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    <title>Dynasty Antique Company : RSS Product Feed :: Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters Longevity and nine immortal beings design</title>
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      <title>Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters Longevity and nine immortal beings design</title>
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      <description><![CDATA[ <a href="http://www.dynastyantique.com/embroidery-from-qing-dynasty-jiaqing-reign-17961821-ad-with-chinese-characters-longevity-and-nine-immortal-beings-design-p-1708.html"><img src="http://www.dynastyantique.com/images/s/201103/13000004706.jpg" alt="Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters Longevity and nine immortal beings design" title=" Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters Longevity and nine immortal beings design " width="150" height="150" style="float: left; margin: 0px 8px 8px 0px;" /></a><link href="http://www.dynastyantique.com/ebay/ebayfrontdesign/css/zencart.css" type="text/css" rel="stylesheet"/><link rel="stylesheet" type="text/css" href="http://www.dynastyantique.com/ebay/ebayfrontdesign/fancybox-1.3.2/jquery.fancybox-1.3.2.css" media="screen" /><link rel="stylesheet" type="text/css" href="http://www.dynastyantique.com/ebay/ebayfrontdesign/jquery-lightbox-0.5/css/jquery.lightbox-0.5.css" media="screen" /><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/js/killerrors.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/application/js/jquery/jquery-1.4.2.min.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/fancybox-1.3.2/jquery.fancybox-1.3.2.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/fancybox-1.3.2/jquery.mousewheel-3.0.4.pack.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/js/zencartwithfancybox-1.3.2.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/jquery-lightbox-0.5/js/jquery.lightbox-0.5.js" type="text/javascript"></script><script src="http://www.dynastyantique.com/ebay/ebayfrontdesign/js/myzencartcustom.js" type="text/javascript"></script><div id="container"><div id="center"><div class="storedescription"></div><div class="centerimage"></div><div id="mypromotion"></div><div id="mygallery"><div id="showcase"><div id="itemtitle"><h3 class="dynastyh3">Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters "Longevity" and nine immortal beings design</h3> <h4 class="dynastyh4">the mounting material is damaged, but the embroidery is at good condition, can be remounted</h4></div><div class="centerspace"></div><div id="morepics"><p>Image gallery (click and see the details)</p><a  target="_blank" href="http://www.dynastyantique.com/ebay/items/4706/1.JPG" title=""><img height="100" src="http://www.dynastyantique.com/ebay/items/4706/1.JPG" id="image_4706_1"></a><a  target="_blank" href="http://www.dynastyantique.com/ebay/items/4706/2.JPG" title=""><img height="100" src="http://www.dynastyantique.com/ebay/items/4706/2.JPG" id="image_4706_2"></a><a  target="_blank" href="http://www.dynastyantique.com/ebay/items/4706/3.JPG" title=""><img height="100" src="http://www.dynastyantique.com/ebay/items/4706/3.JPG" id="image_4706_3"></a><a  target="_blank" href="http://www.dynastyantique.com/ebay/items/4706/4.JPG" title=""><img height="100" src="http://www.dynastyantique.com/ebay/items/4706/4.JPG" id="image_4706_4"></a></div><div class="centerspace"></div><div id="largeimage"><img width="500" src="http://www.dynastyantique.com/ebay/items/4706/1.JPG" id="large_image_4706" name="large_image"></div><div class="centerspace"></div><div class="space"></div><span id="feedback_msg"> </span></div><div id="description"><div id="descriptiontitle">Item Description</div><div id="descriptioncontent"> <font size="2" face="arial"> <div id="itemdescription"> <p></p> <p>here is one Embroidery from Qing Dynasty JiaQing Reign (1796-1821 A.D.) with Chinese characters "Longevity" and nine immortal beings design</p>  <ul> <li>Height: 68 inches, width: 32.5 inches,</li>  <li>Weight : 4 lbs,</li>  <li>Condition : the mounting material is damaged, but the embroidery is at good condition, can be remounted,</li>  <li id="originatefrom">origin:<span id="origin">I have bought this piece from one antiques store in Taipei City in 1999. </span> I have been one lover of asian culture sine 1990, specially in Culture of China, through these years I have bought some repeat items and also my interest point has been changed fron one issue to another frequently, so I can sell out some of items and also can share my collection with you guys.