An earthen bowl is an appliance for ladling rice. From the Liao Dynasty, this earthen bowl features a yellow-brown color that is very similar to the Sancai style. The circular mouth is slightly introverted. Due to years of erosion, the inner walls show faint signs of mottle. There is a tiny dent near the inside rim of the bowl. The outer wall manifests a glossy exterior, bringing a hint of meticulousness within the coarse pretense. With a light yellow base, the middle abdominal is coated with a large amount of yellow-brown, seemingly like ink that is not yet dry.

The base of this ceramic bowl from the Northern Song Dynasty utilizes a black glaze. It features a pie mouth, an arc surface, and an abdomen that gradually closes downwards. A distinctive white trim runs along the mouth of the bowl. The inner wall exhibits a glossy black luster, while the bottom of the outer wall resembles a white peony. Seemingly intentional, yet ostensibly unintentional, it is filled with a simple elegance. The black base supplemented with white enables the bowl to exude Zen sensations. The scattered and mottled traces along the bottom brim with the trials of age.

From the Southern Song Dynasty, this tortoiseshell glazed bowl is evenly rounded with an abdominal that gradually closes downwards. The outer wall features a pleasant brown color. A white ring circles the bottom base, making the tone unusually soft. The mottled white spots imbue the bowl with even greater antique sensations. The inner wall of the bowl is not entirely brown. Instead, brown spots cleverly mingle alongside decorations of phoenixes and flowers. Although there may be no complicated illustrations, the bowl exudes the lifelike charm of flowers and birds. In a static state, it is filled with a lively energy. It is quite a rare work. Birds and flowers represent harmony and tranquility. From this work, it is not hard to see the Southern Song Dynasty people’s desire for a stable life during a turbulent era.

From the Song Dynasty, this pottery bowl is composed of three different shades. The bottom is the original mud-brown color. The outer body is mainly black glaze, while the color gradually fades to brown near the bottom. A yellow-brown trace runs along the rim of the bowl, leaving an elegant brightness among the monotonous shade of black. The rust on the inner walls contains subtle flowershaped formations, much like honeysuckle drops on black satin. These match the seemingly leaf-shaped erosions on the outer wall. This bowl exudes an elegant sense of magnificence through simplicity.

From the Song Dynasty, this black glazed flask features beautiful and smooth lines. The open mouth gradually converges to the neck. The body cleverly extends outwards from one-third of the body, and then converges from the mid-abdominal to the bottom as if made in one stroke. The rim that runs along the mouth echoes the features of the bottom, making the flask appear even more stunning and elegant. In particular, the glossy black color faintly exudes a mysterious atmosphere. Besides some slight mottles at the bottom, there are no other blemishes.

Cizhou Yao is a fairly representative northern kiln style from the Song and Yuan Dynasties. In the Jin and Yuan Dynasties, etched flower decorations were very prevalent. After ornamentations were carved upon an object, outside portions were removed. This flower canister is mainly black glaze. Large petals and leaves are etched onto the canister, which features a contrast of black and white with simple lines. White lines pass through the area under the neck and abdominal, setting off a grand and gorgeous ambiance among the flowers. The short and broad body exhibits a vigorous momentum.

This heart-shaped jar has a black glaze base, with a glossy and smooth exterior. The body of the jar is shaped like a pear, with a small mouth and plump abdominal. There is a small circular stool underneath the jar, and the bottom is not colored. Reddish-brown spots dot the abdominal, while similarly colored lines beneath the spots appear like flowing clouds. The smooth rust that runs along the rim serves as a type of decoration. The small lid is covered with iron marks. The whole work is shaped like a chicken heart. Exquisitely detailed, the jar is both beautiful and practical. This is indeed a representative work from the period of the Song and Jin dynasties.

This black glazed bottle has a long body, short neck, and plump abdominal, which manifests an upright and heavy temperament. Three parallel lines run along the intersection of the abdominal and neck, while two parallel lines flow through the lower abdominal. With a black body, there is no glaze on the bottom of the bottle, resulting in a tan color. The bottle is perfectly complete. Those three areas that contain lines play an important role in its ornamentation by exuding a sense of nobility and elegance.

