Bowl with openwork dragons chasing flaming pearl, 18th century, Qing dynasty (1644-1911). Hetian nephrite. H. 3 1/2 in x W. 7 3/8 in x D. 6 1/2 in, H. 8.9 cm x W. 18.7 cm x D. 16.5 cm. The Avery Brundage Collection, B60J456 © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture

The outside walls of this small, shallow gray bowl are carved with high-relief waves from which three dragons emerge to peer over the rim and chase a flaming pearl. The thickness of the vessel walls, the dragon motif, and the depth of the carving recall Yuan and Ming basins and bowls. The eighteenth-century carver may have been inspired by a massive Yuan basin that the Qianlong emperor installed in the Round Fort, Beijing (Hansford, plate 78).

Jar with grape decoration, Korea, Joseon dynasty (1392–1910), 18th century.Porcelain with underglaze copper-red design. H. 10 1/2 in. (26.7 cm); Diam. 10 3/4 in. (27.3 cm), National Museum of Korea, L.2016.43.9a, b. Photograph courtesy the National Museum of Korea.

Jar with tiger decoration, Korea, Joseon dynasty (1392–1910), 19th century. Porcelain with underglaze cobalt blue design. 14 3/4 in. (37.5 cm); Diam. of base: 5 13/16 in. (14.8 cm). National Museum of Korea, L.2016.43.10a, b. Photograph courtesy the National Museum of Korea

Lot 394. An Indian ruby and diamond-set Hawking Ring. Sold for £7,200 (€8,476). Photo Bonhams. 

Dish with profile of a woman with Petrarchan verse, ca. 1510–30, Deruta. Maiolica (tin-glazed earthenware), lustered. Overall (confirmed): 3 1/2 × 15 7/8 in. (8.9 × 40.3 cm). Gift of Henry G. Marquand, 1894, 94.4.320© 2000–2016 The Metropolitan Museum of Art. 

The Umbrian town of Deruta was an important center of maiolica production and was particularly famous for its display plates—especially those bearing images of lovely women. Here, confident lines describe a graceful feminine profile. Dishes such as this example functioned as a circular picture, with the patterned rim enclosing and enhancing the central image, not unlike a framed panel painting.

Probably workshop of Giacomo Mancini, "El Frate" (Italian, active ca. 1540–60), Pharmacy jar (albarello), 1573, Deruta. Maiolica (tin-glazed earthenware). Overall (confirmed): 13 3/16 × 8 13/16 × 8 13/16 in. (33.5 × 22.4 × 22.4 cm). Gift of W. B. Osgood Field, 1902, 02.5.12© 2000–2016 The Metropolitan Museum of Art.

Wedding headdress, 19th century. Silk, kingfisher feathers, copper alloy, turquoise, glass and ceramic; height: 7 in, 17.78 cm; overall height: 8.5 in, 21.59 cm; diameter: 6.5 in, 16.51 cm.Neusteter Textile Collection: Gift of Mrs. J. Churchill Owen, 1973.23 © Denver Art Museum

Using bright blue kingfisher feathers for ornamentation has a long history in China. At first these costly products were only for the elite, but by the 1800s it was common for a bride to wear a headdress fashioned with kingfisher feathers. The precious stone "jewels," however, were replaced by ceramic, glass, or paste versions. Floral ornaments mingled with bats, symbols of blessings, and golden wish-granting clouds cover the black silk lattice under bonnet of this wedding headdress. Characters for double happiness appear at the crown; in the center of each strand of the beaded veil is an auspicious symbol. 

Fan case with peony, pine and mallow, 1875-1925. Silk and metal thread embroidery on silk, glass beads; length: 18 1/4 in, 46.35 cm; width: 2 3/4 in, 6.98 cm. Neusteter Textile Collection: Gift of James P. Grant & Betty Grant Austin, 1977.356 © Denver Art Museum

Replica of a turtle plastron. Courtesy: Mention PR Consultants Limited

HONG KONG.- Co-organised by YuZhen and Mention PR, “Decoding Oracle Bone Script” Exhibition will be held from 5th January to 3rd February 2017 at Citywalk 2. The exhibits include important publications in the oracle bone studies, calligraphic works and replicas of oracle bones. Let’s travel back in time to the Shang dynasty 3400 years ago, and explore the origin of Chinese writing!  

