. The pot has a wide mouth, beam neck, puffed out stomach and rounded bottom with three short protruding feet. A pair of animal heads with rings in their mouths is carved on the rim of the mouth of the pot as a pair of handles. The body of the pot is composed of four sets of six vertical ridges, of which the two sets of ridges on the front and back walls of the pot serve as the center of an animal mask made up of two kuilong dragons. The entire piece is reminiscent of Shang and Zhou Dynasty tripods and is fine product of the retro trend of the eighteenth century.

D: 18.5 cm

Carved from bright and smooth white jade of pure white. The top of the knife handle is carved with curled lotus leaf reliefs with lotus buds as round buttons. The shank is wide and unadorned, tapering in underneath the waist and closes out in a traditional cloud design at the handguard. The clouds at the toe are decorated with reliefs of flowers and leaves, and the intersection of the shank and handguard with acanthus leaves. The piece has simplicity within its complexity and is a gorgeous and elegant example of a Mughal-styled knife handle.

L: 13 cm

Carved from fine, translucent white jade, this piece is in a plate-like chime shape. On the front, the tidi (picking) carving technique was employed to create two mating catfish side by side in high relief; the two fish both have the auspicious glossy ganoderma in their mouths and form a vivid image. On the back, the yadiyinqi (pressing) technique was employed to create a bas-relief of an upside down bat and an openwork carving plate underneath it. The carving is elegant and meticulous, full of palace grandeur. In addition, the chime, bat and twin catfish compose the auspicious imagery of fuqingyouyu, or ‘abundant auspiciousness’. It is a deep piece and a magnificent example of Chinese carving techniques.

L: 8 cm

This three-dimensional, round sculpture piece is made from smooth jade with some brown spots. The piece consists of a young boy standing, his hair in a braided bun; the boy has a wide nose and big mouth, which is opened in a pleasant smile. He wears a wide robe with a cross collared and wide pants. Both his arms are placed before his waist, and he holds a lotus shoot in his hands; the lotus shoot points upwards behind his back and the large lotus leaf droops downwards. The boy is quite fleshy and plump in a lifelike impression. The piece has a borehole in the back so a string may be strung through and worn. It is a fine specimen that exemplifies the boy-holding-lotus design inherited from the Song Dynasty.

H: 6.3 cm

Carved from a whole piece of white jade, this mountain sculpture features natural folds on the surface. With ingenious craftsmanship, this piece is filled with an irregular arrangement of peaks and winding mountain trails. On top of the front peaks sits the Queen Mother of the West with two children serving on each side and clouds curling up behind, which has shown a dreamy and aerial atmosphere of the heavenly realm. Right underneath the cliff is carved a steep stair with a scholarly man holding a magical peach walking steadily on. A man riding on a mule can be seen at the lowermost part of the sculpture. The back serves as an additional remark to the main scene, which is carved with a man holding a gourd strolling in the high mountains. According to the references of these images, the magical peach and the gourd are the symbols of longevity and good fortune. With the addition of a fairy, a vivid and picturesque picture of “the Queen Mother of the West’s Blessing for Longevity” seems to leap off the piece.

H: 17.5 cm

Carved from a whole piece of Hetian Jade, this ornament is premium in quality with some brown features retained on the surface. The openwork carving of this piece resulted in the removal of jade stone textures that lacked the desired patterns, which forms a sense of transparency and agile beauty. The whole piece is carved in the shape of grapevines with a squirrel crowing on. Such a design emphasizes these solid and round fruits on one hand and presents the lush leaves with the natural jade surface on the other. These two techniques take on a lively and sprightly sense of rhythm.

L: 6.2 cm

Carved from white jade, this piece is clear and moist in quality. The chayoteshaped ornament has vines surrounded the upper part of the fruit, and the top is hollowed for string. The flesh is as delicate as a fingertip that takes on an extremely realistic smooth and round shape. The word Chayote in a Chinese dialect sounds like “fu,” meaning “welcoming good fortune.” The combination of a chayote, a longevity peach and a pomegranate further suggests three kinds of blessings: good fortune, longevity, and fertility.

L: 7.4 cm

This case with lid is carved from white jade in the shape of a peach. The lid and the case are divided from the middle of the peach, and the inside is hollowed for placing small accessories. Winding branches and leaves are embossed from the stem on the lid while bats are hovering around the leaves and the fruit. Branches are also embossed from the bottom of the case, and they also serve as the foot to stabilize the case. This exquisite artifact is both a beautiful decoration on a table and a practical carrier. The combination of peach fruit and bats are symbols of good fortune and longevity.