Black Ding porcelain ceramics always feature an excellent quality. Due to their limited quantity as compared to white Ding porcelain ceramics, they are very valuable. The black glaze on both the inside and out makes it even more precious. The body is black as paint, and the people can see the light reflecting off the bowl. The mouth is open, and the body gradually converges downwards. The thin glaze along the rim is of a brownish-yellow color, adding a dash of elegance. There is no glaze near the stool on the bottom. The interior of the stool has a couple of small blemishes. We can speculate that these are due to kiln transformation. The entire bowl is very well-preserved with no traces of damage or wear.

During the Jin Dynasty, globular jars were prevalent in the northern areas of China primarily as wine vessels. Their Chinese name, “du lu”, was inspired by the sound of wine being poured. This globular jar has a short neck and abundant shoulders. The mouth features a flat inner rim that gradually merges into the neck. Its plump body exudes a rustic charm reminiscent of the people from the grasslands of China. Glazed in brown, the jar’s protruding vertical contours typical of Jin Dynasty pottery were created by molding vertical lines around the body. These contours accentuates the brownish tones of the glaze, imbuing the piece with even greater three dimensional qualities. This is truly a rare masterpiece.

Shallow bowls were a popular type of ceramic ware during the Song and Jin dynasties. This particular bowl features a large flat bottom and small round base. Its curved body abruptly ends at the base, which is a classical style for such bowls. Delicate carvings of flowers and twigs are featured on the inside, imbuing it with a refined temperament. A few scratches are visible on the bottom, and the hardened remains of some excess glaze remain on the base. The entire piece is coated in a white glaze, giving it an elegant and gentle appearance. This is a worthy item for any serious collection.

This shallow bowl features a round base and subtle flower carvings. At the center of the plate are flower carvings, which extend outward into leaf patterns. Carvings of curled grass are featured on the inner wall of the bowl, making this piece even more attractive. Gorgeous and bold in style, this item is not only defined by its practicality but also by its ornamental value. Coated in a luscious white layer of glaze, this item appears lofty and refined.

This flower decorated shallow bowl and lid are glazed in pristine white. The squat bowl and rounded lid fit together perfectly. At the center of the lid, patterns of two lush peony flowers are surrounded by foliage. The peony decorations are a symbol of vitality and longevity. Both the bowl and lid are coated in white glaze. Twelve flower petals are carved around the base of the bowl to form the luxurious pattern of a peony that appears to blossom from the base, striking a gorgeous contrast between the bowl and lid. Along the seams where the lid and bowl meet, there are a few grooves that make opening the lid more convenient.

This bowl features a body with petal-shaped contours that extend from a round base. The piece resembles a blooming flower. Yet, nothing about it appears ostentatious. Horizontal lines are carved along the sides, forming an interesting contrast with the vertical contours. Jade white transitions into light brown towards the lower half of the bowl. The bottom of the base is a bit mottled. Pristine white of the bowl’s interior appears crisp and refreshing, providing a soothing effect.

This small bowl decorated with flower patterns is covered in a white glaze. Its interior appears lush and refined with an excellent texture. The pattern of a blooming flower is carved inside the bowl with leaves extending outward. Although depicted in a bold and vivacious fashion, the flower appears elegant and graceful. The mouth of the bowl curls outward to the rim, while its body in the shape of a perfect parabola sits on top of a round base. Crystallized glaze is visible on the bowl’s exterior. However, a few freckles does not diminish true beauty. The outer rim of the base is not glazed. This delicate and refined bowl offers a visual feast.

One bowl features an unglazed rim, shallow body, and carvings depicting a traditional Chinese garden landscape. Lines radiate outward from the center pattern, decorating the outer edges. Minor blemishes are visible on its base. With a distinctive surface, the other bowl features the carving of waterfowls surrounded by water ripples at its center. Six similar patterns that open outward encircle the center. Its only imperfection lies in traces of corrosion at the base and a crack along the outer wall.

With grooves along the edges of its mouth, this bowl resembles a flower. The body gradually curves into the round base. Inside, there are carvings of two peonies. Along the bowl’s inner wall, there is a carving of a phoenix soaring amongst clouds. The bird’s features are clearly discernable, radiating an aura of wealth and good fortune. Surrounding the phoenix are decorations of elaborate patterns, imbuing the work with a vibrant flair. Horizontal lines decorate the outer walls of the bowl. Small brown indentations are also visible on the outer wall, which might have been produced during the kilning process.

