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| Gallery Of Buddhist Sculpture |
Buddha is the Sanskrit word meaning "The Awakened one." Originating in India, Buddhism spread to China in the first century. Early Buddha brands distinctive foreign characteristics, such as the emaciated face and deep-set features of a seated Buddha from the fifth century. During the T'ang Dynasty, an indigenous religious tradition developed while Buddhism continued to flourish; hence, these pieces manifest characteristics of the T'ang style. This exhibition features seated Buddha with representative voluptuous features dating to the High T'ang. Despite its small size, the figure conveys strength and vigor. Along with the growing secularization of Buddhism in the Song Dynasty (960-1279), its relation to the imperial court became increasingly distant. From this period is a large figure of Sakyamuni wearing a flowing robe with a gentle and kind expression. A fusion of Buddhism, Taoism, and Confusion flourished in the Ming Dynasty (1368-1644), at which time the Ch'an and Pure Land Schools came to rise. A Ming figure of the Amitabha Buddha on display is remarkably straight and symmetrical, the folds in the robe are precise and conceptualized.
Bodhisattvas are enlightened beings embodying compassion. While possessing the wisdom of the Buddha, the bodhisattva postpones attainment of nirvana in order to assist mortals in need. Manjusri , the Bodhisattva of Wisdom, seated upon a lion, often appears with Samantabhadra, the Bodhisattva of Universal Benevolence, who mounts an elephant. The most beloved and worshipped bodhisattva in China is Avalokites vara (Chinese: Kuan-yin). In the Southern and Northern Dynasties (220-589), Kuan-yin is depicted carrying a lotus flower in one hand, signifying purification. Kuan-yin's other common attributes include a holy water bottle (kadika), a whisk, and a willow branch. The water bottle, an indispensable item in the tropical climate of India, symbolizes cleansing of the human heart and Kuan-yin's compassion bestowed upon all sentient beings. The whisk represents Kuan-yin's ability to disperse worries and trouble, while the willow symbolizes Kuan-yin's gentle nature. Kuan-yin of the High T'ang adopts feminine features. In the Middle and Late T'ang, Kuan-yin figures appear free and easy, sitting in a meditative pose with one leg folded and the other relaxed. The facial features of Sung Dynasty (960-1279) bodhisattva figures from the Ta-li Kingdom (Yunnan) reflect strong regional influences. Moreover, in the Ming Dynasty (1368-1644) a large variety of images emerged reflecting Kuan-yin's strong popular appeal. The image of Kuan-yin holding a child, widely-worshipped in supplication for children, is one example of the bodhisattva's deep penetration into the popular religious tradition.
Arhat are the Guardian Deities of Buddhism. Gazing angrily, and wielding weapons, these menacing figures appear perpetually ready to engage in battle to protect the dharma. The guardian deities are often positioned at the entrances of front halls of temples, in order to protect the temple.
My Buddha State was propitious,came from temple. Blessed Buddha will protect you, bless you and brings you good luck ! Each of these Buddha Statue is particular, unique and also very infrequent. These images reflect the richness of the Buddhist tradition and the spirit of Chinese Buddhist sculpture.
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| The Ivory Bone Gallery |
Bone carving arts have a long history and famous reputation around the world.In 1982, unearthed bone carved person's head in ShanXi province ,it was the foremost bone artwork ,about 6000 years ago,which provide us precious object to study ancient bone carving art.
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Time past, bone carving has turned from daily necessity into decorations gradually . The ancients made bone into the needle, knife and engrave letters and pattern on the bone.What we see now is very exquisite handicraft product.Especially ivory bone carving,take advantage of ivory carving craft to sculpt various figures, such as Chinese character, Japanese character, historical character, animal and scence, etc.Natural and graceful,superb and costful ,and its artwork is unique and original,carved detail,with noblest aesthetic feeling.From Qing Dynasty to now,only noble could have such chance to own them.It was best suit for adornment in room,gift for friend or a keepsake as collection
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| The Porcelain & Pottery Gallery |
China is a country with an ancient civilization. As early as some 8.000 years ago when it was still at the beginning of the Neolithic age Chinese ancestors had already invented pottery on this vast stretch of land.
