The origin and development of the tack for horses and other riding and pack animals from the 5th century BC up to the 20th century AD.  It is based on a thorough research into representations of saddle rugs in Chinese painting, sculpture and applied arts. By comparison of these images with preserved saddle rugs, a useful typology could be developed, which is backed up by the structural analysis of the saddle rugs in the author's collection. This way preserved specimens, which are many, can be properly dated and ascribed to their place of origin.

Dragon & Horse: Saddle Rugs and Other Horse Tack from China and Beyond

Crafts, Hobbies & Home

de Jong, Dr s. Koos

Antiques & Collectibles

Ca Book Publishing

Virtuous Treasures: Chinese Jades for the Scholar's Table

Arts & Photography

Hui, Humphrey

Pang, Tina Yee-wan

History & Criticism

• Presents 20 selected masterpieces of Chinese works of art, from the Shang Shan Tang collection, with the majority dated from the Song dynasty with sound provenances, published and exhibited in museums </ul>\nThis exhibition catalog features 20 exquisite pieces of Chinese works of art, with the majority dated from the Song dynasty. Exhibited items include a Neolithic period pottery bottle; Machange-type Neolithic Period jars; Northern Song to Jin Dynasty June ware of Li-type tripod censer; a bubble-bowl with blue glaze and splashes; Northern Song Jun-type sky blue-glazed plate with everted rim and rose-purple splashes, Qingliangsi Ware; a celadon glazed lobed candlestick, Longquan ware; a sky-blue glazed ware dropper carved with peony design, Yaozhou Ware; a persimmon-red glazed saucer, Ding ware; white glazed small cup, Xing ware; paper-mallet vase with iron-rust splashes, Cizhou ware; porcelain child-shaped pillow, Changzhi ware.\nText in English and Chinese.

Shang Shan Tang: Exhibition of Ancient Chinese Ceramics 20 item (Chinese Edition)

Tang, Shang Shan

Collections, Catalogs & Exhibitions

Jason Chen, the owner of this collection, is a man with a passion for life, of which much time is devoted to collecting snuff bottles, although he runs a thriving business. His collection houses over 2,000 bottles, with a select portion shown in these two volumes. Volume I illustrates bottles from varying materials, while the second, slimmer volume shows part of Jason's collection of miniature snuff bottles. While the whole collection is a work of art in itself, Jason, like other passionate collectors, has a story for every bottle, often the story of acquisition. He is a collector who enjoys both the thrill of the chase and the pleasure of ownership. When other collectors think of Jason Chen and his collection, they often speak of his love of great agate bottles. Few collectors have dedicated themselves to forming a collection of miniature snuff bottles in the way that Jason has. For the most part, although collectors have affection for the smallest of the small, Jason has applied himself to hunting down and acquiring these minute treasures. Text in English and Chinese.

The Wei Miao Shan Fang Collection of Chinese Snuff Bottles: Vol. 1: The Wei Miao Chan Fang Collection of Chinese Snuff Bottles; Vol. 2: Miniature Wonders from The Mountain Retreat

Chu, Clare

• Provides insights into the 'siheyuan' , the gracious four-closed courtyard residence and its chambers of the rich in old China\n• Features full-color illustrations and diagrams of how each piece was made and assembled\n• A must-buy for those who appreciate the workmanship of Chinese furniture\nChinese furniture design had been improved through the centuries, maturing during the 14th century. The Qing furniture developed from Ming style furniture; it was attractive with ornate novel decorative elements. In the olden days of China, those who had resources could afford to live in a gracious residence such as the four-closed courtyard house ( siheyuan ). The four-closed courtyard house is the Chinese art of enclosing space to create an ideal environment for habitation. The multifunctional Chinese classical furniture facilitates the indoor and outdoor activities of its inhabitants. Siheyuan is divided into chambers such as the Hall, female chamber etc.\nThis book provides details on which pieces of furniture should be displayed in each chamber, as well as full-color illustrations and diagrams of how each piece was made and assembled. This includes three-dimensional drawings by Philip Mak and perspective views of the interior of various rooms. The author guides the readers through them, narrating the placement of furniture with inherent social implications. For easy reference, each piece is numbered and a more detailed description available in the catalog section of this book.\nText in English and Chinese.

Furnishing the Gracious Chinese Home (Chinese Edition)

Mak, Philip

Architecture

• This book combines some of the rarest and most exquisite brushpots of over 100 pieces made from Huanghuali, Zitan wood, rosewood, the burl wood, bamboo, cypress wood, glass, ivory, cinnabar lacquer, porcelain, Cloisonné, bronze with inlaid silver\nThe Chinese title of this book reads “The Profound Reflection of Brushpots: A Collector’s Enlightenment” literally, citing reference to the book Imperial Profound & Reflective Encyclopedia commissioned by Emperor Kangxi of the Qing Dynasty, and The Collected Works of Long Ying, published during the reign of Emperor Wanli, Ming Dynasty. The word “Profound” was chosen meticulously to highlight the breadth and variety of the brush pots collected, and the proposition of their illustrations. The author’s intent to make this book an encyclopedia of brush pots was fairly explicit. On the other hand, “reflection” comes from a mirror, which shows how you look and who you are. It represented the collector’s experience in soul-searching and self-reflection during his journey of art appreciation. Text in English and Chinese.