This ewer with its round mouth and long neck resembles a trumpet. A subtle line divides the neck and shoulder. The long body slowly curves into the base, whose thick round form provides the ewer with ample stability. A short spout elegantly extends out from its shoulder. The ewer has a semi-circular handle positioned directly opposite to the spout and connected to the shoulder and neck. The handle features some artistic carvings that imbue a graceful quality for this otherwise plain ewer. White glaze gives the piece a nice sheen. This Xing Ewer perfectly echoes the phrase, “Xing porcelain resembles silver or snow,” from The Classic of Tea.

Sitting lion figure with head tilted upward, mouth open, and tongue showing. Although the beast appears to be in a resting position, its gaze remains vigilant. The lion’s back is smooth and shiny. Contours of its mane are clearly discernable. One ear is pointing upwards, while the other is pointing downwards. Tail-tuft curves into two directions. With a strong physique and sharp claws, the figure fully portrays a lion’s might. The rock it is sitting on has a convex curvature. The figure is kept in pristine condition. Except for the bottom, this entire piece is coated in a white glaze.

This bean-shaped pillow has a high front, low rear, and slight concave middle. This pillow is a classic Ding ware, and can often be seen in major museums around the world. It is engraved with a peony, which represents wealth. From the crafting method, we can probably guess that brown was painted on the embryo. After sketching out the decoration, the outer parts were removed, thus manifesting the three dimensional effect of a brown peony on white ground. The sides are engraved with curly grass patterns, which seem quite bold. Only the upper side and bottom of the pillow are there a few traces of cracks, manifesting the passage of time.

With a short neck and broad shoulders, the body sharply converges from the shoulders to the bottom. A circular ridge line is located between the shoulders and abdominal. Two lotus petals are carved on the abdominal section. There are also ridgelines on the middle of the petals, highlighting three-dimensional qualities. The flower is boosted up by the leaves, forming a delicate and clean lotus under the shoulders. There are traces of kiln transformation on the inner side of the jar. The entire body is coated in a pure white glaze that imbues it with elegant yet generous qualities.

Longquan kilns are known for their firing of celadon glazes for thick porcelain ware. The green glaze is commonly tinged with yellow. The body of this plate exhibits a beautiful leek-green color. A circle of glaze is scraped off on the bottom, revealing a faint reddishbrown color. This further highlights the leek-green of the glaze. This contrasting approach between glazed and unglazed sections is a unique decorative process of the Yuan Dynasty. The interior bottom of this plate is engraved with a bright and symmetrical floral pattern. The inner abdominal features a petal pattern that are neatly arranged, fully exerting the aesthetics of the plate. There is only a slight trace of corrosion in the interior.

The flower-shaped bottom gradually slims downwards. The slim and long neck is engraved with a pattern of pattern of banana leaves, implying the meaning of “living a long life like evergreen pines and cypresses”. There is a heart-shaped protruding border under the neck, and a circular moon within that symbolizes hope and light. Symmetrical ears are situated on both sides of the shoulders. There are protruding floral patterns on top of the ears, and rings hanging from the bottom of the ears. The fluent pear-shaped bottle has a protruding abdominal. There are two sets of flower-shaped borders located on the front and back of the abdominal walls, which are engraved with the words for “blessing” and “longevity, respectively. There is a set of peonies on the outside of the inscriptions, much like a new core that was just spit out. The rounded lower abdominal has a circular bottom that leans outwards. The glaze is scraped off a circle on the bottom. A square-like pattern runs along the rim above the bottom. The whole work exudes an elegant green gloss, manifesting a beautiful nobility amidst a calmness.

People from the Tang Dynasty period loved peonies. And, this porcelain bowl takes the form of a blooming peony. The mouth of the bowl is not just a normal arc, but cleverly shaped like a flower petal. Its body is jade white, yet also exudes a faint green luster. The inner walls are designed with peony patterns in the form of lucky clouds, which represent blessings for wealth and good fortune. The outer wall subtly recalls sensations of natural ripples. Near the bowl’s mouth, there is a copper-colored design that reveals the elegance of nobility. This rare masterpiece is simply extraordinary.

