Han Furniture

Pair of terracotta Han guardsmen in polychrome paint China TL tested Pair of rare standing male terracotta sculptures/warriors of the Chinese Han dynasty from the 2nd century BC. W...

This ceramic vase is attributed to the Han dynasty. The form features a classic bulbous body rising to a narrow neck with a gently flared rim, all resting on a subtle footed base. It...

19th Century Exquisite Chinese black lacquered five section stacking chest with stunning figural decorative scenes. More modern Chinese furniture devel...

A vintage lost-wax bronze Han Dynasty ceremonial wine goblet from the mid 20th century that is the perfect decorative accent piece to add to add to your vintage furniture design for ...

A Large Chinese Pottery Mythical Creature Figure from the Han Dynasty China. Western Han Dynasty Circa 25 - 220 TL tested estimated age 1800 years old (+/- 200) by Artemis Testing ...

Superb sculpture of a laying doe from the Chinese Han Dynasty (206BC-220AD). Remainders of polychromic paint, namely red, symbol of good fortune and joy as well as the season of summer, and green, symbol of vigor and vitality and the season of spring. Mounted on base. A similar sculpture in bronze is kept at the Met Museum with the following description " A low bed, small table, and screen were often the only furnishings in a Han-dynasty room. The floors were generally covered with mats kept in place with weights in the shape of single animals, fighting beasts, or entertainers." Condition seen in pictures. Dimensions in cm ( H x L x l ) : - Sculpture : 35 x 40 x 10 - With base : 45.5 x 44 x 15 The Han Dynasty ruled China from 206 B.C. to 220 A.D. and was the second imperial dynasty of China. It is known for its promotion of Confucianism as the state religion and opening the Silk Road trade route to Europe, permanently altering the course of Chinese history. Han Dynasty art and inventions like paper still influence the world today. From the Han Dynasty to the present, deer can be found in many materials and media—rock crystal, nephrite, ink on paper, porcelain, cloisonné enamel, jade, bamboo root, textile, bronze, etc.—alone or in groups, among trees and rocks and in various positions. They appear on everyday objects, from boxes to incense burners, incense holders, lamps, mirror holders and the droppers scholars used when they wrote. A symbol of longevity and grace in Chinese mythology, the word deer is pronounced lu, a homonym for emoluments—favors granted to officials. They therefore represent wealth, nobility and success in imperial examinations (civil service exams for selecting candidates for the state bureaucracy in Imperial China). Deer were the faithful companions of Shu Lao, the god of longevity, and the goddess Magu. They were reputed to live long and to be the only creature able to find the mushroom of immortality, linghzhi. Although its spots are different, deer are sometimes confused or associated with stags, a Manchu hunting trophy whose antlers served to make prestigious furniture. (La Gazette Drouot, Claire Papon) For the colours found on this piece, in Chinese culture, red symbolizes good fortune and joy. Green, symbolizes the spring when everything is brimming over with vigor and vitality. The Han Dynasty (206 B.C. to 220 A.D.) continued the Qin Dynasty’s use of dark colours, but incorporated red. During the earlier years, or Western Han Dynasty, ordinary people wore red while court dress was black. Shoes were red in color. The clothing worn for sacrificial rites was black edged with red. In the later Eastern Han Dynasty, red symbolized the dynasty’s “fire Virtue” and became predominant. Court dress was red. Sacrificial rites called for a red-edged white layer under robes with red socks...

Chinese Han Dynasty earthenware cocoon jar Cocoon jars or Cocoon-shaped jars are funerary pottery vessels in China, belonging to the period of...

Han Dynasty painted pottery horse and rider A Chinese Han Dynasty painted pottery horse & rider. Made from grey pottery and cold-painted in white, red and black pigments. The rider dressed as a warrior and in the pose of holding reins for the horse. Comes with a custom sturdy lucite stand. Measures: Height: 13.5 inches (33cm). Length: 13 inches Depth: 5 inches Han Dynasty (206 BC – AD 220). Condition: Very good with past restoration to legs. The great influence of the horse throughout the history of China can...