Primarily used as the record of divination, oracle bone script is the earliest form of Chinese writing and a cultural heritage nowadays, which provides a source for us to know more about the culture in the ancient times. The exhibition will introduce the distinguished scholars in the oracle bone studies and showcase important publications, replicas of a turtle plastron and a pair of ox scapulae, and the calligraphic works by Hong Kong and Taiwanese scholars. Audience will be given the chance to collect the stamps of oracle bone writing in multiple validated characters. This activity provides an exceptional way to a better knowledge of the origin and evolution of Chinese writing.  

DENVER, CO.- The Denver Art Museum is presenting Star Wars™ and the Power of Costume, on view through April 2, 2017. The exhibition gives DAM visitors a look behind the scenes into the fantasy, marvel and delight of bringing characters in the Star Wars universe to life through a dramatic presentation of original costumes. Star Wars and the Power of Costume closely examines the captivating process of costume conception and design for iconic outfits, from Princess Leia’s unforgettable bikini to Darth Vader’s imposing black uniform, featured in all seven films of the Star Wars series.  

“The creative process behind crafting the world of Star Wars is part of a pop-culture phenomenon that we are thrilled to bring to the Rocky Mountain region,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “A vivid exhibition display and behind-the-scenes look will delight creatives, designers and die-hard fans alike.”  

The challenges and triumphs of bringing characters and their believable worlds to life are revealed through thematic exhibition sections, including Jedi vs. Sith and the Galactic Senate. More than 60 hand-crafted costumes from all seven blockbuster Star Wars films uncover the connection between character and costume. Star Wars and the Power of Costume also explores the imagination and artistry of the world’s most recognized cinematic costumes, taking a closer look at the iconic villain Darth Vader, Wookiee Chewbacca, X-Wing pilots and Droids™, including C-3PO and R2-D2. 

“So many of us have warm memories and a fascination associated with the Star Wars films, and it’s really the characters that maintain this longstanding connection,” said Stefania Van Dyke, interpretive specialist at the DAM. “Characters like Han Solo, Princess Leia and Luke Skywalker have become inseparably associated with their costumes, and our unique presentation will give a look at the inspiration and nuanced creative processes of designers and artisans.” 

Visitors are able to tap into fantasy, quality craftsmanship and character development through immersive experiences that include powerful Star Wars royalty, military and senate imagery, as well as behind-the-scenes videos and testimonials from artists, designers and actors.

Stormtrooper, Star Wars™: Return of the Jedi ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Queen Amidala, Throne Room Gown, Star Wars™: The Phantom Menace ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Concept Art, Chewbacca, Star Wars™: A New Hope ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Concept Art. Queen Amidala, Senate Gown, Star Wars™: The Phantom Menace ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

C-3PO, Star Wars™: Empire Strikes Back - R2-D2, Star Wars™: A New Hope ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Han Solo, Star Wars™: Return of the Jedi ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Darth Sidious, Senate Chamber Robes, Star Wars™: Revenge of the Sith ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization. 

Tusken Raider, Female Costume, Star Wars™: Attack of the Clones ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization.

Boba Fett, Star Wars™: The Empire Strikes Back ©& ™ 2017 Lucasfilm Ltd. All rights reserved. Used under authorization. 

Lot 25. A Lacquered Copper Medallion Depicting the Emperor Constantine the Great, Edo period, late 18th century. Photo Christie's Image Ltd 2016.

The oval copper medallion decorated in gold hiramaki-e [low-relief lacquer], with details embellished with inlaid gold foil, against a black lacquer ground with the Roman emperor Constantine the Great, the inscription reads: IMP. CONSTANTINVS. MAX. P. F. AVG. The reverse also with inscription, 14.1 x 9.1cm.

From the collection of Mike and Hiroko Dean

Lot 27. A Lacquered Copper Medallion Depicting the Emperor Galba, Edo period, late 18th century. Photo Christie's Image Ltd 2016.

