An elegant vessel from Magna Graecia, modern-day Southern Italy. With a voluminous acorn-shaped, reeded body, covered with a black glaze, the neck decorated with a delicate olive sprig in red. Hydriai were ingenuously shaped with three handles: one on each side, for carrying, and one at the back, for pouring. As their name suggests, they were used for storing and carrying water from springs and fountain houses. "Bounteous beyond expression is the earth, if we only consider in detail her various gifts … her productions in the shape of pottery alone, would more than suffice, in their variety, to satisfy our wants." Pliny the Elder (AD 23/24-79), Natural History XXXV.46 Provenance: Private collection, Sussex, UK, acquired before 1956.

There’s a massive funerary chamber in France where Archaeologists are doing a research for what they believe was a 5th century BC Celtic Prince holding

Sea lions commonly appear in Moche art as effigy vessels, like this appealing pup, or in complex scenes that often show them as the targets of human hunters. They may have been prized in part for the

Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind. To view 'Communion with the Infinite - The Visual Sound of the Shipibo', www.slideshare.net/HGcharing/communion-with-the-infinite-...

Made to Order, the first systematic study of more than 150 painted portable artworks produced in Teotihuacan, offers a unique, deeply informed perspective on the cultural practices and artistic techniques of the largest urban community in pre-Hispanic Mesoamerica.

These vintage wood pots from India are truly special and when one considers they were carved from a single piece of wood many years ago, it makes them all the more special. The narrow top is specifically made to serve its purpose for storage of butter and milk. Great look for a farmhouse environment or with some decorative reeds, these add the right amount of texture to your space. less

Fragment from a red-figure lekythos: flying Nike attributed to the Pan Painter, Greek, active 475-450 B.C. Greek, Attic, ca. 480–470 B.C. Ceramic Princeton University Art Museum

Pre Historic Payson Hohokam Pottery Bowl, 800 A.D.- 1200 A.D, #1115 Description: Pre-Historic Payson Hohokam Pottery Bowl,800 A.D.- 1200 A.D, #1115 Dimensions: Measures approximately 4.25" x 6.5" Condition: Very good overall condition considering its age. Here is a brief statement concerning the ancient history of the Payson area: The people who lived in the Rim country were known as Mogollons, Ancient Ones, or Bunheads. They were surrounded by the Sinagua to the north, the Anasazi to the northeast, the Mogollon to the southeast, the Salado to the south, and the Hohokam to the southwest. Archaeologists have divided the occupation of the greater Payson area (basin) into four periods. 1. The pre-ceramic period from about (10,000 B.C. to A.D. 700): Little is known about this period, except for evidence that big-game hunters (Clovis) once slew bison and mammoths throughout many parts of the southwest. A large arrowhead (Clovis point) was found south of Payson in 1977 suggesting that these bison and mammoth hunts also occurred in the Payson area. 2. The Hohokam occupation or (2nd period) which is fairly well documented and occurring from about A.D. 800 - 1,000. It is characterized by "house-in-a-pit" sites. 3. The third period is from A.D. 1,000 - 1,150 when dramatic changes took place that are typified by small villages; such as the Shoofly Village. It is said that we should also include the Risser Ranch Ruins, and Deer Jaw Ruins in this grouping, both are also located in the general area of Payson. 4. The fourth period, about A.D. 1,150 - 1,250 (or perhaps as early as 1,300) is typified by larger villages. However near the end of this fourth period, it is believed that the sites were in the process of being abandoned and were completely totally vacant by A.D. 1,350. Then, the consensus of the archaeologists is that the entire area was un-populated until about A.D. 1600. However, some archaeologists believe that the Yavapai may have occupied this area after its abandonment until the Apaches arrived at the end of the 16th century. Some evidence exists suggesting the Yavapai were also in the Globe-Miami area (about 90 miles south) when the Spanish arrived. The previous inhabitants of the Globe-Miami area were the Salado and they had also moved away. It is unclear whether they did so on their own or if they were forced out by the Yavapai. (Source: National Forest Service)

A mother goddess / fertility figure with emphasized hips and navel, Ancient Anatolian. Neolithic c 6th millenium BC. Anatolia, Turkey.

