Han Asian Art and Furniture

A fantastic Han style terracotta figure. Such a figure is seen in the Han dynasty dating 206 BC-220 AD. The figure is of an alluring girl who is in a showing his suit. She has a full...

A sublime Chinese archaic bronze wine vessel, called a bianhu, Han Dynasty (206 BC - 220 AD), China. The bianhu with a flattened oblong body,...

A stunningly quiet and elegant Western Han dynasty (206 BCE - 9 CE) high fired gray pottery figure of a female long sleeved dancer. The young dancer is portrayed in a moment of quie...

On offer is a pottery figurine of lady in waiting, found in the tombs as funeral objects in Han dynasty of China. Generally known as Han tomb ladies, t...

An early 20th century Chinese Republic period carved hardstone drinking vessel, called a rhyton, in the form of a mythical pixiu. The archaistic vessel carved in the Han Dynasty style from a single block of lavender gray nephrite and featuring a large horn-shaped cup being supported by a mythical pixiu. The pixiu carved with a nice sense of motion, head reared back, mouth open, and claws bared. The cup bearing a design of large horned taotie ogre masks on either side. The stone with areas of artificial "calcified" patination.  The pixiu is an ancient beast from...

A charming Han Dynasty pottery figure, capturing a moment of joyous dance. Dressed in vibrant orange and pastel hues, the figure’s expressive face and fluid movements convey a sense ...

A pair of vintage solid stone court attendants. Of tall slender form, wearing long flowing robes flaring at the bottom with hands within wide, decorative cuffs. The realistically mod...

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 statue of standing guardian, benevolent facial expression, fine details, Han dynasty 206BC-220AD. Come with Oxford TL test certificate.

A 19th century terracotta male figure modelled after the Han dynasty figures dating 206 BC-220 AD. Beautifully rendered with downcast eyes and soft colors. A full face with plump che...

Ovoid form escalating to a cylindrical neck with a flaring rim, adorned at the shoulder with three narrow grooved horizontal bands. Each side is equipped with an incised double-loop ...

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." The same phenomenon can also be observed in the Tang Dynasty Limestone Stele at the Asian Art Museum in San Francisco. 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. The black stand was made in Hong Kong at the time of the acquisition. 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...

A tall and dramatic Chinese high fired gray pottery model of a standing lady wearing a hood and a flared skirt, Western Han Dynasty (202 BCE - 9 CE), Shaanxi, China. This striking ...

A wonderful Han Dyansty (206 BC-200 AD) storage vessel. The circular body set upon three legs and fitted with a lid. The entirety covered in heavy leaded green glaze, imitating bronz...

Flying two heavenly beings depicted in the stone. They are celestial beings called an Apsara. While having the same fragment and shape, another work I uploaded exhibits small dots on...

A Yue celadon vessel from the Jin Dynasty period, notable for its characteristic greenish-glazed pottery which was prominent during this time. The vessel features a globular body wit...

The dog faces forward, with clearly defined eyes that stand out. Its ears are slightly curled, giving the impression of a relaxed, natural stance. The collar around its neck, connect...

Chicken-head celadon is among the most distinct and emblematic piece from the dynamic yet innovative era spanning from the Han (206 BC - AD 220) to the Tang (618-907) dynasties. Thei...

The head is rounded, with minimal detailing of the beak, eyes, and comb. The neck is thick and solid, seamlessly transitioning into the body, which appears sturdy and compact, giving...

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 vessel is well-modeled as a recumbent winged lion with detailed decorative elements. It features a grimacing face with large protruberant eyes under heavy brows and a gaping mou...

The lamp shaped as a kneeling female figure wearing long robes, her face with a large nose, deep-set eyes and pronounced cheeks, holding an infant in her lap, her cylindrical and elo...

Pair of elegant, hand-carved, white hardstone, Chinese horses with gilded details. Each outfitted with saddles, bridles and featuring braided rolled tails.

This Han pottery figure of a foot soldier is molded and engraved with facial details. It has been fired at high temperatures. The color pigments are painte...

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...

This pottery brazier, a burial artifact from the Han Dynasty, features quadrilateral sides that slope inward and a base with slits for ventilation. Each side is adorned with animal motifs and geometric patterns. The brazier stands...

Grand, crème glazed terracotta, Han-style, braying stallion sculpture.

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...