L: 10 cm

Carved from celadon jade, this vase is an imitation of ancient style. The vase has a lid and a body. The square lid has a flat top with a narrow rectangular clasp embossed on the center. The four sides of the lid are all decorated with thunder and mosaic patterns and two Kui dragon patterns. The vase features with a square mouth, a square belly that narrows down, a flat bottom and a round foot. Both sides of the body are carved with a beast’s head holding a ring as the ear. The body is divided into three sections by the two string patterns carved on the upper the lower parts. The upper and lower sections are both decorated with thunder and mosaic patterns and two Kui dragon patterns, only the shapes of the Kui dragons are slightly different. On the middle of vessel body, the largest section, are decorated with thunder and mosaic patterns and a pair of Guaizi dragons. This is an innovative and elegant ornament featuring with its complicated and luxurious decoration pays homage to the square vase forged during the ancient Shang and Zhou periods.

H: 18.5 cm

Carved from yellow jade with parts of brown spots, this ornament is shaped in an old zither wrapped in cloth and strings. On one side the ornament is embossed with an evergreen pine tree and bamboos while on the other poses an alluring plum tree with magpies hovering underneath. This rare and exquisite zither-shaped ornament boasts of its elegant designs of pine, bamboo and plum tree, which are classic elements for discerning literati.

L: 9.5 cm

Carved from white jade, this piece takes on a slight bluish-white hue. The techniques of drill pipes and relief are largely employed to remove the jade stone textures that lack desired patterns, creating a three dimensional effect through multiple transparent mountain peaks. On the front, a pine tree standing on a huge rock serves as the background. In the middle, an embossed scholar holds a duster. To the right of the man stands a celestial crane looking back, and to the left stands a child servant. Under the child is a crouching deer looking back. At the back of the sculpture, instead of human figures, the intertwining branches of the pine tree wind around the rock with glossy ganoderma popping out from the crevices, creating a scene of a worldly paradise. The scholar expresses a lofty and cultivated spirit, and the images of a crane and deer suggest endless aspiration for longevity.

H: 14.5 cm

Carved in white, evenly colored jade, this elegant flat pendant depicts a child with hair bound, thick eyebrows curved over almond-eyes, and thin nose. Dressed in a traditional Chinese undergarment, the child is holding a lotus flower, its right arm near the waist, left arm raised over the shoulders. Accompanying the child is an auspicious animal, giving the piece a special significance of happiness and joy. Overall, the piece is an uncommon find among pieces of its type. Pieces depicting a child holding a lotus flower were common in the Song Dynasty due to a fortuitous play on the words in Chinese—“boy and lotus” being rhyming wordplay for “successors” or “descendants.”

H: 6.8 cm

Carved in white jade, the upper corners of this flat comb handle are curved while the lower section has been mortised for the inlaying of comb teeth. Both sides have been styled with near-identical decorative carvings in sunken relief, while the edges have been raised on each side to form a frame. Inside the frame stand three flowered branches in low-relief, their petals uniquely raised on the edges with small depressions in the center, which brings the many flowers and branches into vivid complexity. Overall, the piece exhibits a classic Tang Dynasty carving style.

L: 11 cm

The upper layer of this piece has become “calcified” with age, and the base jade itself is regularly speckled. Carved into a circle, this piece depicts a dragon biting its own tail. With long, thin eyes, a lion esque nose, a single horn at its forehead, and its bent, ready limbs, the dragon is full of the fear inspiring awe for which its kind is known. With its bigger lines stressing curve and tension, and the smaller lines giving a sense of dancing threads of gossamer, the artistry that went into this Han Dynasty piece is unquestionably high.

D: 6.8 cm

Calcified and covered with spots, the jade pendant takes on the form of a two-thirds circle plate, creating the curved appearance of a dragon across both sides of the carving. Spikes top the dragon’s spine. Its tail is rolled outwards, and its eyes are full of life. Its body was created through a double hook carving technique to form a moire pattern. The lines are graceful and smooth, revealing the rich artistic style of jade from the Shang Dynasty.

