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seated Buddha; gilt and red and blue paint — The Bodhisattva Guanyin, late 11th-early 12th century
China

G200

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. — Avalokitesvara, 571
China

G200

Round-bodied pot with 3 legs, 2 decorative, curving, detachable 'handles' and fan-like lattice element at back; decorated overall with organic and geometric designs — Censer, 1723-1735
China

G200

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 — Seated Guanyin, 12th century
China

G200

few dwelling huts in an atmospheric rocky riverside setting; in a wood case — Misty Trees and Mountain Range, c. 1670
Dong Qichang

G200

standing figure with arms bent at elbows, PL forearm slightly lower than PR forearm; unfinished back; looping drapery folds — Standing Buddha, late 6th century
China

G200

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. — Bodhisattva, one of a pair, late 6th century
China

G200

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. — The Bodhisattva Guanyin and Flying Apsaras, 12th century
China

G200

bowl shape without foot; straight sides; small lip — Ritual Buddhist Basin, 7th-8th century
China

G200

fountain-shaped; bell-shaped foot with flat-sided basin; central vertical element with small basin at top with pointed spike at center; decorated overall with organic and geometric designs — Imperial Candlestick, 1723-1735
China

G200

plump face and wide nose; nearly closed eyes; wearing a large crown with dragon and foliage designs — Head of a Crowned Bodhisattva, 12th-13th century
China

G200

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with mountains in background, three trees in center middle ground, two smaller trees to right in foreground with rocks, waterfall, and river

from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — two album leaves from a landscape album, 1621
Li Liufang

G200

continuous landscape in mountains with river; buildings, small figures and flowering trees throughout; several boats on river — Scenic Beauty Along Rivers and Mountains, 1614
Bian Wenyu

G200

fan mounted as an album page; five structures in a waterside tree-covered location, building nestled between two hills to left and three boats with full sails at top left — Mountain Retreat, 16th century
Xie Shichen

G200

slightly rounded body with long thin neck with wide, flat ring midway to top; small spout with hinged cover; green patina — Buddhist Ritual Water Bottle, c. 750
China

G200

two standing bodhisattvas cast in three-quarter relief in front of a petal-shaped mandorla rising to a slender point and engraved with flame motifs, each slender deity with serene expression, shown standing with one arm held up close to the chest and the other arm held down at the waist, holding lotus-bud shaped objects in each hand, wearing simple monastic robes falling in graceful pleated folds to the top of the bare feet resting on a domed lotus-petal plinth, with hair gathered into a high topknot behind a simple crown, and with an engraved halo of petals around the head and a simple nimbus framing the body, raised on a table-form pedestal with angled legs at the corners lightly encrusted with a smooth dark grayish-green patina overall showing spots of bright malachite green and touches of reddish cuprite — Votive stele, 596
China

G200

Flying Apsaras, right arm outstretched, left holds a plate of flowers, left leg pendant, right knee flexed. — Flying Apsaras, 12th century
China

G200

central large standing figure flanked by 2 smaller standing figures; dragons flank central figures feet and dragon at top center; 4 floating figures with trailing drapery at top; pigment traces — Stele of Maitreya Buddha, 563
China

G200

five feet; bowl-shaped body with outward-turned rim; domed cover with geometric and organic pierced design; teardrop-shaped finial; green patina — Covered Incense Burner, 8th-9th century
China

G200

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 — Benediction Scene, late 8th century
China

G200

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with mountains in background; rocky middle ground with two buildings; trees with leaves in foreground

from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — two album leaves from a landscape album, 1621
Li Liufang

G200

Figure of a Maitreya Buddha, porbably Avalokitesvara, seated as if on a stool, his legs crossed at the ankles, his body slightly bent forward, and his hands in the 'do not fear' attitude. The upper part of the body is partially covered with a scarf which falls over the upper arms in pointed cap sleeves and merges with the skirt drapery. The ribbon-like ends of the scarf are knotted in an x-form over the abdomen. The skirt hangs in flaring, rippled pleats over the legs, which are clearly visible under the drapery. The face is typical of the Wei style of Lung Men, with lips and nose firmly modelled, eyebrows falling to meet the lines of the nose, eyes set low beneath the brows, and lids cut in a narrow almond. The hair is parted in the center, and crowned with a square tiara with a figure of Amitabha in front. This figure comes from the Ping Yang cave at Lung Men. — Maitreya (The Buddha of the Future), early 6th century B.C.
China