Yaozhou ceramics reached their peak during the Song Dynasty. In the late Northern Song Dynasty, engraved flowers were a main decorative technique. Carved impressions would be printed on the surface of the object before being glazed and fired. The carvings on the inner walls of this flower cup is very distinct. Through the thin layer of glaze, we can clearly see the relief-like floral scrolls. The layout is complete and appealing with the lively ambiance of blossoming spring flowers. Green glaze is applied to the interior and exterior of this vase, except for the bottom which reveals an unglazed section. There are a couple of protruding objects on the bottom, as well as blemishes that resulted from kiln transformation.

The bowl features a round and circular mount, and a body that gradually slims downwards. There are no decorations on the inner walls of the bowl, and the interior exudes a smooth yellow-green. There is a slight circular concave in the middle of the bowl. The circular stool on the bottom and the rim of the bowl are yellowishbrown, forming a harmonious and gentle visual effect with the yellow-green colors. The abdominal walls faintly reveal lotus petals. Not only do they beautify the exterior of the bowl, but they also strengthen its overall artistic quality. The lotus remains untainted even when growing in mud, which represents a noble character deeply loved by literati.

Most Yaozhou porcelain is green permeated with yellow tinges. Since this flask is yellow with a faint hint of green, it is considered a relatively rare work. It is unglazed on the bottom, and there are two circular holes on the bottom. The slim neck and slightly open mouth cleverly form a trumpet shape. The lines of the body are smooth and graceful. There are several lines that surround the abdominal wall, and the shoulders contain simple decorations. The lower abdominal contains slightly more complicated decorations of curly leaves, letting the work exude a sense of elegance.

In the Song Dynasty, lively and fun-filled images of children playing were used to depict the innocence of youth. This bowl features a lively interaction between figures, depicting scenes of a peaceful nation. The body is glazed with a greenish white that exudes a pearl-like luster, inspiring feelings of serenity and happiness.

This bowl faintly emits a greenish tinge amongst a pure white, leaving people with the impression of a silent comfort. The open mouth is carved like a flower, and gradually slims downwards. The interior of the bowl is engraved with an interesting pattern. At first glance, it looks like a peony in full bloom that surrounds a circle. At another glance, it looks like a moon that shines from within the clouds. Is it a flower in a mirror or a moon in a lake? Perhaps only the craftsman knows! There is a small pattern that surrounds the main decoration, and the space near the rim is left blank. There are no decorations on the exterior of the bowl. The original, unglazed appearance is shown on the bottom, and there are traces of erosion.

This censer in the form of a li-tripod and covered in green glaze almost resembles a bronze ritual vessel. It has a flat rim mouth, straight short neck, and round body. The body is support by a tripod base. The glaze is lush and pristine, which brings the matte green tones to life. Two cracks are visible at the mouth. Three holes are featured on the bottom of the censer. The lid is made of white silver metal and is decorated with hollowed-out carvings of plum blossom and bamboo leafs. Delicate and gorgeous, this piece is extraordinary. Signs of oxidation are visible on the lib, probably an effect of being exposed to smoke over the years.

This large green plate exudes a dignified aura. The centerpiece of this plate is an illustration of three clusters of grapes that decorate the round surface. Plump grapes hanging from a vine symbolize vitality and longevity. Around the inflection point where the center and rim meet there are decorative patterns of interlocking flowers and vines, a symbol of auspiciousness. Although the outer wall does not feature any decorations, it does a feature a cracked glaze effect, making it look like the surface of a melon. A circle of glaze is purposely scraped off the base to reveal the red color of baked clay. This piece’s plump-like green sheen together with its intricate decorations make it a feast to the eye.

This pillow-form box comes in a unique shape. More distinctive are the four flower patterns engraved in a bold fashion on the lid. Surrounding decorations create a perfect stage of the four flowers to captivate one’s attention. Space around the flower are decorated with patterns of burgeoning leafs, imbuing the piece with a sense of liveliness. Walls of the outer box are decorated with carved out flower patterns, which together with the lid form a beautiful composition. The inner box is plain without decorations. Inside, the bottom bulges up a bit. Outside, a rim that circles around the base acts as a mechanism that creates a perfect fit between the inner and outer box. Crack are visible on the outer box and lid, revealing the items many years of usage.

