{"title":"Chinese \u0026 Far Eastern Art","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBrowse our exquisite collection of genuine Chinese and Far Eastern art, where you'll discover enchanting antiquities such as Bronze Age Chinese pottery vessels, ceramics from the Han, Tang, and Song dynasties, ancient grave goods, archaic bronze vessels, and intricately decorated jade carvings. Additionally, explore fantastic pottery from the Silla Kingdom of the Korean Peninsula. Each piece is guaranteed authentic, backed by our years of experience and consultations with esteemed experts in their respective cultures. All artworks are sourced from prestigious European collections, with provenance dating back to before the 1960s.\u003c\/p\u003e","products":[{"product_id":"silla-kingdom-pottery-lidded-bowl","title":"Silla Kingdom Lidded Stoneware Bowl (Kobae)","description":"\u003ch3 class=\"p1\"\u003eSilla Kingdom, Three Kingdoms Period, 57 BC–676 AD, Korea\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and finely crafted stoneware lidded bowl, known as a kobae. This elegant vessel was skillfully coil-built, thin-walled, and wheel-finished, featuring delicate incised and cut decoration beneath a naturally formed ash glaze. The piece exemplifies the refined ceramic artistry of the Silla Kingdom during the Three Kingdoms period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSilla pottery of this era is typically characterized by its grey stoneware fabric and subtle decorative treatments—incised, applied, or pierced motifs that highlight the potter’s technical precision. Two principal forms are known from Silla production: the long-necked jar (changgyong ho) and the rounded, lidded bowl on a broad foot (kobae), such as this fine example. These vessels were used on special occasions for serving food rather than liquids and were likely influenced by the Chinese dou form. The lid, fitted with a small pedestal handle, could be inverted to serve as an additional dish.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcavated examples of kobae have revealed traces of soybean paste, kimchi, red pepper paste, and fermented fish sauce—testifying to their practical role in ancient cuisine. Yet most kobae have been discovered in tomb contexts, suggesting their use as ritual or funerary vessels, buried with the deceased to accompany them into the afterlife. This exquisite bowl thus embodies both the technical sophistication and spiritual beliefs of Silla culture, reflecting a civilization where artistry and ritual were deeply intertwined.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Intact. \u003c\/span\u003eMinor surface wear, chip and abrasions consistent with age and use. Attractive encrusted patina and rich earthen deposits across the surface.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSize approx. 18,5cm x 14,2cm x 14,1cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Metropolitan Museum of Art, New York, Accession Number: 1997.34.7a, b.(https:\/\/www.metmuseum.org\/art\/collection\/search\/39502)\u003c\/p\u003e\n\u003cp\u003ePhiladelphia Museum of Art, Accession Number: 1983-81-5a,b (https:\/\/philamuseum.org\/collection\/object\/76524)\u003c\/p\u003e\n\u003cp\u003eLos Angeles County Museum of Art, Accession Number: 1999.187.1.1-.2.(https:\/\/collections.lacma.org\/node\/199210)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBrooklyn Museum, Accession Number: 40.519a-b. (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/50480)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSilla: Korea's Golden Kingdom, Soyoung Lee \u0026amp; Denise Patry Leidy, with contributions by Ham Soon-seop, Huh Hyeong Uk, Insook Lee, Juhyung Rhi, Yoon Onshik, and Yoon Sangdeok, Met Publications, 2013. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eSilla Kingdom, Prehistory and Ancient History, National Museum of Korea. (https:\/\/www.museum.go.kr\/site\/eng\/showroom\/list\/760?showroomCode=DM0008)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eSilla Pottery, Mark Cartwright, World History Encyclopedia, published on 28 November 2016. (https:\/\/www.worldhistory.org\/article\/983\/silla-pottery\/)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44212017791241,"sku":"1079017","price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_1d82e6ab-99e8-4c5c-a51e-c03dbd6f8b87.jpg?v=1677317930"},{"product_id":"silla","title":"Silla Kingdom Lidded Stoneware Bowl (Kobae)","description":"\u003ch3 class=\"p1\"\u003eSilla Kingdom, Three Kingdoms Period, 57 BC–676 AD, Korea\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fantastic and finely crafted stoneware lidded bowl, known as a kobae. This elegant vessel was skillfully coil-built, thin-walled, and wheel-finished, featuring delicate incised and cut decoration beneath a naturally formed ash glaze. The piece exemplifies the refined ceramic artistry of the Silla Kingdom during the Three Kingdoms period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSilla pottery of this era is typically characterized by its grey stoneware fabric and subtle decorative treatments—incised, applied, or pierced motifs that highlight the potter’s technical precision. Two principal forms are known from Silla production: the long-necked jar (changgyong ho) and the rounded, lidded bowl on a broad foot (kobae), such as this fine example. These vessels were used on special occasions for serving food rather than liquids and were likely influenced by the Chinese dou form. The lid, fitted with a small pedestal handle, could be inverted to serve as an additional dish.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcavated examples of kobae have revealed traces of soybean paste, kimchi, red pepper paste, and fermented fish sauce—testifying to their practical role in ancient cuisine. Yet most kobae have been discovered in tomb contexts, suggesting their use as ritual or funerary vessels, buried with the deceased to accompany them into the afterlife. This exquisite bowl thus embodies both the technical sophistication and spiritual beliefs of Silla culture, reflecting a civilization where artistry and ritual were deeply intertwined.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Intact. \u003c\/span\u003eMinor surface wear, chip and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan\u003eSize approx. 19,5cm x 13,5cm x 13,3cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Metropolitan Museum of Art, New York, Accession Number: 1997.34.7a, b.(https:\/\/www.metmuseum.org\/art\/collection\/search\/39502)\u003c\/p\u003e\n\u003cp\u003ePhiladelphia Museum of Art, Accession Number: 1983-81-5a,b (https:\/\/philamuseum.org\/collection\/object\/76524)\u003c\/p\u003e\n\u003cp\u003eLos Angeles County Museum of Art, Accession Number: 1999.187.1.1-.2.(https:\/\/collections.lacma.org\/node\/199210)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBrooklyn Museum, Accession Number: 40.519a-b. (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/50480)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSilla: Korea's Golden Kingdom, Soyoung Lee \u0026amp; Denise Patry Leidy, with contributions by Ham Soon-seop, Huh Hyeong Uk, Insook Lee, Juhyung Rhi, Yoon Onshik, and Yoon Sangdeok, Met Publications, 2013. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eSilla Kingdom, Prehistory and Ancient History, National Museum of Korea. (https:\/\/www.museum.go.kr\/site\/eng\/showroom\/list\/760?showroomCode=DM0008)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eSilla Pottery, Mark Cartwright, World History Encyclopedia, published on 28 November 2016. (https:\/\/www.worldhistory.org\/article\/983\/silla-pottery\/)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44212191363337,"sku":"1042555","price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/d1_048761b1-7dd0-41e1-820e-3f61214da6a0.jpg?v=1677323518"},{"product_id":"song-dynasty-miniature-bronze-jarlet","title":"Song Dynasty Miniature Bronze Jarlet","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA delicate and finely cast bronze miniature jarlet featuring gently sloping shoulders, a slightly compressed globular body, and a narrow neck with a thin, subtly everted rim. The vessel rests gracefully on a shallow ring base, its surface exhibiting a soft, aged patina that enhances its quiet elegance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile ceramics dominate the artistic legacy of the Song Dynasty, this rare bronze example reflects the same aesthetic ideals that defined Song artistry—refinement of form, balance, and understated sophistication. During the Southern Song period, artists and craftsmen turned toward smaller, contemplative works that mirrored the era’s introspective and poetic spirit. The jarlet’s minimal silhouette and harmonious proportions capture this refined sensibility, embodying the timeless elegance and contemplative beauty that came to define Song culture.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Minor surface wear, dents and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface. \u003cspan\u003eSize approx. 3,9cm x 4,9cm x 4,9cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44221080928521,"sku":"1068940","price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_1ce13d2a-5557-4a5e-a3c4-478961ee34c3.jpg?v=1677495414"},{"product_id":"song-dynasty-miniature-tomb-house","title":"Song Dynasty Brown-Glazed Miniature Stoneware House","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely fascinating and exceedingly rare miniature stoneware house or granary, charmingly modeled in the whimsical form of a vegetable—possibly an eggplant. Coarsely hand-built with a flat base and four vertical ridges along the sides, the vessel features a boldly carved doorway and a small window on opposing walls, evoking the architecture of rustic dwellings. The top is surmounted by a stylized stem, completing its organic form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe surface is coated in a rich brownish-black glaze that envelops the exterior, leaving the underside and base unglazed. Miniature models such as this one were often placed in tombs as symbolic offerings, representing sustenance and shelter for the afterlife. Its imaginative design and rustic charm perfectly capture the spirit of Southern Song craftsmanship—an artistry that balanced playful naturalism with deep cultural symbolism.\u003c\/p\u003e\n\u003cp\u003eGood condition. Intact. Minor surface wear and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface.\u003cspan class=\"Apple-converted-space\"\u003e Glazing flaws and fritting.\u003c\/span\u003e Size approx. 4,9cm x 5,0cm x 5,2cm. Old label at the bottom \"Song Gallery - Chinese Art\". \u003c\/p\u003e\n\u003cp\u003eProvenance: Dani\u003cspan\u003esh private collection \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44222080024841,"sku":"1042968","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/c1_f7c3ef55-90fe-4c6b-a625-06b84c420fee.jpg?v=1677511897"},{"product_id":"song-dynasty-miniature-pottery-jarlet","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA superb Southern Song Dynasty miniature pottery jarlet of elegant form, featuring sloping shoulders, tapering sides, a flat base, and a narrow concave neck with a thin lip. The vessel is beautifully covered in a lustrous brownish-black glaze, likely produced at a kiln in Jizhou, Jiangxi Province, a celebrated center of Southern Song ceramic artistry. The interior remains unglazed, revealing the fine, dense clay body beneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Song Dynasty (960–1279 AD) represents the pinnacle of Chinese ceramic refinement, characterized by restrained elegance, harmonious proportions, and subtle glaze tones. The Southern Song period in particular favored smaller, introspective forms with quiet sophistication—vessels such as this miniature jarlet exemplify that aesthetic ideal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIts simple yet balanced silhouette and deep, mirror-like glaze evoke the timeless artistry of the Jizhou kilns, renowned for their experimentation with dark glazes and delicate craftsmanship. A beautiful example of Song ceramic minimalism and poetic form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Light surface wear, and minor abrasions and chips in the base consistent with age. Size approx. 5,8cm x 4,6cm x 4,6cm. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44222206083337,"sku":"1042451","price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/IMG_9143.jpg?v=1677513771"},{"product_id":"song-dynasty-qingbai-bowl","title":"Song Dynasty Qingbai Porcelain Bowl","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, Jingdezhen, Jiangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptionally delicate and finely potted small porcelain bowl resting on a shallow footrim, likely produced at one of the famed Jingdezhen kilns in Jiangxi Province. The bowl is coated in a luminous pale bluish-green Qingbai glaze with soft beige undertones and a network of beautiful brown crackling. Both the rim and the footrim remain unglazed, revealing the fine white porcelain body beneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Song Dynasty (960–1279 AD) is celebrated as the golden age of Chinese ceramics, distinguished by graceful forms, balanced proportions, and subtle, poetic glazes. During the Southern Song period, Jingdezhen emerged as the leading production center of Qingbai porcelain, renowned for its cool, translucent glaze and refined craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exquisite bowl exemplifies the understated sophistication of the Song aesthetic—an art of restraint and purity that values natural harmony over ornamentation. A timeless embodiment of elegance and technical mastery from one of China’s most celebrated ceramic traditions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact, there is no sign of restoration or repair. Small chips in the rim and surface wear consistent with age and use.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan\u003eDiscolouring and abrasion. Glazing flaws and fritting. Size approx. 