Antique Pottery 446. Historic Pottery Pot From Bagan, Myanmar.Historic Pottery Pot collected from the Local villagers in Bagan, Myanmar. Dimensions 4.5” high x 5” wide. In excellent condition considering its age which is reportedly the 11th century. Bagan is an ancient city located in the Mandalay Region of Burma. From the 9th to 13th centuries, the city was the capital of the Kingdom of Pagan, the first kingdom to unify the regions that would later constitute modern Myanmar. During the kingdom's height between the 11th and 13th centuries, over 4,000 Buddhist temples, pagodas and monasteries were constructed in the Bagan plains alone, of which the remains of over 2200 temples and pagodas still survive to the present day. (Source: Wikipedia) Bagan History The monuments seem to overwhelm the landscape. There are about 2,000 of them covering an area of 16 square miles on the eastern bank of the Ayeyarwady in central Myanmar. They are in different sizes and in a bewildering variety of shapes. They are also in varying stages of preservation and disrepair. Some of them throb with life, visited by devotees, a few have become little more than piles of bricks. Whence do they come, these monuments? Who built them? Why? To find an answer to questions such as these one has to travel back in time, to a time when Bagan flourished as a royal city, the heart of a great kingdom. Tradition has it that Bagan was founded by Thamoddarit in the early 2nd century. But perhaps it would be better to date the Bagan of the monuments from its establishment as a walled city, with twelve gates and a moat, by King Pyinbya in 849. The chronicles give a list of kings who reigned at Bagan from Thamoddarit onwards, with Pyinbya as the 34th king. But legend is inextricably mingled with history, and sometimes overshadow it, in the accounts of the kings in the chronicles, and it is only with the 42nd king in the list, Anawrahta, that Bagan emerges into the clear light of history. The two and a half centuries from Anawahta's( 1044-1077) accession to the throne in 1044 to the flight of Narathihapate (1256-1287) from the capital in 1283 in the face of the Mongol invasion were the years of Bagan's greatness. The kingdom stretched from Bhamo in the north and far down to the south, from the Thanlwin river in the east to the Western Yoma in the west. Bagan was known as Tattadesa, the Parched Land, to the Mons, and not much rice was grown in the environs of the capital itself. But the royal city could draw upon the rich rice granaries of Kyaukse, 90 miles to the northeast, and Minbu, 70 miles to the south. The Ayeyarwady river linked it to the sea and to the commerce of the Indian Ocean. There was much intercourse with neighbouring countries. Support was given to King Vijaya Bahu I (105 9-1114) of Sri Lanka to sustain him in his struggle against the Chola of southern India to help him re-establish a purified Buddhism. Missions were sent to the northern Song capital of Kaifeng. Repairs were made to the Mahabodhi temple at Bodh Gaya in northern India. Perhaps more salient than all these indications of economic well-being and political power was the fact that Buddhism flourished exceedingly in Bagan. Tradition, basing itself upon the Sinhalese chronicle, the Mahavamsa, attributes the origins of Buddhism in Myanmar to the mission of Sona and Uttara who, in the 3rd century B.C., came to Suvannabhumi, usually identified with That on, on the Gulf of Mottama. Some modern scholars dispute this point. But even if tradition is to be ignored, there can be no denying that Buddhism was already flourishing in Myanmar in the 1st century A.D., as attested by the archaeological evidence at Peikthanomyo (Vishnu City), 90 miles southeast of Bagan. Buddhism was also an invigorating influence at Thayekhittaya, near modern Pyaymyo 160 miles south of Bagan, where a developed civilization flourished from the 5th to the 9th century. Notwithstanding the fact that Buddhism had enjoyed a long history in Myanmar before the 11th century, the reign of Anawrahta provided a landmark in the development of Buddhism in Myanmar. Anawrahta was a king of strong religious zeal as well as one of great power. His clay votive tablets, made to acquire merit, are found widely in Myanmar from Katha in the north to Twante in the south. These votive tablets usually have, on the obverse, a seated image of the Buddha in the earth-touching attitude, with two lines underneath which express the essence of the Buddhist creed: The Buddha hath the causes told Of all things springing from causes; And also how things cease to be, 'Tis this the Mighty Monk proclaims. On the reverse would be the prayer: Desiring that he may be freed from samscira the Great Prosperous King Aniruddha himself made this image of the Lord. The chronicles relate that a monk from Thaton, Shin Arahan, came to Anawrahta in Bagan and preached to him the Law, on which Anawrahta was seized with an ecstasy of faith and said, "Master, we have