Chinese Collection

Full view of Storage Jar from the China, Gansu province, Yangshao culture (c. 2500 B.C.), jars like this are known for  they are noted for their generous forms and great vitality of design
Storage Jar
Storage Jar
Full view of Storage Jar from the China, Gansu province, Yangshao culture (c. 2500 B.C.), jars like this are known for  they are noted for their generous forms and great vitality of design

Storage Jar

China, Gansu province, Yangshao culture
Neolithic period, Banshan phase (c. 2600–2300 B.C.)
c. 2500 B.C.
Low-fired earthenware painted with iron oxide and manganese pigments
H. 14 in. (35.6 cm); Diam. 14 3/4 in. (37.5 cm)
AG 1987.01
Large storage jars, painted with a free hand in imaginative geometric designs, are commonly found in Neolithic tombs in Gansu province, located in west China.
Storage Jar from Neolithic period, Machang phase of China with strong pattern
Storage Jar
Storage Jar
Storage Jar from Neolithic period, Machang phase of China with strong pattern

Storage Jar

China
Neolithic period, Machang phase (c. 7000–2000 B.C.)
c. 2200 B.C.
Low-fired clay with iron oxide and manganese pigments
H. 15 in. (38.1 cm); Diam. 16 in. (40.7 cm)
AP 1985.16
Large storage jars, painted with a free hand in imaginative geometric designs, are commonly found in Neolithic tombs in Gansu province, located in west China.
heavily cast Nao Bell, ornamented on each side with eighteen conical studs arranged in three rows, separated by bands of scrolling thunder pattern (leiwen) decoration, and surrounded by borders of fine thread-relief. The tubular shank bears a raised collar decorated with two highly stylized animal masks (taotie), constituted by large, rounded “eyes” amid a scroll pattern.
Nao Bell
Nao Bell
heavily cast Nao Bell, ornamented on each side with eighteen conical studs arranged in three rows, separated by bands of scrolling thunder pattern (leiwen) decoration, and surrounded by borders of fine thread-relief. The tubular shank bears a raised collar decorated with two highly stylized animal masks (taotie), constituted by large, rounded “eyes” amid a scroll pattern.

Nao Bell

China, possibly Hunan province
Western Zhou dynasty (c. 1046–771 B.C.)
c. 10th century B.C.
Bronze
19 x 13 1/2 x 10 in. (48.3 x 34.3 x 25.4 cm)
AP 1995.03
This impressive, heavily cast nao bell is ornamented on each side with eighteen conical studs arranged in three rows, separated by bands of scrolling thunder pattern (leiwen) decoration, and surrounded by borders of fine thread-relief.
Jar with Stamped Decoration has an unusually wide, buoyant form and is decorated with three bands of delicately stamped geometric designs: a wave pattern of fine, closely spaced lines around the mouth; a “waffle” pattern where double parallel lines crisscross to form multiple squares on the shoulder; and hatched squares aligned diagonally on the body. There are small handles on either side of the jar's shoulders.
Jar with Stamped Decoration
Jar with Stamped Decoration
Jar with Stamped Decoration has an unusually wide, buoyant form and is decorated with three bands of delicately stamped geometric designs: a wave pattern of fine, closely spaced lines around the mouth; a “waffle” pattern where double parallel lines crisscross to form multiple squares on the shoulder; and hatched squares aligned diagonally on the body. There are small handles on either side of the jar's shoulders.

Jar with Stamped Decoration

China, probably Jiangxi province
Eastern Zhou dynasty (770–221 B.C.)
7th–4th century B.C.
High-fired earthenware
H. 10 3/8 in. (26.4 cm); Diam. 15 3/4 in. (40 cm)
AP 1996.06
The ceramics of the early first millennium B.C. from Jiangxi province in central China are characterized by stamped or impressed geometric designs on high-fired earthenwares, predominantly on vessels of simple forms with high shoulders, short necks, and broad mouths.
Jar with Ribbed Decoration with a combination of incised lines and raised bands or ribs
Jar with Ribbed Decoration
Jar with Ribbed Decoration
Jar with Ribbed Decoration with a combination of incised lines and raised bands or ribs