14,9cm x 14,9cm x 4,0cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44226139062537,"sku":"1033296","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/b1_14ae16ff-7921-4014-a8e1-710d2fe7137b.jpg?v=1677581374"},{"product_id":"d","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eExquisite Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, a tapering base, and a raised neck, culminating in a practical yet aesthetically pleasing design. The flat, unglazed base contrasts beautifully with the mustard-yellow glaze that envelops the jarlet's upper portion, adding a subtle warmth to its visual appeal.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eGood condition. Intact. Surface wear consistent with age and use. Discolouring, glazing flaws and fritting. Size approx. 4,1cm x 4,7cm x 4,6cm. Once attached with old label ”Song Gallery - Chinese art\", now gone.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44226719351049,"sku":"1079519","price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/IMG_9256.jpg?v=1677587953"},{"product_id":"song","title":"Song Dynasty Qingbai Porcelain Bowl","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, Jingdezhen kilns, Jiangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eAn exquisite and delicately potted small porcelain bowl from the Southern Song Dynasty, finely crafted in the renowned Qingbai tradition. Supported by a neatly finished shallow footrim, the vessel rises with gentle curvature to a subtly flared rim. It is covered in a lustrous, pale greenish-white glaze—a hallmark of Qingbai ware—its translucent surface pooling slightly in the recesses to reveal a soft blue tint.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eQingbai porcelain, meaning “bluish-white,” represents one of the most refined achievements in Chinese ceramic history. Produced primarily at Jingdezhen in Jiangxi province, these wares were among the earliest true porcelains, admired for their elegance, thin potting, and ethereal glaze tones. The Qingbai aesthetic—serene, luminous, and understated—embodied the Song dynasty’s ideal of quiet sophistication, aligning with the intellectual and introspective spirit of the time.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Song era marked a golden age in ceramic production, distinguished by its technical innovation and minimalist beauty. The Southern Song court favored simple yet refined forms and soft, monochrome glazes, which contrasted with the more elaborate styles of preceding and later dynasties. Six major kiln groups flourished during this period, each with distinctive regional styles. Among these, the Jingdezhen kilns became especially important, laying the foundation for their later dominance in porcelain production during the Yuan and Ming dynasties.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis bowl, modest in scale yet rich in aesthetic and historical value, is a superb example of Qingbai craftsmanship. Its gentle form and subtle glaze speak volumes about the Song ideal of quiet elegance and purity, making it not only a beautiful object but also a meaningful embodiment of a cultural philosophy.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Intact. Age-related minimal wear. Discolouring and glazing flaws. Size approx. \u003cmeta charset=\"utf-8\"\u003e4,1cm x 12,7cm x 12,7cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44226762047753,"sku":"1067759","price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_48e01186-3db5-45a7-8884-f0684b3760ed.jpg?v=1677588754"},{"product_id":"song-dynasty-miniature-pottery-jarlet-2","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eExquisite Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, and a short neck rising to a slightly everted rim, all resting on a flat unglazed base. The vessel is covered in a delicate pale greenish-yellow glaze with a soft, translucent sheen.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGood condition. Intact. Age-related wear. Discolouring and glazing flaws. Size approx. \u003cmeta charset=\"utf-8\"\u003e4,6cm x 4,6cm x 4,7cm. \u003cmeta charset=\"utf-8\"\u003eOld label at the bottom \"Song Gallery - Chinese art\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44227269099785,"sku":"1075292","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/IMG_9295.jpg?v=1677594615"},{"product_id":"song-1","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eFascinating Southern Song dynasty hand-modeled miniature pottery jarlet featuring a compressed globular body, sloping shoulders, and a short neck rising to a slightly everted rim, all resting on a flat unglazed base. The vessel is covered in a coarse b\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003erownish gray glaze \u003c\/span\u003e  with a red inclusions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. \u003cmeta charset=\"utf-8\"\u003eIntact. \u003c\/span\u003eSurface wear commensurate with age, minor chips and scratches to the body, with encrusted patina and rich earthen deposits throughout. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDiscolouring and glazing flaws. Size approx. \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3,7cm x 4,1cm x 4,2cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44227306160393,"sku":"1010798","price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_8f279cd1-08a0-436a-8858-9d12d7415824.jpg?v=1677595221"},{"product_id":"song-dynasty-miniature-pottery-jarlet-3","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA delicate Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, and a short neck rising to a slightly everted rim, all resting on a flat unglazed foot. The vessel is covered in a delicate light brown glaze with a soft, translucent sheen.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Intact. Surface wear commensurate with age, minor chips and scratches to the body, with encrusted patina and rich earthen deposits throughout.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan\u003eDiscolouring and glazing flaws. Size approx. 4,1cm x 5,2cm x 5,1cm. Old label at the bottom \"Song Gallery - Chinese art\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44227332571401,"sku":"1096805","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/b1_dfb3acc3-b37b-4087-b73f-cd0a9fed8c2e.jpg?v=1677595557"},{"product_id":"tang-dynasty-figure","title":"Tang Dynasty Court Lady Tomb Figure","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis absolutely fascinating tomb figure depicts a court lady, a stunning example of Tang dynasty artistry. Standing gracefully, she is dressed in an untailored, flowing gown with long sleeves that delicately conceal her clasped hands. Her elaborate coiffure, with hair styled in a cloud-like arrangement and piled toward the left, epitomizes the elegance and fashion of the Tang court. The figure’s plump, rounded face, combined with her poised and regal expression, reflects the aesthetic ideals of mid-8th century China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEarlier Tang-era female figurines showcased tall and slender forms, but the period's shifting preferences for fuller, more voluptuous figures were influenced by Emperor Xuanzong’s infatuation with his famously beautiful and curvaceous concubine, Yang Guifei (Yang Yuhuan). This evolution in fashion and art highlights the cultural dynamism of the Tang dynasty, where personal tastes at court often shaped broader artistic trends.The Tang dynasty, a golden age of Chinese civilization, is renowned for its cosmopolitan culture, innovation, and artistic achievements. Earthenware figures like this one, known as \u003ci\u003emingqi\u003c\/i\u003e (spirit goods), were placed in tombs to serve the deceased in the afterlife. The size, number, and quality of such figurines depended on the rank and wealth of the tomb’s occupant. Alongside other \u003ci\u003emingqi\u003c\/i\u003e—musicians, attendants, and animals such as horses and camels—figures like this court lady served as vivid depictions of the vibrant life enjoyed during the Tang dynasty. This court lady figure is not only an exquisite work of art but also a tangible link to one of China’s most celebrated historical periods.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Remains of polychrome (white, black, yellow and red). Intact. Age-related wear and abrasion. Small chip at the base. Heavy encrustation. Size approx. 20,8cm x 7,2cm x 5,2cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Finnish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eTomb figure of a court lady, Queensland Art Gallery | Gallery of Modern Art, \u003cmeta charset=\"utf-8\"\u003eAccession Number: \u003cmeta charset=\"utf-8\"\u003e2012.013 (https:\/\/collection.qagoma.qld.gov.au\/objects\/16179)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eCourt lady, The Metropolitan Museum of Art, Accession Number: \u003cmeta charset=\"utf-8\"\u003e1979.108 (https:\/\/www.metmuseum.org\/art\/collection\/search\/44808)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44539940962569,"sku":"1034710","price":755.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_c1fd498f-d8d6-43b5-bbb1-9723f623a3aa.jpg?v=1690972195"},{"product_id":"chinese-neolithic-period-pottery-vessel","title":"Chinese Neolithic Period Pottery Vessel","description":"\u003ch3 class=\"p1\"\u003eLate Yangshao to Early Majiayao Culture, c. 4000 - 2000 BC, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eAn exquisite and rare hand-built Neolithic pottery jar, featuring a compressed body and flaring neck, adorned with bold geometric designs in dark brown and red pigments. The concentric bands and abstract motifs, possibly inspired by insect-like forms, add a striking visual appeal. The vessel’s intended use remains a mystery—it may have played a role in beer brewing, ritual ceremonies, or even burial practices.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Neolithic period in China (c. 8000–1700 BC) marked the dawn of settled human civilization, giving rise to distinct regional cultures along China’s vast river systems. The Yangshao culture (c. 5000–3000 BC), often referred to as the cradle of Chinese civilization, thrived along the Yellow River basin. The Majiayao culture (c. 3100–2000 BC) flourished in Gansu, Qinghai, and Sichuan, producing some of the most sophisticated painted pottery of the era.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eA remarkable relic of early human artistry, this vessel is a testament to the ingenuity and refinement of China’s ancient potters—a must-have for collectors of early ceramics and world history connoisseurs.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Intact. No cracks, fractures or chips. \u003c\/span\u003eWear commensurate with age and use.\u003cspan\u003e Fading to areas of pigmentation. Rich earthen deposits. Size approx. 15,5cm x 13,5cm x 13,5cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eForm Follows Function: The Story of Chinese Neolithic Pottery, Edie Hu, Sothebys, May 18, 2022. (www.sothebys.com\/en\/articles\/form-follows-function-the-story-of-chinese-neolithic-pottery)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Pottery Age: An Appreciation of Neolithic Ceramics from China Circa 7000 BC - Circa 1000 BC, Ronald W. Longsdorf, CA Book Publishing, Hong Kong, 2020.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDepartment of Asian Art. Neolithic Period in China, In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -. Oct. 2004 (http:\/\/www.metmuseum.org\/toah\/hd\/cneo\/hd_cneo.htm)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe British Museum Book of Chinese Art, Rawson, Jessica, et al., London: British Museum Press, 1992.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Chinese pottery\", Encyclopedia Britannica, Jerome Silbergeld,  George Savage,  and Michael Sullivan, 6 Feb. 2014. (https:\/\/www.britannica.com\/art\/Chinese-pottery)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44540060696841,"sku":"1040472","price":685.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_c407daf1-c79c-4ed2-907f-18f404c5310a.jpg?v=1690976589"},{"product_id":"song-dynasty","title":"Song Dynasty Stoneware Vessel","description":"\u003ch3 class=\"p2\"\u003eNorthern Song Dynasty, 960–1279 AD, China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eCharming, robust stoneware vessel, likely produced in Fujian or Guangdong provinces in southern China. Designed for domestic use and export, such vessels were commonly used to store oils, medicines, or even mercury. This particular example was salvaged from a shipwreck, bearing the marks of long submersion in the sea: the dark iron glaze shows heavy encrustations, natural deterioration, and a distinctive, appealing patination.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThese utilitarian bottles were integral to the vibrant maritime trade between China and the Indonesian archipelago during the Song period. The ceramic art of the Song Dynasty is historically divided into Northern Song (960–1127) and Southern Song (1127–1275) periods. Song court tastes favored elegant, understated forms and subtle glazes, reflecting the refined aesthetic sensibilities and contemplative atmosphere of the era.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis vessel embodies both the technical skill of Song potters and the cross-cultural reach of Chinese maritime trade during the first millennium.\u003c\/p\u003e\n\u003cp\u003eGood condition. Wear commensurate with age and use. Glazing defects and firing flaws.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan\u003eSize approx. 18,0cm x 7,5cm x 7,4cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Dutch private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44540417212681,"sku":"1070837","price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_708f8a89-d30a-4fb1-882e-9691e69e81ca.jpg?v=1690986918"},{"product_id":"tang-dynasty-extremely-rare-sancai-pottery-money-chest","title":"Tang Dynasty Extremely Rare Sancai Glazed Pottery Money Chest Gui","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, Xi'an (Chang'an), Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent and exceedingly rare earthenware money chest exemplifies the mastery of Tang dynasty artisans. Fashioned in imitation of a metal or wood prototype, the rectangular chest rests on four bracket feet, each adorned with cream and amber-glazed bosses resembling decorative metal studs. The sides, glazed in vibrant green, rise to crescent-shaped tops secured with further stud-like adornments, evoking the intricate craftsmanship of functional chests. The elaborately decorated top features a repeating triangle pattern in green and cream glaze, adding an elegant geometric touch. Amber-glazed lion-mask or palmette motifs embellish the sides, with a loop for a padlock at the center. Though its small ‘hinged’ removable lid is now missing, the piece retains its remarkable grandeur.