</li> </ul><p></p></div><div id="addedbgknowledge"></div><br><div id="bgknowlege"><h4 class="dynastyh4">Background knowledge: Art&Culture of <span id="whatdynasty">the Qing Dynasty</span></h4><span class="myanimotion">Click here for details</span><div class="stuff"><div class="picturelist"><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/1.jpg" title="<br>Vase, Qing dynasty, Kangxi period (1662-1722), late 17th-early 18th century<br>China<br>Porcelain painted in overglaze famille verte enamels and gilt<br>The possibilities of painting porcelains and colored enamels, which were so successfully developed during the Ming dynasty, were exploited to the fullest in the Qing period. Essentially the same low-fired enamels were now used with such authority that Qing polychrome-decorated porcelains outshine all others. The stellar polychrome decoration of the Kangxi period, the famille verte palette of enamels, takes its name from several distinctive shades of green that are almost invariably present in the color scheme. Famille verte enamels are brightly colored and translucent: they have been applied rather thickly over the darker outlines and details. In addition to the various greens, the famille verte colors include yellow; aubergine; coral-toned iron-red (rather flat and almost opaque); white (achieved by allowing the pure body to show through a clear enamel); and black (a composite color made of matte brownish black pigment covered with green, aubergine, or clear enamel). The blue enamel in this assortment of colors is different from the Ming-dynasty turquoise-tinted blue enamel; it is more violet or royal blue in tone. Like their Ming antecedents, these translucent famille verte enamels-appropriately named yingcai ('hard colors') by the Chinese-did not permit much gradation in color, and the effects of shading had to be relegated to finely penciled lines in the preliminary drawing. When used over the glaze, the famille verte enamels present a somewhat different appearance. Supported by the lustrous glaze, they stand radiant and clear against the white ground that forms an integral part of the total composition. In addition to being used with the usual overglaze blue enamel of the palette, overglaze famille verte enamels are sometimes found in conjunction with underglaze cobalt-blue painting, and occasionally both underglaze and overglaze blue can be seen on the same object. Touches of gilt were often added to this group, providing an especially lively accent. The designer's imagination has seldom been more fruitful or wider in scope than on these sumptuous porcelains, which offer a galaxy of motifs handled in an almost infinite variety of ways."><img class="referencepicture" id="qing1" src="http://www.dynastyantique.com/ebay/reference/qing/1.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/2.jpg" title="<br>Vase with peaches, Qing dynasty (1644-1911), Qianlong mark and period (1736-95), 18th century <br>China<br>Porcelain with overglaze enamels<br>The famille rose palette of opaque and semi-opaque enamels differs from earlier overglaze enamels used to decorate Chinese porcelains in two respects. First is the addition of a rose pink, from which this type of enameling takes its name. Derived from colloidal gold, this pink was used in a wide spectrum of tones, from the palest blush to deep ruby. Second-and perhaps even more important-an opaque white pigment was mixed with the colors to modify them, enabling the painter to achieve a range of color values for the first time. These new graduated tones allowed the artist to reproduce subtle shades and to model his drawing much as the oil painter does. In addition, a variety of mixed tints was produced by combining colors, usually with the addition of opaque white. The Chinese have several names for the low-fired famille rose palette: fencai ('pale colors'), ruancai ('soft colors'), yangcai ('foreign colors'), or falangcai ('enamel colors'). The famille rose palette of enamels, which was developed in the Yongzheng period (1723-35), enjoyed wide currency during the reign of the Qianlong emperor (1736-95). Early Qianlong famille rose porcelains in 'court taste,' like this one, are, for the most part, a continuation of the imperial wares of the Yongzheng period, exhibiting the same unforced elegance. Blossoms, fruit, and leaves all occur on the same branches of this otherworldly peach tree. The peach is a longevity symbol through its connection with at least two stories: the mythological peach orchard of the immortal queen mother of the west, Xiwangmu, and the tale of the peach blossom spring from a poem by Tao Yuanming (365-427), in which a village in a peach grove was insulated from the passage of time and the pressures of the world."