Ornament in the shape of a dragon, China, Warring States Period (approx. 480-221 BCE), Eastern Zhou dynasty (771-255 BCE). Nephrite, Jincun. H. 1 in x W. 4 3/4 in D. 1/8 in, H. 2.54 cm x W. 12.07 cm x D. .32 cm. The Avery Brundage Collection, B60J680 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Exhibition History: "Gems of Chinese Art: From the Asian Art Museum of San Francisco, The Avery Brundage Collection", Hong Kong Museum of Art, 5/17/1983-8/7/1983.

"Sacred Mountains in Chinese Art", Krannert Art Museum, University of Illinois (11/9/1990-12/16/1990), Metropolitan Museum of Art (1/25/1991-3/31/1991)

Oval plaque ornament, China, Warring States Period (approx. 480-221 BCE). Nephrite. W. 1 1/2 in x L. 2 5/8 in, W. 3.8 cm x L. 6.7 cm. The Avery Brundage Collection, B60J755 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This elegant oval plaque is very similar in both shape and decoration to an example found at a late Spring and Autumn period tomb at Taiyuan, Shanxi province. Pieces of similar shape have also been found in Anhui province and in the tomb of the Marquis Yi of Zeng. The major differences are found in the profile and the method of attachment. The example discussed here has a thin profile and two points of attachment on either side. The piece from Taiyuan has a rounder profile and a single point of attachment on each side. The front of this piece is decorated with the "sprouting grain" pattern typical of the late Spring and Autumn and Warring States periods; it is divided into quadrants by raised bands. The reverse is also decorated with "sprouting grain" patterns but does not have the divisions. The front of the piece is slightly convex, while the back is slightly concave, suggesting that it was meant to fit a curved surface. Some experts have concluded that such pieces were attached to the cloth belts worn at that time.

This piece was cut from a light, yellowish Khotan jade. A considerable amount of material would have been sacrificed to give it its uniform curved profile. Much of the surface has been altered during burial and is white or mottled white and yellow. There are some areas of a brown which is either a deeper stain or inherent in the stone. The level of finish is quite high and while the polish is somewhat dimmed by alteration, the piece still has the gleam typical of high quality Warring States and Han jades.

1. Zhongguo Yuqi Chuanji, vol 3, p. 25, plate 41
2. Zhong Yuan Wen Wu, 1991, no. 4, p. 28, no. 7

Exhibition History: "Chinese Jade: Stone of Immortality", Cernuschi Museum, France, 9/26/1997 - 1/4/1998
"Eternal Stone and Immortal Brush: Chinese Jades and Paintings from the Asian Art Museum of San Francisco", Fresno Metropolitan Museum, 2/24/2002 - 6/9/2002

Circular ornament (huan), China, Warring States Period (approx. 480-221 BCE). Nephrite. T. 3/16 in x Diam. 2 1/4 in. The Avery Brundage Collection, B60J760 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Examples of the traditional repertoire of ritual objects of the Neolithic period, such as bi and cong, are very rare in excavated materials from the Shang dynasty to the beginning of the Warring Sates period. Changes in ritual and burial practice, and new attitudes toward the material seem to have much to do with this; a possible shortage of material to make these larger objects must also be taken into consideration. However, from the mid to late Warring States and through much of the Western Han, bi in particular make a strong reappearance. However, not all of these examples served as ritual objects and many seem to have simply been another part of large pendant sets. These ring shaped objects are known as huan and usually smaller in size than the bi.

This piece has an unusual asymmetric shape. The outer edge is interrupted by eight rectangular slots while the central hole has seven slots. Thus these slots only line up completely at one position on the huan. The surface decoration consists of large numbers of small spiral patterns. In contrast to most decor of this type and of this period, these are cut below the surface, rather than raised, and are not well finished or polished.

The piece is cut from a yellow Khotan jade with large cloudy brown areas. The surface is stained in a number of areas; the most prominent stains are whitish in color.

