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01186

[Thai Terracotta]

by: Mr.Chanok

Poet Li Bai (ivory carving) Height: 21cm Width: 11.5cm by Yang Shihui This works utilized the natural shape of the ivory material. The author makes use of the unique exaggerated artistic technique to engrave successfully the famous poet Li Bai of Tang dynasty. The figurine is full of literary talent image. read more.

01185

[Thai Terracotta]

by: Mr.Chanok

Imperial Concubine Yang (ivory carving) Height: 28cm by Yang Shihui This piece of ivory carving ware is designed and carved by master Yang Shihui. The lines are to be carved simple. In fact, this is a rare & excellent ivory carving works. Concubine Yang is to be expressed vividly. Not for sale. Show Only read more.

01184

[Thai Terracotta]

by: Mr.Chanok

Yamantaka Mandala with imperial portraits Yuan dynasty (1279-1368), 1330-1332 Silk tapestry (kesi) 96 5/8 x 82 1/4 in. (245.4 x 208.9 cm) Buddhism flourished in Yuan China and was also practiced briefly in Iran before the official conversion of Il-Khan Ghazan to Islam in 1295. The Buddhist mandala represents the cosmic and sacred realm where the deity (at the center), the ultimate subject of meditation, is surrounded by symbols of the spiritual stages that the devotee must pass through in order to attain enlightenment. This woven mandala, in the style of the Sakyapa school (originating from the Sakya monastery in Tibet), shows Yamantaka (also known as Vajrabhairava), the wrathful manifestation of the Bodhisattva Manjushri, as the central deity. The basic scheme of this mandala follows the convention of the Sakyapa school in the fourteenth century, and the decoration is rich and complex. Color changes and slits in the weave make up the design, and the use of gilded paper in the crowns and jewelry gives a three-dimensional read more.

01183

[Thai Terracotta]

by: Mr.Chanok

Excavated in the eastern suburbs of Beijing in 1955 Excavated in the eastern suburbs of Beijing in 1955 Ming dynasty, Jiajing period, 1522-1566 Porcelain with five-color enamels, wucai height 46 cm Underglaze blue and overglaze enamel colors decorate this massive wine jar with a continuous scene of large golden carp swimming among various water weeds and lotus flowers. On the base a six-character imperial reign mark reads: "Made in the Jiajing period of the great Ming." read more.

01182

[Thai Terracotta]

by: Mr.Chanok

Eastern Han dynasty (25-220 a.d.), 1st - early 3rd century a.d. Eastern Han dynasty (25-220 a.d.), 1st - early 3rd century a.d. Earthenware with green lead glaze H. 9 1/4 in. (23.5 cm) This animal basin is populated with goats, tended to with one hand by a mother who cradles an infant in her other arm. It is typical of mingqi or "spirit utensils" that accompanied the deceased in burials of the Eastern Han dynasty (25-220 a.d.). Replicas of farm animals, utilitarian objects, and entertainers were believed to provide nourishment and amusement for the soul of the tomb occupant. The elevated structure serves as an architectural record of rustic buildings that would have been part of a large agricultural estate, and preserves in clay details of wooden design and construction - such as the low-pitched roof with a series of wood rafters flanging from a central beam - that have long since disintegrated above ground. The popularization of mingqi over the course of the Han dynasty (206 b.c.-220 a.d.) reflects dramatic changes in Chinese society, illus read more.

01181

[Thai Terracotta]

by: Mr.Chanok

Qing Dynasty Qing Dynasty Length: 4cm Width: 3.1cm Thickness: 1.4cm The pendant has carved patterns in relief on both sides, with bats and calabashes with vines and leaves on one side, and floral branches and peaches on the other, symbolizing "a lot of children, great happiness and longevity". There are silk ribbons tied with a jadeite knot between two units of seed pearls attached to the top. read more.

01180

[Thai Terracotta]

by: Mr.Chanok

Qianlong Period, Qing Dynasty Qianlong Period, Qing Dynasty Length: 19.3cm Width: 24.9cm The peach-shaped washer is shallow and wide, with two leaved peaches carved in relief on the outer surface and open-carved peach branches serving as a base at the bottom. A washer is a piece of stationery used in the study for washing writing brushes. This washer is a perfect blend of its shape and patterns, with superb craftsmanship and exquisite carvings. It is a masterpiece of carved jadeite works read more.

01179

[Thai Terracotta]

by: Mr.Chanok

Qing Dynasty Qing Dynasty Diameter: 5.1cm The outer surface of the bracelet is engraved with intertwining floral branches in intaglio. It is made of highly transparent mild green jadeite known as "high jadeite". This pair of bracelets used to be worn by Empress Dowager Cixi. Bracelets or armlets were worn by both men and women in ancient China. In the Tang and Song Dynasties, they became ornaments unique to women, and wearing bracelets was a fashion statement for women in the Qing Dynasty. The bracelets worn by the Qing-Dynasty court ladies were made of a variety of materials, including jade, jadeite, agate, scented wood, amber, bodhi seeds, gold, silver and all sorts of inlays. Bracelets made of jadeite were the most precious. read more.

01178

[Thai Terracotta]

by: Mr.Chanok

Yuan dynasty (1279-1368), ca. early 14th century; Qingbai ware Yuan dynasty (1279-1368), ca. early 14th century; Qingbai ware Probably from kilns in the vicinity of Jingdezhen, Jiangxi Province Porcelain with brown, low- and full-relief decoration under bluish white glaze; H. 8 3/4 in. (22.2 cm) In this winsome pair of incense burners that typify the penchant for increasingly elaborate wares in the Yuan period, we see a skillfully orchestrated mix of decorative techniques. The beautifully articulated growling lions with their flowing manes and carefully fashioned features are fully modeled; their bulging eyes are punctuated with iron oxide. The mold-impressed floral sprays on the six lotus-petal panels of the cuplike containers are all different; while they are rather indistinct, a lotus and peony blossom can be made out. Finally, the potter has carved pendant overlapping lotus petals on the top register of the hexagonal bases, and has finished the feet (in a surprisingly careless manner) in a shape that distantly resembles the "cloud-collar- read more.

01177

[Thai Terracotta]

by: Mr.Chanok

Ming dynasty, Jiajing mark and period (1522-1566) Ming dynasty, Jiajing mark and period (1522-1566) Porcelain painted in underglaze blue and overglaze polychrome enamels; H. 9 1/8 in. (23.2 cm) The ascendancy of polychrome enamel decoration over other ornamental techniques seen in porcelains of the Jiajing period could represent an attempt to compensate for the low quality of potting by making an ambitious display of color. Ceramic painters were adept and imaginative with their palette of enamels and sought to achieve a maximum number of effects. An important innovation of the Jiajing period, the so-called wucai ("five-color") decoration, was one of the last major additions to the lexicon of ornamental techniques developed during the Ming dynasty, Despite its name, the number of colors in wucai decoration is not strictly limited to five. Wucai, like doucai, is a combination of underglaze blue and overglaze polychrome enamels. However, where the soft underglaze blue of doucai was primarily used for dainty outline that laid the g read more.