><img class="referencepicture" id="qing2"  src="http://www.dynastyantique.com/ebay/reference/qing/2.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/3.jpg" title="<br>Inkstone and box, Qing dynasty (1644-1911), early 18th century, inscribed with dates corresponding to 1370 and 1702<br>China<br>Green schist and wood<br>The green inkstone is carved in the shape of bamboo stem segments and is adorned in low relief with leafy branches rising from behind rocks. The slanted surface of the sunken grinding area displays multiple layers of natural markings within the stone in purple and various shades of green. The wooden box is also carved in the shape of a length of bamboo. The ink slab and its case bear three inscriptions, which offer clues and raise questions about the work's date. An inscription on the underside of the stone and one on the lid of the box, although signed Qinggong Daoren and Nancun, respectively, both have the same seal, Zuo. While these names are unknown from other sources, they probably denote the same person. The stone's inscription is dated to 1370, which is curiously early, considering the good condition of the box. The third inscription, on the upper side of the slab, comprising eight delicate characters executed in regular script, is dated to the summer solstice of the renwu year (1702), signed Wang Shizhen (1634-1711), a preeminent poet of the early Qing period, and is followed by Wang's seal, Yuan. If this inscription is not a genuine ownership mark by Wang Shizhen, it is likely to have been added either during Wang's time or not long after his death. From 1722 onward, because the character zhen in Wang's name also occurred in the personal name of the newly enthroned Yongzheng emperor (r. 1723-35), the characters of Wang's name were replaced by others that have a similar sound. Since here Wang's name was written in its original form, the inscription was probably carved before 1722."><img class="referencepicture" id="qing3"  src="http://www.dynastyantique.com/ebay/reference/qing/3.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/4.jpg" title="<br>Basin, Qing dynasty, Qianlong period (1736-1795), dated 1774<br>China<br>Nephrite (jade)<br>The vessel's shape and a poem by the Qianlong emperor carved on the interior indicate that it was inspired by the Dushan Jade Bowl, a large wine container of Dushan (Du Mountain) jade currently displayed in the Round Fort at Beihai Park, Beijing, and one of the most famous jades in Chinese history. The Dushan Jade Bowl measures over 23 1/2 inches in height and over 50 inches in length. Its exterior is carved with dragons and other monsters, some aquatic and some aerial, on a background of swirling waters. This basin is believed to have been commissioned in 1265 by Kublai Khan (r. 1260-95), who had it placed in the Guanghan Palace on the Hill of Myriad Years, located on an island in Beihai Lake, Beijing. It is generally believed that the Dushan Jade Bowl was removed from the palace during the massive destruction that marked the transition from the Yuan to the Ming dynasty. About 1745, the Dushan Jade Bowl was recovered by the Qianlong emperor from priests using it to serve vegetables in the Chen Wu Miao, a Daoist temple dedicated to Xuan Wu, the guardian of the Northern Quarter. The emperor had a pavilion erected to display his treasure in the Round Fort near Beihai Park. He was so entranced by this work that he wrote three poems about the Dushan Jade Bowl and had them inscribed on it. A poem inscribed on the Museum's basin is dated to the early spring of 1774. It is a recondite work and difficult to understand or translate precisely. In general, it explains that a large piece of jade was brought from Khotan as tribute and goes on to define the decoration, including references to clouds suspended in a blue sky and dragons rising from the mist. The poem extols the beauty of the carving and compares the creation of either this basin or of the Dushan Jade Bowl, or both, to several highlights in Chinese art and history."