As shown in this diagram, a 'bo' bell required outer modls for the suspension loop at bottom, and for its top, a pair for the sides, and a core to occupy the interior, all locked together with keys fitted to mortises.
Wine vessel related to the ku type, only squatter and able to hold a greater volume of liquid. The decoration features small dragons and a large incised 't'ao-t'ieh.' [as quoted from Mario Bussagli]
The octagonal, black-lacquered containers for this shell matching game are decorated with the family crest of the Hosokawa clan. The containers hold 360 shells, each one half of a pair with matching designs of subject matter from The Tale of Genji, or with floral and bird decorations. To play the game, the shells are mixed up and players must find the two shell halves with the same picture.
Bundai (writing table) and suzuribako (writing utensil box) decorated with a combination of bamboo, paulownia, and the phoenix. The background is done using a technique known as nashiji, similar in appearance to the skin of the nashi, or Japanese pear, in which metal flakes are suspended in lacquer.
Both sword guards were made by Hayashi Matashichi, and are iron with inlaid gold. Upper left-corner: On this flower-shaped iron tsuba are five openwork cherry blossoms. An inlaid gold rope pattern encircles the inner portion, and beyond this in a concentric circle, fine threadlike openwork lines represent mist. Evenly spaced around the scalloped perimeter are four heart-shaped perforations. The blossoms of this powerful work are carved in slight relief, and the gold harmonized well with the color of the iron. Right: the tsurumaru, literally round crane," is a type of dancing crane motif in which the tips of the widely spread wings meet above the head, forming a circular cartouche. This red-tinted black iron tsuba is decorated with the tsurumaru motif in skillfully executed openwork. The eyes are delicately inlaid with gold." - Hiroi Yuichi
Example of a seal made of horn with companion red ink paste holder - viewed from the side. Most likely used for travelling purposes.
The top of the pedestal dish shows more auspicious symbols, the most prominent being the image of peaches at the center of the plate. Peaches represent longevity in Chinese culture.
This solidly cast, evenly patinated simple form recalls the subtlety of Song Dynasty ceramics, themselves, a revival of delicate archaic forms seen in ancient bronzes and pottery. This shape also is seen in varying forms in Ming and Qing Dynasty Imperial porcelains and the attached openwork fret-pattern hexagonal stand is a common early Qing embellishment found in both bronze vessels and porcelain.
This simple rectangular tray is lacquered over a finely joined wooden core in numerous layers of colored lacquer to simulate pudding stone. Japanese lacquer artists excelled at simulating different materials in their craft, including metals, various stone finishes, wood grain and shells.
This solidly cast archaistic model of an ancient classical ritual vessel was cast for use as decoration in an upper class household or scholarly pavilion. The fashion of having visual manifestations of ancient objects was an important one in Manchu court circles where great effort was made to demonstrate an affinity to classical Han culture as the foreign Qing rulers were seriously consolidating their rule over China â€“ a process that started with the overthrow of the ethnically Chinese Ming Dynasty in 1644. 15.25 inches high x 7.5 wide ; base 4.5 inches.
This neatly fashioned rectangular box and openwork cover cleverly becomes a utilitarian incense burner, the pierced cover cast to allow incense to subtly drift upwards through a Buddhist inspired swastika decoration. The taotie handles and the geometric pattern on the ground areas add an archaistic element to the design. The base is inscribed with a dedicatory inscription. 41/8in. high, 6in. x 4 5/8 inches wide
This intricate and beautifully detailed applique comprising three overlapping circular dragon discs could have been an adornment on a court or military dress or perhaps an attachment for a horse trapping. 1 inch high by 3 inches wide.
In ancient Japan (prior to the Meiji era, 1868-1912), metalwork was solely for swords and Buddhist statues. During the Meiji era, a decree abolishing sword-wearing and the restoration of Shintoism, the original religion of Japan, as the national religion caused the making of metalwork to shift to objects for export and home consumption; the functions of objects and subject of decoration tended to be secular. This vase, designed with a style of Chinese bronze vessel, bears 8 different scenes on the entire body. There are four large panels, with subjects ranging from figurative to seascapes, on the main body of the vessel, and four small horizontal scenes, landscapes and seascapes are the subjects (possibly a display of the four seasons), on the bottom. The designs are done in relief. The borders of the panels are also ornamented with plant patterns, chrysanthemums and gingko tree leaves in particular common Japanese floral motif. A great deal of artistic appeal and distinctive styles are the trademark of Meiji metalwork.
This fan centers on two male figures (likely from literary or historical novels) with floral patterns around, which is much more rare than the bird and flower themes. Although their conditions are poor, they are very interesting artifacts. The Chinese export of feather fans first appeared in Europe during the first quarter of the 19th century. They are usually made of goose feathers (occasionally with added peacock feathers on the top) mounted on sticks which can be made of a variety of materials, including ivory and bone. The frames of the fans are carved, showing the quality of their craftsmanship, with flowers and classical scripts, which could be either an imitation of Oracle bone characters or seal/clerical scripts. Originally these fans would have been very costly.
This fan has good detail and color quality, and is most likely inspired by a literary theme.The fan emerged in Japan by the 9th century AD. The Japanese have a long tradition of making wooden fans threaded together on the top of each rib. However, the size of this fan is large, and the format (circular when opened to its full extension) may be inspired by a type known as â€œbig wheel fan,â€ attributed to Korea, during the Yi (Chosen) dynasty (1392-1910 AD). However, the brushwork, subject matter, and motifs of the paintings on the fans are Japanese. The size and weight of the fan might not have a practical function. The common motifs on Japanese wooden fans include stories from literature, such as the Tale of Genji.
Pair - 5 1/2" h. Baluster - 6 1/8" h. A pair of pyriform vases on a high splayed foot, molded with a raised floral scroll above a raised band which is over a band overlapping lotus leaves, an incised thin band on the wide neck terminating in a flat ringed mouth. The dirty light brown and crazed glaze on the exterior falls to halfway down the foot where the grey sugary body is brown from firing. A third vase is of baluster form with molded leaves on the shoulder below the bulbous portion and on the foot, two applied tubular handles above an incised ring on the neck. The dirty light brown glaze is halfway down the foot.
3" w. Cast and decorated in relief with two men flanking the pierced dumbell-form knop and with eight Buddhist precious objects dispersed above and below. Narrow wedge shaped ridge.
4 3/8" w. Seal characters forming a frieze
3 7/8" l. Greenish-white jade with russet markings carved in an archaistic style standing dragon, handcarved fitted wood stand.
Vase with light carving under a milky white glaze. Floral motif wraps around the piece, which has been repaired with a metal band around the lip.
7" h. Paneled hu-formed stem with two degenerated animal head handles, molded in relief with floral sprays divided by bow-form raised and molded vertical lines raised on a high tapered base molded in relief with a frieze of stylized lotus petals, supported by five simple feet, surmounted by a hexagonal drip pan, on top there is an inverted scalloped tip collar surmounted by a tapered lip, minutely crazed greenish-beige glaze carelessly applied
1 1/2"h x 1 3/4"l (including base). Side view of finely carved gourd showing scenes from literature and opera.
3" w. Circular box with domed cover and solid shallow circular foot, black inclusions with some rust-brown mottling.
View of small blown glass bottle, mottled with various colors ranging from light blue to brown intermixed with bits of mica to create a sparkling effect.
Closed bamboo box with landscape scene on lid.