no other refuge than thee! From this day forth, my master, we dedicate our body and our life to thee! And, master, from thee I take my doctrine!" Shin Arahan further taught Anawrahta that without the Scriptures, the Tipitaka, there could be no study, and that it was only with the Tipitaka that the Religion would last long. Anawrahta, informed that there were thirty sets of the Tipitaka at Thaton, sent an envoy with presents to its king,Manuha, and asked for the Tipitaka. Manuha refused, on which Anawrahta sent a mighty army, conquered Thaton, and brought back the thirty sets of Tipitaka on Manuha's thirty-two white elephants, as well as Manuha and his court and all manners of artisans and craftsmen. From its patronage by Anawrahta is usually dated the flourishing of Theravada Buddhism in Myanmar, and the monuments of Bagan, with only a few exceptions, are all monuments of Theravada Buddhism. The establishment of Theravada Buddhism as the dominant religion of Myanmar did not preclude the existence of other schools and beliefs. Prior to the coming of Buddhism there existed in Myanmar a folk religion which involved the worship of nats or spirits to whom offerings were made. The spirits were not only those of nature, but also of personages who had died a violent or tragic death. At Bagan the cult of the Mahagiri ("Great Mountain") rato-brother and sister who had their abode at Mount Popa, 40 miles to the southeast of Bagan-was particularly strong This folk religion persisted in a symbiotic existence with Theravada Buddhism at Bagan. But that was not all. Mahayana Buddhism, with its pantheon of Bodhisattvas who had postponed their entry into nirvana to help their fellow creatures find salvation, also continued to have a tenuous presence at Bagan, a presence which can be detected in some of the details of the monuments. There was a presence too of Hinduism, which the court drew upon for some of its rituals and ceremonies. Religious fervour, brought on by the flowering of Theravada Buddhism, inspired the men and women of Bagan to undertake great works of merit and to give lavishly to the Religion. The donation of a noble lady is thus recorded: When our Lord Kinkathu passed away, our Lord's wife, who loved her husband as her own life, was agitated at the law of instability and made three dwellings to the Three Gems. Out of a heart of boundless faith she built the three dwellings wishing that the merit of her good deed would go to the three persons: her deceased lord, her mother and her father. Her private property, the nine kinds of gems, her gold and silver, red copper and white copper, iron, lead, her outward property, such as boats, elephants, cattle, buffaloes, goats, ivory, and her slaves and lands and gardens-in order that such property might be a support to the Religion, she offered them without stint to the Lords"s Religion and allotted them to the three dwellings, and, calling the earth to witness, she poured the water of offering. The usual aspiration in these religious donations w as to acquire merit, be reborn in the celestial realms, to come into the presence of Metteyva, the next Buddha, and finally to attain nibbana. But sometimes the aspiration would rise higher-to that of Buddhahood itself. A good example of this aspiration is provided by the dedicatory prayer-written in elegant Pali verse-offered by King Alaungsithu (1113-1163) on building the Shwegugyi temple in 1131: By merit of this act I would behold Metteyya, captain of the world, endued With two and thirty emblems, where he walks Enhaloed on a rainbow pathway fair Like Meru King of mountains, and sets free Samsara's captives by his holy words. There might I hear good Law, and bending low Offer the four things needful to the Lord And all his monks, till clad in virtues eight Informed by such a Teacher, I become A Buddha in the eyes of spirits and men... A noble aspiration indeed! But whatever the aspiration, the merit acquired by the donation was not meant for the donor alone, but for all. Thus Queen Pwa Saw made this prayer of dedication: May my noble husband lord the king, my son the king, my grandson the king, these three kings, and all the future kings to come share equally with me the merit of this work. May the princes and princesses, the queen and all her ladies-in-waiting, the ministers and all the hosts, the Thagya, Brahma, the four Guardians of the world and all the spirits, Tataw the Yama King, men and other beings who dwell in our would-system and other world-systems from Avici hell below to the celestial realms above also get a share of my merit. May they escape the miseries of samsara and reach nibbana which is free from misery." With great magnanim-ity, then, Queen Pwa Saw shared the merit of her act with all beings of the thirty-one realms: the twenty celestial realms of the brahmas, the six celestial realms of the thagyas or devas, the mundane realm, and even the four hells. The donors of Bagan indeed gave lavishly to the Re

