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standing horse with legs slightly splayed outward; wide eyes; open mouth with exposed teeth; upward-pointed ears; green patina with white, blue and red pigment traces

Celestial Horse, 25-220

China

G215

seated Buddha; gilt and red and blue paint

Seated Avalokiteshvara Bodhisattva (Guanyin), late 11th-early 12th century

Unknown

G200

Carved from pale gray-green stone with cloudy white mottling and black and brown rivering throughout, the mountain landscape with high rising peaks and numerous figures and pavillions amid foliage on both sides, with the seal of the Emperor Qianlong above a long inscription on one side, the reverse with a further inscription and a seal, one seal referring to the eightieth year of the Emperor Qianlong,corresponding to the year 1784.

Jade Mountain Illustrating the Gathering of Scholars at the Lanting Pavilion, 1790

China

G210

Library and Rock Garden

The Studio of Gratifying Discourse, 1797

Unknown

G216

Standing Guanyin with lotus bud(?) in left hand, right hand missing, inscribed base which bears the date 571 A.D., translation of inscription filed with purchase blank, from Xi'an in Shaanxi province.

Standing Bodhisattva, 571

China

G200

Standing Screen with Marble Panel, gray brown and white marble slab reminiscent of a misty mountain, set into a wood frame; twelve carved panels within frame depict chi dragons and scrolls; frame set into larger stand

Screen, 17th century

Unknown

G217

chased silver dish decorated with scene from the "Former Red Cliff Ode" by Su Shi (1037-1101); engraved in painterly baimiao style showing the poet in court robes with two companions relaxing in a boat drifting on tranquil water, with a winepot and cups on the table in front of them; one figure playing a flute and the other holding an open book; rocky banks with grasses and tall reeds, a willow and a cassia tree; small waterfall spilling down from high cliffs at the far shore; sky with pair of birds flying to the left towards a constellation of seven stars drawn as circles joined by thin lines to form the Big Dipper seen through drifting clouds surrounding a full moon engraved with the legendary yu tu dao yaou scene of the Moon Rabbit under the cassia tree pounding a pestle in a mortar; shallow plain sides of octafoil bracket-lobed outline rising to a barbed everted rim

Silver plate decorated with chased “Red Cliff” scene, 13th century

China

G208

Vessel in the shape of an owl. Two flanges, one ending just under the beak in front and the other continuing to the top of the head in back, have alternating straight and L-shaped scores, those on the front flange being much the deeper of the two. The tail, with a scored flange border, forms the back support of the vessel. Apart from the realistically-formed feet, the bird is strongly stylized. The body is completely covered by rows of scales except for the shoulder line, expressed by a vigorous spiral, and the wings quills, rendered by bands filled with antithetical spirals. Patina green.

Zun wine vessel in the shape of an owl, 13th-12th century BCE

Unknown

Not on View
Blue-and-White dish, porcelain; decorated in a deep blue in the center with a large peahen flying amongst peonies, the cavetto molded with a band of peonies in white in a blue ground, the rim with a border of stylized waves and a molded foliated edge; the reverse has a typical wide unglazed base with a short foot ring and the exterior is decorated with a band of scrolling lotus

Dish, 14th century

Unknown

G325

Standing Bodhisattva of white marble, arms broken off below shoulder. The figure wears a narrow scarf, barely defined, and a skirt girdled at the waist, its upper edge finished with a curling line. Jewelled necklace and long chains. High headdress. Feet missing, head restored at throat where formerly broken off.

Standing bodhisattva, one of a pair, late 6th century

China

G200

the nude boy shown crouching in an almost horizontal position, holding a bird in his left hand, the chubby face with simply carved features and the hair pulled back in double knots; carved from greenish white stone. Former Classification: Jade

Pillow, 17th-18th century

China

G218

standing horse balancing on three legs; mouth open; short tail pointing up; leaning slightly to proper left

Prancing Horse, 1st-3rd century

China

G215

Cosmetic Case and Mirror Stand, early 17th century

China

G218

Wallpaper, 19th century

China

G328

Seated figure, resting PR elbow on raised PR knee, PL leg bent and on ground and PL arm behind, hand resting on ground; wearing bracelets, long necklaces and elaborate crown

Avalokiteshvara Bodhisattva in the Water-Moon Form (Shuiyue Guanyin), 12th century

China

G200

The Wu Family Reception Hall, early 17th century

China

G218

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D.

