Throughout the long development of Chinese jade carving, the objects of each era reflect the society's philosophical outlook and political reality, as well as contemporary craftsmanship, technology, artistic styles and aesthetic taste.
Although porcelains are still the most sought after forms of Chinese art, Chinese sculpture has become increasingly important and outstanding examples have brought very high prices.
In Chinese art, no symbol has been used more frequently than the dragon. In Chinese mythology, dragon is a sacred animal associated with the imperial family and the abstract deity Tian, or Heaven, on the one hand, and with clouds, rain and fertility on the other.
The shapes of the cong and bi from the Liangzhu Culture, archaic forms that are still mysterious in terms of their original significance and function, have come to represent the continuity of Chinese culture through their repetition and imitation.
The new Zhou order needed to establish a unique identity, which prompted a revamping of their own ritual kit and promulgated the myth that the Shang rulers were morally unsound drunkards.
Buddhism arrived in China during the Han dynasty with a pantheon of figural representations but as it became more widespread, larger sculptures emerged and eventually, enormous images were carved into mountains and caves.
Chinese jade is a new field in the study of world art and global culture due to its the superior quality and the unique position of jade-working in ancient China.
This stele depicts a central Buddha seated cross-legged, wearing a striped long-sleeved robe falling over his entire body, with feet exposed, arms held up, with crossed hands forming a mudra against his chest, seated in a "theatrical" grotto including a tied back curtain and geometric sectional frame, each section enclosing a floret.
The efflorescence of early Chinese civilization can be attributed to two long periods of political, economic and social stability in Chinese history.
Throughout the long development of Chinese jade carving, the objects of each era reflect the society's philosophical outlook and political reality, as well as contemporary craftsmanship, technology, artistic styles and aesthetic taste.
Although porcelains are still the most sought after forms of Chinese art, Chinese sculpture has become increasingly important and outstanding examples have brought very high prices.
In Chinese art, no symbol has been used more frequently than the dragon. In Chinese mythology, dragon is a sacred animal associated with the imperial family and the abstract deity Tian, or Heaven, on the one hand, and with clouds, rain and fertility on the other.
The shapes of the cong and bi from the Liangzhu Culture, archaic forms that are still mysterious in terms of their original significance and function, have come to represent the continuity of Chinese culture through their repetition and imitation.
The belief in some kind of existence beyond death played a vital role in the ritual ceremonies of the most ancient Chinese tribes.
Rare vessels like this one illustrate a beautiful, but short lived, experiment for production of pictorial bronzes halted as abruptly as it had begun.
The new Zhou order needed to establish a unique identity, which prompted a revamping of their own ritual kit and promulgated the myth that the Shang rulers were morally unsound drunkards.
Buddhism arrived in China during the Han dynasty with a pantheon of figural representations but as it became more widespread, larger sculptures emerged and eventually, enormous images were carved into mountains and caves.
Chinese jade is a new field in the study of world art and global culture due to its the superior quality and the unique position of jade-working in ancient China.
Through trade routes coming from Central Asia, Buddhism was introduced to China sometime during the first century of the Han Dynasty.
This stele depicts a central Buddha seated cross-legged, wearing a striped long-sleeved robe falling over his entire body, with feet exposed, arms held up, with crossed hands forming a mudra against his chest, seated in a "theatrical" grotto including a tied back curtain and geometric sectional frame, each section enclosing a floret.