1. Yang, no. 200 (decor?)
2. Loehr, plate 350
3. Zhongguo Yuqi Chuanji, vol 3, p. 188, plate 296 (left)
4. Wen Wu, 1974, no. 11, p. 76, no. 24
5. Lam, plate 168 (left)

Exhibition History: "Chinese Jade: Stone of Immortality", Cernuschi Museum, France, 9/26/1997 - 1/4/1998

Coiled dragon, China, Warring States Period (approx. 480-221 BCE), Han dynasty (206 BCE-220 CE). Jade. L. 2 1/2 in x W. 2 1/16 in, L. 5.2 cm x W. 6.4 cm. The Avery Brundage Collection, B60J773 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Bird-shaped hairpin, China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1 1/2 in x W. 1 5/8 in x D. 1/16 in, H. 3.8 cm x W. 4.1 cm x D. .16 cm. The Avery Brundage Collection, B60J815 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This phoenix-like bird has a U-shaped contour. The gentle slope of the neck arches naturally downwards, and the body widens at the abdomen. The tail curves back up, almost at a vertical, and splits off into three sections. The outermost segment has been broken off, while the innermost falls back down towards the neck. This closes off the contour into an oval-shape. The profile head with a molded eye has an additional feature, consisting of fine cross-hatching and a comma spiral. A border around the edge encloses the surface decoration. A central axis runs the length of the body and separates the decor into two columns of feathers. These feathers are finely detailed with careful and clean lines to delineate the rounded outline with diagonal incisions. In the midsection, the pattern is interrupted by two upturned spirals and small wings or feathers carried on the back of the bird. Below this midsection is a rectangular projection downwards, the corner of which is broken off. This would have been the means to attach this piece to a long narrow pin, perhaps of bone, which would have fit into the hair.

Both men and women initially wore hairpins for practical purposes of keeping hair out of their eyes but then more for decoration and ceremony. In the Shang, hairpins were usually made of animal bone, though some precious stone and ivory ones have been found. One end was decorated with birds, figures or geometric designs while the other end was fashioned to a point.

In the Zhou, headdresses and hair pieces became a greater sign of power and class; different materials denoted different status. Customarily, girls who reached the age of fifteen and were engaged to be married went through a hairpin-wearing ceremony as a sort of "coming out" celebration. Women who were still single at the age of twenty underwent a similar, simpler ceremony but with different hairpins. This tradition persisted through the Ming and Qing as "'kai lian chang tou' (plucking off the fine hair on the face and combing the hair in the manner of a grown-up woman)" (Zhou Xun 15).

The complexity of surface decoration on this small piece is quite remarkable. It is cut from a thin slice of yellowish high quality Khotan jade. There are areas of brown stretching from the neck back to the end of the tail. It is difficult to ascertain whether the brown is original to the stone or is the result of discoloration during burial. The overall level of finish is remarkable and the polish is quite high.

1. Forsyth, plate 111
Published Salmony, Chinese Jade Through the Wei Dynasty, plate XX-2

Faceted huan, China, Warring States Period (approx. 480-221 BCE). Nephrite. Diam. 3 1/4 in x D. 1/8 in, Diam. 8.3 cm x D. .32 cm. The Avery Brundage Collection, B60J823 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

While the majority of Warring States jades are decorated with a relatively set repertoire of surface patterns, there is a small group which is undecorated. This huan is an example. For obvious reasons, this group is difficult to date. However, a number of the type come from excavated sites and close observation can reveal techniques that are characteristic of the period. There seems to be an evolution of this type of undecorated huan from those with flat edges to examples in which the edge is quite sharp. Archaeological evidence indicates that the latter group dates to the early Western Han dynasty.

A number of these huan made from other hardstones such as agate have been found, suggesting a growing interest in the decorative qualities of these stones during the Warring Sates period an on into the Han dynasty. Like the huan discussed above, most of these pieces appear to have been made as parts of pendant sets. A lacquered wood yong from the Chu state tombs at Changtaiguan, Xinyang, Henan shows one example of how these large jewelry assemblies were put together during the fourth century B.C.

This piece is quite thin and is cut from light yellow Khotan jade. The stone has minor inclusions and areas of cloudiness. A significant portion has been stained brown; some of the staining is surface only while in other areas it appears to be quite deep.