L: 7.1 cm

Both carved from white jade, one sword guard presents a relatively unblemished appearance, while the other is covered in rust. The unblemished sword guard features the bas-relief of a bestial face on one side, and the high relief of a dragon on the other. The rusted sword guard features similar ornamentations for both its sides - bestial faces with long eyebrows. During the Han Dynasty, the jade sword guard was set on the front end of a sword hilt as top-quality gear to protect the holder’s palms. Due to the thermal expansion and contraction of metal within the jade sword guards, it is common for these types of artifacts to break apart when excavated. However, not only is this set of sword guards complete, it serves as a product of fine craftsmanship, making it an invaluable item.

L: 6 cm, 5 cm

Carved from white jade, the ring shows traces of calcification and brown flecks. The circular plate-shaped body features carvings of similar patterns on both sides. Bas-relief and intaglio techniques were used to adorn both sides with decorative grain patterns. According to historical references, if the ratio of the hole shares a one-to-one proportion with the jade, then it should be considered a ring. The grain pattern on the jade ring is filled with particles, and the bright and polished jade manifests a glass luster. It served as a symbol of identity worn by noblemen during the Spring and Autumn Period.

D: 8.6 cm

Shaped like a diamond petal, the ewer is comprised of a lid and a pot. A round button sits at the top of the cover. The ewer features a mouth, a straight neck, and a petal-like body. The ventral gradually decreases downwards, and is held up by four short legs. One side of the ewer consists of a long trunk, while the other contains a long circular handle. The body is gilded. Aside from the top button, mouth, spout, handle, and bottom, the rest is covered in black. An elaborate floral pattern is chiseled across the surface of the lid and pot. Since this technique consists of the use of a small knife to engrave decorative patterns across the black paint, the decorative patterns expose copper flowers, creating the illusion of gilded flowers. This was the typical decor for black-painted bronze wares during the Mid Qing Dynasty.

H: 18.7 cm

This bronze censer is shaped like a begonia flower. The abdominal section is deep, and it gradually slims downward. Four short legs protrude from the edges of the flat bottom. The body is engraved with various ancient Chinese inscriptions found on bronze ware, such as “fair daughter”, “long, prosperous, and wealthy exam result”, “many descendants”, and “luck”. One side features the words, “Made in the Xuande Period of the Ming Dynasty” carved across it, as well as quotes from Su Dongpo’s Chibifu. The whole device is decorated with fascinating inscriptions, forming a quaint literary atmosphere. It is a majestic and rare example of a Ming Dynasty bronze stove.

D: 25 cm

This stove is shaped like a gui (ancient bronze food vessel) with an opening, a beam neck, a drum belly, and a circular base. The whole body is gilded, but parts of the gilt have peeled off. The bestial heads on the two sides of the abdominal section have pendants hanging from their ears. A leaf roll pattern interlocks around the neck. The abdominal wall is decorated with waves of dragon and phoenix patterns, and the outer circular foot is embellished with floral patterns. The words “made by Hu Wenming of the Yunjian period” are engraved across the bottom.

D: 12.5 cm

Held up by three short legs, this censer consists of an extravagant mouth, a beam neck, a drum belly, and a circular bottom. Engraved with dual dragons, bridge-style ears are situated across both sides of the mouth. A lightning pattern surrounds the neck. An opening begonia is displayed on the front and back of the abdominal wall. The front opening shows the relief of a bamboo forest map, while the back displays one of a farmer. Furthermore, a carving of a phoenix bowing to the sun is situated outside the abdominal wall carving. On the other side, there is an image of a crane and a deer during spring. The whole carving is very structured, making use of elegant ornamentations to exude an auspicious ambiance. It gives people the abundant perception of adding icing to the cake. One the bottom, there is a frame with the words meaning, “Made in the Xuande Period of the Ming Dynasty”, engraved on it.

D: 21 cm

Standing with a brown complexion, Guanyin wears a head veil and peers downwards. The peaceful face features a tall, curved nose and an all-seeing third eye between her eyebrows. The figure is dressed in a dhoti with a scarf draped over her shoulders. Clothing flows naturally over the figure’s body, revealing parts of her chest and toes. Her arms are crossed in front of her abdomen. Hanging all the way down to her knees, her sleeves are adorned with patterns of silver clouds. A pendant decorated with inlaid silver hangs around the figure’s chest. This is a large and majestic item. On the back, the four-character inscription, “Yu Tang Shi Sou,” is engraved in Zhuan script.