Yue ware is renowned for its celadon glaze. This long neck vase features a wide mouth and a downward sloping base. A clear division is visible where the neck meets the shoulder, which gradually flows into the body. The vase is widest close to the base. From the widest point downward, the body quickly tucks together above the base, creating a fluid and elegant curvature. The plump body together with the slim long neck produces a beautiful contrast that is pleasing to the eye. Inside the mouth, glaze is of a different tone. Hardened residual glaze is stuck to the bottom of the base. This item is in mint condition and does not appear to have any blemishes. A hint of yellow is mixed in with the green glaze, alluding to imagery of moonlight reflecting off a pond.

This ewer has a round mouth, curved handle, short stout, and ornamental base. Three rivets are visible on the bottom of the base. A clear inflection divides the neck and shoulder, creating an area of thicker glaze that adds an extra level of ornamentation. A splash of green glaze is applied to the shoulder, giving the piece a crisp luster. No ornamentation is featured on the body, except for green graze running from shoulder to base where it mixes with yellow glaze. The green glaze splashed on top of the yellow glaze forms an interesting gradient between different tones of color, imbuing the work with a natural and lively personality. Aside from some light scratch to the base, the piece is kept in good condition.

This cup has a round mouth that uniformly slopes downward into its base, forming a hemispherical bowl. A light brown glaze is applied to the mouth, whereas the base is unglazed, exposing the clay’s light brown color. These two shades of brown form an interesting contrast that enhances the aesthetic quality of the work. Aside from the two rims, the cup is cover in a light blue glaze, which alludes to imagery of a clear sky and feelings of joy. This solid looking cup is in perfect condition. A spot of excess glaze protrudes at the base. This work is a bold in its artistic expression.

Prunus vases were mainly used as wine vessels or flower vases during the Song and Liao dynasties. The vase was named after a prunus blossom because only prunus branches could fit through its narrow mouth. This particular vase features a squat umbrellashaped mouth. Four thick black lines are painted horizontally around the body, dividing the vase into three sections. The shoulder and lower body feature identical leaf patterns, creating a symmetrical composition. The center is decorated with patterns of peonies. Elliptical in shape, the center of mass for this vase lies relatively high. To counterbalance this, the base is molded from a thicker layer of clay. Bottom of the base is unglazed. This piece exudes a masculine vigor.

Rather whimsical looking, this tiger pillow does not exhibit the fierce qualities of a tiger. In fact, this tiger looks quite cuddly. Written in calligraphic style on the flat white top are the Chinese characters, “Dian Jiang Chun (rouged lips).” The two ends of the pillow form the tail and head of the tiger. Tiger stripes are painted on the longer sides of the pillow. With a tail running along one side of its body, the beast appear even more endearing. According to folk legend, tiger pillows are like a patron saint that wards off evil spirits and bad luck. This delightful tiger pillow is a great furnishing addition for the home.

This vase features a round mouth, long concave-neck, and plump lower body. The base and area above it are unglazed, while the rest of the vase is covered in a coat of white glaze with a yellow tint. Aside from the inscription of a poem, the vase is not decorated with either flower or bird patterns. The calligraphic inscription is elegant and exudes an ethereal quality. A few minimalistic horizontal line patterns decorate the lower body and section where the neck and shoulder meet, imbuing the piece with a rustic temperament. The vase form is defined by harmonious curves. Aside from some scratches across its lower body, this piece is in perfect condition.

Coated in a green, brown, and yellow glaze, this vase is visually gorgeous. On top of the green glaze, there are flower-shaped ornamentations painted in a yellow glaze. The pair of symmetrical ribbon shapes extend from the flower. The ear connects to the ripple-textured collar that sits on top of the shoulder. The neck is decorated with a circle of tiny indentations. To imbue the work’s auspicious meaning of vitality, a carving of green imagery is featured on the wall-facing side of the vase. The composition of this work maintains a sense of uniformity despite its elaborate ornamentation. The item is kept in good condition. Only a few sections of glaze on the bottom are chipped off.

This jar features a round mouth, short neck, and flat bottom. The bulging abdominal is an oval shape that gradually slims downwards. The center of gravity lies in its middle abdominal. The white body has multiple blue lines that surround the upper and lower abdominal, which highlights the middle floral design. The floral design is purely blue. Yet, by using deep, shallow, clear, and dark techniques, it constructs a far, near, high, and low vision. The scenery is natural and elegant. The lid is shaped like a blooming flower, while the rim is slightly curled. The center of the lid has a dented circle which contains a sketch of a sapphire blue flower. The petals extend all the way to the rim. The bottom is unglazed, and there are faint signs of wear.