><img class="referencepicture" id="qing4"  src="http://www.dynastyantique.com/ebay/reference/qing/4.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/5.jpg" title="<br>Bowl, Qing dynasty, Daoguang mark and period (1821-50)<br>China<br>Porcelain painted in overglaze polychrome enamels<br>The technique of painting porcelains over the glaze in the famille rose palette of opaque and semi-opaque enamels was perfected at the Jingdezhen kilns of Jiangxi Province in the eighteenth century, during the reign of the Qing-dynasty Yongzheng emperor (1723-35). By the nineteenth century, the rather delicate application of these early famille rose enamels to the ceramic canvas had given way to a much more aggressive treatment. Now the ornamental style reflects a horror vacui, and every bit of the surface is covered with boldly depicted motifs. This heavily potted bowl, with its scroll of exotic flowers painted in vibrant polychrome enamels against a bright yellow ground, is a striking example of overglaze enameled porcelains of the late Qing dynasty."><img class="referencepicture" id="qing5"  src="http://www.dynastyantique.com/ebay/reference/qing/5.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/6.jpg" title="<br>Figure of Magu with a fawn, Qing dynasty (1644-1911) or early Republic (1912-49), late 19th-early 20th century<br>China; Dehua ware, Fujian Province<br>Porcelain with clear glaze<br>Square seal: boji yuren<br>This exquisitely fashioned figure is of a quality that until recently had been exclusively associated with the superb porcelain figures made at the Dehua kilns in Fujian Province in the seventeenth century, during the late Ming dynasty. However, recent research has shown that the seal, boji yuren ('the vastly accomplished fisherman'), stamped on its back is one that was used by the potter Su Xuejin (1869-1919). Su was a late Qing-dynasty master figure modeler at the Dehua kilns and he is known for his excellent imitations of late Ming-dynasty Dehua porcelain sculptures. The immortal Magu and her fawn is a popular image in China, and her likeness is often given to married couples on auspicious occasions such as their silver or golden wedding anniversaries."><img class="referencepicture" id="qing6"  src="http://www.dynastyantique.com/ebay/reference/qing/6.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/7.jpg" title="<br>Pair of vases, Hongxian mark and period, 1915-16<br>China<br>Porcelain painted in overglaze sepia and black<br>Early in the twentieth century, under the auspices of Yuan Shikai, some ceramics of surprisingly fine quality were produced at the Jingdezhen kilns of Jiangxi Province. Yuan had been named president of the Chinese Republic in 1912, and his ambitions to become emperor were realized in December 1915, when he 'accepted' the throne. His reign was short-lived, however, as he died in June 1916. This pair of vases have mirror-image designs that have been painted over the glaze in sepia and black pigments with minute attention to detail. They are marked on the base with Yuan Shikai's reign title, Hongxian, and they stand as proof of a degree of excellence in ceramic manufacture that is generally unexpected in wares of this period."><img class="referencepicture" id="qing7"  src="http://www.dynastyantique.com/ebay/reference/qing/7.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/8.jpg" title="<br>Spring Offerings, dated 1919<br>Wu Changshi (Wu Changshuo) (Chinese, 1844-1927)<br>Hanging scroll; ink and color on paper<br>Signed: 'Anji Wu Changshi in his seventy-sixth year'<br>This grandly auspicious painting is both a hallmark of Shanghai style in the early decades of the century and eloquent testimony to the enduring strength of Wu's calligraphic brushwork. The painting is at once richly decorative and imbued with a solemn, archaic flavor. Popular emblems of long life and renewal-the fungus, spring's narcissus, an old garden rock, and bright red berries of the nandina plant-dispel the bitterness of isolation and demise. Bright color is tempered by adding ink, giving the green leaves the color of patinated bronze. Wu's corpulent brushwork, derived from his study of seal script, blends monumental weightiness and lush sense appeal."