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSancai (three-color) glazed wares were a hallmark of Tang funerary art, admired for their vibrant hues of green, amber, and cream. Models of money chests like this one were symbolic treasures, often placed in tombs as \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) to ensure the deceased's prosperity in the afterlife. While such chests are incredibly rare, they reflect the Tang dynasty's cosmopolitan spirit, technological innovation, and devotion to cultural and artistic excellence. The Tang dynasty, celebrated as a golden age of Chinese civilization, brought forth unparalleled achievements in art, trade, and governance, with objects like this chest serving as enduring legacies of its sophisticated material culture.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Original glazing are still \u003cmeta charset=\"utf-8\"\u003evibrant and luminous. Age-related wear and abrasion. Chip on one of the top corners. Missing lid. Glazing flaws and fritting. Rich encrusted earthen deposits. Size approx. 15,5cm x 10,9cm x 13,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Swedish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCasket (gui) and Lock, Saint Luis Art Museum, accession number: 931:1940a,b (https:\/\/www.slam.org\/collection\/objects\/18439\/)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,6 cm), sold at Sotheby's, New York, 22 September 2021, Important Chinese Art, lot 166. (https:\/\/www.sothebys.com\/en\/buy\/auction\/2021\/important-chinese-art-5\/an-extremely-rare-blue-and-sancai-glazed-pottery)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,0 cm), sold at Christie’s Hong Kong, 28 May 2021, Important Chinese Ceramics and Works of Art, lot 2926. (https:\/\/www.christies.com\/en\/lot\/lot-6318542)\u003c\/p\u003e\n\u003cp\u003eCompare to a slightly larger sancai pottery money chest (23,3 cm), sold at Christie’s New York, 21 September 2000, lot 267 (fig. 1).\u003c\/p\u003e\n\u003cp\u003eClosely related example in the Shaanxi History Museum, Xi'an, accession number: 511.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44556940673289,"sku":"1100616","price":14500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4458.jpg?v=1692021505"},{"product_id":"copy-of-thai-sawankhalok-brown-glazed-stoneware-bottle","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3 class=\"p3\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003eExquisite Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, a tapering base, and a raised neck additionally embellished with two loop handles, culminating in a practical yet aesthetically pleasing design. The flat, unglazed base contrasts beautifully with the deep dark brown glaze that envelops the jarlet's upper portion, adding a subtle warmth to its visual appeal.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eGood condition. Small chip in the rim. Age-related wear. Discolouring, glazing flaws and fritting. Size approx. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e5,0cm x 6,5cm x 6,5cm. \u003c\/span\u003eOnce attached with old label ”Song Gallery - Chinese art\". \u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/i\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44920118673673,"sku":"100100137","price":115.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7530.jpg?v=1704897153"},{"product_id":"copy-of-thai-sawankhalok-brown-glazed-stoneware-vase-1","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eExquisite Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, a tapering base, and a raised neck, resting on a small ring foot, culminating in a practical yet aesthetically pleasing design, with the rich brownish yellow glaze that envelops the jarlet's upper portion, adding a subtle warmth to its visual appeal.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eGood condition. Intact. Age-related wear. Discolouring, glazing flaws and fritting. Size approx. \u003cspan\u003e4,7cm x 5,4cm x 5,3cm. \u003c\/span\u003eOnce attached with old label ”Song Gallery - Chinese art\". \u003c\/p\u003e\n\u003cp class=\"p2\"\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44926459740425,"sku":"100100148","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7486.jpg?v=1705060567"},{"product_id":"thai-sawankhalok-brown-glazed-stoneware-jarlet","title":"Song Dynasty Miniature Pottery Jarlet","description":"\u003ch3 class=\"p3\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003ea superb Southern Song dynasty miniature pottery jarlet featuring a compressed globular body, sloping shoulders, a tapering base, and a raised neck, culminating in a practical yet aesthetically pleasing design. The flat, unglazed base contrasts beautifully with the coarse dark brown glaze that envelops the jarlet's upper portion, adding a subtle warmth to its visual appeal.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eDuring the Song dynasty, ceramic artistry reached a pinnacle of refinement, celebrated for its subtle beauty, restrained decoration, and harmonious form. The period is traditionally divided into two distinct phases — the Northern Song (960–1127) and the Southern Song (1127–1275) — each fostering major kiln traditions. Among the most renowned were Ding, Jun, Yaozhou, and Cizhou in the North, and Longquan and Jingdezhen in the South.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eSong ceramics are admired for their quiet elegance and technical mastery rather than ornate decoration. The glazes — in hues of green, white, black, or celadon tones — were achieved through precise control of iron content and kiln atmosphere. Decorative techniques, when present, were executed with restraint through incising, engraving, or impressing, producing wares that epitomized the dynasty’s philosophical and aesthetic ideals of simplicity, balance, and natural beauty.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eGood condition. Intact. Age-related heavy wear and abrasion. Discolouring, flaking, glazing flaws and fritting. Size approx. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2,8cm x 3,5cm x 3,5cm\u003c\/span\u003e. Once attached with old label ”Song Gallery - Chinese art\". \u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/i\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44926521377033,"sku":"100100150","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7713.jpg?v=1705062406"},{"product_id":"han-dynasty-bronze-dragon-belt-hook","title":"Han Dynasty Bronze Dragon Belt Hook","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eThis exceptional cast bronze belt hook, with its elegant, slender bow shape, exemplifies the refined craftsmanship of the Han Dynasty. The hook features a stylized dragon’s head, its tapering form curving gracefully to secure garments, while a flat button-like extension on the underside would have affixed it to a belt hole.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBelt hooks (biān lìng qiāng) have been an essential element of East Asian attire since at least the 7th century BC. Initially developed as practical fasteners for sashes or leather belts, they evolved into prestigious accessories—symbols of status, rank, and wealth. Crafted from materials such as bronze, iron, gold, and jade, these hooks were often ornately decorated, reflecting the artistic sophistication of their era.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThroughout the Han Dynasty, belt hooks like this one were commonly interred in tombs as part of burial traditions, signifying their importance in both daily life and the afterlife. Serving as personal items of the deceased, they were believed to accompany individuals beyond death, ensuring continuity of status and function in the next world.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eA magnificent artifact from one of China’s most influential dynastic periods, this belt hook stands as a testament to the ingenuity and artistry of ancient Han metalworkers.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Age-related wear and signs of erosion. Pitting and surface losses.  Lovely patina with green oxidization. Size approx. 7,7cm x 1,3cm x 1,5cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eBelt-fitting, The British Museum, Accession Number: 1950,1117.136 (https:\/\/www.britishmuseum.org\/collection\/object\/A_1950-1117-136)\u003c\/p\u003e\n\u003cp\u003eGarment Hook, The Brooklyn Museum, Accession Number: 68.185.11 (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/3774)\u003c\/p\u003e\n\u003cp\u003eBelt Hook, The Indianapolis Museum of Art at Newfields, Accession Number: 71.11.309 (https:\/\/collections.discovernewfields.org\/artwork\/23753?fromSearch=true)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGilded Dragons: Buried Treasures from China's Golden Ages, Carol Michaelson, London: British Museum Press, 1999\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIron and Steel in Ancient China, Donald B. Wagner, Brill, 1993, p. 169. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEncyclopedic Dictionary of Archaeology, Barbara Ann Kipfer, Springer, 2000, p. 64.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44985267552521,"sku":"100100177","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8086.jpg?v=1706532962"},{"product_id":"tang-dynasty-amber-glazed-pottery-miniature-horse-and-rider-figurine","title":"Tang Dynasty Stoneware Figure of a Horse and Rider","description":"\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTang dynasty, 618-907 AD, \u003cmeta charset=\"utf-8\"\u003eXi'an (Chang'an), \u003cmeta charset=\"utf-8\"\u003eShaanxi province, China\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eDiscover this unrefined, absolutely charming miniature Tang Dynasty tomb figurine of a horse and rider, crafted during China's golden age of the Tang Dynasty (618-907 AD).  Hand-modeled from buff-colored stoneware (changsha ware) and finished with a rich amber glaze, this piece is a lovely example of ancient Chinese pottery.\u003c\/p\u003e\n\u003cp\u003eTang Dynasty pottery is celebrated for its mingqi or \"spirit goods,\" tomb figures that were symbols of status and protection for the afterlife. Figures like this one were meticulously arranged inside tombs, with their size and number reflecting the rank of the deceased. This rare find, featuring a noble rider and horse, embodies the spirit of Tang funerary art, where the horse and Bactrian camel symbolized strength, while attendants and soldiers often accompanied the deceased.\u003c\/p\u003e\n\u003cp\u003eGood condition. Age-related wear and abrasion. Small chip in the ear. Glazing flaws and fritting. Rich encrusted earthen deposits. Size approx. 8,0cm x 7,5cm x 3,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp\u003eHorse and rider, Indianapolis Museum of Art at Newfields,  Accession Number: 1991.195 (https:\/\/collections.discovernewfields.org\/art\/artwork\/23102)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48428086034697,"sku":"100100331","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8720.jpg?v=1726657445"},{"product_id":"shang-dynasty-ceremonial-dagger-axe-ge","title":"Shang Dynasty Ceremonial Dagger Axe Ge","description":"\u003ch3 class=\"p1\"\u003eShang dynasty, c. 1300 to 1046 BC, Anyang, Henan province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis spectacular and exceptionally rare cast bronze dagger, known as a \u003ci\u003ege\u003c\/i\u003e, is a striking example of late Shang dynasty craftsmanship and ceremonial artistry. The dagger features a pointed blade on one end and an intricately cast ornament of a large-beaked, crested bird’s head on the other. The stylized bird head, rendered in relief, displays remarkable detail and artistry, indicative of its ritual and symbolic significance. While \u003ci\u003ege\u003c\/i\u003e daggers were practical weapons of the late Shang period (c. 1300–1050 BC), the elaborate design and meticulous casting of this piece suggest it was primarily intended for ceremonial display rather than combat.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBronze metallurgy in China dates back to around 2000 BC, with the Shang dynasty (1600–1046 BC) heralding the advent of advanced bronze artistry. The Shang society, the first historically documented civilization in China, emerged following the Neolithic cultures of Northern China. Its sophisticated social structure, governed by a king and his royal family, was supported by an extensive administrative system, skilled craftsmen, and labor from slaves and prisoners of war. Shang artisans were particularly renowned for their bronze work, producing extraordinary ritual vessels, weapons, and ornaments. These artifacts, often inscribed with early Chinese characters, offer invaluable insights into Shang religion, governance, and daily life. The inscriptions, found on both oracle bones and bronzes, are among the earliest examples of Chinese writing, showcasing the dynasty's significant cultural and intellectual achievements.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Shang dynasty occupied three successive capitals in Henan province, with its final and most significant, Anyang, located south of present-day Beijing. It was in Anyang that Shang bronze craftsmanship reached its zenith, creating masterpieces celebrated for their artistic complexity and ritual importance. This \u003ci\u003ege\u003c\/i\u003e dagger is not merely a weapon but a tangible link to the spiritual and ceremonial life of the Shang dynasty. Its intricate bird-head motif, imbued with symbolic resonance, reflects the dynasty's deep connection to ritual practice and its sophisticated aesthetic sensibilities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Age-related wear, dark green patina with malachite encrustation and some areas of brown cuprite. Size approx. 