Ordos Bronze Belt Buckle Pair with Predators

Comprising three powder boxes, two with painted floral motifs and tendrils, one with a geometric medallion to the lid and petals radiating from the foot. 206 grams total, 47-56 mm



Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.

Seated on a lion-skin covered pedestal, wearing long robes and a tall jewelled crown, resting his left hand on a thick belt with buckle and right hand on his knee; elongated earlobes and serene expression with downcast eyes; neck repaired. 240 kg, 1.25 m



Ex K.C. collection, London, 1990-2000. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The statue possibly depicts either bodhisattva Manjushri, the bodhisattva of wisdom, or bodhisattva Avalokiteshvara, the bodhisattva of compassion. Both are often depicted sitting on a skin of lion, or on a lion, which represents their use of wisdom to control the mind.

Modelled standing on a tiered base; wearing a tall hat, a floor-length robe and boots; arms held in front of his body above a drum strapped to his waist; green and brown glaze. 494 grams, 24 cm



Ex H.N. collection, Milton Keynes, UK, 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

China provides some of the earliest traces of music making. These are mainly in the form of well-preserved musical instruments, the tangible evidence of music. Over several millennia, musical instruments from regional indigenous traditions as well as from India and Central and West Asia were assimilated into the mainstream of Chinese music. Some of the most ancient instruments have been retained, transformed, or revived throughout the ages and many are in common use even today, testifying to a living legacy of a durable art. This legacy is frequently celebrated in the visual arts of China, documenting rituals and celebrations, or as status symbols of those whose lives were enhanced by the resonate sounds of instruments. Ancient Chinese people believed they would go to an afterlife when they died. So they placed miniature versions of things for everyday use in tombs for the deceased, such as these musicians, hoping that the dead could enjoy the next life like when they were alive. These grave objects gradually developed into funerary artworks and reflected the social standing of the deceased.