1. Forsyth, plate 123
2. Forsyth, plate 131
3. Yang, no. 169
4. Kaogu, 1991, p. 408, no. 5, plate 5

Dragon-shaped pendant (xi), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1 1/8 in x W. 2 3/8 in x D. 3/16 in, H. 2.9 cm x W. 6 cm x D. .5 cm. The Avery Brundage Collection, B60J795 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Chinese experts believe that the xi was the bottom-most part of a pendant enssemble. It is often of smaller scale than the pei and also ends in a point. Due to its function, it only required one suspension point, in this case located near the back of the animal's head. Thus the entire piece would have been suspended vertically with the head uppermost. It is impossible to determine whether any of the other perforations of the body of the piece served any purpose other than decorative.

The head of this animal appears quite feline in nature, a development that is common in dragons of the later Warring States period. The tiger was rare in the arts of the late Spring and Autumn and the very early Warring States period. They begin to re-enter the repertoire of motifs in the fifth century B.C., perhaps due to influences from China's neighbors to the northwest. The feline-like dragon appears at about the same time and is perhaps a response to the same influences.

While, like most late Spring and Autumn and Warring States jades, this piece is polished to a high finish, the surface decoration is minimal. Only a few thinly incised lines outline the body with two areas of cross-hatching on each side. The cloud-like motif that is attached to the back of the creature's head is perhaps an indication of new beliefs in immortal paradises. These beliefs were to strengthen during the Han dynasty and the clouds associated with these paradises became a common motif in many media.
This piece is cut from a relatively uniform section of light yellowish Khotan jade. The two sides are nearly exactly parallel, with only a slight taper at the tail. The quality of the stone is somewhat obscured by staining on the surface but appears to be very translucent and without flaws. There is some brown staining on the snout and the cloud. The level of polish is very high; however, the decor lines are not cleanly finished.

1. Yang, no 208
2. NPM, Collector's Exhibition, plate 71
3. De Bisscop, plate 21
4. Salmony, Carved Jade of Ancient China, plate XLVIII, no 2
5. Loo, plate XXIV, no 2

Disc, China, Warring States Period (approx. 480-221 BCE). Nephrite. Diam. 5 1/2 in x D. 1/4 in, Diam. 13.97 cm x D. .64 cm Diam. inner hole 2 3/4 in. The Avery Brundage Collection, B60J504 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Disc, China, Warring States Period (approx. 480-221 BCE). Nephrite. Diam. 11 in x Th. 1/4 in, Diam. 27.9 cm x Th. 0 .64 cm; Diam. at hole 1 5/8 in. The Avery Brundage Collection, B60J140© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Curved pendant, China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1 1/8 in x W. 4 3/16 in x D. 1/8 in, H. 2.86 cm x W. 10.6 cm x D. .32 cm Diameter of hole - 1/8 in. The Avery Brundage Collection, B60J520 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Dragon-shaped pendant (pei), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1 3/4 in x W. 3 in. The Avery Brundage Collection, B60J522 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This dragon-shaped pei contrasts rather strongly with the example discussed above (#36) and represents either a regional variation or a parallel development in surface ornamentation. This beast has a rather large head with a long snout and large horn; and a long serpentine body with what appears to be four legs. The sharply curved and pointed appendage in the middle of the back is difficult to explain as part of the animal's anatomy. In many examples such a form would represent a split tail. In this case it would be badly misplaced as such.

However, it is in the surface decoration where there example differs most greatly with those discussed above. Rather than a uniform overall pattern of abstract motifs, this animal is decorated with elements that relate directly to the parts of the body they represent. The snout is covered with fine parallel lines which differentiate it from the area around the eye. The eye is no longer just a simple circle or oval, but instead is very much eye-like in shape. Much of the body is covered with scale-like motifs; some of these are further decorated with cross-hatch patterns or parallel lines, others are plain. The back part of the body is decorated with finely incised parallel lines that are at a slight diagonal to the curve of the body. The surface is shallowly worked with none of the motifs appearing to be significantly above or below it.

This moderately thick piece is cut from light green to yellow Khotan jade. As with most pieces of the Warring States period, the stone is of very high qualilty, uniform in color and with few, if any, inclusions. The surface has been altered during burial with broad bands of white and almost lavender stains.