G200

Udhyana Buddha, China — Udhyana Buddha, 14th century
China

G200

baldheaded figure with closed eyes, wearing a robe which falls in folds at stomach, lower arms and legs; slightly leaning to proper left, with a small space between proper right arm and body; hands folded at waist — The Monk Ananda, 618-906
China

G200

two album leaves mounted on boards and matted; left is calligraphic; right is landscape with two trees on a rock at center, large rock with vine or tree at right background, small rock at left foreground;

from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — two album leaves from a landscape album, 1621
Li Liufang

G200

PR arm raised, holding object; PR leg bent in front of figure, PL hand rests on PR knee; circle behind figure's head attached by a bronze pin; mounted on a black base; has its own box — The Bodhisattva Kuan-yin, 7th-8th century
China

G200

three larger trees in middle foreground; smaller leafier trees in URQ; rocky cliffs beneath leafy trees; rocky cliffs in LLQ; person sitting on middle of L hand rocks; chop mark in LR area; four columns of calligraphy characters plus characters above one large chop mark to L of columns
accordian style album, wood covers; eight images, alternating with text, single page of text at end — Five leaves from a landscape album, 1621
Li Liufang

G200

figure seated on lotus, proper right leg hanging off and supported by smaller lotus; lotus growing from both palms and flowering at shoulders; elaborate headdress and oversize earrings — The Bodhisattva Avalokitesvara, 1403-1424
China

G200

long handle; cup-shaped censer with removable liner with small lion on rim; end of handle has another seated lion; top of handle has petal-shaped ornament; green patina — Buddhist Long-handled Censer, 8th century
China

G200

Stone head of Buddha. A fragment consisting of the face only, modelled in the style that heralds the T'ang. — Head of the Buddha, 570-577
China

G200

Flying Apsaras, left arm outstretched, the right holds a plate of flowers, both legs pendant. — Flying Apsaras, 12th century
China

G200

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

G200

fan mounted as an album leaf; mountain retreat amongst a grove of pine trees at right, a path leads from the retreat to a larger group of pines between two mountain peaks where a scholar walks among the pines — Scholar's Mountain Retreat Amongst the Pines, 17th century
Zou Zhilin

G200

compressed spherical form on a high pedestal foot; domed cover with knob of concentric graduated disks surmounted by pear-shaped finial — Buddhist Reliquary, 7th-8th century
China

G200

two album leaves mounted on boards and matted; left is calligraphic; right is landscape, rocky foreground with three central trees with birds (2), two trees (bare) on right, mountains in background, river (?) between;

from accordion-style album, wood covers; eight images, alternating with text, single page of text at end — two album leaves from a landscape album, 1621
Li Liufang

G200

armless figure--bottom edge at middle of thighs; heavily muscled torso; wearing skirt with tie at waist; frowning, angry expression; headdress; dark stone with white veins — Dvarapala (Guardian Figure), 8th century
China

G200

Large hanging of embroiderd red satin. The design represents an aged couple receiving friends and well-wishers on the occasion of their birthday. The figures are done in satin stitch in colors cranes, bats, clouds and various symbols in couched gold threads. Lining of ecru cotton. Inscription on back. This hanging, dated the 4th year of Ch'ien Lung's reign (1739-40) is a valuable key document in the dating of textiles.
Former Classification: Textiles - Tapestry — Presentation Hanging for a Birthday, 1739-1740
China

G200

four large characters on gold field at top; Buddha seated on throne with two attendants; pair of figures with elephant and lion below; bright colors — Buddhist trinity of Vairocana, Maitreya and Samantabhadra, late 16th-17th century
China

G200

Standing Bodhisattva of white marble, right arm broken off below shoulder, left above wrist. Figure wears narrow scarf tied in x-like form at waist, and skirt whose upper edge falls over in narrow peplum effect over girdle. Elaborate jewelled necklace and heavy chains hanging to knees. High headdress. Feet missing; head restored at throat where formerly broken. — Bodhisattva, one of a pair, late 6th century
China

G200

fan mounted as an album leaf; two fishermen at sea during a storm; rocks and bending trees in foreground LRC, fishermen at lower left, bamboo behind boat with a mountain range in the distance — Stormy Landscape with Fishermen at Sea, 17th century
Zhou Chen

G200

Imperial Candlestick, 18th century

China

G200

Stone Rubbing of the Five Hundred Arhats (Wu-pai Lo-han ying ch'en tu), c. 1890

China

G200

The Road to Shu, 1675

Liu Du

G200

Vase, 1723-1735

China

G200

Vase, 1723-1735

China

G200

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