Actually this fabulous pot is ancient Iranian - he predates the Persian empire. I like to ask my students to consider the sources they draw on. For virtually all of us potters today our primary...

A beautiful and rare pair of maiolica patterned Italian albarelli, late 1800s early 1900s. Found in Palazzo Torlogna in Rome. Alberelli were ancient storage containers often used in old pharmacies and shops. Their unique shape was designed to fit with dozens of others on a shelf. These maiolica alberelli were likely made in the late 1800s but their distinctive patterns pre-date this. They were perhaps made to fit in with maiolica albarelli made earlier, in the 16th century. In good condition considering age, they have minor chips and markings as seen in photographs.

Reminiscent of the sculptural works of George Minne (1866 - 1941), a Belgian artist and sculptor famous for his idealized depictions of man's inner spiritual conflicts. A contemporary of Gustav Klimt...

The more fragile, broken, or individual a humble object is, the more it can be appreciated.

Pottery Vessel 399. Description: Exquisit Large Chancay Pottery Vessel -A.D. 11-2-1532 Olla or water jar. Decorated with a feline figure from the Chancay Valley, Peru Gift of Dr. Edward Howell to the DeYoung Museum #4086. Deaccessioned by the DeYoung Museum, Oct 2014. 20” x 14”. Excellent condition considering its age. Comes with a plexiglass base for it to sit on for display. History: Not much is known about the Chancay civilization which developed in the later part of the Inca empire. This culture emerged after the fall of the Wari civilization. Parts of the southern Chancay area were conquered by the Chimú in the early fifteenth century and in about 1450 A.D. the Incas were occupying both areas. [1] It is believed that the Chancay had a centralized political structure, forming a small regional state. [3] Thus the Chancay culture declined in the fifteenth century to make way for the territorial expansion of the Inca Empire. Occupying the central coast coastal region of Peru, the Chancay were centered mostly in the Chancay and Chillón valleys, although they also occupied other areas such as the Rimac and Lurin valley areas. [2] The center of the Chancay culture was located 80 kilometers north of Lima. It is a desert region but has fertile valleys bathed by rivers and is rich in resources that allowed for, among other things, extensive agricultural development. The Chancay developed intense trade relations with other regions, allowing them to interract with other cultures and settlements in a wide area. Economy: The Chancay culture based its economy on agriculture, fishing and trade. Water reservoirs and irrigation canals were built by engineers in order to develop agriculture. As the culture was geographically located on the oceanfront, they were involved in traditional fishing both from the shore as well as further out to sea from their caballitos de totora, an ancient type of watercraft unique to Peru. The Chancay also traded with other regions either by land towards the Peruvian highlands and jungle or by sea to the north and south of their borders. The settlements in Lauri, Lumbra, Tambo Blanco, Handrail, Pisquillo Chico and Tronconal focused mainly on artisans producing large-scale ceramics and textiles. The Chancay culture is the first of the Peruvian cultures that had mass production of ceramics, textiles and metals such as gold and silver which were ritualistic and domestic goods. They were also noted for their wood carved items. [1] The curacas, political leaders, regulated the production of artisans, farmers and ranchers as well as oversaw festive activities. Textiles: The most well-known Chancay artefacts are the textiles which ranged from embroidered pieces, different types of fabrics decorated with paint. A variety of techniques, colours and themes were used in the making of textiles.[2] They used an array of colours including yellows, browns, scarlet, white, blues and greens.[1] types of fabric used included: llama wool, cotton, chiffon and feathers.[2] Their technique involved were decorated open weave, brocade, embroidery, and painting.[2] Brushes were used to paint anthropomorphic, zoomorphic, geometric and other creative designs directly on the canvases. The Chancay are known for the quality of their painted tapestries. The typically geometric designs also included drawings of plants, animals such as fish, cats, birds, monkeys and dogs (most notably the hairless Peruvian dog[4]) as well as human figures.[3] Birds and deities wearing crescent-like headdresses were one of the more common decorative features.[1] They produced a variety of goods such as clothing, bags, and funeral masks.