28,0cm x 6,5cm x 0,3cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: private collection from England\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCeremonial dagger, Minneapolis Institute of Art Collection, Accession Number: 50.46.67 (\u003ca href=\"https:\/\/collections.artsmia.org\/art\/1133\/ceremonial-dagger-china\"\u003ehttps:\/\/collections.artsmia.org\/art\/1133\/ceremonial-dagger-china\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRitual Dagger-Axe (ge), Saint Louis Art Museum, Accession Number: 481:1956 (\u003ca href=\"https:\/\/www.slam.org\/collection\/objects\/2313\/\"\u003ehttps:\/\/www.slam.org\/collection\/objects\/2313\/\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGe (ceremonial dagger-axe), University of Michigan Museum of Art, Accession Number: 1996\/2.19\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003ca href=\"https:\/\/umma.umich.edu\/objects\/ge-ceremonial-dagger-axe-1996-2-19\/\"\u003ehttps:\/\/umma.umich.edu\/objects\/ge-ceremonial-dagger-axe-1996-2-19\/\u003c\/a\u003e)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48968253210889,"sku":"100100363","price":4950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_2905_2c288c15-5f5b-4259-bbd3-07e6d263a23a.jpg?v=1736420047"},{"product_id":"tang-dynasty-sancai-glazed-pottery-mandarin-duck","title":"Tang Dynasty Sancai Glazed Pottery Mandarin Duck","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent small-sized, molded pottery figure portrays a sleeping mandarin duck in a serene pose. Resting on a tubular base, the duck is shown with its head turned back, gently preening its tail, while its neatly tucked wings add to the harmonious composition.The figure is coated with a thick, lustrous amber glaze, a hallmark of Tang dynasty sancai pottery. The glaze stops unevenly near the lower portion of the body, revealing the natural buff-colored pottery beneath, enhancing its rustic charm and authenticity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe depiction of ducks in Chinese art dates back at least to the Han dynasty, symbolizing grace, tranquility, and marital harmony. Mandarin ducks (\u003ci\u003eyuanyang\u003c\/i\u003e), in particular, are cherished in Chinese culture as emblems of love and fidelity. These motifs are celebrated in various art forms, including the embroidered textiles discovered in the renowned Dunhuang Caves from the Tang dynasty. A captivating piece, this figure exemplifies the Tang dynasty’s artistic brilliance and their deep appreciation for nature and symbolism. It serves as a testament to the sophisticated craftsmanship and cultural values of one of China’s most celebrated historical periods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Age-related wear, glazing flaws, fritting. Size approx. 6,2cm x 7,5cm x 4,1cm. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigure, Victoria and\u003cspan class=\"s1\"\u003e \u003c\/span\u003eAlbert Museum, Accession Number: C.965-1922\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O180994\/figure-unknown\/\"\u003ehttps:\/\/collections.vam.ac.uk\/item\/O180994\/figure-unknown\/\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49046116499721,"sku":"100100370","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3023.jpg?v=1737477654"},{"product_id":"sui-dynasty-pottery-tomb-figure","title":"Sui Dynasty Pottery Tomb Figure","description":"\u003ch3 class=\"p1\"\u003eSui Dynasty, c. 581–618 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and rare mold-made pottery figure of a male attendant, standing in reverence with hands clasped across his chest. He wears a distinctive protective head covering draped over his shoulders, along with a belted tunic and long trousers reaching his feet.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Sui Dynasty (581–618 AD) played a pivotal role in shaping imperial China, unifying the Northern and Southern dynasties while reinstating Han Chinese rule. Though short-lived, the Sui laid the foundations for the cultural and political golden age of the Tang Dynasty. Tomb figures like this were created as funerary objects, based on the belief that they would serve the deceased in the afterlife. Crafted from molded white earthenware, these figures were often painted or glazed, though much of the color has faded over time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDespite the Sui Dynasty's brevity, its artistic legacy is evident in its refined funerary sculpture, characterized by slender, unembellished forms with a soft yellowish crème glaze—a precursor to the more elaborate Tang Dynasty sancai-glazed ware. Retaining traces of its original earthen patina, this exceptional Sui tomb attendant is a testament to the era’s artistic achievements.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eGood condition. Wear commensurate with age and use. Chip. Mineral encrustation, stains and rich earthen deposits. Size approx. 18,9cm x 5,8cm x 5,3cm.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49155410723081,"sku":"100100381","price":485.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3529.jpg?v=1739104365"},{"product_id":"hongshan-nephrite-jade-amulet","title":"Hongshan Nephrite Jade Amulet","description":"\u003ch3 class=\"p1\"\u003eHongshan Culture, c. 4000-3000 BC, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fascinating Hongshan Culture funerary amulet, dating to 4700-2900 BC, exquisitely hand-carved from mottled dark green nephrite jade with cream and russet striations. This tubular amulet, shaped possibly in the form of a cicada cocoon with slanted ends, reflects the Hongshan people’s mastery of jade carving and their deep spiritual connection to this revered stone.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCrafted through an intricate process using awls, drills, and fine abrasives, the amulet features an incredibly smooth, polished surface, creating a pleasing tactile sensation. The jade’s natural hardness and durability made it highly valued, not only for its aesthetic purity but also for its symbolic significance—a material believed to protect the soul on its journey to the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe artistry of Neolithic jade spanned across regions from the Yangtze River mouth (Liangzhu Culture) to Southeastern Mongolia, with each culture refining techniques of friction, abrasion, and polishing to achieve near-perfect geometrical forms. Jade was regarded as a sacred stone, embodying spiritual strength, purity, and immortality. Later cultures continued to venerate jade for its protective and transcendental properties, believing it ensured a safe passage to the realm of the ancestors and immortals.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis Hongshan jade amulet, with its harmonious form and exquisite craftsmanship, serves as a testament to one of the earliest jade-working traditions in China, bridging art, ritual, and spiritual beliefs in a civilization over 6,000 years old.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, with fading to some finer features, and light encrustations within recessed areas. Size approx. 6,0cm x 2,0cm x 2,0cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":50169069764873,"sku":"100100391","price":395.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3504_095d2bfc-e90c-44e8-9016-a0269528a6cc.jpg?v=1740676343"},{"product_id":"han-dynasty-pottery-footsoldier","title":"Han Dynasty Pottery Footsoldier ","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis impressive pottery model of a footsoldier is crafted from underlying grey pottery, with much of its original painted pigments still intact. The soldier is dressed in plate armor worn over a thigh-length tunic and shortened white trousers, with black high boots protecting his feet. His padded garments, especially the thick collars and sleeves, provided additional defense against arrows and melee weapons.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis stern expression is meticulously detailed, featuring thin eyebrows, slender eyes, a broad nose, a neatly sculpted mustache, and firmly closed lips. He wears a hooded cap, securing his tightly styled hair bun, a common feature of Han military personnel. His clenched hands contain central holes, which originally held miniature bronze weapons such as spears or swords. His tunic is further adorned with colorful green and red ribbons, possibly indicating rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, figures like this replaced human sacrifices, serving instead as burial goods (mingqi) for wealthy and influential individuals. These funerary objects were believed to accompany the deceased into the afterlife, ensuring protection and prestige. Large-scale pottery armies, such as those excavated at the Yangjiawan site in northeastern Xianyang, Shaanxi province, closely resemble this figure and date to 179–141 BC, offering a rare glimpse into Han-era military traditions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis remarkable warrior is not just a testament to Han craftsmanship but also a historical record of military attire and burial customs in one of China's most influential dynastic periods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear and abrasions commensurate with age, minimal nicks and chip, and some paint loss. Rich encrusted patina and earthen deposits throughout. Size approx. 26,0cm x 8,3cm x 8,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":54948322181385,"sku":"100100406","price":1850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4037.jpg?v=1741783960"},{"product_id":"han-dynasty-pottery-footsoldier-1","title":"Han Dynasty Pottery Footsoldier","description":"\u003ch3 class=\"p2\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis exceptional pottery model of a Han Dynasty footsoldier exemplifies the artistry and military traditions of one of China's most influential dynasties. Crafted from underlying grey pottery, the figure retains much of its original painted pigments, offering a rare glimpse into the vibrant colors that once adorned these warriors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDressed in plate armor over a thigh-length tunic and shortened trousers, the soldier is depicted with high boots for protection, and thickly padded collars and sleeves, which would have provided additional defense against arrows and melee weapons. His stern, resolute expression is meticulously rendered, featuring thin arched eyebrows, slender eyes, a broad nose, a finely sculpted mustache, and firmly closed red lips. A pointed cap with ear flaps secures his tightly styled hair bun, a common feature of Han military personnel. His clenched hands contain central holes, originally designed to hold miniature bronze weapons, such as spears or swords. Adding a touch of prestige, red ribbons adorn his tunic, likely signifying rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, such figures replaced human sacrifices, serving as mingqi—burial goods meant to protect and accompany the deceased in the afterlife. Elaborate pottery armies, such as those excavated from the Yangjiawan site in Shaanxi province, closely resemble this warrior and date to 179–141 BC, further underscoring its historical significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis remarkable warrior is more than just an artifact—it is a tangible piece of history, reflecting Han-era military attire, craftsmanship, and funerary customs. A rare and significant addition to any collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repaired leg. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 25,5cm x 8,9cm x 4,4cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":54978828304649,"sku":"100100408","price":985.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4053.jpg?v=1742146475"},{"product_id":"han-dynasty-pottery-footsoldier-2","title":"Han Dynasty Pottery Footsoldier","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent pottery model of a Han Dynasty footsoldier is a rare and compelling representation of China's military and funerary traditions. Crafted from underlying grey pottery, this figure retains much of its original painted pigments, providing a glimpse into the vibrant hues that once adorned Han warriors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe soldier is dressed in plate armor over a thigh-length tunic and light green trousers, with thickly padded collars and sleeves that would have offered additional protection against arrows and melee weapons. His stern, resolute expression is exquisitely detailed, featuring thin arched eyebrows, slender eyes, a broad nose, a finely sculpted mustache, and firmly closed red lips. He wears a pointed cap with ear flaps, securing his tightly styled hair bun, a distinct feature of Han military personnel. His clenched hands contain central holes, originally intended to hold miniature bronze weapons such as spears or swords. Adding a touch of prestige, red ribbons adorn his tunic, likely denoting rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, such figures replaced human sacrifices, serving as mingqi—burial goods intended to protect and accompany the deceased in the afterlife. Elaborate pottery armies, such as those excavated from the Yangjiawan site in Shaanxi province, closely resemble this warrior and date to 179–141 BC, highlighting its historical significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional warrior is more than just an artifact—it is a tangible testament to Han-era military attire, craftsmanship, and funerary customs. A rare and significant addition to any collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repaired arm. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 24,1cm x 8,4cm x 5,9cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55083385946377,"sku":"100100411","price":855.