Snuff Bottle Stoppers and Spoons for Collectors of Chinese Snuff Bottles
Saturday, January 29, 2022
Tuesday, June 22, 2021
Sunday, May 23, 2021
Zhang GuangQing Inside Painting Studio, 1997, 3 3/8"..
1960 to 1980, early modern period, In Shandong, Zhang Wentang and Xue Jingwan passed on their skills to the next generation of the Shandong/Lu School, in particular Li Kechang, Chen Dongshun, Wang Jiquan and Zhang Guangzhong.
1980 to 2000, modern period, Zhang Guangqing, the younger brother of Zhang Guangzhong, took over as the Master of the Shandong/Lu School. Zhang Luhua, son of Zhang Guangqing.
The painters of Lu school gathered in Shandong, in Boshan. The Lu school was established by Bi Rongjiu.
Tuesday, May 11, 2021
Middle Period Inside Painted Chinese Snuff Bottle
Two pigeons standing on a rock with one fully bloomed peony, one just out of budding, and what also looks like a budding cherry blossom branch. The reverse with mom and pup terriers.
Coral and jet stopper, 2 1/2", Middle Period, Early 20th
Sunday, April 25, 2021
Chinese Snuff Bottle by Li Kechang
Mountain lake scene with pointed peaks and boulders at the lake edge and Shachuan (sand ships).
Signed Li Kechang, dated xin wei (1991). The script can be read, "imitating Nan tains style and writing the poem from Liu Zhongyuan (A famous poet from Tang dynasty) in 1991 by Ke Chang".
The poem in Lishu (clerical script), marked with Li in red seal, 2 1/4" tall.
Li Kechang was born in September 1942 in Boshan, Shandong Province. Bi Hengyuan was his first master, and then Xue Jingwan, Zhang Wentang, and Ding Yaodong.
Thursday, January 9, 2020
The second is 2 1/16", loops for cords, with four carvings meant to represent scarabs or another insect, with raised footrim. A good chance that both were carved by the same shop and or carver, and maybe even came from the same single chunk of citrine rough.
Tuesday, December 17, 2019
Tuesday, October 15, 2019
Sunday, March 31, 2019
Saturday, July 28, 2018
These famille noire bottles always have the most unusual paintings.
The scene is the artist's creative perspective for a mother looking in on her child inside the saddle bag..
Thursday, August 24, 2017
Friday, June 23, 2017
Saturday, June 3, 2017
The meaning of Ndiani is "bottle of tobacco"
Original tribe used is Gogo from Dodoma central region in Tanzania. The Gogo (or mgogo singular and Wagogo plural ) are ever-happy, dance-loving and agriculturalist Bantu ethnolinguistic group living in the Dodoma Region of central Tanzania.
Special thank you to Radhidi Lukali who helped me identify this. This Ndiani is about 100 years old. I understand it takes multiple generations to acquire a Ndiani. It is extremely difficult to acquire a Ndiani now days in the Gogo tribe.
Thursday, May 4, 2017
Friday, April 28, 2017
This first poem I picked is by T'ang Dynasty poet, Chang Feng called, "Written on My Wang River Retreat after a Steady Rain"
Late summer on the river the sun and wind are mild
the little birds below the eaves are grown
sun drenched butterflies dance among the flowers
newly spun spider webs brighten every room
threadbare curtains invite the moon's reflection
a pillow made of clay echoes with the current
my long graying temples recall the frost and snow
let me pass this life chopping wood and fishing
The retreat Wang Wei ( 701-761 ) bought on the Wang River was sixty kilometers southeast of Chang-an and once belonged to the poet Sung Chihwen. Although Wang rose to the post of deputy prime minister, he was a lifelong Buddhist and a vegetarian, and toward the end of his life he spent more time meditating at his retreat and hiking around the mountains than working in the capital. Hibiscus glowers only last a day, or two at most, and mallow leaves a best picked after the dew dries. Hence, Wang Wei is to hungry to wait. In Chuangtzu: 27 the arrogant Yang tzu Yu returns to his inn after receiving instruction from the Lao Tzu. But where he was once waited on hand and foot, he now has to fight for a place for his mat. "Seats" here also refer to positions of authority, concerning which poet no longer has any interest. In Liehtzu: 2.11 the author recounts ho seagulls flock around a man, until he conceives of a plan to catch them.
This second poem picked is by T'ang Dynasty poet, Ch'eng Hao called "Summer Day"
When I'm at peace I let everything go
I wake by the east window long after sunrise
viewed without passion everything is fine
seasonal glories hold true for man
the Tao fills the world the formed and the formless
out thoughts are in the ever changing wind and clouds
not troubled by wealth content in poverty
the person who reaches this is truly noble
Ch'eng Hao ( 1032-1085 ) taught thousands of students at his home in Loyang and served briefly in the nearby capital of Kaifeng. But due to his opposition to the policies of Wang An-shih, he was banished to South China and died before he could return. Still, with his younger brother, Ch'eng Yi, he was among the leading lights of neo Confucianism. This poem reflects his philosophy whereby all things are seen as part of the Tao and also as part of the mind. Thus, man shares the same nature as Heaven and Earth and all creation. The harmony of this nature is easily upset by desire and ignorance, but it can be restored through the cultivation of such virtues as kindness and equanimity. The last two lines paraphrase Mencius: 3b/2.3.
Thursday, April 27, 2017
Tuesday, March 7, 2017
The willows’ green is wrapped in spring mist.
Blossoms fall, the house boy has not swept them yet.
Orioles sing, the mountain guest is still asleep.
Thursday, December 15, 2016
Terracotta Fertility Effigy Medicine Container of Prehistoric Eurasian Designed Tanzania East Africa
This 7" tall medicine container bears a striking resemblance to (fig 2.8a) a female effigy of a pregnant woman that is described as a child's doll from the Beta Israel potters of the 1960's (ref 2.3.1). The container is unique as it is ceramic with thick patina from years of use. Where the majority of containers in the region are normally made of calabash or gourds. Also unique is that the head and body are one piece with a simple bamboo stopper as compared to ones made of calabash/gourds where the head is a separate stopper. This head has a long nose, round ears, and piercing eyes that typify figures made by the Kisi or Pare.
Small pottery containers and figurines are among the ritual objects made throughout northeastern Tanzania for use in sacred practices, called ughanga, that are important in healing physical and psychological afflictions and misfortunes. Ughanga is, in fact, a multifaceted and adaptive institution that pervades much of society in northeastern Tanzania, and ughanga objects such as this receptacle hold medicines and in some cases embody spirits that can be called upon to aid in treatment. The medicines are made by traditional healers, called waghanga, who are expert herbalists and the keepers of cultural knowledge, history, and custom. They may administer their mixtures in a straightforward fashion or in conjunction with prayer, with the singing and dancing of spirit songs, and in ritual performances that unite all of these facets and allow the healer to engage with spirits and ancestors.