A Large Han Dynasty Terracotta sculpture of a Mythical Beast. TL Tested I cant emphasize how rare this item is and predict it will not last long. The condition is extraordinary with...

A Chinese terracotta tomb figure (Ni Yong) from East Han Dynasty (25-220 AD), likely from the area of nowadays Sichuan. It appears to depict a groom figure with attires and harness i...

Finely potted with incurved facetted sides divided by raised ribs and set with two short lugs to the shoulder, the body rising to a short octagonal neck, the domed cover of conforming section, surrounded by an upturned rim and surmounted by a bud finial, applied overall with a celadon glaze of the period. A related vase of this rare and charming form, in the Zhenjiang Museum, Zhenjiang, is illustrated in the Complete Collection of Chinese Ceramics. Song, vol. 8, Shanghai, 1999, pl. 52. Vases of related octagonal shape were produced at the Ding kilns, in Hebei province, and the qingbai kilns in Jiangxi province; see a Ding vase in the Palace Museum, Beijing, illustrated in Selection of Ding Ware. The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2002, pl. 37; and a qingbai example, from the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3 (II), London, 2006, pl. 1590; and another carved with a floral scroll, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 105. Period : Western Jin Dynasty (266 - 316 AD) Type : Octagonal Vase Medium : Yue celadon...

Flying two heavenly beings depicted in the stone. They are celestial beings called an Apsara. While having the same fragment and shape, another work our gallery uploaded exhibits sma...

Cylindrical vessel on three animal-shaped feet (dragon or snake), wall with profile grooves, roof. pottery with green lead glaze. "Iridescence" is observed in surface. Period : Han...

The lamp shaped as a kneeling female figure wearing long robes, her face with a large nose, deep-set eyes and pronounced cheeks, holding an infant in her lap, her cylindrical and elo...

Grand, crème glazed terracotta, Han-style, braying stallion sculpture.

The small dots apparent on the surface of this stone stele are indicative of an oolitic silica structure or oolites formed in what is known as "Oolitic chert." The same phenomenon can also be observed in the Tang Dynasty Limestone Stele at the Asian Art Museum in San Francisco. This formation occurs gradually over the course of thousands to several hundred thousand years within the soil or sea. Similar structures are commonly found in ancient fossils or arrowheads. Ancient peoples chose certain types of stones for tool-making, preferring materials that were easier to work with and could be sharpened effectively. This predilection is believed to be the reason why oolitic silica structures are frequently found in ancient arrowheads. The development of these oolitic silica structures is a very slow process involving the accumulation of siliceous layers around particulates. This phenomenon, where silica reacts with water to form layers around a nucleus, occurs under specific chemical and physical conditions. Typically, it takes thousands to hundreds of thousands of years for silica to gradually accumulate in layers through contact with moisture, a process that requires a precise harmony of many variables, including chemical conditions, temperature, pressure, pH, and biological activity. It is known that no other stele with such a silica structure has been identified to date, serving not only as evidence of its authenticity but also significantly enhancing the rarity of this piece. This stele appears to be a stone sculpture of an apsara, a celestial nymph from Buddhist and Hindu traditions. Despite its fragmentary state, the sculpture conveys grace and movement. The apsara is captured in a dynamic pose, perhaps once part of a larger tableau, playing a flute-like instrument. The black stand was made in Hong Kong at the time of the acquisition. Date : Northern Wei/Eastern Wei Dynasty(386~550) Size : 22cm (Height) x 16cm(diameter) Condition : Good (oolites dots on surface) Provenance : Acquired in late 1990s from Hongkong Reference : 1) Sotheby's New York 20 March 2018 - Jingyatang Treasures Of Chinese Buddhist...

Modeled as a recumbent animal, this Jin dynasty vessel features a raised spout and an arched handle across the back. The wings are suggested through dotted and incised markings, and ...

Chicken-head ewers are a distinctive ceramic form that developed during the Jin dynasty (265–420), originating in the southern Yue kilns of present-day Zhejiang province, and later s...