Sarcophagus of Prince Yuan Mi, 524

China

G208

Bamboo and Rocks, c. 1760

Zheng Xie

Not on View
squat, round, red lacquer covered box with black interior and bottom; cover decorated with flowers, foliage and 2 birds with long tail feathers; sides of box with flowers and foliage

Box, 13th century

Unknown

Not on View
white and grey veined marble; carved sculpture in the form of a Chinese side chair with curved back

Copyright %C2%A9 Ai Weiwei 2008

Marble Chair, 2008

Ai Weiwei

Not on View
base with iridescent light green glaze and 2 animals, one standing on the back of the other; long post topped with openwork bird finial; 4 long branches at top: 3 depict figures dancing and holding objects and a figure under a canopy on top of branch and figures and radiating coins below branch; one depicts same scene except an animal replaces the figure under canopy; 20 rectangular branches, 19 with figures, horses, deer and figure under canopy with coins sprouting from branches; one with same scene except animal and figure(?) replace figure under canopy; 40 small branches with 3 radiating coins; pendant of monkey with a coin

Money Tree, 1st-2nd century

China

G201

woman seated at a table with another woman behind her, arranging the seated woman's hair; third woman making a bed at right

Lady at Dressing Table, 1657

Wang Qiao

G203

bronze budhist temple bell; tall football shaped body with flat top; two dragons turned away from each other form hanger at top center; sides decorated with two rectangular fields striped with three bands of three raised circular bumps

Bo bell, late 6th-5th century BCE

China

G215

crouching rabbit with small ears and brown eyes; rectangular base with squared-off corners

Figure of a Rabbit, 8th-9th century

China

G204

ovoid shape, with two handle-like protrusions on long sides; rust-red and brown; rim and handles painted with running geometric designs

Wine Cup, 2nd century BCE

China

G215

Mortuary figures, pair of, representing warriors both wear armor, with curious head-dresses, and one carries a sword-like object. Four of these figures were found at the entrance of a tomb in Honan province. Two bought by M.I.A., and two by the Boston Museum of Fine Arts. They are fashioned of polychromed pottery of the greyish cast associated with Wei. Traces of faded terra cotta color remain. These are unusually large tomb figures.

Tomb Guardian Figures, early 6th century

China

G208

set of 32 chessmen, sixteen red and sixteen white (natural); each chaessman stands on a carved filigree globe, within which are one or more free carved balls; the globe rests on small turned stem, and the foot is carved with double row of lotus design

Chess Set, 18th century

China

Not on View
Stone head of Buddha. A fragment consisting of the face only, modelled in the style that heralds the Tang.

Head of a Buddha, 570-577

China

G200

Dancers, pair

Dancing Figure, one of a pair, 3rd century BCE - 3rd century CE

China

G215

dark brown in color; square mouth piece cut from rim of smaller end; five holes at top, three at underside

Vertical flute, c. 1800

China

G216

Udhyana Buddha, 14th century

China

G212

red spongelike rock with white striations

Scholar's Rock, early 19th century

China

G218

Tomb Figurine of a Court Lady, 618-906

China

G208

Yao-Chou celadon bowl, porcelain, carved lotus design.

Bowl, 960-1279

China

G204

armorial porcelain deep dish painted with fly amidst butterfly wings, turquoise ground with reserve cartouches enclosing arms and monogram of Grimaldi

Dish, c. 1735

China

G209

Slab built and modeled, rectangular courtyard surrounded by a tile roofed wall; seperate elements are a pigsty, boar, round food dish, rectangular food dish, seated figure, bird, dog, suckling pig, four piglets.

