This original Ming Dynasty ceramic or stoneware tile with a figure of a seated Buddha measures about 6 3/4 x 9 1/2 x 2 1/2 inches.

It is in very good condition with minor losses to the glaze in a few areas along with a few small rim chips.

Stylistically, it has more in common with Song Dynasty ceramics, but most likely it dates to the Ming Dynasty.

This architectural tile appears to have been designed to be mounted in the wall of a shrine or temple and has a pattern of large shaped dovetails on the reverse for that purpose (see enlargement photo).

This museum quality piece consists of very dense stoneware covered with colored glazes in turquoise, aubergine and yellow.

This Buddha tile dates from the Ming Dynasty or earlier.

A Few Facts:

The Shanyin Hall at the White Dagoba Temple was built or restored by the Qianlong emperor in 1751, 30 years after a large earthquake damaged the same area in Beijing.

Shanyin Hall currently has 445 Buddha tiles of similar style, but of later manufacture (probably circa 1976 -when it was last restored after the Tangshan earthquake.) (See the last photograph).

It may have have had tiles similar to the one we are offering prior to it's previous restorations in 1751 or 1976.

It is quite possible that this turquoise Buddha tile may be a remnant of one of those earlier changes or restorations.

We currently have in our collection a tile similar to the current tiles that are currently mounted in Shanyin Hall in Beijing. Our tile is marked with Wanli reign Marks (1573- 1619). This is not the tile we are offering with this lot. The one we are offering actually appears to be earlier than this Wanli tile, but it is unmarked.

We can't document it yet, but it is a serious possibility that this old Buddha tile dates to before 1619.

Our research shows that the original tiles were probably held in place with lime mortar-not the best thing to use in an earthquake zone.

This tile we offer here may have been salvaged from an old temple restoration or from a temple no longer in existence. This same area has seen earthquakes in 1679, again in 1730 and again in 1976-to name a few.

All of this is a combination of verifiable facts and speculation, but speculation based on observable and documented facts.

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This blue glazed on buff colored ceramic or pottery figure of a seated Buddha measures just over 4 inches tall by 2 1/2 inches wide by 1 1/4 inches in depth.

It is in excellent condition with the glaze pooling to black in the crevices.

It dates to the Qing (Ching) Dynasty (1644-1911).

This outstanding quality Ding Yao covered ceramic box, although Song Dynasty in appearance, may actually date from the Ming or Ching Dynasty.

It measures 8 inches in diameter by about 3 inches in height.

The domed cover is incised with repeating leaf patterns around a central leaf set within a circle.

It is in excellent condition with a circular kiln fracture around the outside of the bottom rim (see enlargement photo). This is original to the piece and is not considered damage.

This Japanese Satsuma pitcher or condiment jar measures about 6 inches tall by 4 inches in diameter at it's widest point.

It dates from the late 19th century-early 20th Century( Meiji Period) (circa 1880-1915).

It is in excellent condition with some minor losses to the gilding on the handle.

It is covered overall with a finely detailed series of patterns, which include a bird and dragon motif with fans.

Based on it's rounded and smoothed edges, it appears that this small vessel never originally had a permanent top or stopper.

It is unmarked as to maker or country of origin . This one fact helps to date it pre 1895 when US import export laws were established. After that date it would have had to have been marked as to country of origin.

Song to Ming Dynasty Jade Carving of a Lion.

This is a pale to medium gray jade carving with white /off white striations along with white splashes of color on the split or bifurcated tail.

It is in outstanding condition with a few natural interior fault lines.

Subject is a lion in a standing or somewhat crouched position.

Dimensions: 3 x 2 3/4 x 1 3/4 inches (76mm x 72mm x 40 mm)

This classic jade lion dates to the Song Dynasty (980 AD -1279 AD) or the early portion of the Ming Dynasty (1368 AD - 1644 AD).

The copper and silver lid is covered with repeating patterns, auspicious symbols and tiny cabachons in turquoise and coral.

The lid is topped by a large (24mm) turquoise bead giving the appearance of a small globe of the earth. In addition, it has four silver shield shapes with large inset carved jades that may represent the four directions (North, South, East, West).

It dates from the late 19th to early 20th century in Tibet or Nepal.

It is in excellent condition with a nice even patinas on the both the copper and silver areas.

This bronze figure of Jambhala (also known as Vaisravana) measures about 11.5 inches tall by 9 inches wide by 5 inches in depth(including the bronze lotus mount and lion that it sits on).

He is commonly considered to be the god of wealth and protector of the north, riding on a lion.

A mongoose sits on a lotus under his left foot.

His right hand holds a citron or lemon (a symbol of fertility).