H: 52 cm

A porcelain fiqure of Guanyin in a seated posture. Five buns of hair are rolled up high above her forehead. The figure’s graceful and kind face is round and smooth, and features an all-seeing third eye between her eyebrows. She is dressed in a dhoti and loose coat that have contours resembling flowing water. A necklace hangs across her partially revealed chest. This goddess sits on her right side with arms crossed and resting over her right knee. Featured on the back of this elegant statue and covered in shiny glaze is the four-character inscription, “Bo Ji Yu Ren.”

H: 31 cm

Guanyin wears a crown engraved with the image of Buddha over neatly braided hair, revealing the figure’s ear and neck. With eyes slightly closed, big earlobes, and small mouth, this Guanyin appears elegant and graceful. She is donned in a robe that reveals her chest, and wears an ornate pendant that hangs around her neck. Her right arm is raised chest high, and her right hand is folded in the gesture of lotus. Her left arm is resting at waist level, and her left hand holds a Ruyi scepter. The figure is wearing a dhoti that is tightened around the waist with a ribbon whose streamers curl up on the flood along both sides. The figure is sitting on a lotus seat which is held up by lotus rosettes position on a Xumi style hexagonal stand. Although there are some cracks, this stately white porcelain Guanyin features a magnificent level of craftsmanship that make it one of a kind. On the figure’s back, there is the four-character inscription, “Bo Ji Yu Ren.”

H: 43 cm

Amitayus Buddha wears an ornate crown on top of a head with a high hair bun and braided hair that hangs to his shoulders. With a tall nose and curved eyebrows, this Buddha appears especially stately. His robes hang over his right shoulder, and a necklace hangs across his chest. The hands resting in his lap are folded in the Dhyana Mudra hand gesture as they hold the longevity vase. His arms are decorated with armlets. The figure is seated on a lotus pedestal.

H: 11 cm

These three Sakyamuni Buddhas seem similar in expression and posture, yet are different in their clothing and decoration. The figures all feature a lou fa (Buddha curl) hair and a solemn expression. With saffron robes hung over their right shoulder, their clothing either features naturally draped or tightly-fit contours. Their right hands are pressed against the ground, while their left hands strike a meditative gesture. They sit cross legged on a lotus pedestal. The gilt-bronze decorations are representative of Tibetan styles, while the non-gilt bronze style is representative of India’s Pala Dynasty. The differences in style reveal the diversity in Buddha statues across various locations.

H: 9 cm , 14 cm , 10.5 cm

Guanyin with five-pointed crown, calabash bun, kind face, and earlobes with flower pendants. Upper torso is naked, and a necklace hangs across the chest. A ribbon floats around the two pair of arms. One pair of arms are raised chest high with palms together, while the other pair in the back extend outwards above the shoulders. Prayer beads are grasped in the right hand and a lotus in the left. The Guanyin sits on a lotus pedestal. This statue of a sitting Guanyin is meticulously crafted with a small chisel. Her bright gilt-bronze body reveals an unparalleled luxurious temperament.

H: 14 cm

Wearing a high bun with an embedded muni orb on top of an elegant face, Mahavairocana radiates solemnness and compassion. An all-seeing third eye sits between her eyebrows. Large earlobes are embellished with flower pendants. Braided hair hangs to shoulder level. A pendant hangs across the naked chest, and a ribbon wraps around both shoulders. Hands are folded together in the diamond position in front of the chest. The figure sits cross legged on top of a lotus pedestal. The entire body of this sitting Mahavairocana is crafted through a repousse and chasing technique. The thick torso makes this a rare Tibetan Buddhism statue.

H: 27 cm

Crafted in bronze and silver, this stately Buddha statue features a five-point crown, a high bun embed with a muni orb, elongated earlobes braided hair hanging to shoulder level, a turquoise stone embedded in forehead, and long slim eyes. Its chest is naked revealing the breast. A silk belt is draped over the figure’s body, and wraps around both arms. A pendant hangs across the chest, and armlets are worn on both arms. Masculine arms are held chest high, with hands in the ding yin position and holding the vase of longevity, crafted from silver and inlaid with gem stones. The lower body is donned in a tight thin skirt. The figure is seated cross legged on a lotus pedestal. Crafted out of bronze and silver, this Buddha statue exudes a magnificent aura and an enticing visual appeal. This colorful piece is the result of superb craftsmanship, and serves as an excellent example of an Amitayus Buddha statue.