><img class="referencepicture" id="qing8"  src="http://www.dynastyantique.com/ebay/reference/qing/8.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/9.jpg" title="<br>Landscape in the Style of Huang Gongwang, dated 1666<br>Wang Shimin (Chinese, 1592-1680)<br>Hanging scroll; ink on paper<br>This major work represents the culmination of Wang Shimin's lifelong study of the paintings of Huang Gongwang (1269-1354). Reducing Huang's calligraphic style to a graphic formula-rock forms filled with straight, parallel, 'hemp-fiber' texture strokes and layers of horizontal dots-Wang Shimin built his kinetic brush patterns into rising and falling, opening and closing, 'breath-force' (qishi) movements. Individual texture strokes and foliage dots crisscross, multiplying and expanding until the entire composition turns into a great flowing pattern of undulating forces and counterforces that suggests nature's boundless energy and growth. Wang Shimin was the eldest of the 'Four Wangs'-the others being Wang Jian (1598-1677), Wang Hui (1632-1717), and Wang Yuanqi (1642-1715). They were the leaders of the Orthodox school of painting in the early Qing period."><img class="referencepicture" id="qing9"  src="http://www.dynastyantique.com/ebay/reference/qing/9.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/10.jpg" title="<br>Famille Rose Conjoined Vase with Panels of Birds and Flowers <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>The round, flat shape of the vase, in order to accentuate the ingenious shape, appears as two vases on the outside, one in front of the other. However, they are actually the bodies of two vases that are joined together as a single form on the inside. The rims are slightly inverted, the necks short, and the bases rectangular. The vessel is somewhat heavy and the surface decorated with patterns of blue and violet backgrounds. The backgrounds were then painted with various floral designs. The center of both vases in this conjoined vessel have panels, one decorated with plum blossoms and magpies, while the other represents narcissi and quails. Since the two are conjoined, the two panels overlap, with one partially in front of the other. Thus, one appears as completely round, while the other is in the shape of a crescent. This adaptation, along with the dual-color scheme of blue and violet, in sharing the same vessel creates an interesting variation in which each part echoes the other. The underneath and interior of the vessel was covered with lake-green glaze, and the bottom inscribed with a six-character inscription in seal script that reads, 'Made in the Ch'ien-lung Reign of the Great Ch'ing'. The conjoined vase shape had already appeared in official wares prior to the Ch'ien-lung reign and in the private sector. In order to promote the superior qualities and craftsmanship of Ch'ien-lung official wares, considerable effort was made to build on previous foundations and create various multiple-vessel shapes of even greater intricacy, revealing not only the superb craftsmanship of ceramics from this period but also the vivid imagination and insight of the artists who made them."><img class="referencepicture" id="qing10"  src="http://www.dynastyantique.com/ebay/reference/qing/10.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/11.jpg" title="<br>Six Conjoined Vases in Tea Dust Glaze <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>Height: 24.2 cm <br>This unusual vessel consists of five conjoined vases of the same shape and size circling around a central main vase, forming a single complete vase. Actually, a cross-section of the vessel would indicate that the interior of the six vases is joined together, with only the slender necks helping to exaggerate their individuality. Of particular note is the evenness of the height of the five surrounding vases and the slightly taller central vase, appropriately emphasizing it as a work composed of six vases joined together. Each neck is decorated with a fine ring, but the bodies are otherwise undecorated. The surface is covered with a glaze in the color of tea dust, the hue becoming slightly deeper where it gathered and thickened. The places where the glaze is thinner appears yellowish-green in color. The bottom of this vessel is engraved with a six-character inscription in seal script that reads, 'Made in the Ch'ien-lung Reign of the Great Ch'ing'. Multiple paired and quadruple conjoined vases had already