Robustly crafted with a voluminous spherical body and a layered mouth rim, this jar features a pair of taotie handles. It is adorned with three horizontal bands on the upper half of ...

Chinese Han Dynasty Terracotta Fighting Dog. During the Han Dynasty (206 BC to 220 AD), terracotta dogs were placed at a grave site in order to protec...

Made from the standard orange earthenware body of Han green glazed tomb models, this miniature milling station features a circular millstone and a foot...

The head is rounded, with minimal detailing of the beak, eyes, and comb. The neck is thick and solid, seamlessly transitioning into the body, which appears sturdy and compact, giving...

This green-glazed pottery elephant dates to the Han dynasty, a period in which representations of elephants in Chinese art were uncommon. Elephants, once present in parts of Central ...

This Han Dynasty green-glazed Haitai sculpture, though worn over time, retains its dynamic form. Period : Han Dynasty (206 BC - 220 AD) Medium : Earthenware with Green glaze Provena...

Hand-thrown earthenware, glazed Han style vase.

This piece, directly referred to as a Money Tree, is a captivating work that embodies wishes for material prosperity. It takes center stage in the Asian collections of institutions s...

Cylindrical vessel on three animal-shaped feet (dragon or snake), wall with profile grooves, roof. Ceramic with green transparent glaze. "Iridescence" is observed in surface. Period...

The Han Dynasty gate pillar held by the Asian Art Museum in San Francisco and this gate pillar are the only known examples of their type worldwide, highlighting its extraordinary rar...

The statuette shows traces of the original red, black, and white pigmentation. The figure’s body, head, and hands (which in this case are lost) were all made separately to give her an essence of movement and dynamism. Given its almost identical shape to the piece from the Artemis Gallery...

Slab pottery constructed barn workshop having a peaked roof – open walled form with a mechanical pounder and a large round covered storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. Condition: Intact, excellent condition, an unusual example. Provenance: The Living Torah Museum, Brooklyn; ex. Sands of Time, 2002. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. This fantastic piece is accompanied by a Certificate of Authenticity. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary...

Han dynasty pottery tomb figure, modelled standing holding a Pitchpork in front of his body, covered in a turquoise-green glaze. These two pieces are believed to have been produced i...

It has a pyramidal roof topped with a finial, ornamental ridges, and faux doors and windows that are characteristic of Chinese sacred architecture of the period. Period : Han Dynast...

Nice examples of Han Dynasty style terracotta duck bottles. No breaks. No chips. No repairs. Paint has worn over the years.

Impressive terracotta warrior representing a banner bearer gripping a wooden staff with his hands (dematerialized through the ages); his gaze is ser...

Slab pottery constructed Model of a Paper Mill, in Green and Cream Color Glazed Terracotta having a peaked roof – open walled form with a mechanical pounder and a large round storage container. Light blue-green mottled glazed surface with some iridescence patina to the glaze. The Iridescence is a refraction of the layers on the glass that produces multicolor hues & metallic luster, and only develops after one thousand years of being buried in the ground. An unquestionable mark of antiquity, impossible to falsify. Han Dynasty, dated 206 B.C-220 A.D. Condition: Excellent, wear commensurate with age, an unusual example. This fantastic piece is accompanied by a Certificate of Authenticity. Sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Models like this one were made to represent everything from simple goat or pig pens to the most elaborate towers and palaces. Because very few ancient Chinese buildings have survived intact, these models, along with descriptions from ancient texts, give a good representation of what the buildings might have looked like. Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these figurines, called mingqi, sometimes referred as “spirit utensils” or “vessels of ghosts” disclose details of routine existence and provide insights into belief systems over a thousand-year period. For the first time in Chinese history, we have images of rural and daily life during the Han in the form of contemporary records...

Huge hollow molded terracotta, standing male figure wearing a hip-length multi-layered robe with a collared neck. Implements suspended from his waist, holding a staff in his right ha...

Han Style chinese vase, probably ancient though not verified by testing- it is strongly similar to period examples. It is made of green ceramic with masks in relief on two sides. re...