H: 59 cm

Crafted through repousse and chasing techniques, the entire figure gives off lightweight and thin qualities. Adorned in the ceremonial hat of the Yellow Hat sect which drapes over his shoulders, the figure wears the robes of a monk incised at the hems with naturally flowing pleats. Originally, flowers (now lost) had flanked both shoulders. With both hands held in the gesture of teaching in front of his chest, he is depicted sitting cross-legged on a lotus pedestal. This is a work of superb craftsmanship created through skillful use of technique. The figure’s serene and compassionate expression is typical in statues of the Gelug sect of Tibetan Buddhism.

H: 39 cm

Wearing a jeweled crown on his head, a high hair bun, and a silk band draped across his shoulders, the armored figure dons a fierce and mighty expression. His left arm is held near his waist, while his left hand holds a “treasure-spitting mouse”. The figure’s right arm is held high in front of his chest, while his right hand grasps a poled filled with treasures (now lost). With a slightly bent left leg and an upward facing right leg, it sits sideways on the back of a lion. A lotus pedestal lies underneath the lion. Vaishravana is the chief of the Four Heavenly kings, and also known as the “Deity Who Hears Much”. He is the guardian of the northern direction, and his home is in the northern quadrant of Mount Sumeru. He is also the protector of wealth.

H: 20 cm

Wearing a crown decorated with five skulls and the image of a horse inlaid at its center, the figure features hair as red as flame, three wide eyes, bared teeth, and thick eyebrows. These elements come together to form a terrifying and wrathful expression. Hayapriva is almost entirely nude. His upper body is adorned with three gorgeous necklaces, while both arms are decorated with bracelets. His right arm is extended upwards, while his left is tucked in front of his chest. His hands are folded in the tarjani-mudra gesture. The figure’s lower body is covered with a tiger skin skirt. Both feet point outwards to the sides, as they step on snakes on top of a lotus pedestal. Hayapriva is the incarnation of the Goddess of Mercy. He is the wrathful manifestation that the Goddess of Mercy uses to destroy ignorance in the world. This figure features a stout and sturdy body stretched in a comfortable and lively pose. Its elegant gilt-bronze gives off a dazzling shine. In particular, the three-dimensional relief technique used for the lotus pedestal reveals an extraordinary and exquisite artistic achievement in the representation of Hayapriva.

H: 53 cm

A jewel sits at the top of the figure’s high hair bun. Slender eyes gaze downwards, while the corners of his mouth curl upwards. With big ears and a wide nose, he wears a solemn expression. His robe lays bare his right shoulder and fit close to his skin, while his sleeve is incised at the hems. His left arm is placed in front of his abdomen, and his left hand is open in the gesture of meditation. His right arm is extended forward, and his right hand lays in the gesture of earth-touching. His lower body crosses with his two legs as he sits on a lotus pedestal.

H: 24 cm

This figure of Guanyin features eleven heads and eight arms with Sakyamuni Buddha at the top. Wearing jeweled crowns, the other Buddha heads appear kind and compassionate. Sheepskin is draped over his shoulders, silk bands are wrapped around his arms, and necklaces of jade and pearl hang in front of his chest. Wielding various items, the six arms in the back present the shape of the Chinese character, 米 (rice). The front arms are tucked in front of his chest, with both hands placed together in the gesture of salutation and reverence. His lower body is covered in a long skirt wrapped in necklace beads. Both bare feet stand upright on top of a round lotus pedestal.

H: 18 cm

Right: This gilded figure wears a ceremonial hat on his head. The ears of the hat are draped across his shoulders. With almond eyes, thick eyebrows, a mustache, and a thin beard, his expression is much focused. Dressed in a robe, his right shoulder is bared and his right breast is exposed. His left arm is in front of his chest and his hand signals a Mudra. His right arm hangs above his knee, while his hand reveals a Varada-Mudra. Crossing his legs, he sits in the lotus position. Petals cover his pedestal and Tibetan words are written across the seat edge.

Left: With a high forehead, knitted eyebrows, and wrinkles on the corner of his eyes, this figure gives off a genial appearance. Dressed in a vest, a robe hangs over his right shoulder revealing a bit of skin. The sleeves contain an engraved pattern with uneven spacing. Hands raised in front of his chest, he signals a Mudra. Crossing his legs, he sits in the lotus position. Petals cover his pedestal and Tibetan words are written across the seat edge.