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4072.jpg?v=1743239956"},{"product_id":"han-dynasty-pottery-mountain-shaped-incense-burner-boshan-lu","title":"Han Dynasty Pottery Mountain-Shaped Incense Burner (Boshan Lu)","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, likely Guangdong or Guangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exquisite and rare earthenware incense burner, this extraordinary vessel is of the boshan lu type—censers modeled in the shape of the universal mountain, believed to represent the mystical peaks where immortals resided. The conical lid, sculpted as a craggy, undulating mountain, is adorned with animated hunting scenes and wild beasts, evoking a vivid narrative in clay. Among the creatures depicted are the cosmic emblems central to early Han iconography: the White Tiger, Elephant, Ram, Red Bird, and the Dark Warrior—the latter often symbolized by a turtle entwined with a snake, but here strikingly embodied by a camel, a nod to Han China's deepening contact with the western steppes and nomadic cultures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEach peak flows into the next like the rolling crests of waves, with a base that often resembles a floating island rising from a cosmic sea. These vessels were closely tied to the spiritual worldview of the Western Han, reflecting beliefs in sacred mountains—especially Mount Penglai, the fabled island of immortals believed to lie off the eastern coast of China. As incense burned in the inner cup, fragrant smoke would rise through the openwork lid, bringing the miniature mountain landscape to life and transforming the space into a realm of transcendence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile some boshan lu were functional, used in life for burning incense, this particular example is believed to have served a funerary purpose, as a mingqi or \"spirit object.\" The absence of vents in the lid suggests it was not meant for actual use, but rather intended to accompany the deceased in the afterlife. In Han burial practices, the afterlife was viewed as a continuation of earthly life, requiring the deceased to be surrounded by familiar objects—spiritual stand-ins for their possessions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than a ceremonial accessory, this mountain censer would have played a key role in soul continuity, helping the po (body-bound soul) and hun (spiritual soul) reunite at the horizon—the symbolic meeting point of heaven and earth—thus allowing the deceased to achieve the state of a hsien, or immortal. In this way, the boshan lu was not merely an object of beauty, but a portal to immortality itself.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 15,5cm x 17,5cm x 17,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55149953876233,"sku":"100100418","price":1050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4421.jpg?v=1744030098"},{"product_id":"han-dynasty-pottery-mountain-shaped-incense-burner-boshan-lu-1","title":"Han Dynasty Pottery Mountain-Shaped Incense Burner (Boshan Lu)","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, likely Guangdong or Guangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exquisite and rare earthenware incense burner, this extraordinary vessel is of the boshan lu type—censers modeled in the shape of the universal mountain, believed to represent the mystical peaks where immortals resided. The conical lid, sculpted as a craggy, undulating mountain, is adorned with animated hunting scenes and wild beasts, evoking a vivid narrative in clay. Among the creatures depicted are the cosmic emblems central to early Han iconography: the White Tiger, Elephant, Ram, Red Bird, and the Dark Warrior—the latter often symbolized by a turtle entwined with a snake, but here strikingly embodied by a camel, a nod to Han China's deepening contact with the western steppes and nomadic cultures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEach peak flows into the next like the rolling crests of waves, with a base that often resembles a floating island rising from a cosmic sea. These vessels were closely tied to the spiritual worldview of the Western Han, reflecting beliefs in sacred mountains—especially Mount Penglai, the fabled island of immortals believed to lie off the eastern coast of China. As incense burned in the inner cup, fragrant smoke would rise through the openwork lid, bringing the miniature mountain landscape to life and transforming the space into a realm of transcendence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile some boshan lu were functional, used in life for burning incense, this particular example is believed to have served a funerary purpose, as a mingqi or \"spirit object.\" The absence of vents in the lid suggests it was not meant for actual use, but rather intended to accompany the deceased in the afterlife. In Han burial practices, the afterlife was viewed as a continuation of earthly life, requiring the deceased to be surrounded by familiar objects—spiritual stand-ins for their possessions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than a ceremonial accessory, this mountain censer would have played a key role in soul continuity, helping the po (body-bound soul) and hun (spiritual soul) reunite at the horizon—the symbolic meeting point of heaven and earth—thus allowing the deceased to achieve the state of a hsien, or immortal. In this way, the boshan lu was not merely an object of beauty, but a portal to immortality itself.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 15,0cm x 19,3cm x 19,1cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55218093359369,"sku":"100100423","price":1050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4441.jpg?v=1744544444"},{"product_id":"archaic-bronze-water-basin-with-mask-and-loose-ring-handles-jian","title":"Archaic Chinese Bronze Water Basin with Mask and Loose-Ring Handles (Jian)","description":"\u003ch3 class=\"p1\"\u003eLate Warring States Period or Western Han Dynasty, c. 260 BC – 220 AD,\u003cbr\u003eProbably from southern Shanxi or northern Henan province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and substantial ancient Chinese bronze basin, known as a \u003ci\u003ejian\u003c\/i\u003e, elegantly cast with deep rounded sides, an everted rim, and a shallow ring foot. The exterior is encircled by two raised bands, interrupted at opposing sides by large looped handles—each surmounted by a stylized \u003ci\u003etaotie\u003c\/i\u003e mask from which a robust, movable ring is suspended. The fine detailing of the masks and the symmetrical balance of the bands showcase the refined metalworking skill characteristic of the late Warring States to early Western Han period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBasins of this kind served both ritual and practical purposes, often used to hold water or ice in ceremonial contexts. When filled, the still surface of the water could also act as a reflective mirror—a function that lent the term \u003ci\u003ejian\u003c\/i\u003e its later linguistic association with the Chinese word for “mirror.” The presence of \u003ci\u003etaotie\u003c\/i\u003e, the mythical monster face motif common in ritual bronzes, reinforces the object’s symbolic importance, representing both spiritual protection and continuity with ancient Shang and Zhou traditions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA striking and rare example of early imperial bronze craftsmanship, this \u003ci\u003ejian\u003c\/i\u003e exemplifies both aesthetic restraint and ritual significance—an outstanding centerpiece for collectors of archaic Chinese bronzes or connoisseurs of ancient ritual art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear and abrasions commensurate with age, nicks and chip, with beautiful green, grey and russet patination and rich earthen deposits throughout. Size approx. 12,3cm x 22,7cm x 22,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eVessel, The Metropolitan Museum of Art, Accession Number:12.37.147\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.metmuseum.org\/art\/collection\/search\/61031)\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eBowl with painted designs, Freer Gallery of Art Collection, Smithsonian Institution, National Museum of Asian Art, Accession Number: F1916.239  (https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_F1916.239\/)\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eBowl, The British Museum, Accession Number: 1936,1118.58\u003cspan class=\"Apple-converted-space\"\u003e (\u003c\/span\u003e\u003cspan class=\"s1\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1936-1118-58\u003c\/span\u003e)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55442016469257,"sku":"100100445","price":1850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4934.jpg?v=1746798858"},{"product_id":"han-dynasty-female-court-attendant","title":"Han Dynasty Pottery Female Court Attendant","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional hollow-moulded terracotta figure of a female court attendant from the Western Han Dynasty, sensitively modeled in a poised and reverent stance. The figure is rendered in the characteristic slender proportions of early Han figural sculpture, standing with arms at her sides and dressed in an elegant full-length robe with long, swagged sleeves and a cross-lapel design, fastened at the right. The robe and tight-fitting skirt—flaring dramatically at the hem—are richly adorned with flowing red and black brushstroke patterns, applied after firing.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer facial features—gently arched brows, almond-shaped eyes, delicate nose, and softly smiling lips—are painted with finesse. The skin is painted white, reflecting contemporary ideals of beauty, while her hair is styled in a high, elegant chignon. The original pigments, applied post-firing, were fragile and are prone to flaking, though much of the coloration remains.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, female court attendants—known as gōngnǚ (\u003cspan class=\"s1\"\u003e宫女\u003c\/span\u003e)—played vital roles within the imperial household. Selected for their beauty, refinement, or talent, they served the emperor, empress, and high-ranking nobility in various capacities, from ceremonial service to personal assistance and entertainment.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure would have functioned as a mingqi, or tomb attendant figure, intended to accompany the deceased into the afterlife. These burial objects mirrored the daily life and social structures of the living, providing for the needs of the deceased in the next world. The Han Dynasty marked a flourishing of the arts, driven by prosperity, innovation, and a shift from ritual to more decorative and expressive forms. This figure exemplifies that transformation, embodying both artistic refinement and spiritual purpose within one of China’s most culturally significant dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Intact. Surface wear and abrasions commensurate with age, encrusted patina and rich earthen deposits throughout. Size approx. 25,5cm x 8,5cm x 4,5cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTomb figure of a female attendant, Asian Civilisations Museum, Accession Number: C-1263 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1088201)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55553527415049,"sku":"100100449","price":525.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5051.jpg?v=1748255755"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-2","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis remarkable Ming Dynasty tomb figure portrays an attendant holding a rooster, one of the twelve animals of the Chinese zodiac. Exquisitely modeled in terracotta, the figure is draped in a long, flowing robe decorated with vibrant hues of brownish-orange, green, black, and white—achieved through skillful hand-applied glaze and pigment. Remarkably, much of the original coloration has been preserved, testifying to the superior craftsmanship of Ming artisans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe rooster, as one of the zodiac’s twelve symbolic animals, embodies vigilance, fidelity, and protection. In Chinese cosmology, the zodiac not only structured the passage of time but also held deep spiritual and metaphysical significance. In the context of Ming funerary tradition, such zodiac figures were believed to offer cosmic protection and guidance to the deceased, ensuring harmony and safe passage in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure belongs to the category of mingqi—“spirit objects” or “spirit goods”—which were placed in tombs to serve the deceased in the next world. These figures reflect both the social standing of the individual and the enduring Confucian virtue of filial piety. Ming tombs were often carefully arranged in alignment with cosmological principles, and zodiac figures like this one played a symbolic role in harmonizing the spiritual environment of the tomb.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure retains exceptional detail, with only minor areas of pigment and slip loss revealing the underlying red clay body—a hallmark of authentic Ming terracotta. The finely sculpted features, combined with the rich, expressive glaze, exemplify the artistic sophistication of Ming funerary sculpture. A rare and captivating piece, this tomb attendant holding a rooster offers not only a stunning example of late imperial Chinese artistry but also a powerful connection to the spiritual beliefs and cultural traditions of one of China’s most illustrious dynasties.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Mineral encrustation, soil and dust. Size approx. 19,5cm x 7,1cm x 6,6cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55553606680841,"sku":"100100450","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5014.jpg?v=1748256948"},{"product_id":"ming-dynasty-glazed-pottery-armed-soldier","title":"Ming Dynasty Glazed Pottery Armed Soldier","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and richly detailed hollow-moulded pottery figure of an armed soldier from the Ming Dynasty, masterfully crafted as part of an elite funerary ensemble. The figure stands in a firm, forward-facing stance atop a square base, legs slightly apart, conveying disciplined readiness and quiet authority.