Qing Sculptures and Carvings

Chinese Carved Rose Quartz Archaistic Censer with Guardian Lion Finial, Estate of John Loring of Tiffanys Three pieces: Lid, censer, and Hardwood Carved base Beautifully hand carve...

A good find comes this large 26 inch diameter, 5 inch thick round hand-carved mill stone from the 19th century or earlier period. This was likely a grinding base stone for a large oi...

A rare, all original, actual, 19th century Chinese honor plaque commemorating the appointment of the 16th official, Xu Shao Li, The left side bears the inscription “Emperor Tong Zhi,...

A very fine pair Chinese Qing sancai glazed pottery dog of Foo incense holder figures dating from the 18/19th century. The figures stand raised on hollow rectangular pierced pedestal altar shaped bases with a draped cloth to the front and back. The figures are well detailed and are modeled, one resting a paw on a ball and the other with a puppy dog. The dogs have their customary open mouths revealing teeth with pierced nostrils and bulging black eyes. The figures support a tall column formed incense stick holder...

An ideal garden ornament, sturdy weather proof planter display base or a rock solid all weather stone base for a special sculpture. From China, comes this large 20.5 inch rectangula...

China Monumental Pair (2) Antique Stone “Spirit Pathway” Tigers, middle Qing period 1750-1850. Please view our video. Dimensions: 115cm, 46” high and 60cm, 24” in width. Likely utilized as spirit pathway tomb markers, these powerful, benign carved sitting effigies perched on haunches and front paws with round heads and faces exposing defined eye sockets, ears and two fangs a top bases that feature curled tails on side each whole atop a block shaped base and hand-carved from limestone whose surfaces show considerable weatherization from exposure and good age. Reference: 35 Years Collecting 35 Treasures, Schneible Fine Arts catalog Number 30, p. 66. Provenance: originally found in Fujian Province. Fujian has the distinction of being home to China’s last remaining wild tigers and famous “tiger” mountain. No wonder then that these early stone works...

Rare and Hard To Find 19th Century From China's Qing dynasty (1644-1912) a hard to find solid limestone finely carved round top pedestal - perfect for displaying your indoor or outd...

China antique monumental Wooden Pagoda, total height is 70 inches, hand carved and hand painted wood, seven hexagonal sections plus finial, late Qin...

This ornately carved panel was originally the lid of a 19th-century Chinese snack box, presented as a gift filled with popular snacks such as roasted...

A large and impressive Chinese caved jade vase, Republic Period, circa 1930. Carved from one massive piece of jade. The vase carved with the He He Er Xian...

Extraordinary pair of fine glazed porcelain Foo dogs came to us out of an estate here in Savannah, Georgia, belonging to an old general that long ago brought them from Thailand. Used...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

A finely carved jade covered Hu vase, of Chinese origin and dating to the early 20th century, presented on its original carved hardwood base. The vessel is sculpted from pale green j...

Dating from the mid-20th century, this well executed serpentine stone carving depicts a rearing Asian horse. The hard stone composition of this sculpture has not been tested.

This masterfully carved celadon jade figure represents the epitome of Chinese artistry and craftsmanship. The sculpture features a beauty dressed in flowing traditional attire, capturing the essence of grace and elegance. She is depicted holding a plate that presents a branch bearing three peaches, a symbol of longevity and prosperity in Chinese culture. The jade used for this carving is of a refined celadon hue, adding a layer of sophistication and tranquility to the piece. The intricate detailing on the flowing dress and the lifelike representation of the peaches attest to the skill and precision involved in its creation. This celadon jade carving...

These are a very good PAIR of antique Chinese foo or lion dog sculptures, sometimes called temple lions, made of a brass-bronze metal alloy, with excellent detail, dating to the early 19th century, Qing period or possibly earlier back to the 18th century. They are a male and female pair, the male with the slightly larger head. These pieces are very well cast with good detail and wear, showing a very good depth of colour. Both dogs have a small hole on the top of the head for incense to be placed. Each piece weighs about 700gm unpacked Overall a lovely pair of antique Chinese Foo Dogs...

Exuding an energy of calm and tranquility, this larger-than-life stone bust depicts a Buddhist bodhisattva in serene meditation. A disciple of the Buddha, a bodhisattva is a compassi...

Finest Quality Dreamstone Inlaid Chair China- an extraordinary prolifically crafted example of an antique hand carved hardwood chair inlaid with multiple natural dream stone "paintings" plus "butterfly and mother of pearl" inlays in its hardwood arms and seat, late 19th century. This type of old Chinese furniture art form with marble inlay is centuries of years old dating as far back as the Ming dynasty (1368-1644). Fine round and rectangular dream stones depicting mountains and the natural outdoor scenery are inlaid in the seat, back and interior sides of this fine furniture example. Thin marble inlaid stone "paintings" are approximately 1/4" thick and are cut from a large slab of rough material revealing incredible patterns in soft white and gray colors. The hardwood (elmwood) frame is tenon joined. The natural stone "paintings" were hand especially for fine export chairs as in this example. Chair dimensions: Height 38.75 inches Width 25.75 inches Depth 19 inches Period : late Qing period, 19th century Provenance: Private American Chinese collection Reference: Dreaming of Dreamstones China’s Extraordinary Natural Stone Paintings, Schneible Fine Arts. Dreaming of Dreamstones – World’s first comprehensive English text publication covers China’s extraordinary natural Stone Paintings, by author and dream stone lecturer Douglas Schneible, 35 pages, softcover, ISBN 978-0-578. See photos. We have been dealing in authentic Chinese natural stone paintings...

