Pair of Celadon-Glazed Haitai Statues, Song to Ming

Two standing court figures modeled in pottery with slender proportions and simplified facial features. A thin straw-toned glaze is applied over the surfaces, with areas of exposed bu...

This Longquan celadon figure is defined by a composed frontal presence: half-lidded eyes, a calm oval face, and a hooded mantle that reads as a single, clean silhouette. The robe is modeled with restrained but deep folds—glaze pools in the recesses into a richer olive tone, while the raised edges fire thinner and lighter, sharpening the relief and giving the carving real definition. The color shifts naturally from jade-like grey-green to mossy depths, with fine peppered speckling and subtle kiln character on the surface—an understated, materially convincing piece where form and glaze do the work. Period: Ming Dynasty (1368-1644) Region: Longquan, China Medium: Stoneware - Celadon glazed, with a range from heavy grey to almost white porcelain-like material Type: Sculpture Height : 24.5 cm Provenance : Acquired in 1999, Hongkong * Ming Dynasty Longquan Celadon Longquan celadon from the Ming Dynasty typically exhibits a more robust and heavier stoneware body compared to its Song Dynasty predecessors. The Ming era saw an evolution in celadon glaze, achieving a wider spectrum of green hues, from olive to bluish-greens. Ming celadons...

Two finely hollow-moulded terracotta statuettes from ancient China, dating to the Ming Dynasty. The figure is depicted standing, dressed in long, flowing robes, painted in vibrant blue or green and deep amber yellow. The hair is styled into an elaborate top-knot, painted in a muted brown. Areas left unpainted would have been 'cold-painted' after firing, contrasting with the vivid fired blue or green and amber pigments. The figure is shown with the left hand raised to the chest, as if holding something, possibly an offering or incense. Figurines like this were placed in tombs to guide the deceased on their journey to the afterlife. The Ming Dynasty was known for its exceptional artistic achievements, partly due to its economic prosperity. Since the Han Dynasty, it was customary to bury terracotta miniatures of everyday objects with the deceased. These items, known as mingqi, or "spirit utensils" and "vessels for ghosts," were believed to help and assist the deceased in the afterlife. Mingqi were crafted in the form of cooking utensils, miniature replicas of houses, temples, furniture, and other items. Anthropomorphic and zoomorphic terracotta figures were also popular, designed to assist, entertain, and recreate the living world for the deceased. Period: Ming Dynasty Medium: Green/blue-glazed Pottery Type: Figure Provenance : Acquired in late 1990s from Hongkong Reference : 1) Ancient & Oriental - Terracotta Tomb Attendants (Type : Highly related) 2) La Maison De La Petite Sara S.r.l. - Archaeology section - A Black glazed Terracotta Statuette, Servant with Trumpet, Ming Dynasty (Price realised : 700 GBP / Type : Highly related) * Ming Dynasty Glazed Pottery Figures Ming Dynasty glazed pottery figures are renowned for their bold color palette, intricate detailing, and lifelike forms, distinguishing them from earlier traditions. These figures, which depict officials, warriors, animals, and mythical creatures, are characterized by high-gloss lead-based glazes in green, amber, ochre, and sancai (three-color) combinations. The thickly applied glaze pools in recesses, creating depth and enhancing sculptural details. With dynamic postures, expressive facial features, and meticulously rendered drapery, these figures reflect the period’s advancement in ceramic craftsmanship, offering a greater sense of movement and realism compared to the rigid and stylized forms of earlier dynasties. A defining characteristic of Ming glazed pottery is its elaborate surface detailing, often achieved through raised relief elements and contrasting glazes. Equestrian figures, for example, feature carefully sculpted saddles, harnesses, and decorative embellishments, while human figures are adorned with intricate robes and headdresses. The large scale of these tomb figures, often more imposing than those from previous periods, underscores the increasing importance of funerary art during the Ming era. Unlike later Qing Dynasty figures...

This pair of celadon vessels is entirely coated in a thick olive-green glaze, which retains a soft natural sheen. A network of crackles spreads across the surface. Along the ridges a...

Fabulous pair of Okinawan Shisa dogs.

Brightly painted with a male and female foo dog or Buddhistic lion one holding a ball for the material world and the female with the cub representing the spiritual.

Often referred to as “Fu Dogs” in western culture, these handsome stone sentinels are iconic gatekeepers seen throughout China and elsewhere in Asia. Traditional symbols of protectio...

A striking pair of Chinese sancai-glazed pottery guardian lions dating to the early 20th century, circa 1920. Modelled as an opposing pair, each Buddhist lion is seated upright upon...