This stunning antique dragon carving is truly a testament to the carver’s abilities. This ‘mother with sons’ dragon carving required many months of devotional skills to complete.

TThis incredible one of a kind carving is of a beast that is very dragon-like in appearance, right down to the bifurcated tail of a Chi Dragon, with the head of a phoenix. This exceptional and rare artifact has been in a private collection for many years. It is my pleasure to offer it here.

This is an authentic tomb guardian in a sea of copies. Tomb guardians were generally used in pairs at the entrance to a tomb. Their function was to dispel evil spirits and ghosts. It is unclear when the first tomb guardians were used, as many of the neolithic funerary jades could be viewed as such, but they were in common use during the Zhou Dynasty, 1,100 to 221 BC. They were generally phased out about the time of the Song Dynasty, 960 to 1279 AD. There are possibilities of Ming Dynasty guardians, though the funerary pieces used then were pottery tomb attendants for the most part.

Unquestionably one of the finest jade dragons I have held, I am finally releasing this magnificent artifact from a private collection. This winged dragon is sometimes translated as a Chimera. The features of these early dragons are quite cat-like. This exceptional carving is a dragon ‘birthing’ a phoenix. While the ‘birthing’ dragon is not an uncommon thing in Chinese jade carvings, I have never found an answer to satisfy me as to the symbolism implied. It certainly suggests the unity of opposites, Yin & Yang, but moreover, it suggests something to me about the transcendent nature of these creatures. This is a museum-quality artifact.

This exceptional carving is a jade artifact of the Hongshan Culture, a people who lived 5,000 years ago in the area that is today Inner Mongolia and China’s Liaoning Province. The central object is a Bi, an ancient ritual jade object (see ritual jades) used in ancestral communication. On one side there is a long-necked phoenix, balanced on the other side by a long necked dragon. It is interesting that the Dragon and Phoenix, symbols for the Emperor and Empress in later dynasties, had its roots in neolithic times. They are a symbol of cosmological balance, yin and yang.

This is a lovely double rhyton, a ritual wine vessel. It is the only double form I have seen. It was not made for use, but rather for ritual. It may have been a funerary carving. Again, this carving balances the dragon with the phoenix in the cosmological dance of yin and yang. It is covered with typical scrolled Zhou dragon and phoenix motifs.

This is an incredibly elegant carving. The attention to detail is superb. The two dragons that support the bi are quite different in nature. The thing that strikes me is that one looks so masculine and the other appears so feminine. I have no idea if this is what the carver had in mind, but I suspect it is so. There is much elaborate through carved scroll work that sets this carving apart and adds so much to its beauty and balance. See ritual jades for more about the bi.

This exceptional jade artifact was carved by a member of the Hongshan Culture. The Hongshan lived in the area that is today Inner Mongolia and China’s Liaoning Province 3,500 to 2,200 BC. This date is conservative and more recent findings suggest 4,500 to 2,200 BC. At this time in pre-history, this very dry geographical region was a temperate rain forest. As such it teemed with animal abundance not known today. This is frequently seen in the jade carvings of these people. Their record is written in jade. This jade authentic ancient carving depicts a man in a stooped position with a bird of prey upon his back. This may be an early representation of a bird trainer. The bird trainer was a popular motif during the Shang and the Zhou Dynasties, and the art of falconry, or hunting with birds, was prevalent throughout China’s long history. Interesting accounts of huge festive hunting parties are described by Marco Polo.

This exceptional jade artifact was carved by a member of the Hongshan Culture. The Hongshan lived in the area that is today Inner Mongolia and China’s Liaoning Province 3,500 to 2,200 BC. This date is conservative and more recent findings suggest 4,500 to 2,200 BC. At this time in pre-history, this very dry geographical region was a temperate rain forest. As such it teemed with animal abundance not known today. This is frequently seen in the jade carvings of these people. Their record is written in jade. This jade authentic ancient carving depicts an anthropomorphic ox on the back of a turtle. The ox was a highly regarded creature throughout China’s long history. It was indeed a beast of burden, but it was a loyal companion as well. The ox was not raised as food stock in China, and was only eaten in times of starvation when al the other animals had been depleted. The tortoise is a symbol of endurance and female intuition, not only in China, but in ancient cultures world-wide.

This stunning and intricate dragon carving was produced around the time of Warring States, 475 – 221 BC, the latter part of the Zhou Dynasty. The pictures can only hint at what a remarkable piece this is. Carvings this fine are seldom available.