The features of Jun kiln lie in kiln transformation. In addition to the original glazed color, other colors emerge from the firing process. These color changes are precious because they are naturally formed, and not due to any human factors. Thus, each piece made through kiln transformation is unique. With a skillful technique, a graceful daisy is neatly carved on the mouth and abdominal wall. The interior and exterior of the bowl are coated in a blue glaze. A petal shape is sketched out on the mouth and abdominal walls. Paired with an elegant green, this work exudes an extraordinary level of taste that people cannot help but love.

These plates have open mouths, shallow abdominals, and a rim that folds outwards. The bottoms of the plates are unglazed. The outer rims of the plates are brown. On the inner walls near the rim, there are also circles of brown, which highlights the contours of the rim, while exerting a decorative feature. The interior and exterior of the plates are all glazed, yet they also are also blended with different colors due to kiln transformation. One of the plates exhibit a circle of fog-like purple in the center, while the other plate has a wide swath of green-yellow across the abdominal wall. The spots and fine lines derived from kiln transformation lets these two plates exhibit different dispositions.

The plate features a round mouth, shallow abdominal and folded rim. The body is painted with blue glaze. Only the rim and circular stool are gray because of the glaze. Yet, the gray blends well with the color of the plate’s body, complementing each other perfectly. It exudes a soft and elegant atmosphere. From the back, the circular stool, bottom, and rim just happen to form a concentric geometric shape, which is quite fascinating. This plate is very complete, except for three blemishes on the rim and interior, as well as five spur-marks on the internal bottom.

The name of the “spring flower vase” comes from the verse of “spring jade vase”. Prevalent in the Song Dynasty, they were first used to ladle wine before gradually becoming an object for viewing. This spring flower vase has a white glaze base, blended with a hint of yellow, exuding the luster of topaz. With a narrow neck, smooth shoulders, and plump abdominal, the lines of the body are warm and graceful. From the shoulders to the abdominal, there are four lines that each surround three sets of floral patterns. The large and lush flowers on the abdominal walls are shaped like peonies, emitting the vitality and joy of spring.

This bronze tripod censer features a flat mouth and short neck. There is a dented ring that surrounds the neck, and an oval abdominal that is the same width as the mouth. There are three legs on the bottom, as well as an inscription comprised of four words. The exterior condition is very good, and the interior shows clear marks of smoke. There are no decorations on the work, but it stuns with its quality, emitting a glossy reddish-brown color. This bronze censer stands on a lotus-shaped base. The shape is noble, elegant, and filled with an old-fashioned sense. Censer and the music from a guqin is always to relieve people of their worries.

This bronze tripod censer features a round and folder mouth, no neck, a bag-shaped belly, and shoulders that gradually extend outwards. An inscription of four words is inscribed on the bottom. There are three miniature legs near the inscription to cleverly provide balance. There is a pair of elegant ears on the shoulders. Paired with a lotus seat, the censer emits a sense of vitality within the solemn tranquility. There is a beautiful reddish-brown texture on the abdominal wall, giving this bronze censer the thickness of copper as well as the magnificence of marble.

This bronze tripod censer features a round mouth and short neck. The round lid is a deep brown color. The cover contains hollow parts that are carved into four sets of heart-shaped clouds. The top of the cover is inlaid with red coral, representing luck and good fortune. The abdominal is an oval shape, which exudes the warm luster of a reddish brown. The bottom has a block of inscription much like a seal. The bottom of the censer features three cute and miniature feet. The bronze censer comes with a dark base engraved with auspicious patterns. This artifact has delicate carvings and smooth lines. It is indeed a fine incense burner.

The style of this bronze censer is very exquisite. The oval-shaped bronze censer manifests graceful curves. A set of Chi dragons are situated on the mouth of the bronze censer, and they seem to be vaguely gazing around. The bottom has four cloud-like legs, which are carved with auspicious patterns. They represent success, safety, and luck. A rectangular and seal-like block of inscription is on the bottom. According to legends, the Chi dragon is the second son of the Dragon King. The Chi dragon does not have any horns, and he is good at keeping guard. Thus, the roofs of temples often feature the statues of Chi dragons to prevent fire. The Chi dragon has a mighty demeanor which highlights the masculinity of men. The bronze censer is in good condition, yet the wall has some patina due to oxidation.