Funerary Model of a Pig Sty, 2nd century BCE

China

G215

Ceremonial Gate, 1728

China

G217

standing figure with arms bent at elbows, PL forearm slightly lower than PR forearm; unfinished back; looping drapery folds

Standing Shakyamuni Buddha, late 6th century

China

G207

Both sides inscribed with very small text in black and red; short sides are selvedge edges

Cheat's Handkerchief, c. 1860

China

G217

half of a gourd with flat portion of wood; gourd carved overall with geometric designs; radiating half-circle door on one side

Dome-shaped Cricket Carrier, Date Unknown

China

G217

standing male figure wearing armor and tall hat, with thin moustache and beard; figure stands with both feet on a white-skinned demon with fangs, green claws and black hair

Lokapala Guardian King, one of a pair, late 7th-early 8th century

China

G207

Tendai Priest (Patriarch) Portrait of one of the eight high priests of the Tendai Sect of Buddhism in Japan. Kamakura. 1185 to 1392 A.D. Single wood construction; no restoration.

Figure of a Monk, 9th-10th century

China

MS

deep relief carving; Buddha at L seated on a throne with PL hand on head of kneeling Bodhisattva with clasped hands; 7 other figures stand behind and to R and L

Buddha Stroking the Head of a Follower, late 8th century

China

G200

folding chair with woven seat; inlaid iron decorations on arms and footrest; carved open-mouthed animals where arms attach to seat

Folding round-back armchair, late 16th century

China

G217

Jewelled headdress with pendants suspended from the beaks of decorative birds or from projecting scrolls. Right hand is on right knee, left hand is raised toward the chief diety. Sitting in a cross-legged position, the image of his Dhyani-Buddha in his headdress. Hip-length blouse, with wide round neck and rolled over collar, has a center vertical panel which is pulled into the neck when seated. Three-quarter length sleeves. The skirt is finely pleated and caught up slightly on either side of the leg.

Avalokiteshvara Bodhisattva (Guanyin), from a set of Avalokiteshvara Bodhisattva and Flying Celestials, c. 951-953

China

G200

Horse with long mane and clipped tail. ca 725 A.D. Glazed pottery tomb figure, one of a pair, on a flat base. The decoration of the trappings is in the Sassanian style. Glaze predominantly a fine cobalt blue which has oxidized on the hind legs to an irridescent silvery-blue. Saddle and top saddle pad unglazed.

Horse, early 8th century

China

G208

camel standing on diamond-shaped base; head up, tail up and curled; yellow with traces of red and black pigment; single hump

Two camels and a groom (Camel), 618-907

China

G207

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D.

Epitaph cover of Prince Yuan Mi, 524

China

G208

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D.

Epitaph cover of Prince Yuan Mi, 524

China

G208

young Manchu woman seated by a lacquer table on a garden terrace with bamboo growing at L; woman wears blue robe with Shou characters and has stylish hairdo decorated with flowers and jewels; on the table are a snuff bottle, a fan, a ju-i scepter and a vase of peonies; blue and white vessel with plant LLC; butterfly-covered box on floor beside table

Birthday Portrait of a Young Manchu Lady, c. 1800-1850

China

G203

head with elongated earlobes; downcast eyes; headdress with scrolls, tassels and floral forms, with pair of ornaments on either side with three red balls on blue drops; traces of blue pigment at hairline; traces of red pigment on lips; traces of olive-colored patina on skin of face; red, green and blue pigment on headdress; received attached to rectangular black base

Head of a Bodhisattva, late 6th century

China

G200

rounded box on a short foot; carved red, green and brown lacquer; dragons in cloud forms around base and cover with dragon at top; geometric bands

Nine Dragon Box, 18th century

China

G210

octagonal box with lid; lid carved with central circle surrounded by 4 C-scrolls and 4 concentric bands of tixi scrolls; box decorated with rolls of same scrolls; black interior

