Pair Large Antique Chinese Stoneware Guardian Lions Qing Dynasty 19th Century

This is a good Chinese hand carved bamboo Foo or Lion Dog, sometimes called a temple lion that we date to the 19th Century Qing period. T...

A large Chinese Qing dynasty porcelain wucai (five color) glazed bowl painted in underglaze blue and overglaze red, green, and yellow upon a pure white ground, and featuring a design...

An unusual and spectacular Chinese monochrome blue flambé-glazed hu form porcelain vase, Qing Dynasty, 19th century, China. The hu vase is heavily potted with elegant proportions...

A Chinese Qing dynasty period Martaban jar from the 18th-19th century with dragon motifs and loop handles. This tall Chinese jar comes from the Martaban wares, where it was produced during the Qing dynasty (1636–1912). This tall jar is made of varnished brown glaze and features on its belly carved dragons, which are an auspicious pattern in China. The top of the jar displays ceramic loops...

A charming Chinese green glazed pottery censer or incense burner, Qing Dynasty, late 19th century. Now suitable for use as a jardiniere or vase. The incense burner in glazed a deep green, in imitation of bronze models, and set on four tapered legs attached to a rectangular stand...

A fantastic pair of Chinese molded and glazed biscuit porcelain vases with leaping dragon fish or makara, late Qing dynasty, circa 1900. The vases of balu...

A fantastic Chinese cast bronze censer in the form of two Buddhistic lions play fighting, late Qing Dynasty, late 19th century, China. The censer formed as a pair of Buddhistic li...

A gorgeous Chinese monochrome red flambé glazed bottle vase, called a tianqiuping, Qing Dynasty, late 19th century. The voluptuous body o...

A fine pair of large 19th century Chinese Export models of cockerels, decorated in blanc de chine with red highlights. Each modelled standing on pierced rockwork with head turned to ...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...