appeared among official wares of the Yung-cheng reign (1722-1735), but in the Ch'ien-lung reign, this form was developed even further, creating a great variety of new vase combinations that fused both advances in ceramic technology with the imagination of craftsmen. Indeed, a cross-section of this vase would show just how intricate the combination of forms is. The main vase form, before being fired, would have holes cut out for the other five vases, which were then seamlessly added to the form and then fired. What is really amazing is that the sizes of the five subsidiary vases are almost exactly the same, a very difficult feat, and that they were matched perfectly onto the main vessel form. Such precision in ceramic design and technique is a feature of official wares of the Ch'ien-lung reign."><img class="referencepicture" id="qing11"  src="http://www.dynastyantique.com/ebay/reference/qing/11.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/12.jpg" title="<br>Two Round Conjoined Containers in Carved Red Lacquer <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>Length: 29 cm, width: 19.8 cm <br>With two round vessels conjoined together, this is known as a 'double-union (shuang-yuan) treasure chest'. The surface was applied with two kinds of colored lacquer. Underneath is dark yellow, while on top is bright red. When carved, it gives the decoration a dual-color scheme. The panels on the surface are carved in relief with images of tribute, while the inside of the object is coated in dark red lacquer, with flowers painted in gold pigment. The interior of the foot of the vessel is also painted in dark red lacquer, bearing inscriptions engraved and filled with gold pigment reading, 'Double-union Treasure Chest' and 'Made in the Ch'ien-lung Reign of the Great Ch'ing'."><img class="referencepicture" id="qing12"  src="http://www.dynastyantique.com/ebay/reference/qing/12.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/13.jpg" title="<br>Pink Lotus Bowl with Floral Brocade <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>Height: 7.6 cm, rim diameter: 15.9 cm, base diameter: 6.9 cm <br>This bowl with a flaring rim has a deep curving body and a short foot ring. The outer wall is covered with a light pink glaze as a base, on top of which was engraved patterns of plants and geometric designs. Painted on top of the pink enamel are winding stalks of lotus flowers, and near the rim is an encircling geometric pattern in blue pigment. In the bowl is painted a stalk of tuberose, while appearing underneath is a blue four-character inscription in regular script that reads, 'Made in the Ch'ien-lung Reign'. The walls of the bowl are as thin as paper, the flowers as dense as a brocade, the colors opulent yet elegant, and the lines crystal clear, making this a representative example of official ware from the Ch'ien-lung reign. The official kilns of the Ch'ien-lung reign excelled at producing painted porcelains with intricate designs, 'Famille Rose Flower Vase' particularly expressing the density and delicacy of flowers. Compared to the 'Famille Rose Flower Vase', this bowl appears even more worthy of study. From a distance, the light pink underglaze looks like a plain layer, but upon closer inspection reveals that the glaze surface was first engraved with a sharp tool to pick away at the underglaze, creating the base brocade pattern. Then various flowers were painted on top of this pattern, creating the effect of adding flowers for various layers of decoration. According to records from the archives of the Imperial Bureau of Manufacture, imperial kiln workshops fired porcelain-body wares with 'added flowers on brocade' against backgrounds of green, yellow, white, red, and moon-white. This would indicate that the decoration of 'flowers added on brocade' was popular in the Ch'ien-lung reign."><img class="referencepicture" id="qing13" src="http://www.dynastyantique.com/ebay/reference/qing/13.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/14.jpg" title="<br>Floral Vase with Fish and Dragons on a Green Background <br>Kuang-hsu Reign (1875-1908), Qing Dynasty (1644-1911)<br>Height: 51.6, rim diameter: 28.6 x 25 cm, width: 33.5 x 26 cm"><img class="referencepicture" id="qing14"  src="http://www.dynastyantique.com/ebay/reference/qing/14.