Octagonal Box, 15th century

China

G210

Longquan celadon lotus bowl, has own storage box

Bowl, 12th-13th century

China

G204

spherical jar with 4 small double strand lug handles below mouth; crinilated rib around center of body; 4 floral medallions between handles; 8 medallions with pairs of cranes holding fish alternating tassels and lotus pods on body; green glaze pooling to bright blue; bottom 1/3 unglazed

Globular Jar, 6th-9th century

China

G204

Yue ware; pea-green glaze; foliate rim; small, shallow

Bowl, one of a pair, 9th century

China

G204

Incense Box, 1662-1722

China

G216

light green six-lobed box with flower design on lid; in storage box

Six-lobed Covered Box, 12th-13th century

China

G204

lotus bud form jar with cover in green/blue glaze; stored in wood box

Lidded Jar, 12th century

China

G204

open doorway with applied V-shaped elements, glazed brown, under overhang; recessed doorway with blue jamb, blue lintel and round brown dentils and square elements at bottom of door; green glazed incised brick-like decoration around podium and lower portion

Gateway, 15th-16th century

China

G215

figure with green robe with brown side panels on skirt; holds long tapering bell-like instrument in PR hand

Musician, 15th-16th century

China

G215

figure with green and brown robe and red hat; drum attached to waist

Musician, 15th-16th century

China

G215

figure with green robe and red hat; arms at sides, PL hand palm up

Attendant, 15th-16th century

China

G215

L-shaped segment where two walls meet forming corner; notches on lower outside edge of each wall; decorative green glazed cornice around top edge with brown glazed element at corner; green glazed brick-like incised areas along bottom edges of wall

Wall Segment, from a large tileworks retinue, 15th-16th century

China

G215

organic lattice work at sides and top; circular opening formed when lattice pieces joined; banded feet; three standing figures within medallion at top center

Moon Gate, 1728

China

G216

small standing figure wearing a robe and leaning on a staff; incised details; mounted on black cloth-covered board with L2003.116.5.1-4, .6, .7

Figural Plaque, 2nd-3rd century

China

G215

walking bird with wings outstretched; rooster-like tail-feathers; facing L; mounted on black cloth-covered board with L2003.116.7.1, .2

Bird Plaque, 2nd-3rd century

China

G215

large bird with outstretched wings on openwork background; applied insect at each corner; incised details; mounted on black cloth-covered board

Pictorial Plaque with Bird, 2nd-3rd century

China

G215

black and off-white; octagonal shape; slightly concaved top decorated with leafy floral stem; stylized floral band on sides

Pillow, 10th-13th century

China

G204

spherical jar with small conical neck rim and flat foot rim; black glaze with brownish areas at mouth; small, dull silver spots throughout glaze

Oil Spot Jar, 13th-14th century

China

G204

hairpin or ornament, flower (Peony?), petal settings, turquoise, center, shell, repousse, soldered bezels, granulation; gold.

Hairpin or ornament, 7th-10th century

China

G208

one of a pair of hairpins of ornaments, open work and stamping, double-pronged with peacock and phoenix motif in landscape (feng huang); sheet gold.

Hairpin or ornament, one of a pair, 14th-17th century

China

G208

one of a pair of hairpins or ornaments, open work and stamping, double-pronged with peacock and phoenix motif in landscape (feng huang); sheet gold.

Hairpin or ornament, one of a pair, 14th-17th century

China

G208

comb ornament, ducks (symbol of domestic felicity), comb missing; sheet gold, granulation, thin bezels.

Comb, 7th-10th century

China

G208

one of a pair of hairpins or ornaments, dragon head; cire perdue;

Hairpin, one of a pair, 17th-19th century

China

G208

Round, lacquer, gold and silver.

Mirror, 8th century

China

G208

five pointed leaf motif with six leaved flower (in plain and twisted wire) within it; a multiple leaved blossom at center; pin extends down from center

Hair Ornament, one of a pair, 11th century

China

G208

model Hinged Chest, from a set of model furniture

Hinged Chest, from a set of model furniture, 17th century

China

G215

Bowl, one of a pair, 11th century

China

G204

Snuff bottle. Porcelain, carved. Pink coral top. Celebrating a Buddhist festival. The 'Dragon Boat'. Mark on the bottom.