H: 19 cm, 21 cm

In a standing position, Avalokitesvara wears a five-leaf crown embedded with jewels. The silk fabric behind the crown drifts upwards. With a plump face, high and broad forehead, a bindi between his eyebrows, a high nose, and a small mouth, his appearance is beautiful. His upper body is bared, while necklaces hang across his chest. A silk scarf rides on his shoulders which weaves around his arms, dangles across both sides of his knees, and rolls up at the base. His right arm is raised while his left arm is lowered. He holds the branches of the lotus in his hands and a Dharmacakra is manifested on top of the left lotus branch. In his right hand, a bottle is displayed on top of the lotus branch. A fitted beam skirt covers his lower body, which are embellished with elegant necklaces. He stands barefoot on top of a lotus pedestal. This is a magnificent statue of Avalokitesvara. The detailed decorations manifest its fine beauty. This is indeed a rare, boutique Avalokitesvara statue from the 18th century.

H: 66 cm

The pale yellow soup stone is carved just like a cabbage. The roots are circular, the leaves are wrapped in layers, the leaf veins are distinct, and the knife technique employed is concise, presenting a lifelike image. The cabbage is decorated with several crabs grazing on leaves, adding what can only be described as an exuberant vitality. The image of a cabbage generally illustrates an unblemished connotation. And, with the image of crabs, perhaps it works as an even more innocent heirloom to pass down harmonious and wonderful implications.

H: 7.7 cm

Meticulously sculpted hibiscus stone snuff bottle shaped as a lychee fruit. A hole is drilled into the stone, hollowing out its interior to create room for a container. The cap and scoop mechanism is created in the shape of a lychee stem. Beautiful and lifelike, this small yet exquisite lychee-shaped snuff bottle suggests the auspicious notion of “prosperity.”

H: 6 cm

Jadeite bottle sculpted out of a piece of white and green Myanmar jade. Patterns of beasts are carved across the bottle’s side. On the tall flat cap, there is a round cap knob. Aside from the round foot, the mouth, neck, shoulder, and body of the bottle are all square. The handle are carved in the shape of “lucky ears”. Bas-relief of beasts decorate the body of the bottle. Round amber snuff bottle with straight neck, abundant shoulder, and an oval shape that closes downwards. Made from cross-section of amber, the spiderweb contours are apparent. On one side is a relief of a bird and prunus branch, and on the opposite side is a relief of a monkey stealing from the peach garden. These are flanked by two dragon ear handles.

H: 8.7 cm , 12.1 cm

This is an elliptic snuff bottle with a round foundation. A transparent glaze covers the entire body, while both sides feature an even more colorful pallet of glaze. A grasshopper is painted on both sides, each with their own pose. The delicate brushwork and vivid colors make this a meticulous work of art that is sketched from nature.

H: 6.8 cm

Nephrite oblate bottle with a straight mouth, a short neck, abundant shoulders, and an oval shape that closes downwards. The bottle is plain and smooth without any decorations. The pristine white quality of the jade accentuates the elegant curves of the bottle. The tall cylindrical cap made from red coral also houses the scoop.

H: 6.6 cm

Carved from a single block of tourmaline, the snuff bottle features a translucent pink and takes on the appearance of a flask - a straight mouth, a short neck, abundant shoulders, an oval shape that closes downwards, and a flat bottom. Through bas-relief carving techniques, the entire body is provided with the form of peonies in full bloom. A bird perches among the flowers and leaves, inspiring wonderful associations with wealth and happiness.

H: 6 cm

Carved from a single block of Myanmar jade, the snuff bottle features “old pit glass”, a rich emerald green color, a clear texture, and a superb opening. Straight mouth, short neck, abundant shoulders, and a circular body that closes downwards. The entire body is luminescent and brightly polished, fully demonstrating the moist lushness of jade. The plump shape and curved lines are signs of a high quality artifact.

H: 6 cm

A coral carving in the form of an elongated melon. The surface is decorated with winding vines and leaves carved using bas-relief techniques. A lid in the shape of a green flower stem complements the body of the bottle perfectly. The carvings across the item give off a lively energy, bringing auspicious tidings of growth and prosperity.

H: 4.7 cm

Carved from Hetian jade, the quality of the stone is exceptional. With a round mouth, straight neck, shoulders, and rectangular abdomen, lines are carved into the edges of the abdominal surface, which gradually closes downwards. The flat bottom is held up by a short rectangular base. The body emits a shiny luster, while two rings in the shape of beasts are embossed on both sides of the abdominal near the shoulders. The whole body is glazed with graceful lines and the concise work reveals very fine carvings. This snuff bottle features highly artistic qualities.