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe is attired in the full regalia of a Ming infantryman, with a long black and turquoise tunic belted at the waist and accented by sweeping turquoise side panels, puffed sleeves, and a prominent yellow harness. A thick, high collar and heavy black boots complete his ensemble, while a distinctive helmet crowns the figure, adding an air of martial dignity. In his left hand, he holds a large axe, likely symbolizing military protection and power—an emblem of strength to guard the tomb’s occupant in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s face is rendered with remarkable nuance: almond-shaped eyes, delicately arched brows, softly rouged cheeks, and subtly defined lips, all finely painted in black and red pigments. This expression, simultaneously serene and alert, reflects the Confucian virtues of loyalty, order, and reverence. The craftsmanship suggests that this piece was commissioned for a high-ranking military official or a noble family, underscoring its ceremonial significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch figures were known as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), tomb furnishings intended to serve and protect the deceased in the afterlife. By the Ming period, the tradition of mingqi had reached new levels of artistic and technical sophistication, echoing the grandeur of earlier Han and Tang funerary art while adapting it to contemporary Ming aesthetics and values. These tomb figures provided both spiritual protection and a symbolic continuation of the earthly social hierarchy, illustrating a deeply rooted belief in an afterlife that mirrored the material world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe surface of the figure is coated in vibrant lead-based glazes—turquoise, cream, yellow, and black—that have survived remarkably well. These colorful, luminous finishes, reminiscent of cloisonné and luxury bronze wares, not only enhanced the visual impact but also reflected the cosmopolitan spirit of the Ming court, which was shaped by both native tradition and foreign influence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA superb example of Ming funerary art, this glazed pottery soldier figure offers a vivid window into the ritual life, military structure, and cosmological beliefs of imperial China at the height of its cultural and artistic achievement.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 22,8cm x 8,9cm x 6,8cm. \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55603368919305,"sku":"100100456","price":445.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5218.jpg?v=1748856065"},{"product_id":"shang-dynasty-bronze-knife-with-ibex-head-terminal","title":"Shang Dynasty Bronze Knife with Ibex-Head Terminal","description":"\u003ch3 class=\"p1\"\u003eShang Dynasty, c. 1300–1046 BC, Anyang, Henan Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA spectacular and exceedingly rare cast bronze knife, exemplifying the refined metallurgical skill and ritual symbolism of the Shang dynasty. This elegant piece features an openwork handle with stylized circular motifs, terminating in the finely modeled head of an ibex. The ibex displays striking details: sharply defined eyes, a pronounced nose, and long grooved horns that sweep back protectively over the ears—an expressive and commanding motif. The slender, gently curved blade is left unadorned, contrasting the elaborate hilt with a sleek, utilitarian elegance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKnives of this type—with integral blade and handle, and animal-headed terminals—are typically associated with cultures at the northern periphery of Shang influence. Curved knives were known in China since the Erlitou period (c. 1900–1500 BC), and their continued development into the Shang era reflects both cultural exchange and stylistic evolution. While the Shang court at Anyang did not widely adopt such forms, this ibex-headed variant—closely related to examples from the famed Tomb of Fu Hao—demonstrates a syncretic fusion of Shang ritual bronze tradition with frontier artistic motifs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sophistication of this piece underscores the Shang dynasty’s unparalleled achievements in bronze technology. From ritual vessels to ceremonial weapons, Shang bronze production reflected a complex society governed by kings, supported by an elite of scribes, craftsmen, and warriors. Many such bronzes, including this knife, may have served as status markers or ritual implements, their iconography imbued with spiritual and protective significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCast at the height of the Shang bronze age in Anyang—the dynasty’s final and most prominent capital—this knife is not only a tool or weapon, but a powerful expression of Shang cultural identity, territorial reach, and artistic legacy.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Age-related wear, dark green patina with malachite encrustation and some areas of brown cuprite. Rich earthen deposits throughout. Size approx. 37,4cm x 8,1cm x 5,7cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: private collection from England\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eKnife with Ram's Head, The Metropolitan Museum of Art, Accession Number: 49.136.9 (https:\/\/www.metmuseum.org\/art\/collection\/search\/53952)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe British Museum, Accession Number: 1973,0726.30 (https:\/\/www.britishmuseum.org\/collection\/object\/A_1973-0726-30)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eChinese Bronzes: Art and Ritual, J. Rawson, BMP, London\/Sainsbury Centre for Visual Arts of East Anglia \/ Burrell Collection, Glasgow, 1987\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55941957452041,"sku":"100100474","price":1950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5692_ec420894-e6d2-481c-9cda-06c99bb7c248.jpg?v=1753605140"},{"product_id":"northern-wei-dynasty-pottery-figure-of-a-standing-official","title":"Northern Wei Dynasty Pottery Figure of a Standing Official","description":"\u003ch3 class=\"p1\"\u003eNorthern Wei Dynasty, c. 386–534 AD, Henan Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and finely modeled hollow-moulded terracotta figure of a standing official from the Northern Wei Dynasty, sensitively rendered with a poised and reverent stance. The figure stands upright with hands positioned along the sides of the body, dressed in a close-fitting tunic with long sleeves and voluminous trousers gathered at the knees, flaring gracefully at the bottom. His face is delicately sculpted with gently arched brows, almond-shaped eyes, a refined nose, moustache and softly smiling lips—imbued with a serene and composed expression. He wears a black court cap, indicative of his official status.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraces of original post-firing pigments—red, black, pink, and white—remain visible across the surface, despite the fragile nature of these ancient colors. A small hole in the right hand suggests the figure may have once held a now-lost bronze weapon such as a spear or sword, reinforcing his identity as an attendant or guard.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure functioned as a mingqi, a funerary object created to serve the deceased in the afterlife. Mingqi figures reflected the societal hierarchy, daily life, and ceremonial roles of the living, ensuring continuity and comfort in the next world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurines of this type are notably rare. The Northern Wei Dynasty (386–534 AD), founded by the Tuoba, a nomadic people from northern China, was a relatively short-lived but culturally transformative era. It played a pivotal role in the sinicization of northern tribes and left behind a distinctive artistic legacy, including remarkable funerary art like this example.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA historically significant and elegantly sculpted artifact, offering a glimpse into the complex spiritual and social structures of early medieval China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 25,9cm x 7,0cm x 5,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWarrior with Shield, The Metropolitan Museum of Art, Accession Number: 25.228\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/44796\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAttendant, 386–535, Minneapolis Institute of Art, Accession Number: 50.46.167.2\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/collections.artsmia.org\/art\/17559\/attendant-china\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigure, The British Museum, Accession Number: 1947,0712.6.a-b\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1947-0712-6-a-b\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55980961136905,"sku":"100100479","price":1450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5816.jpg?v=1754301740"},{"product_id":"ming-dynasty-sancai-glazed-miniature-offering-vases","title":"Ming Dynasty Sancai-Glazed Miniature Offering Vases","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA superb matched pair of miniature sancai-glazed vases, crafted as mingqi—“spirit objects”—to accompany the deceased into the afterlife. Each vase is finely modeled with a waisted neck rising to a foliate-shaped rim adorned with five small pellets, flanked by double ring handles, and a compact inverted pear-shaped body set on a tall conical foot. The rich amber and green sancai glaze stops just above the unglazed base, accentuating the elegant form and masterful craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sancai (“three-color”) palette, perfected during the Tang Dynasty and revived in the Ming, was designed to evoke the beauty of precious materials such as jade, bronze, and imported glass. Applied in a lead-based, low-fired glaze, these tones flow and pool across the surface, giving the vessels a luminous, almost ethereal quality. Though too small for practical use, their symbolic purpose was profound—serving as ritual offerings that reflected the wealth, status, and cultural ideals of the tomb’s occupant.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tradition of mingqi dates back to the Han Dynasty (206 BC–220 AD) and endured through the Tang and Song before achieving renewed prominence in the Ming. These funerary objects could take the form of attendants, animals, furniture, and vessels, replicating the luxuries of earthly life to ensure comfort and order in the afterlife. The quantity and refinement of mingqi placed in a tomb were directly tied to social rank, making elaborately glazed examples like these rare and significant.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBeautifully preserved, with vivid glaze and elegant form, this pair stands as a testament to the aesthetic refinement and spiritual beliefs of late imperial China. An exceptional addition for collectors of Chinese antiquities, funerary art, or Ming Dynasty ceramics.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 12,5cm x 5,5cm x 4,4cm \u0026amp; 12,6cm x 5,4cm x 4,4cm. Sell as a pair.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56007883358473,"sku":"100100486","price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5961.jpg?v=1754994168"},{"product_id":"han-dynasty-pottery-figure-of-a-dancer","title":"Han Dynasty Pottery Figure of a Dancer","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and rare hollow-moulded pottery figure of a dancer, crafted in a greyish-brown clay and once decorated with red and black pigments. The figure is captured mid-movement, gracefully extending her long sleeves as she performs an elegant, measured dance. She wears a tunic with flowing sleeves and flaring trousers, her posture embodying both poise and movement.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigures of entertainers—musicians, dancers, singers, and even acrobats—were frequently placed in Han tombs, forming lively scenes of performance to accompany the deceased into the afterlife. Sometimes spectators were also included, emphasizing the festive atmosphere of funerary banquets. These groups of pottery figures, known as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), served not only to provide entertainment for the departed but also as displays of wealth, refinement, and social status.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rare survival offers a vivid glimpse into Han dynasty ritual practice, artistry, and courtly culture—an evocative representation of both daily life and the eternal celebration of the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repairs to the neck and arm, otherwise intact. Surface wear and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Presented on a custom-made wooden stand. Size approx. 12,3cm x 9,8cm x 4,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFigure of dancer, Asian Civilisations Museum, Accession Number: C-1677 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1004658)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eDancer and Musicians, The Metropolitan Museum of Art, Accession Number: 1994.605.85a–c\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/44386\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFigure, The British Museum, Accession Number: 1936,1012.9\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1936-1012-9\u003c\/span\u003e)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56096651673865,"sku":"100100502","price":725.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6220.jpg?v=1756910634"},{"product_id":"tang-dynasty-pottery-figure-of-a-guard","title":"Tang Dynasty Pottery Figure of a Guard","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, c. 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fine hollow-moulded terracotta guardian soldier from the Tang Dynasty, depicted standing in a commanding pose. The figure wears a long-sleeved hooded robe, cinched at the waist with a horizontal band, over long trousers. His hands are positioned as if once grasping a weapon—the longitudinal piercing through the right hand confirming that the statuette originally held an armament, now lost.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe garment is carefully rendered, its rims and thickened collar crisply detailed, reflecting the refinement of Tang terracotta craftsmanship. The waist sash is a distinctive feature of court attire, a sartorial marker that, along with specific hat forms, distinguished official ranks during the Tang and subsequent Song Dynasty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s face is modelled with remarkable precision in a naturalistic yet imposing manner: almond-shaped eyes, a defined nose, prominent moustaches, and raised brows combine to convey a stern, intimidating presence—befitting his role as protector.