[2] Many Chancay textiles survive to date. It is believed that their production was quite extensive, due to the quantities that have been preserved. The quality of the textile material appears to be good as they were carefully made. [1] Canvases or gauzes were used primarily for religious and magical purposes. They were made for covering the head of the dead in the form of a headdresses. According to the beliefs of the time, the threads on these fabrics had to be spun in the form of an "S" in an anticlockwise direction. This thread, which had a magical character, was called lloque and, according to legend, the garments were infused with supernatural powers and served as protection in the afterlife. Feathers were inserted into a main thread which was then sewn onto the fabric. The Chancay also manufactured dolls and other objects covered with pieces of woven fabric and various threads. Ceramics: Ceramics are also a very common feature of the Chancay culture. This pottery has been found mainly in the cemeteries of the Ancon and Chancay valleys. The Chancay civilization produced ceramics on a large scale using moulds. However, open vessels with more than 400 different types of drawings that have yet to be decrypted, uniquely created by artisans, have been found. The technique used in creating ceramics was with a rough matt surface that was later painted with a dark colour, usually black or brown, on top of a lighter cream or white background. This dark on light characteristic is known as black on white. Vessels are often large and quaintly shaped. Egg-shaped jars are some of the more common. Ceramic dolls or female figurines were also created. These were usually large, female-looking dolls made from clay. The faces and sometimes the upper sections of the body are covered with ornaments of different geometric shapes.[1] The eyes were accentuated with a line on each side and the arms were usually short.[3] These geometric ornamentations are very common on Chancay ceramics.[1] Other common ceramic vessels were oblong jars with narrow necks and wide mouths, with designs in the form of human faces and geometric shapes painted in the black on cream technique. Other common animal shapes are birds or llamas. [3] There were also miniature sized idols called cuchimilcos which were anthropomorphic shapes representative of human figures, having prominent jaws and eyes painted in black. These cuchimilcos figures usually had their arms extended as if they were ready to fly or inviting a hug. It is believed that they were used to turn away bad energies. This is perhaps why they have been mostly found in the tombs of the Chancay nobility. Woodwork: The wood carvings done by the Chancay are characterized by their simplicity, sobriety [2] and use of shapes from nature, quite opposed to the sophistication of their textile art. From wood they produced implements of daily use, statues and items for decoration, some of which they painted.[2] Using the wood from their coastal desert the Chancay carved large and small objects, finely engraved with motifs reflecting the marine environment, such as seabirds and boats. They also manufactured tools for use in the textile work, in farming and fishing operations, as well as a variety of objects for worship and to distinguish the social status of the populace. Human heads carved in wood were common. They were used to crown the mummies of important dignitaries, as a mark of their status as deity or mythical ancestor, which they acquired after death. The human images in wood could also be indicators of political power, especially when they were carved into sticks or batons of command. Architecture and social organization: With respect to architecture, this civilization is noted for creating large urban centres with pyramid-shaped mounds and complex buildings. It was organized by different types of settlements or ayllus and controlled by leaders or curacas. The urban centres had typical constructions for civic-religious purposes which also included residential palaces. These urban centers were quite large, perhaps due to the mass production of goods. [2] Their culture was marked by social stratification, which was also present in the small towns. The constructions were mostly made of adobe bricks, were organized in clusters and were also similarly designed according to a specific pattern. Sometimes the most prominent constructions were mixed or combined with stones. Its inhabitants were settled based on their trade so that they could massify the production of goods. Access to the pyramids was through ramps, i.e. from top to bottom. Their hydraulic engineering works such as reservoirs and irrigation canals were also of great notoriety. [2] (Source: Wikipedia) References 1 "The Chancay Culture". Retrieved 18 February 2013. 2. "Central Andes". Museo Chileno de Arte Precolombino. Retrieved 18 February 2013. 3. "Featured Artifacts: Chancay Culture, AD 1000-1400". SFU Museum of Archaeology and Ethnology. Retrieved 18 February 2013. 4. "Perú celebra 24 años de reconocimiento mundial a perro sin pelo". El Universal. 14 June 2009. Retrieved 19 February 2013. 5. Wikipedia