In the middle of the Shang Dynasty dated back to 3,000 years or so,proto-porcelain appeared and,toward the end of the Eastern Han Dynasty(25-220),really mature porcelain ware was created.
The emergence of red,grey,painted,white,black pottery and the coming into existence of proto-porcelain,celadon,black,white porcelain and later on even multi-colour-glazed porcelain,underglazed colour,overglazed colour,etc.have all manifested themselves an uninterrupted course along which the Chinese ceramics has been developed for 8,000 years. Ever since the Tang Dynasty(618-907),the Chinese ceramic articles have begun to be exported to various parts of the world. China's porcelain-making technology,her extraordinary achievements scored in terms of artistry, and their spread to and influence on lots of countries and regions the world over have pushed forward the development of ceramic industry and related culture in the world as a whole,incontrovertibly showing that china is worthy of the good reputation of "kingdom of Porcelain"in the history of mankind.
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| The Bronze Gallery |
The bronze culture is the result of the development of human civilization to a certain stage. The great bronze vessels began to appear in the late Xia Dynasty(the period of Er Li Tou in the archeological culture). And then appeared a lot of imposing combination groups of bronze vessels carved with lines and pictures(especially animals)in the early(the period of Er Li Gang in the archeological culture) and late Shang Dynasty.(the period of Yinxu).Then appeared a great deal of the bronze vessels with long inscriptions recording the historical events in Dong Zhou period. The greatness and the inscriptions are the two characteristics of the Chinese bronze culture. The manufacture and development of the bronze vessels through the ages have not been interrupted, but only in the pre-Qin period (before 221 BC) did they have a considerable influence on the human life.
It was said that the king Yu of the Xia Dynasty (C.21st-16 century BC) made "Nine Ding" (nine cauldron) and they came into the possessions of the Shang and then the Zhou royal house after the Xia and Shang respective fall. The "Nine Ding"were a symbol of central authority in ancient china. As the owner of the "Nine Ding"changed, it meant the change of a dynasty. The royal family declined and the dukes contented for hegemony in the period of the Spring in Chinese history. There was a story about the "Nine Ding" which said the prince of Chu state once passed through the boundary of Zhou and asked the weight of the Ding in its possession. His action was known to susrp the throne. The bronze vessels of Ding(caudron) and the Yi(sacrificial vessel) usually displayed in the ancesteral temple or buried in into tombs were called ritual vessels. They symbolized the noble status and had great influence on the development of Chinese histories for thousands of years.
Since the Han Dynasty, just as an old saying"the earth cherishes no treasure"(which means that the earth does not care to keep her rich store of treasures)?bronze ritual vessels and musical instruments have been unearthed from time to time. Owing to their dignified patterns and imposing style, these vessels found favor in emperors'eyes and were regarded as the auspicious emblem. So the people offered them to the emperors and the royal families also searched them from the people. Gradually they became important royal ancient collections. Once in the Song Dynasty?the bronzes collections in the imperial palace were compiled a book named Xuanhe bogu tulu (an illustrated book of antiques in Xuanhe period). In the qianlong's reign of the Qing dynasty?the imperial collections of bronzes were successively compiled in four books including the Xiqing gujian (Xi qing collection of ancient bronzes) , Xiqing xujian jiabain(the first continuity of the Xiqing collection of ancient bronzes),Xiqing xujian yibian(the second continuity of the Xiqing collection of ancient bronzes),Ningshou gujian(Ningshou collection of the ancient bronzes)and so forth.
My store houses over 500 pieces of bronze articles handed down from ancient times?in which there are lots of fine works?nearly 200 items with inscriptions of the pre-Qin period alone.Through the bronzes on display here we try to show the internal relations between the Chiese bronze culture and the culture of imperial house.