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGuardian figures such as this were placed in tombs to safeguard the deceased, reflecting Tang beliefs in the afterlife and the importance of rank, order, and ritual protection. This evocative example embodies both the artistry and symbolism of one of China’s most celebrated dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. There are small traces of the original pale orange pigment. Mineral encrustation, soil and dust. Size approx. 23,0cm x 5,4cm x 5,0cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection. Acquired abroad and brought to Sweden in the 1960s.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56118832922889,"sku":"100100508","price":525.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6499.jpg?v=1757444408"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative pottery model of a storage chest, originally made as part of a Ming Dynasty tomb group. The piece is almost entirely covered in a brilliant green glaze, its edges neatly outlined in black. The base remain unglazed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe miniature chest is finely detailed, complete with hinges, and a clasp—closely imitating the functional storage chests used in life. Such chests were essential household furnishings, often used at court to store officials’ robes and hats. This model likely represents a clothes chest, created as a \u003ci\u003emingqi\u003c\/i\u003e (“spirit good”) to accompany the deceased into the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe custom of burying the dead with pottery models of everyday objects was deeply rooted in Chinese funerary tradition, reflecting both the belief that such items were required in the next world and the social status of the tomb’s occupant. Lead-glazed funerary wares first appeared during the Han Dynasty (206 BC–220 AD), developed into the celebrated \u003ci\u003esancai\u003c\/i\u003e (“three-colour”) glazes of the Tang period, and continued into the Ming, where bold single-color glazes such as green became highly characteristic.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis finely crafted and well-preserved model chest is not only a fascinating reflection of daily life and funerary practice in the Ming Dynasty but also a striking example of the enduring Chinese tradition of glazed tomb wares.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear, small chip and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 13,9cm x 7,6cm x 9,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56124242264329,"sku":"100100509","price":585.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6556.jpg?v=1757524816"},{"product_id":"ming-dynasty-green-glazed-pottery-female-tomb-attendant","title":"Ming Dynasty Green Glazed Pottery Female Tomb Attendant","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn elegant and finely crafted Ming Dynasty terracotta female court attendant, richly adorned with an original green glaze and traces of polychromy. The figure stands gracefully upon a square base, her hair arranged in a high chignon framing her composed expression. She wears a long, traditional robe that partially reveal her delicately upturned, pointed shoes. With hands held before her chest, she clasps an object—possibly a fan or dustpan—suggesting her role in service and ceremony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis statuette belongs to the category of \u003ci\u003emingqi\u003c\/i\u003e—“spirit objects” or “spirit goods”—created as tomb furnishings to accompany and serve the deceased in the afterlife. Such attendants not only reflected the social standing and refinement of the tomb’s occupant but also embodied the Confucian ideals of loyalty, service, and filial piety. Their placement within carefully arranged tomb complexes, often aligned with cosmological principles, reveals the deep symbolic and ritual significance of these figures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe striking green glaze, a hallmark of Ming funerary wares, enhances the figure’s elegance and imbues it with both vibrancy and spiritual resonance. Together with the finely sculpted details of her attire and serene facial features, this figure exemplifies the technical mastery and aesthetic sophistication of Ming mortuary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA beautiful survival, this tomb attendant offers both artistic appeal and profound cultural insight into the rituals, beliefs, and values of late imperial China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. A minor chip to the base, otherwise intact. Mineral encrustation, soil and dust. Size approx. 17,2cm x 4,5cm x 4,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBurial figure of a female attendant with a dustpan, Royal Ontario Museum, Accession Number: 918.21.152\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56127934267657,"sku":"100100511","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6346.jpg?v=1757606088"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest-1","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative pottery model of a storage chest, crafted as part of a Ming Dynasty tomb group. The piece rests on a rectangular base and is almost entirely covered in a lustrous deep green glaze with black undertones, while the lock plate, handles, and back rings are highlighted in a lighter green. The unglazed top suggests something may once have been placed above it, while the underside is pierced with five small holes. Carefully modeled to imitate the functional storage chests used in daily life—often for clothing, robes, or official regalia—this miniature example was created as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”) to accompany the deceased into the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch funerary models were central to Chinese burial traditions, symbolizing the comforts and necessities the departed would require in the next world. While lead-glazed wares originated in the Han Dynasty and reached vivid artistic expression in Tang \u003ci\u003esancai\u003c\/i\u003e ceramics, Ming tomb wares often employed striking single-color glazes, with rich green tones especially prized.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis offering chest, finely detailed and beautifully preserved, is both a testament to the craftsmanship of Ming potters and a window into the beliefs and material culture of one of China’s greatest dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 14,0cm x 10,6cm x 10,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56146777833737,"sku":"100100513","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6596.jpg?v=1758101158"},{"product_id":"jin-dynasty-terracotta-brick-with-dancer-figure","title":"Jin Dynasty Terracotta Brick with Dancer Figure","description":"\u003ch3 class=\"p1\"\u003eJin Dynasty, c. 1115–1234 AD, Shanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA finely modeled and rare grey terracotta brick from the Jin Dynasty, depicting a lively festive dancer. The unglazed tile presents a rectangular, full-body portrait of a woman, possibly an actress, dressed in voluminous robes tied with an elaborate belt and crowned with ornate headgear. Her poised stance captures the grace and vitality of theatrical performance, a central feature of Jin Dynasty entertainment.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Jin, originally Jurchen tribesmen from Manchuria, rose to power in the 12th century after defeating both the Mongolic Liao and the Northern Song. They ruled northern China, adopted Chinese traditions, and presided over a period of political stability in which the arts, particularly music and theater, flourished. Although the dynasty lasted just over a century, their tomb art offers a vivid glimpse into this cultural richness.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn southern Shanxi Province, more than one hundred Jin tombs have been excavated since the mid-20th century, many decorated with painted and carved bricks. These bricks often depict musicians, dancers, and actors, shaped in relief or modeled in three dimensions. The abundance of such imagery reflects the popularity of theatrical entertainments at the time. This example, featuring a dancer, belongs to that remarkable tradition of tomb decoration and remains a testament to the artistry and cultural vibrancy of the Jin Dynasty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. No restorations. Small chips to the periphery of the brick. There are small traces of the original pigments. Mineral encrustation, soil and dust. Size approx. 29,0cm x 14,5cm x 5,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection; acquired abroad and imported into England during the 1960s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ea closely matching tile, showing the same dancer motif, in the Shanxi Museum \/ China Institute publication Theater, Life and the Afterlife, ISBN 978-7-03-032940-0.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eTheater, Life, \u0026amp; The Afterlife: Tomb Décor Of The Jin Dynasty From Shanxi\u003c\/i\u003e\u003ci\u003e, Shi Jinming \u0026amp; Willow Weilan Hai Chang, \u003c\/i\u003e\u003ci\u003eHai Weilan\u003c\/i\u003e\u003ci\u003e Paperback\u003c\/i\u003e, \u003ci\u003e172 Pages\u003c\/i\u003e, \u003ci\u003ePublished 2012 by Science Press\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56220549251337,"sku":"100100515","price":1850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6719.jpg?v=1758964811"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-3","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eThis exceptional Ming Dynasty tomb figure represents an attendant holding a rat, one of the twelve animals of the Chinese zodiac. Hand-molded in terracotta, the figure is richly adorned with a long flowing robe decorated in turquoise and black glazes, applied with remarkable precision. Much of this original coloration has survived, a testament to the technical mastery and enduring artistry of Ming potters.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe rat, first in the zodiac cycle, is revered in Chinese culture as a symbol of intelligence, adaptability, and resourcefulness. In folklore, it is praised for its cleverness and ability to overcome challenges. Zodiac imagery carried both protective and auspicious qualities—thought to bring prosperity in life and, in the funerary context, to guide and safeguard the spirit in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAs a piece of mingqi—“spirit goods” created for tombs—this attendant reflects both the wealth and status of the deceased as well as the Confucian value of filial devotion. Ming burials were carefully planned in accordance with cosmological principles, with zodiac figures like this serving as powerful emblems of cosmic order and harmony.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe figure itself is modeled with great refinement: delicate facial features, finely arranged hair, and a confident stance, paired with the naturalistic rendering of the animal. Minor areas of glaze and pigment loss reveal the warm red clay beneath, further affirming its authenticity and age.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eA rare survival of Ming funerary art, this attendant with zodiac rat combines spiritual symbolism with superb craftsmanship. It is not only a striking work of late imperial Chinese artistry but also a tangible link to the cosmological beliefs and ritual practices of one of China’s greatest dynasties.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eExcellent condition. Exceptional retention of the original pigment still visible. Mineral encrustation, soil and dust. Size approx. 19,1cm x 7,8cm x 6,7cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: Swedish private collection. Acquired abroad and brought to Sweden in the 1960s.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56220990669065,"sku":"100100516","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6748_994938a8-b30b-4fa6-a487-3934266e6021.jpg?v=1758966077"},{"product_id":"ming-dynasty-green-glazed-pottery-standing-screen","title":"Ming Dynasty Green Glazed Pottery Standing Screen","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of a miniature standing table screen, crafted with remarkable attention to detail and intended as part of a tomb group. Rectangular in form and resting on bracketed feet, the screen is modeled to mimic wooden construction, its surface richly adorned with relief panels. The recessed panels are accentuated with a matte red pigment and bordered by impressed decorative motifs, while the majority of the piece is enveloped in a lustrous deep green glaze with subtle black undertones. The reverse remains unglazed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn Ming and Qing households, screens were essential furnishings, used not only for privacy but also as windbreaks and contemplative ornaments within the scholar’s studio. Table screens—sometimes called spirit screens—embodied both utility and aesthetic refinement, their imagery and decoration designed to inspire reflection and harmony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs a funerary object, this piece belongs to the category of \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), symbolic provisions placed in tombs to ensure the deceased’s comfort and status in the afterlife. From the Han Dynasty onward, lead-glazed and sancai wares evolved into the elegant monochrome glazes so characteristic of Ming burial art, with vivid greens especially esteemed. Mingqi assemblages could range from architectural models and domestic furnishings to attendants, animals, and entertainers—miniature worlds meant to accompany the departed beyond death.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis standing screen, with its rich glaze and finely worked relief decoration, is not only an exceptional example of Ming funerary ceramics but also a deeply evocative object, bridging the practical world of the scholar’s studio with the eternal domain of the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVery good condition with minor old wear, some firing irregularities such as glaze crackling, glaze recesses, pitting, and expected scratches to the feet. Intact.