Chinese Scholar's Objects

Chinese Qing dynasty Jiaqing period porcelain vase with green glazed floral elements and scroll designs on a rich black glaze ground. Featuring bright yellow dragon...

Beautiful Chinese calligraphy brush with handmade bone handle. A beautiful brush that is perfect for making art or as an design element. Bone ferrule and h...

This antique hand-carved sodalite hardstone brush washer is a stunning example of traditional craftsmanship and artistic expression. The washer is of a compressed barrel form, a shap...

Along with paper, ink, and inkstone, the brush was part of the four treasures found in a scholar’s studio. Arguably the most important tool, the brush served as a direct link to the ...

A beautiful Chinese calligraphy brush with handmade bone handle. This brush is from the 20th century but was not used. It is perfect for making art, calligraphy or as an design eleme...

Dubbed as production of the "Chinese Modern Official Kiln", a small group of porcelains of the highest standard were produced in Jingdezhen from 1962-1967, The production was aimed as a revival of the Chinese porcelain after the foundation of the Republic in 1949 in order to serve the purpose of decorating the meeting halls for the newly renewed diplomatic relations around the globe. The best available materials and artists, including the painters and potters, were employed to achieve a high quality that rivaled the pieces produced during the pinnacle years in the porcelain production in the previous Qing dynasty. Due to the breakout of the Cultural Revolution, most of the pieces failed to be used as intended. Most if not all signatures, such as found on this vase, were added later as a hallmark to distinguish them. "Zhong Nai Hai Huai Ren Tang Treasures Porcelain Research Bureau year of 1962". Zhong Nai Hai is the residential and working compound for Chinese political elites in Beijing and Huai Ren Hall being an important meeting hall. The pieces from "Modern Official Kiln" ubiquitously showcase perfectly balanced forms with precision in symmetry. The use of very high quality Gaolin clay resulted in a semi translucent body, often quite thinly potted. The superbly underglaze paint were sandwiched between a pre-applied glaze and then an overglaze, and the elaborate designs were drawn by master painters. Often, there is a hidden red Chinese National Emblem on the interior wall. These features were all well reflected in this piece. The decoration of the blue paint on the vase is of a classic regal composition and the cobalt blue is of a vivid radiating color. Blooming peonies, an old laurel tree with blossom and scholar rocks provide the background and anchor for a pair of peasants. One raises its head to crow while the other one looks down. These motifs are commonly found in classic Chinese scroll paintings, a genre called "Flower and Bird Painting". On the back of the vase, there are Chairman Mao's head portrait watermarked in the glaze as well as a cursive poem with a collection number as shown. For a pair of blue and white vase of the same production, see sale by Singapore International Auction PTE ltd on July 21st, 2019 lot 2014. For a pair of blue and white urns...

Set alongside the four treasures of the study - the calligraphy brush, ink, paper, and inkstone - a brush rest was an essential fixture of the scholars' desk. This early 20th century...

Chinese porcelain ginger jar with floral decorations in bright and vibrant colours, made for the South-East Asian market. Made around 1900. Dimensions: 25 x 22 x 22 cm. Overall in good condition, some minor damage to the glaze and some minor frittings to the unglazed parts of the lid. Possibly Peranakan or Straits Chinese ware...

Chinese Huanghuali brush pot 18th century Carved cylindrical Chinese scholar’s brush pot, composed from the extincted Huanghuali wood. Beautifu...

Set alongside the four treasures of the study - the calligraphy brush, ink, paper, and inkstone - a brush pot, or bitong, was an essential fixture of the scholars' desk. This beautif...

Rare and unusual 19th century monumental Chinese rosewood brush pot carved from a large, solid trunk. Beautiful crafted with a subtle hourglass cylindrical shape. Featuring rich and ...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...