H: 6.5 cm

Carved from coral, the snuff bottle features an orange texture with a uniform amount of color. It has a round mouth, straight neck, abundant shoulders, an oval shape that closes downwards, and a circular bottom. The image of an old man is embossed on one side of the abdominal surface, while that of a bat and a deer adorn the other side. Rings in the shape of beasts are decorate both sides, much like ears. The whole carving emits an elegant simplicity. The images of the bat, deer, and old man auspiciously symbolize Fu Lu Shou” the three gods of fortune, prosperity, and longevity.

H: 5.7 cm

Carved from Myanmar jade, the seal bears the texture of ancient glass. The green and white colors are distinct, while the seal button makes full use of the essence of the whole jade. A three-legged toad is embossed as the high button. The lower body of the seal does not reveal any patterns to simply manifest an alternative beauty to Myanmar jade. The colors of the circular seal stand in strong contrast, especially the texture of the delicate toad button, which typically wins people’s visual favor. Meanwhile, the three-legged toad symbolizes wealth and good fortune. This is indeed a delicate jade treasure of the highest quality.

H: 3.3 cm

Carved from a single block of Myanmar jadeite, Magu wears a bun in her hair, which is split in the middle as it falls across her back. With an oval face, high nose, and small mouth, she has delicate facial features. Wearing a tightly fitted robe with wide sleeves, the folds of her clothes seems to be flowing, adding a fresh look to the ancient appearance. Her arms are held high and crossed over to the right side, while holding a basket filled with fresh peaches. The theme of “Magu gives her birthday greetings” is vividly manifested on the sculpture. This jade ornament is embellished with smooth lines, revealing a curved and elegant stance. This is indeed an exquisite piece of work that cannot be put down once held.

H: 12.5 cm

Carved from a single block of topaz, a part of the carving is covered in a brown patch. The auspicious beast lies with its head turned to one side, and its jaws rest lightly across its front legs. The drilled opening between the two legs can used to hang a string to be worn as necklace. The beast has lucky ears, and two parallel lines are located on its forehead, imbuing the beast with a fresh and lively spirit. Its eyes gaze directly forward, giving off a childish and lovable appearance. This is a fine work of art that is capable of healing the soul.

L: 4.7 cm

Carved from white jade, parts of the jade deer are covered with brown flecks. Its limbs are withdrawn near its belly. Wearing a lingzhi-like crown, its head faces straight ahead. With triangular eyes, ears folded backwards, and a polished body, its hind texture is curved to perfection. The limbs are carved through incisions, resulting in a very three-dimensional look. The work bears a concise shape, crisp lines, and a clear theme. The image of a crowned deer subtly conveys the auspicious notion of a deer celebrating spring.

L: 7.8 cm

A piece entirely crafted from white jade partially covered in brown spots. The jade buffalo lays prostrate on one side. A swirling pattern is incised on Its forehead. Its eyes have a watery quality. Its horns bend backwards, both ends touching the spine that bulges outwards at the neck. The curvature of the spine extends to its long tail, which is curled against its side. A rope runs over its body and connects to a nose ring. Hoofs and protruding ribs are just about visible. The entire form is accurate and vivid, exuding an irresistible artistic charm.

L: 7.5 cm

Crafted from an exquisite block of Hetian white jade, this beast figure is covered partially in brown spots. With neck bent and head turned, the beast gazes downward across its back. Its hooves are tucked underneath its body. With a bushy mane running neatly along the back of its neck, the beast has a strong body, stout limbs, and a long tail extended along its hip. It is clear that this figure is not an animal from this world. Although it resembles a horse or camel, it could pass for an exotic animal that has yet to be discovered, and only exists in people’s imaginations for now.

L: 9.5 cm

The round figure of this beast is crafted from a pristine block of Hetian white jade. The beast is lying down with its head looking backwards. It features “lucky ears”, thick eyebrows, almond-shaped eyes, a lion’s nose, and a single horn protruding from its forehead. A ganoderma branch hangs from its mouth. The contours of the beast’s muscles are vivid. Its legs are tucked under its body, only revealing its claws. Along its hip, there is a three-pointed tail. This unique, accurately proportioned piece is a classic sculpture of an imaginary animal.