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| The Metal-Roughcast Enamel Gallery |
| The metal-roughcast enamel craft is the youngest branch in the long history of Chinese arts and crafts. Cloisonne enamel and painted enamel, its two categories, developed respectively at the end of the 13th century and at the beginning of the 17th century under the influence of foreign cultures. With red copper as roughcast and mineral as glaze, the enamel works were produced for the nobility rather than the people. Their patterns are as glistening as gems, as colorful as rainbow and as bright as gold. In comparison with other cultural relics handed down from the imperial palace of the Ming and Qing dynasties, metal-roughcast enamel artifacts are mostly preserved in the Palace Museum. The representative works exhibited here reflect the glorious achievement of enamel craft as well as display the creative talent and outstanding contribution of the Chinese people in the aspect of absorbing foreign cultures and developing national tradition.
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| The Jade Gallery |
Chinese jade ware has a long history with its superb texture,exquisite craftsmanship,variety of forms,wide usage, soft color and luster. It bears strong national characteristics and distinctive features and forms a special school out of the world's jade carving art. In the long process of its development has close relations with Chinese history and has been endowed with political,moral and ritual contents,helping the superb material nature of the jade ware and its profound spiritual factors merge into an organic whole.
These articles on display here are selected from jade wares handed down from ancient times in my store. It shows out the thread of the development of the crafts,artistic attainments and features of the times in the past one to two thousand years.
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| The Treasure Gallery |
| The imperial family was so luxurious that it possessed an enormous amount of gold, silver, pearls, gems, jade and jadeite, which were used to decorate costume,jewelry, furnishings as well as articles for daily use. Designed according to the intentions of the emperors, some of these treasures were made either in the Palace Workshops or by skilled craftsmen in South China while the other treasures were presented as tributes by princes, dukes and officials. Marked with distinct characteristics of imperial culture, they are not only noted for their economic value but also cherished as precious historical materials and exquisite works of art..
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| The Clock Gallery |
| Chinese timepieces have a long history. Before the Qing Dynasty, the sundial and clepsydra had been used for reckoning the time. In the 18th century, a large number of mechanical clocks came into the Qing court. Most of them were produced in England, and the rest in France, Switzerland and other Western countries as well as in our own country. Besides giving the correct time, these clocks are also noted for their moving figures, flowers, animals and birds, which when the mechanism is set in motion perform complicated movements. They were, at that time, not only useful timepieces, but also delightful and exquisite articles.
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Appendix:Chinese history (Dynasties and Capitals)
| Dynasty |
age |
Capital |
|
King |
About1,700,000-4000 years ago |
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| Xia |
21st-16th century BC |
Anyi |
| Shang (Yin) |
16th-11th century BC |
Hao
Yin |
| Western Zhou |
11th century-770 BC |
Feng, Hao |
| Eastern Zhou |
770-221BC |
Luoyi |
| Spring Autumn Period |
770-475 BC |
Luoyi |
| Warring States Period |
475-221 BC |
|
| Qin |
221-207 BC |
Xianyang |
| Western Han |
201 BC-8 AD |
Changan |
| New Dynasty |
8 BC-23 AD |
Changan |
| Eastern Han |
23-220 AD |
Luoyang |
| Three Kingdoms |
Wei |
220-265 AD |
Luoyang |
| Shu |
221-263 AD |
Chengdu |
| Wu |
229-280 AD |
Jianye |
| Western Jin |
265-316 AD |
Luoyang |
| Eastern Jin |
317-420 AD |
Jiankang |
| 16 Kingdoms |
304-439 AD |
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| Southern & Northern Dynasties |
420-581 AD |
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| Sui |
581-618 AD |
Daxing |
| Tang |
618-907 AD |
Changan |
| Five Dynasties & Ten Kingdoms |
907-960 AD |
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| Song |
Northern Song |
960-1127 AD |
Kaifeng |
| Southern Song |
1127-1279 AD |
Linan |
| Liao |
916-1125 AD |
Shangjing |
| Western Xia |
1038-1227 AD |
XinQing |
| Jin |
1115-1234 AD |
Zhongdu |
| Yuan |
1271-1368 AD |
Dadu |
| Ming Dynasty |
1368-1644 AD |
Nanjing?Beijing |
| Qing Dynasty |
1644-1911 AD |
Beijing | |
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