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Late 19th-early 20th century Chinese hand decorated porcelain figure. Beautifully hand decorated Chinese porcelain figure. This stunning colorful finely detailed figurine or sculptur...

An antique carved box from Chaozhou city, in Guangdong, China. The black and gold colours, as well as the bulbous designs on the front are all disti...

Kashmiri silver betel nut box, Khaas Daan, late 19th century Betel-chewing is a leisure pastime practiced since ancient times in many parts of ...

19th century Chinese lacquer gaming box from the Qing Dynasty. Black and golden drawing by hand with 3 gaming lacquer boxes, in very good ...

Potted with the fluted sides rising from a recessed base, carved to the interior with Chrysanthemum, covered overall with a grayish-green glaze, save for a ring to the underside left unglazed to reveal the gray stoneware...

Antique Khmer bronze gong with nice green patina with stand. Age: Cambodia, Angkor Vat Period, 12th Century Size of gong only: Diameter 33.6 C.M. / Thickness 4.2 C.M. Height includi...

Cloisonné enamel vase of baluster form and lobed sides decorated with foliage and flowers on a black background, gilt copper neck and base. Around 1900 Period: Qing Dynasty Type: Va...

An exquisite Thai cast bronze Buddha head, Sukhothai kingdom, circa 15th century, Thailand. The Buddha's pleasing face, with its narrow, oval ...

The figure stands on a rectangular base. The horse is depicted in a poised stance, with strong, muscular legs and a slightly bowed head. The mane is carefully sculpted with deep, flowing grooves, adding a dynamic texture to the piece. The head features expressive details, including a well-defined muzzle, flared nostrils. The bridle and harness are delicately painted in faded green, contrasting against the creamy beige body. The saddle is adorned with intricate details, including decorative tassels and a textured pattern, indicative of the elaborate tack used in the Ming period. Traces of original polychrome pigments in green, black, and ochre remain on the surface, hinting at the sculpture’s once-vibrant appearance. The weathered patina and areas of flaking paint add to its historical authenticity, reflecting centuries of age. The overall craftsmanship and detailing exemplify the Ming Dynasty’s refined ceramic artistry, making this piece a remarkable representation of of asian culture during this period. Period: Ming Dynasty Medium: Green, black, and ochre glazed Pottery Type: Figure Condition : Good(chips on the upper saddle.) Provenance : Acquired in late 1990s from Hongkong Reference : Asian Civilisations Museum - Accession No. C-1384 / 1994-00441 - Ming Dynasty Figure of Horse (Type : Closely Related) * Ming Dynasty Glazed Pottery Figures Ming Dynasty glazed pottery figures are renowned for their bold color palette, intricate detailing, and lifelike forms, distinguishing them from earlier traditions. These figures, which depict officials, warriors, animals, and mythical creatures, are characterized by high-gloss lead-based glazes in green, amber, ochre, and sancai (three-color) combinations. The thickly applied glaze pools in recesses, creating depth and enhancing sculptural details. With dynamic postures, expressive facial features, and meticulously rendered drapery, these figures reflect the period’s advancement in ceramic craftsmanship, offering a greater sense of movement and realism compared to the rigid and stylized forms of earlier dynasties. A defining characteristic of Ming glazed pottery is its elaborate surface detailing, often achieved through raised relief elements and contrasting glazes. Equestrian figures, for example, feature carefully sculpted saddles, harnesses, and decorative embellishments, while human figures are adorned with intricate robes and headdresses. The large scale of these tomb figures, often more imposing than those from previous periods, underscores the increasing importance of funerary art during the Ming era. Unlike later Qing Dynasty figures...

A bird on a tree. Stoneware with underglaze blue and painted green. The leaves were creatively expressed with green-glaze. The use of green overpainting, a distinctive element in Annamese ceramics, parallels similar examples documented in The Age of Discovery: Asian Ceramics Found Along the Maritime Silk Road, particularly on pages 59, 64, and 66 of the Annamese ship catalog. Such pieces were widely traded along the Maritime Silk Road, showcasing the rich cultural exchange between Vietnam and other regions. Dates : 15th century Le Dynasty Region : North Annam, Vietnam Type : Dish Found/Acquired : Southeast Asia , South China Sea, Hoi An Ship Reference : Double checked with reference to the original catalogue 1) Butterfield Treasures Hoi An Hoard Auction Catalogs / San Francisco Butterfields 2000 2) Asian Ceramic Found along Maritime Silk Route / National Maritime Museum of Korea * Vietnamese trade ceramics Around the mid-14th century, Vietnam developed its ceramics production technology by producing blue and white porcelain, and began to export it overseas. During this period, China Ming Dynasty implemented a policy of lifting the ban from 1371 to 1657 and restricted foreign trade. This served as a good opportunity in the trade history of Vietnamese ceramics, and ceramic exports...

Statues of Chinese horse and rider, featuring glazes in green, amber, are set on rectangular bases. Period: Ming Dynasty Medium: Green-glaze...

An unusually large Vietnamese celadon glazed stoneware bowl with carved lotus petal design, Ly or Tran Dynasty, 13th - 14th century, Vietnam. The large bowl or offering vessel of generous proportions, rising on a short, unglazed foot ring, revealing the reddish buff stoneware body. The globular body elegantly tapered. The lower section deeply carved with a traditional stylized lotus petal design, a band of incised lines above. The upper section of the vessel ribbed, and carved with long, elegant lotus petals that taper upwards, terminating in rounded ends. Another band of incised lines circumscribe the mouth. The vessel glazed in a wonderful olive celadon glaze. The glaze stopping neatly at the mouth rim. The transparent celadon glaze thinning slightly along the raised sections, and pooling in the recesses, adding additional depth and texture. The celadon with wonderful yellow undertones, giving an overall olive hue. Reference: For four similar, but smaller examples, all dated 13th-14th century, see Stevenson & Guy, "Vietnamese Ceramics...