Snuff Bottle, 1880-1935

China

G216

Snuff bottle in shape of philosopher with Taolis symbol in one hand; carved pink coral; hat of man is stopper; blue embroidered silk standard.

Snuff Bottle, 1875-1925

China

G216

Snuff Bottle, coral, carved with two cats at base; blue silk standard.

Snuff Bottle, 1900-1935

China

G216

natural colored ivory carved with numerous figures standing and sitting

Snuff Bottle, 1850-1925

China

G216

Snuff Bottle, carved gold, with gold pedestal and stopper and gold spoon.

Snuff Bottle, Early 1900s

China

G216

Snuff bottle, carved silver with bird and blossom motive; green jade stopper.

Snuff Bottle, 1800-1900

China

G216

Snuff bottle, carved rose quartz with branches of roses and figures of ladies in high relief; carved flower on stopper.

Snuff Bottle, 1880-1925

China

G216

Snuff Bottle in shape of tree trunk with carved figure at base and frogs in relief on trunk and on stopper; embroidered silk standard. Spoon missing.

Snuff Bottle, 1875-1925

China

G216

carved ivory with 'Rakan' disciples of Buddha in high relief; painted; carved stopper and ivory spoon

Snuff Bottle, 1850-1900

China

G216

Meissen-style; European harbor scene within bianco-sopra-bianco spandrels; floral sprays at rim

Plate with Meissen-style harbor scene, c. 1740

China

G209

stand has two applied putti on a tree stump, with flowers; basket painted with scattered floral sprays, red and gold scroll rim

Meissen-style lemon basket and stand, c. 1765

China

G209

long light brown hair; holding a straw hat in PL hand and gilt rosary in PR hand; wearing flowered costume of doublet, jacket and dark green breeches; famille verte; attached to wood base

Figure of Portuguese missionary, c. 1880

China

G209

smiling, animated figure with open mouth, closed eyes and wrinkled brow; PL knee bent; PR leg extended; bare feet; PR arm extended, holding a drum beater; drum in crook of PL arm, next to body

Figure of a Squatting Drummer, 1st-2nd century

China

G215

red-orange bowl with tan accretions overall

Bowl, c. 4500 BCE

China

G204

celadon green bowl; lightly incised organic design at interior; small foot

Bowl, 11th-12th century

China

G204

standing male figure with outstretched arms; one hand grasping opposite wrist; green patina; mounted on stand

Standing figure, 5th-4th century BCE

China

Not on View
This vessel is a remarkable example of its type, and of perfect workmanship. The body is divided into three horizontal belts by narrow, bare interstices uninterrupted by the scored flanges which, with the handle of the vessel, delimit four panels. The plain handle has an animal's head with zigzag lines across the nose and C-shaped horns with parallel lines in thin, thread relief. The lid is partly shaped as a plastic animal. The head, with the forehead lozenge and bottle horns of a t'ao-t'ieh, has other, more realistic details well-modelled ears and a mouth with saw-like teeth. The body is that of a long-drawn-out dragon in low relief reclining along the center of the lid. The central flange, curving with the body in the looped tail, has straight and T-shaped scores. A t'ao-t'ieh and various types of dragons figure in a decor scheme that covers almost the entire body of the vessel. The bodied t'ao-t'ieh with S-shaped horns in the middle belt is flanked by strongly stylized head turning dragons. Also strongly stylized are the dragons in the foot belt, which are similar to those on vessels 50.46.43, Karlgren #11, and 50.46.89, Karlgren #21. The consecutive dragons in the neck belt are not identical. To the right is an ordinary beaked dragon with recumbent C-shaped horn and a small vertical crest. The dragon under the spout of the vessel has no crest. Its horn is heart-shaped, and it has the drawn-out, pointed eye of the t'ao-t'ieh below. Its enormous beak is drawn out to parallel the curve in the rim. Inside the curve of the beak is a small, head turning dragon. The big dragon on the lid has spirals at the base of the horns and a single scale between parallel zigzag lines that flank the central flange, forming the common lozenge pattern. The legs, in flat relief, flank the big dragon, thier tails meeting at the end of the lid. Patina light blue-green.

