 |
78 Neolithic period, Liangzhu culture, the sides flare towards a curved, well-finished bevelled edge. |
 |
79 Neolithic period, Hongshan culture, of approximately oval section, tapering towards the rounded end. |
 |
80 the arc- or bow-shaped pendant has two upturned, bevelled ends, each pierced with a hole drilled from the top and from the front. |
 |
81 Neolithic period, Hongshan culture, of oval form, pierced with a central, bevel-edged hole. |
 |
82 of square section with a large, central circular hole and short collars to top and bottom. |
 |
83 the slab of jade has a large central hole and is decorated on both sides with a wide frieze of comma scrolls criss-crossed with incised lines |
 |
84 Early Western Zhou dynasty the thin slab of jade is worked as a tiger in silhouette. |
 |
85 Shang or early Western Zhou dynasty of even thickness, with a convex front and concave reverse, and worked in the form of a bovine head. |
 |
86 Yuan or early Ming dynasty, 14th or 15th century the rounded rectangular plaques have hemispherical-section frames and are pierced and worked with swans diving downwards amid the flowers, pods and leaves of lotus plants, the stems of which are enmeshed. |
 |
87 Ming dynasty with cylindrical sides supported on three tapering feet, in the form of bears crouching over the upturned face of another animal, and with a large annular handle. |
 |
88 Song to Ming dynasties of archaic bronze hu form. The oval-section vessel stands on a conical foot and has a well-rounded body rising to a waisted neck set with two pierced, lug-form handles. |
 |
89 17th century the animal lies with its slender legs tucked beneath it and its head turned so that its mouth touches one of its rear hooves. |
 |
90 18th century with the head of a sheep and a human body, seated, and holding a scroll. |
 |
91 Ming dynasty the lion and cub play with a brocade ball trailing ribbons, which they hold in their mouths. |
 |
92 17th/18th centuries upside-down with wings outstretched and a ribbon-like cloud, emerging on one side, to the reverse. |
 |
93 17th century the parent and young are depicted in similar curling postures with their legs tucked beneath them. |
 |
94 shown in a recumbent posture with its head turned over its back and exhaling a cloud of qi on which rest books tied with ribbon. |
 |
95 Late Ming dynasty with a large, shell-like tail fin, a small dorsal fin and large eyes; its body is incised with scattered stars. |
 |
96 pierced and worked in the form of lingzhi fungus, with six heads growing from the twisting stem. |
 |
97 Ming dynasty pierced and worked in depths of relief as a natural mountain range with two deer, a stag and a doe, lingzhi fungus and bamboo. |
 |
98 17th/18th centuries standing on an oval drum and holding a ruyi sceptre in both hands. |
 |
99 17th/18th centuries holding a ruyi sceptre in both hands. |
 |
100 17th century the elegant young woman stands in a graceful, swaying posture and holds a large vase of coral in both hands. |
 |
101 Qianlong period worked in various depths of relief with a scholar resting in a log raft on waves beside jagged rocks from which various trees grow, with clouds above. |
 |
102 18th century the slab is worked in various depths of relief to resemble a natural mountain formation. |
 |
103 the material is drawn up in soft folds and tied with a ribbon, with a monkey, suspending a wan symbol |
 |
104 18th century of trefoil design with straight sides, a flat base and a slightly domed cover |
 |
105 18th century supported on a straight ring foot, the flattened oval-section vase has well-rounded sides, a long neck, set with two geometric scroll handles, and an everted mouth with a straight rim. |
 |
106 17th/18th centuries one large and one small, on slender stems with leaves and trailing tendrils. |
 |
107 18th century beating a drum. The boy, with his incised hair dressed in two topknots and a happy expression to his features, wears a baggy tunic and trousers. |
 |
108 the Immortal sits cross-legged and looks at a small qilin that he pats; to the other side is a basket of peaches and lingzhi fungus, and he holds some fungus in his right hand. |
 |
109 Qianlong period of slender rectangular section. The sides flare from a spreading foot, turn inwards to a waisted neck, set with two elephant-head handles suspending loose rings, and terminate in an upright rim. |
 |
110 Qianlong period of slender oval section, supported on a spreading foot ring, with an ovoid body, a waisted neck and an upright rim. |
 |
111 Qianlong period worked in the form of a large, hollowed pomegranate and a smaller fruit on a gnarled stem, with leaves worked in relief on the sides of the fruits. |
 |
112 Qianlong period perfectly balanced, of U shape with everted rims and supported on neatly finished, straight foot rings. |
 |
113 18th century worked in the form of Shuangqian (Double coins). |
 |
114 19th century of rectangular section and supported on four slightly recessed bracket feet. |
 |
115 Qianlong period worked in the form of a large and a small fruit on a gnarled, leafy stem that trails over the group. |
 |
116 17th/18th centuries the Immortal stands on a soapstone base carved and pierced as rock. |
 |
117 17th/18th centuries standing on a shaped base and looking slightly to the right. |
 |
118 17th/18th centuries the elderly man, dressed in long, flowing robes and a cloth hat, kneels beside the deer; he has a smiling expression to his features and a wrinkled brow. |
 |
119 18th/19th centuries in a recumbent posture with its head raised and bearing an alert expression to its features; its incised bushy tail rises over its back. |
 |
120 Tang dynasty seated on her haunches on a rectangular base. |
Metal
Ceramic
Enamel and Glass
Jade and Hardstone Organic
Painting
Bibliography
Click to view content