This excellent jade chop, or signature seal, is a very old piece that has seen some burial. It is difficult to date, but is several hundred years old at least. The chop mark is clear and sharp, which is somewhat unusual for an old piece. I do not know the characters. If a looker can read this, I would love to know what it says.

This wonderful old jade dragon is rearing back with an attitude. The tail is exquisitely carved into the likeness of a phoenix head. The through carving here is exceptional. This is not a terribly uncommon motif, but it is highly speculative in its meaning.

This incredible jade oil lamp is one of my favorite carvings. It resided in my personal collection for awhile, but like all of my jade, there is a time to let go. When I have the rare opportunity to view a piece such as this, I am continually astounded by the uniqueness and similarities of artistic styles separated by many eons. This is most notable in neolithic or early dynastic carvings. This carving looks like it could have been produced for the Art Deco period, yet it is thousands of years old. This is a museum quality piece for the serious collector of antiquities.

This exceptional jade carving is one of my favorites. It has been part of a private collection for about ten years, but like all of my jade, there is a time to let go. It is part of a pair of similar carvings that I purchased when I began collecting. When I received them, they were covered with a deep reddish brown dye. Over a period of time I removed the dye to reveal the true beauty of this jade. This dyeing of jades is a fairly common procedure which I feel is seldom warranted. Light polishing or rubbing with mineral oil would further enhance their appearance. I will let the pictures speak for this remarkable carving. For more about the Bi, see Ritual Jades of China.

This exceptional jade carving is one of my favorites. It has been part of a private collection for about ten years, but like all of my jade, there is a time to let go. It is part of a pair of similar carvings that I purchased when I began collecting. When I received them, they were covered with a deep reddish brown dye. Over a period of time I removed the dye to reveal the true beauty of this jade. This dyeing of jades is a fairly common procedure which I feel is seldom warranted. Light polishing or rubbing with mineral oil would further enhance their appearance. I will let the pictures speak for this remarkable carving. For more about the Bi, see Ritual Jades of China.

Another from my private collection, this extraordinary Han Dynasty carving is of zoomorphic lovers. Carvings as exquisite as this, scarcely seen today at any price, are the results of months at the hands of a master carver. Zoomorphic and anthropomorphic jade carvings are the most fascinating artifacts of shamanistic cultures. Frequently, they carried into later times.

This small jade carving depicts a creature that shares the attributes of human, goat and dragon. Its dragon share has a very feline inclination. It is a rare and stunning expertly carved figure in a wonderful celadon green jade.

Of exceptional quality, this elegant figure is of a winged woman with a crane on her head and a phoenix behind her. Her entire being is atop another head as though she was flowing from inside it. This very transcendent piece states clearly that we are not only what we appear to be, but are constantly changing. It is deeply mysterious and incredibly lovely in all ways.

This small jade Buddha is carved from a highly translucent piece of jade. It is an older piece that has been re-polished.

The three legged toad is another of China’s famous creatures of myth. It is always a symbol for prosperity. This small bi has five three legged toads. It should be mentioned, that in China there is no distinction between frogs and toads. It is a lovely little carving. For more about the bi, see Ritual Jades of China.

This exceptional jade artifact is Neolithic in origin and is around 5,000 years old. It was carved by a member of the Hongshan Culture. The Hongshan lived in the area that is today Inner Mongolia and China’s Liaoning Provence 3,500 to 2,200 BC. This date is conservative and more recent findings suggest 4,500 to 2,200 BC. This wonderful artifact is a large bead like carving with a cicada carved in high relief. It is a totem that was probably used in life and followed as a funerary piece. It is carved in a deep green jade. Cicada is to China as the scarab is to Egypt, a symbol of resurrection and regeneration.

This wonderful jade artifact was carved by a member of the Hongshan Culture. The Hongshan lived in the area that is today Inner Mongolia and China’s Liaoning Province 3,500 to 2,200 BC. This date is conservative and more recent findings suggest 4,500 to 2,200 BC. At this time in pre-history, this very dry geographical region was a temperate rain forest. As such it teemed with animal abundance not known today. This is frequently seen in the jade carvings of these people. Their record is written in jade.

This jade artifact is two birds of prey that form a jade cylinder that is very cong-like in appearance and probably had a similar ritual use. The bird of prey was highly revered by Neolithic Cultures who mastered the skill of falconry over 5,000 years ago.

The cong is an ancient ritual jade that represents the earth deity. It is beautifully proportioned. For more about the cong and other ritual objects see Ritual Jades of China.