Jar with Ribbed Decoration

China, probably Zhejiang province
Warring States period (475–221 B.C.)
4th century B.C.
Stoneware with yellowish green glaze
H. 9 5/8 in. (24.5 cm); Diam.14 1/4 in. (36.2 cm)
AP 1995.08
From the end of the Warring States period through the Han dynasty (206 B.C.–A.D. 220), glazed stoneware vessels were routinely produced in northern Zhejiang and southern Jiangsu provinces to serve as funerary storage jars.
Horse and Rider shows a boldly sculpted and precisely rendered horse, suggesting the physical attributes of the Samanthian breed. The rider’s face is characteristic of the period, with simple and abbreviated, yet naturally modeled. Both enhanced by the addition of colorful pigments, which delineate the rider’s costume and the horse’s saddle and harness
Horse and Rider
Horse and Rider
Horse and Rider shows a boldly sculpted and precisely rendered horse, suggesting the physical attributes of the Samanthian breed. The rider’s face is characteristic of the period, with simple and abbreviated, yet naturally modeled. Both enhanced by the addition of colorful pigments, which delineate the rider’s costume and the horse’s saddle and harness

Horse and Rider

China, probably Shaanxi province
Western Han dynasty (206 B.C.–A.D. 9)
2nd–1st century B.C.
Earthenware with painted polychrome decoration
22 5/8 x 21 1/2 x 6 5/8 in. (57.5 x 54.6 x 16.8 cm)
AP 1994.07
Tombs of the Han dynasty (206 B.C.–A.D.. 220) were typically furnished with model figures and other objects believed to be necessary for a safe journey to the afterlife.
he distinctive, plump ovoid form of the Cocoon-Shaped Jar with Cloud-Scroll Design imitates the silkworm’s cocoon.
Cocoon-Shaped Jar with Cloud-Scroll Design
Cocoon-Shaped Jar with Cloud-Scroll Design
he distinctive, plump ovoid form of the Cocoon-Shaped Jar with Cloud-Scroll Design imitates the silkworm’s cocoon.

Cocoon-Shaped Jar with Cloud-Scroll Design

China, possibly Luoyang, Henan province
Western Han dynasty (206 B.C.–A.D. 9)
Late 2nd or early 1st century B.C.
Earthenware with painted polychrome decoration
11 1/2 x 13 1/8 x 9 1/4 in. (29.2 x 33.3 x 23.5 cm)
AP 1995.02
This handsome jar would have served as a mortuary object (mingqi), placed in a tomb as a substitute for the more valuable bronze and lacquer vessels used in daily life.
Standing Dog showing an animated chow dog covered in a dark green glaze. The dog's head is slightly raised
Standing Dog
Standing Dog
Standing Dog showing an animated chow dog covered in a dark green glaze. The dog's head is slightly raised

Standing Dog

China
Eastern Han dynasty (A.D. 25–220)
c. 1st century A.D.
Earthenware with lead-fluxed glaze
12 1/4 x 13 1/2 x 5 1/2 in. (31.1 x 34.3 x 14 cm)
AP 1995.01
During the Eastern Han dynasty, sculptors produced images of various dog types—among them mastiffs and chows—that were then included with the human and other animal figures placed in tombs. Dogs were generally fashioned standing on all fours or in recumbent attitudes.
Mirror with Animals and Figure is a mirror adorned with symbolic geometric motifs and naturalistic forms. There are four prominent raised bosses and seven real, fantastic animals
Mirror with Animals and Figure
Mirror with Animals and Figure
Mirror with Animals and Figure is a mirror adorned with symbolic geometric motifs and naturalistic forms. There are four prominent raised bosses and seven real, fantastic animals

Mirror with Animals and Figure

China
Eastern Han dynasty (A.D. 25–220)
c. A.D. 100
Cast bronze
6 1/2 in. diameter (16.5 cm diameter)
AP 1984.02
In ancient China, from at least the Shang dynasty (c. 1600–1100 B.C.), mirrors served both as functional articles of daily life and as sacred objects possessing powers of their own. By the fourth century B.C., the custom had developed of placing mirrors in tombs.
Jar in the Shape of a Stupa is an earthenware jar with traces of paint. The jar is deocrated with  a band of lotus roundels above a band of monster masks, both in relief.
Jar in the Shape of a Stupa
Jar in the Shape of a Stupa
Jar in the Shape of a Stupa is an earthenware jar with traces of paint. The jar is deocrated with  a band of lotus roundels above a band of monster masks, both in relief.

Jar in the Shape of a Stupa

China, Shaanxi, Shandong, or Henan province
Northern Qi period or Sui dynasty (550–577/581–618)
Late 6th or early 7th century
Earthenware with traces of painted polychrome pigment
19 1/4 in. (48.9 cm)
AP 1994.06 a,b,c
This unusual pottery jar illustrates the early assimilation of Buddhist motifs to the decoration of Chinese mortuary objects.
Amphora-Shaped Vase is Chinese variation of a Hellenistic vase with looped handles, finely crackled, almost colorless glaze that separates the glossy upper body from the unglazed portion below.
Amphora-Shaped Vase
Amphora-Shaped Vase
Amphora-Shaped Vase is Chinese variation of a Hellenistic vase with looped handles, finely crackled, almost colorless glaze that separates the glossy upper body from the unglazed portion below.