The oval copper medallion decorated in gold hiramaki-e [low-relief lacquer] with details embellished with inlays of gold foil, with the bust of the Emperor Galba, the inscription reads: SERSVLPI. GALBA. IMP. CAES. AVG. P. M. TR. P. The reverse also with inscription, 14.2 x 9.1cm.

From the collection of Mike and Hiroko Dean

Christie's on line. JAPANESE ART AT THE ENGLISH COURT

Lot 26. An Export Lacquer Medallion with a Portrait of Gustaf III, King of Sweden, Edo period, late 18th century. Photo Christie's Image Ltd 2016.

The oval copper medallion decorated in gold hiramaki-e [low-relief lacquer] against a black lacquer ground with a formal portrait of Gustaf III, King of Sweden, the eyes and robe details inlaid in gold foil, the reverse with an inscription above a coat of arms: Gustava III tius Suecorum Gothorum Vandalorumque Rex Japonia factum 1788, 16.4 x 11.8cm.

From the collection of Mike and Hiroko Dean

Rhinoceros horn libation cup with a scene of the Red Cliff, 17th century, Late Ming dynasty-early Qing dynasty. H. 10.2 cm x W. 5 3/8 in x D. 3 3/4 in, H. 10.2 cm x W. 13.5 cm x D. 9.6 cm. Transfer from the Fine Arts Museums of San Francisco, Gift of Sanford Lowergart, B68M13. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture 

This cup illustrates scenes from the famous essay the Red Cliff written in 1082 by Su Shi (1036-1101). Depicted on one side of the cup is a a large sailing boat on river waves with eight people pulling oars. The two scholars standing outside of a tall castle are probably Su Shi and an associate arriving in the ancient city of Huangzhou. The story ends on the opposite side with a depiction of a river bank with anchored boats. The openwork carving on the handle consists of trees and craggy mountains that continue inside the mouth.

Rhinoceros horn (which is actually a dense accretion of hair) is well-suited for carving. The decoration on horn cups often shares themes with other functional arts, such as lacquer carving and ceramics. 

Very few rhinoceros horn cups were created during most of the 1400s and the first decades of the 1500s; this can be attributed to the rarity of the animal in China, along with restrictions on imports from other countries. These import restrictions were lifted in 1565, which corresponded with a period of economic prosperity throughout much of China. Demand for luxury items like cups made from rhino horn was high at this time. As a result, the period from 1565 through the early 1700s is considered the classical period for carved rhino horn cups. But demand for horn exceeded the supply, and the rhinoceros was driven to the point of extinction throughout much of East and Southeast Asia. 

The Rhinoceros in Chinese Culture
Rhinoceros horn was thought by the Chinese to help cure certain diseases, neutralize poisons, and increase male virility. The horn was both ground for medicine and carved into elaborate vessels for wealthy patrons. Such vessels might be artworks in themselves, and finest were - and are - eagerly sought by collectors. Archaeological evidence indicates that in ancient times rhinoceros were also harvested for their thick skins, which were used as armor.

Overhunting and destruction of habitat caused the rhinoceros to become nearly extinct in China by the beginning of the Ming dynasty (1368-1644). Unfortunately, demand for animal products with purported medicinal qualities remains strong today, and this demand - exacerbated by the country's recent economic boom - is still a major factor in the extinction or near extinction of a number of animal species. It has also led to a strong market for antique rhino horn cups. In the past decade the high price paid at auction for rhino horn has increased by a factor of more than twenty. This is reflected in the high monetary values recently given to rhino horn cups on the television program Antiques Roadshow. 

The famous ritual vessel in the shape of a rhinoceros on display in gallery 14 on the museum's third floor is one of the earliest and most realistic depictions of the rhinoceros to be found anywhere in the world. In ancient times two species of rhino frequented the woods and grasslands of China; one was small and had a single horn. The second was much larger, and had two horns. The bronze rhino vessel depicts the second type. It shows that the cultural importance of the rhinoceros for the Chinese began in ancient times. Today many people in China and throughout the world are working to protect this magnificent endangered animal. 