This exceptional jade artifact is Neolithic in origin and is around 5,000 years old. It was probably carved by a member of the Hongshan Culture. The Hongshan lived in the area that is today Inner Mongolia and China’s Liaoning Provence 3,500 to 2,200 BC. This date is conservative and more recent findings suggest 4,500 to 2,200 BC. It is also possible that it was carved by a lesser known neolithic culture such as the Xinglongwa.

This is a very rare carving that is of museum quality. It reflects the ancient Chinese beliefs in the anthropomorphic nature of animals and the zoomorphic nature of humans. The monkey has always been an important character in Chinese culture, from neolithic times forward. There are stories and fables of monkeys of high rank and spirituality even interceding with Heaven. There are monkey kings, generals, monks and explorers. The most famous monkey was Sun Wukong, known in the west as the Monkey King. The epic Chinese novel, Journey to the West is the tale of Sun Wukong traveling to India to bring the lost Sutras of Buddha to the people of China. It is a fabulous story that is rich with allegory and I highly recommend it.

CI am inclined to think of this remarkable jade artifact as a protectorate or a tomb guardian. Carvings like this are so rare that they are seldom available for serious study, and just do not appear in books. It is an exceptional carving, and is by far my favorite among all the masks and mask-like carvings I have seen. I think the master carver who created this carving must have had a sense of humor. What should be considered at least a little scary, comes off as benign, if not altogether comical.

This fantastic jade carving is of one of China’s most beloved protectors, Zhong Kui, the Ghost Chaser. Though it is quite likely that he was an historical figure, the legend of Zhong Kui far surpasses that of a mortal man. According to folklore, Zhong Kui traveled from his homeland to take part in the Imperial Examinations at the capital. This enabled even a poor peasant to be accepted into the literati. He achieved high honors in the exams, but because he was very ugly, the Emperor stripped him of his won title of “Zhuangyuan”. In anger and frustration, Zhong Kui dashed his head against the palace gate repeatedly until his head broke. Because he committed suicide, Zhong Kui was banished to hell, but because of his high intelligence and his motivation, he was soon admired and took command of an army of demon soldiers to help him destroy evil spirits and demons.

According to Song Dynasty sources, the Emperor Xuanzong, 712 to 756 AD, of the Tang Dynasty was gravely ill. He dreamed that a small demon ghost appeared and stole treasures from the Emperor and taunted him. A larger demon ghost appeared before the Emperor and introduced himself as Zhong Kui. He said he had sworn to rid the empire of evil, whereupon he tore the smaller demon apart and ate him. Upon awakening, the Emperor had fully recovered from his illness. He ordered Wu Daozi, the court painter, to paint an image of Zhong Kui wearing the hat of an official so that the other officials would know of his rank. He is known not only as the vanquisher of evil, but also as the protector of scholars. In this remarkable large carving, Zhong Kui holds a sword in one hand and a snake in the other. It is a remarkable work of art that I have been proud to have held.

This lovely old carving is a highly stylized carving of a phoenix vessel. The vessel is probably for ritual offerings for ancestral spirits. It has lovely scrollwork carved wings and feathers on its sides and two dragons and the Tao T’eh protector face on its lid.

Though heavily eroded, this great jade artifact wears a wonderful patina and has a great presence. It is a Hongshan Culture carving that dates back about 5,000 years. Even so, it has a modern art “look” to it.

This lovely small dragon vessel was carved for ritual use. It is carved from DuShan jade from the DuShan Mountains in China. This type of nephrite jade is highly sought for its strong color patterns. This old jade carving has a nice patina and fits the hand very comfortably.

Neolithic Jade Monkey Face:
Thousands of years ago, long before the birth of the lunar calendar and the twelve corresponding animals of the Chinese Zodiac, an imaginative master jade carver of the Hongshan Culture created this monkey totem. That this carver captured the cleverness of the monkey is a testimony to his skill. Today monkeys are not at all common in China and are generally found in Szechuan and Gansu, or on the Tibetan Borderlands. But in neolithic times the climate of China was quite different, and the area from which this carving comes, near Inner Mongolia, though barren today, was a temperate rain forest in ages past. In China the monkey is an emblem of cleverness and trickery. Monkey is believed to have control over various imaginary spirits and powers such as witches, goblins and elves. Thus monkey is able to offer health, success and protection by preventing malicious acts from these entities, or by repelling these malign forces altogether.