L: 7.8 cm

Carved from a greenish-white block of jade, this round sculpture is partially covered in brown spots. Resting slightly on its hip, the beast’s head is turned backwards. Its front legs are curled up in an arch shape, and its rear knees support the entire body. A long tail is curled between its rear legs. Long horns protrude from its forehead, extending backwards and outwards. The beast has wide, open eyes, a lion’s nose, and a split open mouth that reveal its canines, making it look fearsome. This is a classic auspicious beast sculpture in its most elegant incarnation. The bold curves make it look even more majestic and impressive.

L: 9.5 cm

Carved from a block of yellow jade, this round sculpture is partially covered in brown spots. This beast is in a walking position, with one front leg extended forward and the other backwards. Under its abdomen, rear legs are folded in a crouching position. Looking straight ahead, the beast’s head features “lucky ears”, elliptical eyes, and two curved horns that protrude from its forehead. Its mouth is wide open, revealing its teeth. Three parallel lines that run along its back resemble a spine. Along the spine are two neat rows of curled fur in the shape of clouds. Carved on its four limbs are fire-like patterns. Its long tail is curled inwards and just barely touches the ground. Meticulously crafted, this elegant depiction of an auspicious beast stands out among other sculptures of imaginary animals.

L: 10 cm

Carved from a greenish-white block of jade, this round sculpture is partially covered in brown spots. In a standing position and with head lowered, this large elephant has its front legs slightly bent with its long nose touching the ground. It features curved tusks and two large ears. Hung over its back is a saddle, which is decorated with the traditional five bat patterns, which serve as symbols for longevity. A Hu man stands beside the elephant, holding a precious vase containing ganoderma branches decorated with jewels - a token of peace and prosperity. This large jade elephant exudes an aura of magnificence, making it an ideal decorative item for homes.

L: 12.5 cm

Plate features a pie mouth, arc surface, shallow abdomen that gradually closes downwards, and a round bottom. Two convex lines run parallel in a string pattern across the outer surface, adding a sense of rich visual variation. Gold-purple glaze is applied across the entire surface of the plate, imbuing it with a pure tone of color. Transparent glaze is applied to the inside of the bottom base, where six Chinese characters divided across three lines meaning, “Made during the reign of Qing emperor Qianlong,” are inscribed. It is a single-color glazed plate with a delicate Taizhi and a uniform application of glaze. This serves as a boutique example of persimmon glazed wares made during the reign of Qianlong.

D: 16.8 cm

The bowl features a wide mouth, arc surface, and a deep abdomen that gradually closes downwards. Both the interior and exterior of the bowl are yellow and decorated with green patterns. In the middle of the bowl, a green ring surrounds the character for longevity”, which is written in regular script. Two parallel green lines are painted along the edges of the outer surface near the mouth. A continuous leaf curl pattern is illustrated between the two lines. Two dragons are painted with bead patterns along the abdominal surface. A circling wishful cloud pattern surrounds the body near the bottom. The bottom features a transparent white glaze. In the middle, the Chinese characters for “Made during the reign of Qing emperor Daoguang” are glazed in blue and white, and inscribed across three lines.

D: 10 cm

The vase features a rectangular shape, straight mouth, long neck, sloped shoulders, hanging belly, and an abdominal surface surrounded by peripheral edges. Short lines run along the turning points of the mouth to the abdominal section. A raised peach shape is featured on the front and back of the abdominal wall. The abdominal section gradually closes downwards to a rectangular bottom. Rectangular ears are placed on both sides of the neck. The body is glazed in red, blue, and white, while the glazed colors flow naturally. The colors are intensely bright, while the rectangular base reveals a sauce-like color. In the middle, the six Chinese characters for “Made during the reign of Qing emperor Daoguang” are inscribed and divided across three lines.

H: 30 cm

Bowl features a pie mouth, arc surface, and a deep abdomen that gradually closes downwards. Underglaze blue is applied to its inner surface. Two parallel rings circle around the inside of the bowl. Within these rings, a floral arrangement in the pattern of the Chinese character, “米” is comprised of rice plants, lotus flowers, and butterflies. Distributed across the abdominal surface are four sets of lanterns, which brings the auspicious tiding of having a “bumper grain harvest.” Pastel bogu patterns adorn the insides of four circular openings across the outer surface. Flowers are painted on top of a carmine red foundation on the outside of these openings. Within the circular base, six Chinese characters meaning, “Made during the reign of Qing emperor Daoguang” are inscribed across three lines. Created through an exquisite level of craftsmanship, the decorations of this pastel bowl are magnificent. The bowl is indeed a rare gem in the collections of Daoguang.

D: 14.8 cm