1. Lam, no. 154
2. Loo, plate XXV, no. 3
3. Zhongguo Yuqi Chuanji, vol 4, p. 48, plate 59
4. Ayers, no. 118
5. Rawson, "The Surface Decoration on Jades of the Chou and Han 
Dynasties," p. 49, fig 32.

Pendant with dragon heads, China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 7/8 in x W. 3 3/4 in D. 1/8 in, H. 2.22 cm x W. 9.53 cm x D. .32 cm. The Avery Brundage Collection, B60J523© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Ring, China, Warring States Period (approx. 480-221 BCE). Nephrite. Diam. 1 7/16 in x D. 1/8 in, Diam. 3.65 cm x D. .32 cm. The Avery Brundage Collection, B60J569 © 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Bead (guan), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 2 1/2 in x Diam. 1 5/8 in, H. 6.3 cm x Diam. 4.1 cm. The Avery Brundage Collection, B60J589© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Lot 16. A circular bronze-backed gold-foil fitting, Warring States Period (475-221 BC), 8.2cm., 3 1/4 in. Estimate 800 — 1,200 GBP. Lot sold 1,000 GBP. Photo: Sotheby's

the thin gold foil decorated with a design of interlinked bands of finely striated raised ropes arranged around a central whirl motif, fixed to a round, slighly convex bronze backing, the reverse with heavy malachite encrustation. Weight 73.5g.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 7.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 7.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 7.

Lot 17. A silver plaque, Warring States Period (475-221 BC), 6.2cm., 2 3/8 in. Estimate 1,500 — 2,000 GBP. Lot sold 4,375 GBP. Photo: Sotheby's

cast in a circular shape with a slightly convex surface and decorated with an elaborate design of interlaced T- and C-scrolls, the wide lines finely engraved, the reverse with a loop for attachment. Weight 45g.

Exhibited: Smithsonian Institution, Washington, 1954-55, cat. no. 77.

Literature: Gyllensvärd, 1953, pl. 77.
Ulricehamn, 1999, pl. 80.

Lot 21. A fine gold garment-hook, Warring States Period (475-221 BC), 3.4cm., 1 3/8 in. Estimate 2,000 — 3,000 GBP. Lot sold 42,500 GBP. Photo: Sotheby's

elegantly cast in a curved 'S' profile and surmounted by a goose head hook with an elongated beak, the long slender neck gracefully tapering into a wide and slightly domed body, a round button set on the back for attachment . Weight 34g.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 12.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 12.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 12.

Note: Unlike garment hooks cast in bronze or iron, gold garment-hooks are rare. Four gold garment-hooks similarly rendered with realistically portrayed goose heads were found among the burial goods in the tomb of the Marquis Yi of Zeng at Sui Xian in Hubei province, illustrated in Zhongguo meishu quanji. Gongyi meishu bian, vol. 10, Beijing, 1987, pl. 19.

Lot 23. A parcel-gilt silver garment-hook, Warring States Period (475-221 BC), 16.7cm., 6 5/8 in. Estimate 3,000 — 4,000 GBP. Lot sold 8,125 GBP. Photo: Sotheby's

the wide, gently curved body ending in a simple hook and cast with an openwork design of a pair of confronting birds surrounded by interlocking scrolls, surmounted by the head of a stylised beast. Weight 119.5g.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 82.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 35, an exhibition touring the United States and shown also at nine other museums

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 82.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 85.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008 

Lot 24. A silver garment-hook, Warring States Period (475-221 BC), 12.6cm., 5in. Estimate 3,000 — 4,000 GBP. Lot sold 5,250 GBP. Photo: Sotheby's

the curved, semi-circular shaft ending in a dragon's head hook and decorated with an overall design of finely chased and engraved volutes and triangles alternating with bands and scales with ring-punched details. Weight 128gr.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 78.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 78.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 81.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008 

Lot 25. A silver garment-hook, Warring States Period (475-221 BC), 9.8cm., 3 7/8 in. Estimate 3,000 — 4,000 GBP. Lot sold 3,750 GBP. Photo: Sotheby's

of slender curved form tapering to a small hook superbly cast in the shape of a bird's head, the body decorated with an engraved design of volutes and triangles. Weight 27.5g.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 79.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 79.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 82.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008