Gong wine vessel, late 13th century BCE

China

Not on View
This fantastic creature might be a playful descendant of the water buffalo, Karlgren Number 90 (50.46.113). Here, however, the sculptural effect is achieved through the long sweeping curves of the body. The spirals emphasizing the shoulders and hindquarters are broad bands with a modified scale pattern which recurs on the tail. The shoulder is further emphasized by a raised ring with turquoise inlay. The eyes, with brows of rope pattern, are also inlaid with turquoise. Further elements of the Huai style are the cowrie band around the neck, granulation on the ears and the tufts of the hind legs, and the tail ending in a bird's head. Patina light green.

Mythological beast, 5th century BCE

China

Not on View
This small sculpture of a kneeling man holding a tube-like vessel in his extended hands is one of a group of similar figures that may have served as torch bearers in a tomb. The sensitively modelled face, with an expression at once tentative and hopeful lends credibility to this supposition. The figure is clothed in a close-fitting garment that wraps from left to right in a broad overlap and is belted with a narrow band. The head-covering, rather like an open helmet, is broad at the back and rises to a peak-like top before descending in a narrow, tounge-shaped band to the forehead. It is bound to the head by a strap that goes down in front of the ears and under the chin. A second strap passes around the head from the forehead to the occiput. This figure is one of a group of bronze sculptures found in the Han family tombs a Kin-ts'un near Lo-yang and reported by W. C. White in Tombs of Old Lo-Yang. The artistic tradition of the early Yin culture, modified by an approach to nature, still persists in some of these small bronze sculptures from the old Lo-yang area. Their general characteristics - the unvarying block-like form, the broad type with large round eyes, the details of costume, particularly the head gear, reflect a new interest in and a closer observation of nature. Such figures constitute the links between early Yin sculptures and those of Han time. Essential characteristics of the earlier works do persist, but in a modified form. One discerns also in these small works, as in some other early Chinese bronzes, a resemblance to certain examples of pre-Columbian art -- a kind of parallelism which points to a similar artistic disposition or a common origin, rather than to any direct influence or intercommunication between these centers of art so widely separated in time and space. However this paralleleism came about, it is clear that the sculptural products of Yin-Chou art reflect traditions of style no longer to be found in those of Han time. Patina green

Kneeling figure, 4th century BCE

China

Not on View
The rich decor of the vessel covers every surface except the backs of the stubby legs. The ground is squared spirals throughout. On the long side of the body the median line is marked by a free animal's head on the neck belt and by a t'ao-t'ieh in low relief on the bottom. The shoulder line of the owl is boldly stylized into an enormous spiral, the wing quills emerging in narrow parallel bands. Behind the quills the tail protrudes in a short downward hook. The shoulder, neck and quills are covered with scales. Two birds with cleft crests, bottle horns, and tails adorned with scales, flank the free head on the neck of the vessel. Coiled dragons decorate the front sides of the legs, and the bottom surface of the vessel is covered with scales in parallel rows. The whole area is bordered at the rim by a circle band which appears also on the adjoining rim of the lid. The owl has enormous eyes, and the horns are the large, C-shaped type of the ordinary t'ao-t'ieh. Patina bluish-green

You wine vessel in double-owl shape, 12th-11th century BCE

China

Not on View
The chequer motif achieved by plain bands (here with raised borders), each chequer filled with the comma pattern (cf. Karlgren Number 55, 50.46.10), is common on these flat Hu. The rising blades on the neck are bare. The t'ao-t'ieh mask on the loose ring handles has the volute with triangle as its principal decor feature (on the ring in inlay); on the cheek line there is a granulation pattern. Patina greenish-grey. With copper inlay; Huai style.

Bianhu wine vessel, 5th century BCE

China

Not on View

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