The character of Jambhala or Vaisavana is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics, each of them has different functions and associated myths.

Although brought into East Asia as a Buddhist deity, Vaisravana has become a character in folk religion and has acquired an identity that is independent of the Buddhist tradition .

Vaisravana is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Mount Sumeru. He is the leader of all the yaksas who dwell on the Sumeru's slopes.

He is often portrayed with a yellow face.

He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth.

The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.

In Tibet, Vaisravana is considered a worldly dharmapala or protector of the Dharma, a member of the retinue of Ratnasambhava.

He is also known as the King of the North. As guardian of the north, he is often depicted on temple murals outside the main door.

He is also thought of as a god of wealth. As such, he is sometimes portrayed carrying a citron(a type of lemon), the fruit of the jambhara tree, a pun on another name of his, Jambhala . The fruit helps distinguish him iconically from depictions of Kuvera.

He is "sometimes" represented as corpulent and covered with jewels.

His mount is a snow lion.

This intricate bronze has much of it's original overpainting remaining on the faces of both Jambala and his mount. There is a large amount of gilding applied to jeweled portions and accent details. This was a style of decoration that was popular during the later portion of the Ming Dynasty (1368-1644) and also occasionally during the early portion of the Qing Dynasty( 1644-1912).

We estimate this antique bronze to date to the 17th or 18th century, but it may be a bit earlier than that.

This antique bronze is in excellent condition, with one exception. It sits on three mount pins that extend into the sealed lotus base. One of these pins has broken off and is apparantly roaming around within the base itself. Sitting on two pins rather than three has had no adverse effect on it's stability whatsoever. We only mention it for full disclosure.

We prefer not to open the bases of ancient artifacts that have often been sealed and blessed during religious ceremonies.

This outstanding example of a Muhuashi (Petrified Wood Scholar's Rock) measures 8 inches by 5 1/2 inches by 4 inches tall (including the carved wooden stand it sits in). One photo enlargement shows the stand and the bottom of the rock.

It has the appearance of a craggy old mountain. It was at one time part of a collection of jade mountains. The mineralized wood is actually as hard or harder than jade.

It is difficult to put an actual age on this stone, but we can easily assume that it's age can be measured in centuries, lot's of them!

This nephrite jade carving of a resting Mandarin duck dates to the Ming Dynasty or earlier.

It is a pale celadon to yellow jade altered to brown overall.

It appears to have been buried for an extended period of time, based on the level of alteration or oxidation.

It may actually date to the Song Dynasty, but we are dating it as Ming to be conservative.

It measures 80 mm x 45mm x 12 mm in depth.

It is in very good condition with the exception of a slight loss to one wing tip, which appears to have happened ages ago because it shows wear and toning consistent with the rest of the carving.

The shape of the tail is unusual in that it looks like a sea monster . Without its pointed beak, it could be mistaken for a dragon or a kylin.

This Meiji period JAPANESE KUTANI BOWL measures 10 1/2 inches in diameter and 4 inches deep.

It is in excellent condition with slight wear to the gilding as would be expected .

It is signed on the bottom (see enlargement).

This standing nephrite jade carving of a bearded and robed figure with long horns or a headdress of some sort measures about 10 1/2 inches tall by 3 inches wide by 1 1/2 inches in depth.

It is carved from a large piece of nephrite ranging from pale to deep green with a strip of oxidized white to yellow jade down the middle. In addition, there is a crackled stripe of oxidation running down through the center of the face through the figure to the bottom of the robe.

There are also engraved rectangular patterns and additional patterns on the robe.

Although the serious possibility exists that this is an old nephrite carving dating to the Shang period, we are dating this one very conservatively to about circa 1900-1920. If it turns out to be much older, we are certain the buyer will not be too upset.

It is interesting to note, however, that the oxidation and subsequent crackling of the stone that runs right down through the face probably occurred after the jade was carved. The question arises: if this is a copy made in the last 100 years or so, why didn't they turn it around before they carved the face, as the center of the back side is pristine where the face could have been positioned, no crackling or deterioration? It would have been the better choice to use as the front and would have made a more attractive and potentially more saleable copy. If however, the deterioration of the stone actually happened over an extended period of time after it was carved, that would make more sense as an explanation as to why the current positioning of the stone in relation to it's natural flaws or irregularities.

This Japanese Satsuma Vase is unmarked, 15 inches tall and about 9 inches in diameter.

It dates to the Meiji Period (1868-1912) and has Kwannon and Lohans with an elephant pictured upon it.

It is in excellent condition with some light rubbing on the high relief gilded areas exposing an outstanding crackle beneath.