Chi dragon ears bronze censer have arched handles to symbolize the body of dragons. They were deeply loved by Xuande Emperor of the Ming Dynasty who would often put this kind of bronze censer in his study, as well as various places. The lines of the bronze censer are clean and neat, while the copper is pure and polished. The skin exudes a shiny luster of deep maroon. Made in the Xuande Period is carved on the bottom, which is the same as the one under the seat. The valuableness of this bronze censer lies in the fact that it retains its original bronze seat. It harbors a dignified and elegant style. By placing this incense burner on an altar, one can reveal their devotion. By placing this bronze censer in the living room or study, it can create a unique atmosphere.

This bronze censer features a stock body, while the abdominal is like a round plate. The neck is inwardly dented, and junction of the shoulders and abdominal features an evident ridgeline. There is a pair of bridge-shaped ears on both sides of the round rim. The bottom has a block of inscription that says “Made in the Xuande Period of the Ming Dynasty”. This is most likely an imitation work made in the Qing Dynasty. The bottom has three flat and oval stools that support the incense burner. There is a reddish brown protective coat of paint on the exterior, which is exquisite and polished. This work is covered with snowflake patterns. The color of the inner wall is darker due to incense.

This bronze censer with skyward ears imitates the style of Guan Kiln from the Song Dynasty. “Skyward ears” represents a reverence for the gods. Called the “Son of Heaven,” the emperor of China must have reverence for the gods well as love for his people. Thus, emperors often put them in the government hall. This bronze censer was casted with good material. The delicate texture has a solid feel. The maroon coat of paint exudes a warm luster in the midst of a profound features. The circular mouth is complete, and a pair of skyward ears is situated on both sides of the mouth. With a circular dent around the neck, the bottom holds three miniature feet. The interior of the incense burner is darker, perhaps due to the incense. There is a block of regular script inscribed on the bottom that says, “Made in the Xuande Period of the Ming Dynasty”. This is an imitation work from the Qing Dynasty.

This bronze censer features a circular mouth and a converged neck. The bulging abdominal gradually slims downwards. The bottom stool leans outwards. There is a raised line of string between the shoulders and abdominal. There is also a circle line on the bottom which forms a nice parallel arc with the rim of the mouth. It cleverly exerts the power of decoration, giving the object a graceful contour. There is a set of bamboo ears situated on both sides of the bronze censer. The bamboos are decorated with gold rings, adding a hint of elegance in the midst of simplicity. There is a block of Made in the Xuande Period inscribed on the bottom. The seat is hollowed out and carved with auspicious clouds. The deep color of the bronze censer manifests a quiet and solemn atmosphere. It is indeed an extraordinary piece of art.

Featuring a thick and heavy texture, this bronze censer is made from pure copper. It features a round mouth, concave neck, and round bottom. The slightly bulging abdominal gradually slims downwards. The lines are smooth and graceful. There is a block of words inscribed on the bottom. There are two handles situated respectively on both sides. A “halberd” is a weapon used in ancient times. Bronze censer with halberd ears were gifts that emperors of the Ming Dynasty gave to the Ministry of War and the birthplaces of its ministers, alluding to the sense of national defense. This work features a deep gloss with no patterns. The simplicity of this incense burner is in line with the focus of the Qing Dynasty - pure and not flashy. The halberd ears highlight even more the solemn and extraordinary momentum.

This bronze censer features a circular mouth, oval body, concave neck, bulging abdominal, and a circular stool that slightly leans outwards. There is a set of dragon ears situated on both sides of the bronze censer, symbolizing the body of a dragon. The bronze censer is covered with snowflake patterns, much like stars sparkling in the night sky. The rim and circular stool both have a dark brown color, contrasting heavily with the shiny gold of the bronze censer. There is a block of words inscribed on the bottom, “Made in the Xuande Period of the Ming Dynasty”. This is an imitation work made in the Qing Dynasty. The whole incense burner is in good condition, and only the inner wall has signs of oxidation due to incense.