A Chinese Colored Glass (Liuli) Tomb Maid, 19th Century Provenance: Private Australian Collection. Dimensions: Height: 14cm. Width: 3.2cm. Depth: 1cm.

This pair of monumental Fu-Lions, also known as shizi, once would have flanked the entrance to a Qing-dynasty home in China’s Shanxi province. One has a pearl under its foot, and the...

Unique antique garden accent This delightful round hand-carved stone in the form of an old "cash coin" with its square hole dates to the 19th century. This was likely originally a m...

Hard to Find Pair (2) Display Pedestals from the 19th Century From China's Qing dynasty (1644-1912) a hard to find pair (2) of limestone carved "flower" pedestals - perfect for di...

A stunning pair of excellent quality bronze Pixiu wealth dragon mythical creatures with visually striking scattered verdigris bluish green patina! Well known in Chinese culture and...

A finely modeled Chinese porcelain figure of the Chinese God of Longevity, Shouxing, Republic Period, early 20th century, China. The God of Longevity, called Shouxing or Shoulao, stands upright holding a dragon staff in one hand, a peach (a symbol of immortality), in the other. He is dressed in a long yellow robe...

This is a seated stone Buddha statue believed to have been made in China. While its date of creation is unclear, the weathering of the stone surface, surface wear, and texture formed...

An unusually large vintage Chinese carved and pierced gilt wood story panel, early to mid 20th century, Southern China. The intricately carved panel depicts images from "The Romance...

A tall Chinese scholar stone (also known as Gong Shi in Chinese; meditation stone and spirit rock in the West) of significant weight and volume is gracefully balanced on the wood dis...

This modern Chinese jadeite mountain, standing at an impressive 18 inches on its stand, is a remarkable piece of artistry, showcasing the exquisite craftsmanship associated with contemporary Chinese jade carving...

JADE RUYI Dark green jade finely and naturalistically carved in openwork along the arched shaft of characteristic S- form, The upper surface of the handle c...

Believed to be powerful protectors against malevolent spirits, fu lion dogs have stood guard at the entryways and thresholds of Chinese buildings and temples for centuries. Known as ...

China, a large jade Bi disk measure: 14.75” diameter and .75” thick Beautiful Display Decor. Including Our Certificate of Authenticity The thick round heavenly ritual jade of a me...

This is a grouping of three (3) authentic Chinese jade bi disc from the 20th century or older. These come from our private collection. Including Our Certificate of Authenticity ...

A Large Chinese Muesum Quality Soapstone Duck Carving, Qing Dynasty Description: holding a lotus flower in her mouth, the interior hollow with detachable 'duckling' cover, with labe...

An exquisite antique Chinese Hand Carved Peking Glass Snuff Bottle. Hand crafted in beautiful imperial yellow colored glass. The glass is slightly translucent almost looking like mil...

Pair of 19th Century Chinese bronze fu dog censers: hollow vessels with a hinge at the front of the neck.

This pair of intricately carved limestone fu lions once protected the entry of a grand courtyard home in 19th-century China. Also known as shizi or foo dogs, the mythical creatures a...

Rare and Hard To Find 19th Century From China's Qing dynasty (1644-1912) a hard to find solid limestone finely carved "drum" pedestal - perfect for displaying your indoor or outdoor...

A carved fluorite vase in wood stand. This is a beautiful decorative oblong flat vase created in the imperial China during the late Qing Dynasty period, circa 1880-1900. The piece h...

An impressive depiction of Guanyin, the Bodhisattva of compassion, whose name bears the meaning ‘One who hears the cries of the world.’ The rather androgynous figure is adorned with beaded jewellery and the princely regalia of a dhoti, draped across her body and spilling out over to partially obscure what she is resting upon. The goddess’ profile exhibits idealised features of Asian artistic convention; her face is soft and rounded, with full lips and relaxed eyes that provide a serene quality of youthfulness to the figure. Adhering to Chinese iconography of Guanyin, the figure is marked by an urna on her forehead, denoting her own enlightenment, as well as a diadem displaying Buddha Amitabha, the spiritual teacher of Guanyin. Seated in the Lalit asana pose, translated as ‘royal ease’, the figure exudes a fine example of the relaxed majesty typical in the characterisation of Guanyin. Whilst the figure’s left hand is placed restfully upon the left leg pendant, the right is raised in the gesture shuni mudra, the second finger held gently against the thumb. Otherwise known as the seal of patience, this gesture indicates the figure as one intended to bestow this virtue, along with compassion and understanding, upon the beholder. Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...