Amphora-Shaped Vase

China, probably Hebei province
Tang dynasty (618–907)
7th or 8th century A.D.
Stoneware with transparent glaze
H. 14 7/8 in. (37.8 cm); Diam. 7 5/8 in. (19.4 cm)
AP 1969.16
The amphora shape of this vase, modeled after Hellenistic prototypes, has been translated into Chinese idiom by the use of a single color glaze and the substitution of dragon handles for the ordinary loop variety.
Court Lady is an animated and charming earthenware funerary sculpture representing one of the court's ladies. She wears long robes, a white jacket, and upturned shoes.
Court Lady
Court Lady
Court Lady is an animated and charming earthenware funerary sculpture representing one of the court's ladies. She wears long robes, a white jacket, and upturned shoes.

Court Lady

China, probably Shaanxi province
Tang dynasty (618–907)
First half of the 8th century
Gray earthenware with painted polychrome decoration
16 5/16 x 7 1/16 x 6 3/8 in. (41.5 x 18 x 16.2 cm)
AP 2001.01
One of the most engaging and distinctive groups of Tang funerary sculpture is the one representing ladies of the court. This animated and charming example stands in a gracefully swayed pose, her petite hands held in a conversational gesture in front of her swelling form.
The Kimbell’s Earth Spirit stands in a rampant posture of conquest as it subdues a snarling beast upon a rockwork base, its left arm entwined with a serpent. The spirit’s triple horns, bulging eyes, and bare-teethed grimace add to its ferocious appearance.
Earth Spirit
Earth Spirit
The Kimbell’s Earth Spirit stands in a rampant posture of conquest as it subdues a snarling beast upon a rockwork base, its left arm entwined with a serpent. The spirit’s triple horns, bulging eyes, and bare-teethed grimace add to its ferocious appearance.

Earth Spirit

China, probably Shaanxi province
Tang dynasty (618–907)
First half of the 8th century
Gray earthenware with painted polychrome decoration
31 1/8 x 7 9/16 x 11 1/4 in. (79.1 x 19.2 x 28.5 cm)
AP 2001.02
The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (A.D. 386–534) and continued into the Tang dynasty.
Ewer with a Short Spout is a spherical shape with lustrous brown gaze.
Ewer with a Short Spout
Ewer with a Short Spout
Ewer with a Short Spout is a spherical shape with lustrous brown gaze.

Ewer with a Short Spout

China
Tang dynasty (618–907)
8th or 9th century
Stoneware with mottled golden brown glaze
H. 7 1/2 in. (19 cm); Diam. 6 5/8 in. (19 cm)
AG 1973.03
This ewer is distinguished by its spherical shape and lustrous brown glaze, which falls short of the base in a sweeping curve, revealing its light buff body. The handle terminates at the rim in a stylized, natural form.
The torso adorned in a simple skirt with a scarf across the chest and a long, elaborate necklace, represents a bodhisattva attendant to the Buddha
Bodhisattva Torso
Bodhisattva Torso
The torso adorned in a simple skirt with a scarf across the chest and a long, elaborate necklace, represents a bodhisattva attendant to the Buddha

Bodhisattva Torso

China, probably Shanxi province
Tang dynasty (618–907)
c. 775–800
Stone, traces of gesso and pigment
39 x 12 15/16 x 8 in. (99 x 32.8 x 20.3 cm)
AP 1987.01
The evolution of Chinese Buddhist sculpture from archaic and columnar to fleshy and sensuous reached its culmination in the Tang dynasty, by which time Chinese Buddhist sculpture in the round shows a masterful adaptation of foreign Indian style to indigenous traditions.
Melon-Shaped Ewer is a delicate white porcelain. a broad band of lightly incised floral scrolls within a field of freely combed lines adorns the body and shoulder.
Melon-Shaped Ewer
Melon-Shaped Ewer
Melon-Shaped Ewer is a delicate white porcelain. a broad band of lightly incised floral scrolls within a field of freely combed lines adorns the body and shoulder.

Melon-Shaped Ewer

China
Song dynasty (960–1279)
11th or 12th century
Porcelain with pale greenish blue glaze (Qingbai ware)
H. 6 in. (15.2 cm); Diam. 5 7/8 in. (14.9 cm)
AG 1976.01
Qingbai ware, prized for its elegant restraint, was produced near the great ceramic center of Jingdezhen in Jiangxi province, in south China. These delicate porcelains are distinguished by a clear, bluish white glaze over incised, combed, or molded decoration.

Pages