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eSize approx. 19,2cm x 18,8cm x 7,9cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56249516065033,"sku":"100100522","price":645.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6823.jpg?v=1759398997"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest-2","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of a storage chest, finely crafted as part of a tomb group and covered in a lustrous deep bluish-green glaze with almost black undertones. The piece rests on a rectangular base, with the lock plate, side handles, and back rings highlighted in a warm amber tone, offering a striking contrast to the dark surface. The top remains unglazed—perhaps once supporting another object—while the underside bears five small perforations.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCarefully modeled after the wooden chests used in daily life for storing robes, textiles, or official regalia, this miniature example served as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), created to accompany the deceased into the afterlife. Such objects reflected the belief that the comforts and necessities of earthly life would be required in the world beyond, while also symbolizing social rank and wealth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLead-glazed ceramics had their origins in the Han Dynasty and reached vivid artistic expression in the \u003ci\u003esancai\u003c\/i\u003e (“three-color”) wares of the Tang. By the Ming period, funerary models often featured bold monochrome glazes—rich green tones being especially admired for their depth and vitality.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis finely detailed offering chest, with its elegant form and remarkable preservation, stands as a testament to the artistic sophistication of Ming potters and the enduring spiritual traditions that shaped China’s funerary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 15,2cm x 12,5cm x 11,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56268826870025,"sku":"100100526","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6955_357244a4-6058-41b2-b1fa-494d20e21bc3.jpg?v=1759829231"},{"product_id":"tang-dynasty-pottery-figure-of-a-guard-1","title":"Tang Dynasty Pottery Figure of a Guard","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, c. 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn evocative and finely modelled terracotta guardian figure from the Tang Dynasty, powerfully rendered in a commanding stance. Heavily potted and hollow-moulded from reddish-brown clay, the figure is depicted standing erect, dressed in a long-sleeved hooded robe cinched at the waist with a broad sash over voluminous trousers. His hands are positioned as if grasping a weapon—the longitudinal perforation through the right hand confirming that the original armament, now lost, was once inserted there.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe garment’s detailed modelling, with thickened collar and crisply defined hems, reflects the technical mastery of Tang ceramic sculpture. The waist sash is characteristic of Tang court and military attire, a marker of rank and status, echoed in the figure’s composed yet formidable presence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe face, though softened by age, remains expressive and authoritative, with almond-shaped eyes, defined nose, and arched brows conveying vigilance and resolve. Such guardian figures, or mingqi, were placed in tombs to ward off malevolent forces and ensure the protection of the deceased in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis piece stands as a striking testament to Tang beliefs in ritual guardianship and to the era’s remarkable sculptural realism—an exceptional example of early Chinese funerary art.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eGood condition. Intact. Small hole and some nicks and pitting in areas, all commensurate with age. There are traces of the original cold painted white, red and black pigments. Mineral encrustation and earthen deposits. Size approx. 22,0cm x 4,6cm x 4,4cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56271178531081,"sku":"100100528","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7018.jpg?v=1759912705"},{"product_id":"ming-dynasty-sancai-glazed-pottery-altar-table","title":"Ming Dynasty Sancai Glazed Pottery Altar Table","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of an altar table, exquisitely crafted as part of a tomb group and adorned with a lustrous amber and green \u003ci\u003esancai\u003c\/i\u003e (“three-colour”) glaze, enriched with areas of dark pigment. The tabletop remains unglazed, likely from contact with offerings once placed above it.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rectangular table, standing on four elegantly modeled legs, would have formed part of a larger assemblage of \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”)—objects created to accompany the deceased into the afterlife. Such funerary furnishings reflected the belief that the comforts and symbols of earthly status were required beyond death, ensuring both continuity and protection in the spiritual realm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLead-glazed ceramics first appeared in the Han Dynasty and achieved their most vivid artistic expression in the Tang \u003ci\u003esancai\u003c\/i\u003e tradition. By the Ming period, the technique evolved toward refined, often monochrome or dual-colour glazes, with rich green and amber tones especially prized for their depth and vibrancy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional model, with its harmonious form and glowing glaze, stands as a testament to the enduring sophistication of Ming funerary craftsmanship and the spiritual ideals that shaped one of China’s greatest artistic legacies.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 26,7cm x 16,2cm x 13,0cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of table, Asian Civilisations Museum, Accession Number:1994-00472  (https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1069178)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAltar Table with Six Offerings, University of Michigan Museum of Art, Accession Number: 2008\/2.277 (https:\/\/umma.umich.edu\/objects\/altar-table-with-six-offerings-2008-2-277\/)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of table, Asian Civilisations Museum, Accession Number: 1993-00105  (https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1064849)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56277987918089,"sku":"100100530","price":1650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6855_915ae6ea-4889-48d6-b8bc-4824680654e9.jpg?v=1760096604"},{"product_id":"qijia-culture-cord-impressed-pottery-jar","title":"Qijia Culture Cord-Impressed Pottery Jar","description":"\u003ch3 class=\"p1\"\u003eQijia Culture, c. 2300–1700 BC, Gansu Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fantastic and rare example of an early Bronze Age pottery vessel attributed to the Qijia Culture (c. 2300–1700 BC), one of the earliest bronze-producing societies of northwest China. The jar is hand-built from reddish earthenware with fine sand temper—added to prevent cracking during firing. Its surface displays natural variations in tone, ranging from pale yellowish-brown to deep orange-red, reflecting uneven kiln conditions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeavily potted and well-fired, the vessel features a globular body rising to a slightly constricted neck and an outward-flaring rim, all resting on a flat base. The lower two-thirds are decorated with diagonal cord impressions, while the neck bears three horizontal bands of triangular impressions—creating a striking textural contrast typical of Qijia ceramic aesthetics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNamed after the type-site of Qijiaping in Gansu Province, the Qijia Culture was a sedentary, agrarian society centered on farming and pig breeding—animals also used in ritual sacrifice. This jar exemplifies the transitional phase between Neolithic and Bronze Age China, embodying both technological innovation and artistic refinement in early ceramic production.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Small area of repair to the mouth. Minor surface wear and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface. Size approx. 15,0cm x 10,2cm x 10,0cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56292257923337,"sku":"100100532","price":385.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7288.jpg?v=1760446828"},{"product_id":"song-dynasty-pottery-figure-of-a-boy","title":"Song Dynasty Pottery Figure of a Boy","description":"\u003ch3 class=\"p1\"\u003eNorthern Song Dynasty, c. 960–1127 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptionally rare and evocative unglazed pottery figure of a naked baby boy, possibly representing the infant Buddha, and most likely modeled during the Northern Song Dynasty Period. The softly rounded figure stands upon a rectangular plinth, his right arm raised to the front and left arm resting at his side, both hands clenched into small fists. A faint raised line beneath the neck suggests the original presence of a painted foliate apron, now largely abraded with age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe boy’s elongated head tilts gently to one side, his plump-cheeked face animated with a lifelike expression — finely articulated eyes wide in alertness, a delicately modeled nose, subtly defined ears, and a tender half-smile conveying a serene, almost divine innocence. Adorned with bracelets on both wrists and an amulet around his neck, the figure retains traces of white slip and red and black pigments, hinting at its once richly painted surface.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAccording to Song historical records and archaeological discoveries, such pottery dolls (nihai’er) were often made for the Qixi Festival (the seventh day of the seventh lunar month). They were elaborately dressed in real garments and jewelry, placed in households as auspicious symbols expressing the wish for numerous male children. While images of boys were a popular motif in Song art, large-scale pottery figures of this type are exceptionally rare, representing a unique synthesis of domestic devotion, popular belief, and the refined naturalism that characterized Song craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Repairs in right arm. Slight surface cracks to the front of the stand. Heavy surface wear and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface. Size approx. 31,8cm x 10,5cm x 9,1cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eSitting boy, The Metropolitan Museum of Art, Accession Number: 2024.276\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.metmuseum.org\/art\/collection\/search\/775525)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eA group of seven smaller painted pottery figures depicting boys with finely drawn features and slightly elongated heads, from a tomb dated to 1113 CE, excavated in Zhejiang City, Jiangsu Province. Zhejiang City Museum, illustrated in \u003ci\u003eZhongguo Meishu Quanji, Diaosubian\u003c\/i\u003e, vol. 5, Beijing, 1988, pl. 173.  \u003c\/p\u003e\n\u003cp class=\"p4\"\u003eA group of five Northern Song dynasty miniature red pottery figures of boys in the Zhejiang City Museum, illustrated in \u003ci\u003eZhongguo Wenwu Jinghua Daquan: Taocijuan\u003c\/i\u003e (\u003ci\u003eThe Compendium of Chinese Archaeological Treasures: Ceramics Volume\u003c\/i\u003e), Hong Kong, 1993, p. 171, no. 584.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56294752583945,"sku":"100100533","price":12000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7213.jpg?v=1760518789"},{"product_id":"yuan-dynasty-buddhist-pottery-zodiac-jar","title":"Yuan Dynasty Buddhist Pottery Zodiac Jar","description":"\u003ch3 class=\"p1\"\u003eYuan Dynasty, c. 960–1368 AD, Yunnan Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and finely moulded Buddhist reliquary jar, complete with its original lid, dating to the Yuan Dynasty and excavated from a Buddhist site in Yunnan Province. The vessel features a piriform body rising from a short ring foot, made from a fairly high-fired pale grey pottery, with traces of white pigment still visible on both jar and cover. Such jars were originally filled with ritual offerings—coins, shells, flowers, and grains—and placed in temples or stupas as part of Buddhist consecration ceremonies.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe surface of the body is richly adorned with broad upright Bajiao (banana) leaves, an auspicious Buddhist floral motif symbolizing spiritual growth and purity. Around the upper body, moulded appliqués of human figures are interspersed with the twelve animals of the Chinese zodiac on the lower register. In Buddhist cosmology, these twelve creatures are believed to have journeyed together to pay homage to the historical Buddha before his final nirvana, embodying the unity of the natural and spiritual worlds. Additional decoration includes incised wavy lines encircling the shoulder, while the convex lid—surmounted by a delicate conical knob—is cold-painted with geometric motifs in black and red pigments. On the underside of the lid, Sanskrit-style characters rendered in red pigment remain clearly visible. The vessel’s warm yellowish-brown surface coloration results from the iron-rich soils of Yunnan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact, there is no sign of restoration or repair. Small chip in the rim and surface wear consistent with age and use. Earthen deposits and multiple root marks present. Size approx. 23,3cm x 16,8cm x 16,5cm. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56295408664841,"sku":"100100535","price":585.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7245.jpg?v=1760532076"}],"url":"https:\/\/gotasworld.com\/collections\/chinese-far-eastern-art.oembed?page=7","provider":"Göta's World","version":"1.0","type":"link"}