Rhinoceros horn libation cup, 17th century, Late Ming dynasty-early Qing dynasty.  H. 3 3/4 in x W. 6 3/8 in x D. 4 3/8 in, H. 9.6 cm x W. 16.1 cm x D. 11.1 cm. Transfer from the Fine Arts Museums of San Francisco, Gift of Sanford Lowergart, B68M14. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture  

Rhinoceros horn octagonal cup in a shape of ancient bronze vessel, 17th century, Late Ming dynasty-early Qing dynasty. H. 8.5 cm x W. 11.8 cm x D. 8.8 cm. Transfer from the Fine Arts Museums of San Francisco, Gift of Sanford Lowergart, B68M17. © 2016 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture

This cup is in the shape of an ancient ritual vessel. The shallow-relief designs that ornament the exterior of the cup were also adopted from motifs found on ancient bronze vessels and jades. The main design on each side is a large beast mask known as a taotie.

The main design of the cup consists of stylized phoenix patterns against a squared spiral ground. The cup features eight small dragons (chi long), seven on the outside, and one on the inside Rhinoceros horn (which is actually a dense accretion of hair) is well-suited for carving. The decoration on horn cups often shares themes with other functional arts, such as lacquer carving and ceramics.

Very few rhinoceros horn cups were created during most of the 1400s and the first decades of the 1500s; this can be attributed to the rarity of the animal in China, along with restrictions on imports from other countries. These import restrictions were lifted in 1565, which corresponded with a period of economic prosperity throughout much of China. Demand for luxury items like cups made from rhino horn was high at this time. As a result, the period from 1565 through the early 1700s is considered the classical period for carved rhino horn cups. But demand for horn exceeded the supply, and the rhinoceros was driven to the point of extinction throughout much of East and Southeast Asia.

The Rhinoceros in Chinese Culture
Rhinoceros horn was thought by the Chinese to help cure certain diseases, neutralize poisons, and increase male virility. The horn was both ground for medicine and carved into elaborate vessels for wealthy patrons. Such vessels might be artworks in themselves, and finest were - and are - eagerly sought by collectors. Archaeological evidence indicates that in ancient times rhinoceros were also harvested for their thick skins, which were used as armor.

Overhunting and destruction of habitat caused the rhinoceros to become nearly extinct in China by the beginning of the Ming dynasty (1368-1644). Unfortunately, demand for animal products with purported medicinal qualities remains strong today, and this demand - exacerbated by the country's recent economic boom - is still a major factor in the extinction or near extinction of a number of animal species. It has also led to a strong market for antique rhino horn cups. In the past decade the high price paid at auction for rhino horn has increased by a factor of more than twenty. This is reflected in the high monetary values recently given to rhino horn cups on the television program Antiques Roadshow.

The famous ritual vessel in the shape of a rhinoceros on display in gallery 14 on the museum's third floor is one of the earliest and most realistic depictions of the rhinoceros to be found anywhere in the world. In ancient times two species of rhino frequented the woods and grasslands of China; one was small and had a single horn. The second was much larger, and had two horns. The bronze rhino vessel depicts the second type. It shows that the cultural importance of the rhinoceros for the Chinese began in ancient times. Today many people in China and throughout the world are working to protect this magnificent endangered animal.

Straight-sided bowl, Vietnam, 13th century-14th century. Stoneware, cream-brown glaze with moulded dimples around outside incised pattern,  9.0 × 14.2 cm diameter. Gift of Zorica McCarthy, 2010, 2010.334 © National Gallery of Victoria, Melbourne

Ewer with incised lotus collar around opening, incised bands on body, spiral decorated spout, ribbed strap handle, carved vegetal scrolling, Vietnam, 13th century-14th century, earthenware, green glaze, 21.0 × 19.0 cm diameter. Gift of Zorica McCarthy, 2010, 2010.329 © National Gallery of Victoria, Melbourne

The wood-ash and iron glaze is fired in a reducing atmosphere.

Mirror decorated with dragons, Korea, Goryeo dynasty (918–1392), 11th–12th century. Bronze. Diam. 10 1/2 in. (26.7 cm), Rogers Fund, 1911, 11.48.1 © 2000–2016 The Metropolitan Museum of Art.