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/15.jpg" title="<br>Jar with Myriad Blessings in Gold on a Red Ground <br>Chia-ch'ing Reign (1796-1820), Qing Dynasty (1644-1911)<br>Body height: 16.5, rim diameter: 6.7 cm, base diameter: 6.7 cm"><img class="referencepicture" id="qing15"  src="http://www.dynastyantique.com/ebay/reference/qing/15.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/16.jpg" title="<br>Ruby-red Kuan-yin Tsun Vase <br>K'ang-hsi Reign (1662-1722), Ch'ing Dynasty (1644-1911)<br>Height: 25.6 cm, rim diameter: 7.3 cm, base diameter; 11.1 cm <br>In the period from 1705 to 1712, during the K'ang-hsi reign, Lang T'ing-chi, the Governor of Kiangsi, was ordered to go to Ching-te-chen and manage the firing of ceramics at the imperial kiln works. Among the porcelains produced there was a red-glazed vessel in imitation of one that goes back to the Hsuan-te reign (1426-1435) in the Ming dynasty. Its strikingly beautiful color is especially attractive. Since Lang T'ing-chi oversaw the production of ceramics there, it became known as 'Lang-ware Red'. The shape of this vessel is similar to the purification vase seen held in the hand of the Buddhist figure Kuan-yin, which is why it is also known as a Kuan-yin tsun-vase. The irregular shedding of the glaze at the mouth here is typical of the style of Lang-ware red."><img class="referencepicture" id="qing16"  src="http://www.dynastyantique.com/ebay/reference/qing/16.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/17.jpg" title="<br>Revolving Vase in Yellow Glaze Famille Rose with Auspicious Motifs <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>Height: 19.5, rim diameter: 6.1 cm, base diameter: 6.8 cm"><img class="referencepicture" id="qing17"  src="http://www.dynastyantique.com/ebay/reference/qing/17.jpg" height="80" alt=""></a><a rel="example_group2" target="_blank" href="http://www.dynastyantique.com/ebay/reference/qing/18.jpg" title="<br>Square Sandalwood Curio Box (with 30 curios inside) <br>Ch'ien-lung Reign (1736-1795), Qing Dynasty (1644-1911)<br>Length: 25 cm, width: 25 cm, height: 21 cm<br>When closed, this curio box looks like a plain container. The advantage to this type is that it does not take up much space in storage. Although the outside appears quite simple, it is by no means monotonous. The reason lies in the decorative method of using 'panels' by the artisans who made it. On the one hand, they allow the viewer to appreciate both painting and calligraphy. On the other hand, they pique one's curiosity to find out what lies inside. Not letting the viewer down, the wings of the panels can be pulled out one by one to form a fan-shaped chest. Almost instantly, the static form of the box becomes animated. Combined with the center that can be turned, it looks almost like a windmill about to spin! If you thought that the pleasure in searching for the curios inside ended here, just wait! The sumeru mount forming the pedestal of the box is also a storage area. Almost like a modern interior design, this technique of using panels to conceal objects is a perfect match! Such innovation is indeed all by unrivaled in traditional Chinese craftsmanship!"><img class="referencepicture" id="qing18"  src="http://www.dynastyantique.com/ebay/reference/qing/18.jpg" height="80" alt=""></a></div><p><a target="_blank" href="http://www.dynastyantique.com/ebay/html/qinglists.html" title=""><font style="font-size:16px; font-weight:bold">Find more reference of the Qing Dynasty Porcelain for your collection here!</font></a></p><p>Qing Dynasty (AD 1644 - 1911): The Qing Dynasty was founded after the defeat of the Ming, the last Han Chinese dynasty, by the Manchus. The Manchus were formerly known as the Jurchen. When Beijing was captured by peasant rebels leaded by Li Zicheng in 1644, the last Ming Emperor Chongzhen committed suicide. The Manchu then allied with Ming Dynasty general Wu Sangui and seized control of Beijing, which became the new capital of the Qing dynasty. The Manchus adopted the Confucian norms of traditional Chinese government in their rule of China proper. The Manchus enforced a 'queue order' forcing the Han Chinese to adopt the Manchu queue hairstyle and Manchu-style clothing. The traditional Han clothing, or Hanfu, was also replaced by Manchu-style clothing Qipao (bannermen dress and Tangzhuang). Emperor Kangxi ordered the creation of the most complete dictionary of Chinese characters ever put together at the time. The Qing dynasty set up the "Eight Banners" system that provided the basic framework for the Qing military organization. The bannermen were prohibited from participating in trade and manual labour unless they petitioned to be removed from banner status. They were considered a form of nobility and were given preferential treatment in terms of annual pensions, land and allotments of cloth.