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...

Chinese Carved Jade Covered Hu Vase, with two mask head with rings handles, incised taotie design to each side, and on a fitted carved wood stand. Overall: 7.5" H x 4.25" W x 2.25" D...

This fine Chinese urn carving from the early 19th century has been in the late 19th century placed on a carved wood base that has been gilded creating a dramatic foil for the carving...

Chinese Russet Jade hardwood Imperial Ruyi Scepter Qing Dynasty 19th century, Provenance. Large Chinese Qing Dynasty jade Ruyi scepter with three ...

A large 7.15 lb Republic era silver bronze statue of the Goddess of Compassion Guan Yin. Seated on lotus throne, Bodhisattva Avalokiteshvara is depicted in the most traditional fashi...

A large and graceful carved nephrite jade conjoined double vase in the form of a pair of Buddha's hands fruit (finger citron), late Qing Dynasty, circa 1900, China. The large and heavy vase carved from a single piece of celadon nephrite jade, with areas of lighter brown "sugar" skin. The vase ingeniously carved as a pair of Buddha's hand fruit, also known as finger citron, rising from a gnarled, leafy branch. The smaller Buddha's hand with a pair of bats. The Buddha's hands fruit with elegant and naturalistic curved "fingers". The "fingers wonderfully shaped and reticulated. The body of the fruit with simple stippling, in imitation of the textured surface of the real fruit. The interior of each fruit well hollowed and able to hold water. Buddha's hands fruit are auspicious in Chinese culture. Their name in Chinese "Fo Shou" is a homophone for "Happiness and Longevity. They are often placed as offerings on Buddhist altars...

A vertical Taihu scholar stone in a wonderful grotto form perched on a custom wood stand. The stone, in a nearly pure grey color, displays a weathered surface with visually arresting...

Chinese glazed porcelain roof tile of a warrior. The manufacture of glazed tiles was standardized in the Ming Dynasty and during the Qing Dynasty into the Republican Era, glazed tile...

Chinese Qing Dynasty Bronze Statue of Seated Happy Maitreya Buddha. A Chinese bronze statue from the late 18th century Qing Dynasty period is ca...

This exceptional Chinese Shoushan stone carving is a fine example of Qing artistry and craftsmanship, featuring a Sage in a semi-seated position...

A very tall and slender Chinese scholar rock of Taihu type in an elegant Lingzhi mushroom form well-balanced on a custom-carved wood stand circa late 19th century. Being exposed to t...

A wonderful work complete with a unique wood-carved and hand-painted face and original textile garment/ robe with a dragon symbol. From a group of 7 Chinese opera puppets...

Our 34 inch tall Chinese Caishen's name is often invoked during Chinese celebrations! This is a large and unusual antique hand carved limestone Wealth God Caishen- coming from an old New England collection Hand Made and Hand Carved Measurements: 34 inches high and 15 inches wide, Period: late Qing dynasty, late 19th-early 20th century. This god grasps a silver sycee (an ancient form of silver wealth). Provenance: Coming from an old New England collection and originally acquired from a Shanghai private collection decades ago. History of China's Wealth God Caishen: Caishen's name is often invoked during the Chinese New Year celebrations! Caishen (simplified Chinese: 财神; traditional Chinese: 財神; literally: "God of Wealth") is the Chinese god...

A lovely pair of Chinese export porcelain candle holders in the form of court ladies holding lotus blossoms, mid 20th century, circa 1960's, China. Modeled after 18th century Qianlo...

An impressive Chinese scholar Lingbi stone (also known as Gong Shi in Chinese; meditation stone and spirit rock in the West) of substantial height and mass on a carved wood display s...

A Chinese scholar stone of Lingbi type presented on a carved wood base. This stone takes a singular vertical form with one convex side that is largely flat, and the other side slight...

A finely carved Chinese zitan wood figure of an unidentified bodhisattva, possibly Guanyin, late Qing Dynasty, circa 1900, China. The androgynous figure has a plump, almost matronly face, with downcast eyes and a gentle smile. The hair in long tresses, gathered and tied in a high chignon. The enlightened being is portrayed seated in dhyanasana, bare feet resting on crossed legs, both soles pointing up. Thick robes billow and drape around the full figured body. The hands display...

This is a set of two (2) very fine quality (2) authentic Chinese jade bi disc from the 20th century or older. These come from our private collection. Quality: very fine translucen...

19th century gold gilded bronze Buddha A finely cast bronze Buddha statue in gold gilt with modeled and incised floral motifs. This jeweled God o...

An extremely finely carved antique Chinese Qing dynasty, Celadon green triple vase/brush washer with an Imperial Dragon from behind attacking a bird in fro...

A Rare Chinese Pale Lavender Jadeite Carving of Two Immortals, on its original carved wood base, from a private collection. One standing and one kneeling, mounted on an openwork woo...