Heavenly Beings Carved Limestone Stele Fragment, Northern/Eastern Wei Dynasty

The small dots apparent on the surface of this stone stele are indicative of an oolitic silica structure or oolites formed in what is known as "Oolitic chert." This formation occurs gradually over the course of thousands to several hundred thousand years within the soil or sea. Similar structures are commonly found in ancient fossils or arrowheads. Ancient peoples chose certain types of stones for tool-making, preferring materials that were easier to work with and could be sharpened effectively. This predilection is believed to be the reason why oolitic silica structures are frequently found in ancient arrowheads. The development of these oolitic silica structures is a very slow process involving the accumulation of siliceous layers around particulates. This phenomenon, where silica reacts with water to form layers around a nucleus, occurs under specific chemical and physical conditions. Typically, it takes thousands to hundreds of thousands of years for silica to gradually accumulate in layers through contact with moisture, a process that requires a precise harmony of many variables, including chemical conditions, temperature, pressure, pH, and biological activity. It is known that no other stele with such a silica structure has been identified to date, serving not only as evidence of its authenticity but also significantly enhancing the rarity of this piece. This stele appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movement. The apsara is captured in a dynamic pose, perhaps once part of a larger tableau, playing a flute-like instrument. Date : Northern Wei/Eastern Wei Dynasty(386~550) Size : 22cm (Height) x 16cm(diameter) Condition : Good (oolites dots on surface) Provenance : Acquired in late 1990s from Hongkong Reference : 1) Sotheby's New York 20 March 2018 - Jingyatang Treasures Of Chinese Buddhist...

This statue appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movemen...

This guardian figure represents a fusion of human and beast, a common motif symbolizing protection in Chinese lore. Crafted from pottery, the figure is a testament to the era's sculp...

This figure appears to be a terracotta statuette, possibly representing a court official or a deity given the distinct headgear which could signify a rank or divine attribute. The st...

This figure represent a guardian haitai. The style of the figurine, with its facial features and remnants of paint, suggests it could be a part of funerary art, which was common in C...

Made from the standard orange earthenware body of Han green glazed tomb models, this miniature milling station features a circular millstone and a foot...

An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. The mane is indicated with the use of a scalloped red design with white dotted details. The head is well modelled with notched ears pricked on either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long red cloth with white dotted detailing, gathered at the bottom atop the flaring mudguard. The rump is encircled by a series of intricate tassels, attached to a tufted back piece. This terracotta may represent a horse fitted for a parade. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered luxury goods. As such horses were a sign of wealth among the elite, and there were strict laws which restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China’s military...

A delightful and rare Chinese painted high fired gray pottery model of a wooly camel, Northern Wei Dynasty (386 - 535 AD), China, with TL test. The charming camel is portrayed stand...

A stunning and massive Chinese high fired gray pottery jar of remarkable size and girth, with impressed geometric design, Eastern Han Dynasty (25-220 AD), ...

Slab pottery constructed Model of a Paper Mill, in Green and Cream Color Glazed Terracotta having a peaked roof – open walled form with a mechanical pounder and a large round storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. The Iridescence is a refraction of the layers on the glass that produces multicolor hues & metallic luster, and only develops after one thousand years of being buried in the ground. An unquestionable mark of antiquity, impossible to falsify. Han Dynasty, dated 206 B.C-220 A.D. Condition: Excellent, wear commensurate with age, an unusual example. This fantastic piece is accompanied by a Certificate of Authenticity. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary records...

Slab pottery constructed barn workshop having a peaked roof – open walled form with a mechanical pounder and a large round covered storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. Condition: Intact, excellent condition, an unusual example. Provenance: The Living Torah Museum, Brooklyn; ex. Sands of Time, 2002. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. This fantastic piece is accompanied by a Certificate of Authenticity. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary...

Lovely sitting lady from the Imperial Court with original polychrome paint in orange terracotta. This piece is accompanied by a the following documents: - Certificate of Expertise by Jean-Yves Nathan - Specialist in Asian Arts for the - Certificate of Authenticity Mingqi in the Six Dynasties...