The wooden block is a musical instrument that was probably developed in Tibet. Today the wooden block is in use in China, Japan, Korea, Tibet and Southeast Asia. Typically this instrument is carved in the shape of a fish and is widely known as a wooden fish. In the Mahayana Buddhist tradition it is used to help set a pace during rituals involving the recitation of sutras, mantras, and other Buddhist texts. In Zen / Ch’an Buddhist tradition it serves as a signal to start and end a meditation session. In Pure Land Buddhism it is used to accompany the chant of the name Amitabha.

Champlevé is an enameling that is related to the much more familiar decorative art of cloisonné. It is sometimes referred to as reverse cloisonné but it is a good deal more complex than that. In cloisonné, the troughs or cells (cloisons) which hold the vitreous enamel are created by soldering strips of metal to the surface of the object. In champlevé, the cells are actually carved into the surface of the metal object. When the cells are filled with enamel and fired, the uncarved and sometimes etched surfaces become a visible framework for the enamel design. Understandably, champlevé items are a good deal heavier and sturdier than their cloisonné cousins.

Celadon glazes are actually a family of highly translucent and generally crackled glazes that are produced in a wide range of colors, including whites, grays, blues, yellows and greens. However, celadons are best known for there shades of greens which are intended to mimic the green shades of jade. The history of celadon begins in China at the end of the North Song Dynasty, the 9th and 10th centuries. By the 10th and 11th celadon was firmly established in Korea and carried into Japan no later than the 16th century when Korea was invaded by Japan. This celadon water dropper was used by an artist or calligrapher to drop small amounts of water onto their inkstone. To prevent accidental spilling of the water, there is no lid. The entire piece was submerged in water until it was filled for use.

This lovely wood box hangs on the wall in the kitchen of a traditional Chinese country home. It is a chopstick holder. It is a late 19th to early 20th century piece, though the current painting was probably done some time later. I have one hanging in my sunroom with a small bottle in it with a coleus plant and it makes a stunning presentation.

This stunning Quan Yin statue is late 19th to early 20th century. It is in excellent condition and still retains a good deal of the original gilding. Quan Yin is the Bodhisattva of Compassion. An incarnation of Avalokitesvara, she reached Buddha status but instead gave up the bright seat of Nirvana until all beings could be brought into the light. She is the most popular deity in the east and goes by the names of Guanyin, Kwan Yin, Kannon and others as well.

Small spirit hooks were suspension hooks that were hung in the men’s house in the Sepik River area of New Guinea. They are regarded as fertility spirits and spirits to guard food and valuables hung from them in baskets. This spirit hook is from the Iatmul People of the Middle Sepik River region. It has cowry shell eyes and sharp details in the painting. It has an old repaired break on one hook which is clearly visible in one of the close up pictures, but is in otherwise excellent condition.

This exquisite Han Dynasty bronze cup has four wonderfully translucent white jade panels. It always amazes me how durable jade is, and when it is set in bronze it gives us an excellent milestone to determine its resilience. This bronze vessel is in incredibly fine condition considering its age. It is completely intact with a minor to moderate amount of surface erosion and distortion. This piece is very heavy and solid with no cracks or holes.