Size; Diameter : 10.2 cm Height : 5 cm Kintsugi (金継ぎ, “golden joinery”), also known as kintsukuroi (金繕い, “golden repair”),is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise. We only picked up one of the most value and most beautiful ceramic ware from hundreds of them and get them broken with control its broken line. We would first consider and design how to repair by re-assemble the mug before we start the real repair it. This make every pieces of the broken part install carefully. Each line of gold pattern will only drawn with concept design that is created before. Any of our Kintsugi art only create with heart of love of Kintsugi with our own style that difference to the other artist. Each broken part of the ceramic has unique dramatic pattern with sparkling gold bronze where the line of the gold try to flow greasy. Every part/side of our artwork will has it unique beauty. As our hard work creating, We are so confident our product will surely satisfy you when you has it on your hands. Notice; 1) Color of the product you receive might be different from pictures shown in Etsy. 2) This Kintsugi art is not for food and beverage use. 3) The golden bronze line is sensitive when scratsh, it might be damage. 4) Carefully while touching. Some broken part is sharp. You might get injured. 5) No warranty included. 6) Not suitable to anyone who never loves art. We spent days to create just only one bowl. Please leave her for the one who love her. Thank you so much for all kindly support our shop.

Antique 15th Century Sawankhalok Brown Glazed Jar Region: Si Satchanalai Kiln - Sawankhalok Sukhothai Province Thailand Period: Ayutthaya Earthenware Height: 14cm / 5.5 inches Diameter: 13cm / 5 inches Weight: In the area of Sawankhalok are the archaeological remains of many kilns. This area is where Sawankhalok ceramics were produced, which became an important economic contributor to the Sukhothai kingdom. These ceramics not only served the domestic needs of the people, from food storage to water pipes, they were also produced for export, and have been found as far away the Philippines, Indonesia and Japan. This ancient earthenware jar has some wear and chipped rim, otherwise it is in very good condition considering the age and usage of this item. Please view all of the photos... Having resided in South East Asia and the Pacific region for several decades I've a developed passion for and a trading interest in artefacts of the region. This artefact is part of a large collection that I’m selling to downsize.

Shipibo Ceramic Flower Vase from Peru

The German psychologist Karoly Maria Benker coined the term 'homosexuality' in the late 19th century, but while many people consider homosexuality to be a

About Tang Dynasty polychromed fat lady with child in arm. Terracotta, pottery Tang Dynasty (618- 907AD)) Measures: Height: 20.2 inches (51cm) Width: 9.45 inches (24cm) Guaranteed Authentic with COA Condition: Excellent with loss to pinky and wear commensurate of age. This rare and outstanding ceramic court attendant was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists. The T’ang Dynasty took control in 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early T’ang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The T’ang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well-established that they continued to operate regardless. The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual's social rank. In spite of the limitations, a striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/ camels were provided for transport, and officials to run his estate in the hereafter. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies”. These wonderfully expressionistic sculptures represent the idealized beauty of T’ang Dynasty China, while also demonstrating sculptural mastery in exaggerating characteristics for effect, and for sheer elegance of execution. The current sculpture is a perfect example of the genre. She stands, draped from neck to foot in a loose- fitting white and green dress and jacket (?), leaning her weight back slightly on one foot, while bringing the forefingers on her tiny hand together as if in awkward enquiry. The left arm supporting a female child that is entertains the lady as she gazes with love in her eyes. The dress is rendered simply yet effectively, with creases incised around the hem and the waist and large, loose sleeves. Her skin tone is pale – a traditional measure of social elites, who did not expose themselves to the sun's rays – which contrasts strongly with her red lips, dark eyebrows and small, enquiring eyes and retrousse nose. She is undoubtedly well-nourished, another marker of social class, and her rounded jawline and cheeks run smoothly with the loose contours of her body. Her hair is gathered up into an ornate fan- like design with a tie, the bun carefully folded and manoeuvred into four distinct lozenges; this style, which is associated with aristocratic and court circles, is known from written, sculptural and painted sources. This piece offers a narrative of courtly life over a thousand years ago, in superbly delicate and carefully- rendered detail. This is a stunning piece of ancient art and a credit to any collection of Chinese masterpieces. We are dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. We stand behind our treasures with a full money back return policy if the items are not as described. We have Asian pottery, terra cotta, bronze, and paintings to complement your collection. We strive to collect the highest quality Asian antiquities in exceptional condition.

Shipibo Rounded Pots crafted by Artisans in Peru Measures 5” high x 10” diameter

Shipibo Ceramic Vase OrnamentMeasures: 3" high x 1-1/2" wide

Ceramic prickly pear blades are perfect either to be hung on the wall, or become a valuable decoration for your Christmas trees. Indian fig meaning Tree and sacred fruit, the Fig is the emblem of life, light, strength and knowledge. In ancient Greece, it was the sacred tree to Athena, goddess of wisdom and to Dionysus god of wine. Plato considers this tree a friend of philosophers. In the ancient tradition, Fig therefore has a meaning of immortality and abundance.

A classic and flattering porcelain drop earring inspired by the shape of an ancient ceramic urn o...

Sea lions commonly appear in Moche art as effigy vessels, like this appealing pup, or in complex scenes that often show them as the targets of human hunters. They may have been prized in part for the