</p><p>The brilliant reigns of the Kangxi (r. 1662-1722) and Qianlong (r. 1736-95) emperors display a period when the Manchus embraced Chinese cultural traditions and the court became a leading patron in the arts as China enjoyed an extended period of political stability and economic prosperity.</p>  </div></div></font></div><div id="descriptionbase"></div></div><div id="customhtml"><div style="font-family: Arial,Helvetica,sans-serif; font-size: 12px;"><h4 class="dynastyh4">Free shipping to below location (<span class="attention"> please read carefully before you buy it now </span>):</h4><ul><li>within USA: free shipping to fifty states, we don't free ship items to Guam ,Puerto Rico and other overseas territories of USA</li> <li>free shipping to Canada,</li> <li>free shipping to Japan, Korea, Vietnam, Thailand, TaiWan,Singapore, Philippines,Malaysia,Indonesia,</li><li>free shipping to UK, Germany, France,Italy,Spain,Netherland,Belgium,Denmark,Norway,Finland,</li><li>free shipping to Australia, New Zealand</li><li>We <span class="attention">don't </span>free ship items to <span class="attention">overseas territories</span> of above any country (such as French Guiana, Guadeloupe, British Virgin Islands, Anguilla and so on), you can contact with me regarding shipping cost.</li><li>other country and region please advise with me directly</li><li>the handling and packing time need 1--2 days, we use USPS (united states postal service) -> EMS in China, US customer can tract it at <a style="text-decoration:none" href="http://www.usps.com"target="_blank">www.usps.com</a> after the package be sent to postal office, you should receive package within 10 days. other international customer can track it at <a style="text-decoration:none" href="http://www.ems.com.cn/english-main.jsp"target="_blank">http://www.ems.com.cn/</a>, you should receive package within 10 - 15 days.</li></ul></div></div><div id="specialpromo"></div><div id="tabcontainer">  </div><div id="aboutus"></div><div id="payment"><h4 class="dynastyh4">Payment</h4><p>we accept PayPal, Money order, Western Union Wire Transfer, and Bank Transfer payment, if you'd like to use other payment way please contact with us. we will send out your purcahses only after your personal check be cleared if you use personal check.</p></div><div id="storeterms"><h4 class="dynastyh4">Store Terms and Return Policy</h4><p>1. item be damaged during transportation, we strongly encourage you to inspect freight at the time of delivery or pickup for any damage. If you detect damage refuse the freight as damaged. In that way you get full refund smoothly!<br> 2. item be found damaged when you open the package after you take package home or the postman has left your home with your signature on receipt, please contact with us ASAP, you have three days to take photograph of the damaged item and inform me about this by email, over this time limit we won't give any refund.<br> 3. package be verified to be lost during transportation by USPS, you will get full refund.<br>4. package be returned to us because of any our error or any error from Postal Office, the pacakge will be free resent to you.<br>5. package be returned to me because of any your error such as wrong shipping address or no people at home over two weeks or you don't pick up the package in time after the postman leave one note at your mail box. you will have to pay the resending shipping cost.<br>6. 30 day money back:we will gladly exchange, credit or refund your purchase from us if returned within 30 days of the end of sale. To return, one returning shipping address will be provided, you will have to pay return shipping and the item must be returned in its original condition. please mail via insured package service. Also allow 2 weeks for refunding processing.</p></div></div><br></div></div>
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      <pubDate>Thu, 21 Apr 2011 19:19:23 -0700</pubDate>
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      <g:model_number>AD4706</g:model_number>
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