A magnificent pair of male and female courtiers from the Ming Dynasty (1368-1644 CE) in excellent condition. They are wearing traditional Daopao robes in green and black garments with red accents in an enamel finish. They are standing on a rectangular double plinth in red, green and yellow hues, the unglazed areas have pigmented colors in red, black and white with exquisitely detailed facial features. The head is detachable, as often seen on the larger figures from this period. He holds a yellow round fan on his right hand, she is holding a yellow circular fan. Condition: excellent, finely preserved glaze and pigment, undamaged and no repairs. Ex. Danish collection. The set is guaranteed authentic and comes with a COA and TL Test from Laboratory Kotalla in Germany, the oldest private laboratory specialized in Scientific Authenticity of Thermoluminescence Analysis in the world. Dimensions: Male 64.5 H cms Female 62.5 H cms Condition: Mint, finely preserved glaze and pigment, undamaged and no repairs. Provenance: Ex. Danish Collection 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. The Ming dynasty was the ruling dynasty of China – then known as the Empire of the Great Ming – for 276 years (1368–1644 AD). Founded by Chu Yuan-chang, the rebel leader that was successful in removing the mongols from the throne. Chinese control was re-asserted in China and eastern Asia. Literature became more important, schools were created, and the justice system was reformed. The Ming dynasty is described by some as "one of the greatest eras of orderly government and social stability in human history,” was the last imperial dynasty in China ruled by ethnic Han Chinese. The practice of burying ceramic objects with the deceased went into decline from the 10th-14th century AD. There was a revival in placing miniature representations of glazed terracotta objects such a furniture, food offerings, horses, miniature statues of male and female attendants and many other objects into the burial chamber alongside the departed. Almost any object that was used in daily life during this period was re-created in miniature form, especially for burial purposes; although other objects which served a utilitarian function were also used in burial chambers. Miniature representations of food, animal, houses, cooking vessels and many other objects that were enjoyed by the deceased when living were made as offerings to accompany them into the other world. It is thought that familiar objects would ease their way and give them comfort when entering into the after life.

Westerners have long admired Chinese furniture for its durability, inner strength, quiet restraint, and simple dignity. Especially attractive to the educated eye are its purity of line, devotion to detail, and flawless construction. This unabridged reprint of a rare classic provides lovers of Chinese furniture with an enlightened discussion of the accomplishments achieved by fine craftsmen over the centuries, including the aesthetic levels attained during the early Shang period (1766–1123 B. C.), the transitional phase of cabinetmaking during the Yuan Dynasty (1280–1368 A.D.), and the perfection in craftsmanship reached during the Ming Dynasty (1368–1644 A.D.). The text also reviews the origins and development of basic forms and methods of construction — from the selection of wood to its processing, cutting, joining, ornamentation, and final polishing.Long considered the definitive work on Chinese hardwood furniture in a Western language, this indispensable guide contains 161 superb plates that include photographs and drawings of tables, chairs, couches, cabinets, cupboards, and wardrobes. There are also measured drawings for 21 exquisitely crafted pieces for woodworkers interested in creating authentic Chinese furniture.When the first edition of this volume was published more than 40 years ago in Peking, only 200 copies were printed. Today, each of the few remaining originals is worth several thousands of dollars. Now available in a handsome and affordable reprint edition, this volume is a unique addition to the libraries of woodworkers, art lovers, and anyone interested in Chinese culture and décor.

Lot 303. Blue and White 'Phoenix' bottle vase, China, Ming dynasty, 1368 - 1644. Photo Hampel Height: 35.6 cm. On base underglaze-blue seal mark. Estimate € 24.000 - 28.000 Hampel. Art d'Asie. jeudi 24 septembre 2015

The two paintings of a large vertical size, nicely painted with bright colours and numerous details.

A LARGE WOOD FIGURE OF GUANYIN WITH TRACES OF PIGMENTS MING DYNASTY (1368-1644) The bodhisattva is shown seated in padmasana, wearing long flowing robes, a bejewelled necklace and a high crown set with a figure of Amitayus Buddha. The face has a serene expression, with heavy-lidded eyes. The figure is covered with traces of red, and green pigments. Good condition, according to age.

Ming dynasty (1368–1644), Xuande reign mark and period (1426–1435)

The dramatic story of a girl who became a goddess The Lady of Linshui-the goddess of women, childbirth, and childhood-is still venerated in south China, Taiwan, and Southeast Asia. Her story evolved from the life of Chen Jinggu in the eighth century and blossomed in the Ming dynasty (1368-1644) into vernacular short fiction, legends, plays, sutras, and stele inscriptions at temples where she is worshipped. The full-length novel The Lady of Linshui Pacifies Demons narrates Chen Jinggu's lifelong struggle with and eventual triumph over her spirit double and rival, the White Snake demon. Among accounts of goddesses in late imperial China, this work is unique in its focus on the physical aspects of womanhood, especially the dangers of childbirth, and in its dramatization of the contradictory nature of Chinese divinities. This unabridged, annotated translation provides insights into late imperial Chinese religion, the lives of women, and the structure of families and local society. The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

CURRENTLY UNAVAILABLEDimensions: 26"W x 23"D x 35.75"H? Material: Solid rosewood ? Hand carved elements? Hand rubbed stain? Seat to floor: 19"H? Cushion sold separately*See Cushions & Fabric? Fully assembled? White glove service available? Additional shipping charges will be waived if 3+ chairs are shipped together. Please call 1-888-786-6888 to complete purchase.

Blue-and-White Lotus Palace Bowl, Chenghua Mark and Period (1465-1487), Ming dynasty (1368 – 1644). Jingdezhen, Jiangxi province. Porcelain with cobalt under colorless glaze. Purchase. Accession Nu…