Brushpots: A Collector's View (Chinese Edition)

Marsh, Sam

• One of the rare assemblages of Chinese ceramics specializing in Yaozhou wares\n• Covering an extremely wide range of Yaozhou artifacts of outstanding quality\n• This catalog covers extremely rare black and white and celadon-green wares samples of Tongchuan kilns made Yaozhou wares from the Tang dynasty and Five Dynasties\nThis Shang Shan Tang collection is one of the rare assemblages of Chinese ceramics specializing in Yaozhou wares. With over a hundred examples, it is very likely the largest repository of its kind; covering an extremely wide range of Yaozhou artifacts of outstanding quality, including both classic types and highly rare specimens, it is uniquely suited to illustrate the kilns’ history. This catalog covers extremely rare black and white and celadon-green wares samples of Tongchuan kilns made Yaozhou wares from the Tang dynasty and Five Dynasties. This catalog also includes a magnificent and wide range of Song's pieces such as the most iconic dishes and bowls with carved nature motifs and combed details, which feature peony and other flower patterns, ducks, fish and conch shells among lotus or waves; and with similar molded designs of flowers, boys among flowers, or fish among waves. This catalog is one of the most important reference books for Yaozhou wares and is a must for collectors and connoisseurs of Yaozhou wares to own it. Text in English and Chinese.

Sky Blue, Winter Green, Moon White: Five Hundred Years of Excellence at the Yaozhau Kilns

Krahl, Regina

The textiles here have been organized by several broad categories, beginning with type, and then by area of origin, dating and style. First are ikats and prints from India: the ikats woven in silk as “double ikats” and known as patola, and two prints that are cotton chintz. Though made in India, these textiles were all found in Sumatra, with the patola being highly-prized heirlooms used ceremonially, and the prints being used widely in trade across Indonesia from Sumatra to the Eastern Islands. Next are ikats and other woven textiles organized by origin, moving West to East, from Sumatra to Borneo, Sulawesi, Bali, and Timor. For all of these pieces, the material was hand spun or commercial cotton, silk, or sometimes a mixture of the two. Lastly are batiks, mostly from Java. The first three are the oldest batiks in this collection, each of which has been analyzed by radiocarbon dating and found to originate in the 17th and 18th centuries, respectively. These batiks are made on hand spun cotton. The batiks here are from Sumatra and Java (the great mother-temple of batik artistry), ranging in age, after the proto-batiks described above, from the early 19th century to mid-20th century. They vary in style from the most traditional, including those distinctive in color and pattern from the kratons (palaces) of the sultans, Indian influences from chintz and other Indian imports, to Chinese-inspired depictions of animals, insects, plants and flowers, to French-inspired Art Nouveau mostly via Batik Belanda. This collection of Indonesian textiles and some related Indian textiles that were popular and influential in Indonesian usage and design came together in a series of collecting periods spanning nearly 40 years.

The Vinson Collection of Indonesian Textiles

Vinson, Glenn

The Magnificent Kunlun Jade: The Songzhutang Collection of Ming and Qing Jade

Fok, Thomas

• One of the finest collections in the world to capture the essence of early Chinese blue-and-white porcelain\n• Concentrates on the first hundred years of China's blue-and-white production, in the late Yuan and early Ming dynasties\n• The collection equally documents the much more refined and sophisticated early Ming style of the Yongle (140-24) and Xuande (1426-35) reigns\nThe Mingzhitang Collection of Sir Joseph Hotung is one of the finest collections in the world to capture the essence of early Chinese blue-and-white porcelain. With 20 outstanding examples, it concentrates on the first hundred years of China’s blue-and-white production, in the late Yuan (1271–1368) and early Ming (1368–1644) dynasties — a period that was never surpassed in artistic ingenuity and material quality. The charisma and the energy of the masterly paintings on porcelain created in the Yuan dynasty at the kilns of Jingdezhen in Jiangxi province, which made this genre so influential and universally admired, are represented with 12 exceptional examples, most of them unique. They demonstrate the powerful blue-and-white style developed under Mongol rule, when the artisans appear to have been working with few restraints. The collection equally documents the much more refined and sophisticated early Ming style of the Yongle (1403–24) and Xuande (1426–35) reigns, when production was closely controlled by an imperial court with exceptionally high standards. Here, the collection illustrates two stylistic strands that existed side by side: porcelains decorated completely in Chinese taste and vessels in the shapes and patterns of Islamic metalwork from countries in close diplomatic contact with the Chinese court. The wares of this period defined imperial porcelain styles until the end of China’s last dynasty. The book is lavishly illustrated and contains a general introduction on early Chinese blue-and-white porcelain, an extensive description, documentation and discussion of each piece, and a bibliography.

Early Chinese Blue-and-White Porcelain: The Mingzhitang Collection of Sir Joseph Hotung

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