Two four-armed figures display "the divine embrace" of wisdom and compassion. Possibly a representation of the wrathful diety Yamantaka and his consort, although lacking in the attribute of dead being trampled.Said to be from the Tibetan region of China.
Rubbing from carving of the Tang poetess Xue Tao. From Chengdu in Sichuan Provence. Includes an accompanying stone inscription dated to the "29th year of Guangxu", or 1904.
Interior of bowl shows attention to detail and close observation of an actual lotus. The cloissone artist may have been working from a painting of a lotus given the multiple perspectives represented here.
Painted ink on paper image of the Pure Land Buddha Amida. May also be a representation of Amitayus, "The Buddha of Long Life" based on the iconography of the 'long life' symbol on the deity's robe. Purchased in the early 1980's in Taiwan.
Clever design with seal on top and a container on bottom holding the red ink paste used to imprint the seal. Made of horn.
Pedestal dish with underglaze enamel painting. Bat motif seen as lucky in China.
Traditional Chinese woman's wear. Embroidered silk with side closures.
This image shows a variety of golden or gilt hair ornaments in forms popular with women of the elite class in the Qing dynasty. Floral imagery and images of phoenixes are common. Other materials present include coral and kingfisher feathers.
Depicts the wrathful deity Mahakala with three Gelukpa lamas above [most likelyTsongkapa and his two main disciples] and images of Green and White Tara below. Said to be from the Tibetan region of China.
Embroidered frontispiece thought to have been worn by brides after the wedding ceremony. Each dangling portion carries good luck motifs.
Partaially glazed earthenware teapot.
Large cloissone bowl with lotus motif. Possibly used in Buddhist ceremonies as an offering dish.
Tobacco or snuff holder made of silver.
This view shows how the textile artist conceptualized of the embroidery as flowing around the woman's figure. It also highlights how the garment is one continuous piece of silk wrapped around, rather than pieced together as much modern clothing is today.
Image of a Manchu woman's shoe, showing "platform" heel that also made movement somewhat difficult for women, but did not entail the pain of the Chinese footbinding practice.
The so-called Phoenix Hall at the temple, Byodoin, in Uji. Built in 1053 by Fujiwara Yorimichi, the Phoenix Hall contains the Amida sculpture carved by Jocho, and the compound attempts to represent on earth the western paradise of Pure Land Buddhism. This image shows the Amida Hall as seen from directly across the pond directly in front of the hall. Because of the placement of the pond, the hall cannot be approached directly from the front, perhaps a physical assertion of the Heian aesthetic preference for indirection.
Series of images chronicling the US involvement in China during the early part of the 20th century.
This detail shows the haste with which this type of object was made in the swerving double lines at the top and the splashed ink trees on the right.
This image shows how the artist carried the landscape scene around the pot, rather than simply create one on each side.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
Bottom of Yixing teapot showing impression of seal.
Embroidered shoe worn by a female member of the Manchu ethnicity during the Qing era. As a rule, Manchu women did not bind their feet.
Embroidered purse of about 3 inches square sowing images of butterflies and peonies. Given the subject matter of the images, it was probably used by a woman.
Bottom of seal with example of calligraphic seal script, commonly used for seals in China.
The King of Taishan is the judge portrayed here. Shows people gaining merit such as the person saving ants from a river and releasing a snake. The main hell featured is Sword Mountain. One also sees Oxhead, a common torturer in hell. Purchased in 1982 in Taiwan.