漢
HAN DYNASTY
銅龍型帶鉤
BRONZE 'DRAGON' BELT HOOK
春秋
SPRING AND AUTUMN PERIOD
金龍型帶鉤
GOLD 'DRAGON' BELT HOOK
源流 PROVENANCE
慎德堂，臺北
C. C. Teng., Taipei.
蕭氏珍藏，墨爾本
The Hsiao Family Collection., Melbourne
東周
EASTERN ZHOU DYNASTY
銅錯銀螭虎帶鉤
BRONZE SILVER INLAID 'CHIHU' BELT HOOK
源流 PROVENANCE
北山美術店，東京
Kitayama Fine Arts, Tokyo.
繭山龍泉堂，東京 Mayuyama, Tokyo.
漢
HAN DYNASTY
銅雁型帶鉤
BRONZE 'GOOSE' BELT HOOK
東周
EASTERN ZHOU DYNASTY 銅錯金銀龍型帶鉤
SILVER AND GOLD-INLAID BRONZE 'DRAGON' BELT HOOK
源流 PROVENANCE
千秋庭，東京
Sen Shu Tey, Tokyo.
臨宇山人
The Linyushanren Collection
戰國 WARRING STATES PERIOD 銅龍型帶鉤
BRONZE 'DRAGON' BELT HOOK
ZHOU DYNASTY
銅刺蝟型杖首
BRONZE 'HEDGEHOG' FINIAL
HAN DYNASTY
銅辟邪鈕印
BRONZE 'BIXIE' SEAL
HAN DYNASTY
銅螭虎紋鏡
BRONZE 'CHIHU' MIRROR
源流 PROVENANCE
R.& V. Tregaskis Oriental Art, Sydney.
漢
HAN DYNASTY
銅鎏金虎型席鎮
GILT-BRONZE TIGER-FORM WEIGHT
源流 PROVENANCE
北山美術店，東京 Kitayama Fine Arts, Tokyo.
繭山龍泉堂，東京 Mayuyama, Tokyo.
TANG DYNASTY
銅鎏金獅子坐像
GILT-BRONZE FIGURE OF LION
源流 PROVENANCE
瑞斯帝中國藝術，香港
Rasti Chinese Art, Hongkong.
宋/遼
SONG / LIAO DYNASTY
銅龍型飾件
BRONZE DRAGON-FORM ORNAMENT
宋/遼
SONG / LIAO DYNASTY
銅兔型飾件
BRONZE RABBIT-FORM ORNAMENT
宋/遼
SONG / LIAO DYNASTY
銅雙魚紋鏡
BRONZE 'TWIN FISH' MIRROR
MING DYNASTY
銅瑞獸型鎮
BRONZE MYTHICAL BEAST-FORM WEIGHT
明
MING DYNASTY
錯銀虎鈕銅印
SILVER-INLAID BRONZE 'TIGER' SEAL
明
MING DYNASTY
錯銀兔鈕銅印
SILVER-INLAID BRONZE 'RABBIT' SEAL
西藏/明
TIBETAN / MING DYNASTY
鐵翦金銀龍型帶鉤
SILVER AND GOLD-INLAID IRON 'DRAGON' BELT HOOK
明
MING DYNASTY
銅瑞獸型鎮
BRONZE MYTHICAL BEAST-FORM WEIGHT
清
QING DYNASTY
銅鎏金掐絲琺瑯麒麟鈕爐
GILT-BRONZE CLOISONNÉ 'QILIN' CENSER
HAN DYNASTY
彩繪黑陶龍型勺
PAINTED BLACK POTTERY 'DRAGON' SPOON
HAN DYNASTY
灰陶羊
GREY POTTERY FIGURE OF A GOAT
HAN DYNASTY
彩繪灰陶兔
PAINTED GREY POTTERY HARE
源流 PROVENANCE
松豐堂，香港
Lam & Co., Hong Kong.
戴克成，香港
Christian Deydier Gallery., Hong Kong
西晉
WESTERN JIN DYNASTY
越窯青瓷辟邪型器
YUE BIXIE-FORM VESSEL
西晉
WESTERN JIN DYNASTY
越窯青瓷獸型容器
YUE MYTHICAL BEAST-FORM VESSEL
TANG DYNASTY
彩繪灰陶馬
PAINTED GREY POTTERY FIGURE OF A HORSE
DYNASTY
PAINTED POTTERY FIGURE OF A HORSE
This figure is a Tang dynasty (618–907 AD) pottery representation of a horse, notable for its dynamic stance and expressive detailing. The horse stands in a four-square posture, a pose that conveys a sense of strength and poise typical of Tang-era equestrian sculpture. The head is characteristically raised, with the mouth open in a whinnying gesture, capturing the spirited nature of the animal. This posture is often associated with the Tang dynasty's cultural emphasis on the horse as a symbol of military power, nobility, and the empire’s prosperity.
The saddle, a prominent feature of the figure, is intricately rendered with a textured surface, possibly imitating woven textiles that were used in the period. The craftsmanship demonstrates the artisans' attention to detail, as it reflects both functional and decorative aspects of equestrian equipment in Tang China. The presence of this texture suggests a concern for realistic representation, which was a hallmark of Tang ceramic artistry.
Traces of original pigmentation are still visible on the figure, offering insight into the vibrant polychromy that once adorned such sculptures. These remnants of paint, primarily in red and white tones, suggest that the horse was originally painted to enhance its lifelike appearance. The use of pigments further indicates the high status of such figures, as they were often produced for burial as tomb offerings, reflecting the owner's wealth and social standing.
源流 PROVENANCE
The Collection of Dr. & Mrs William Galanos
TANG DYNASTY
彩繪陶駱駝
PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL
TANG DYNASTY 三彩駱駝
TANG DYNASTY
彩繪陶駱駝
PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL
TANG DYNASTY
褐釉陶豬
AMBER-GLAZED POTTERY FIGURE OF BOARS
褐釉陶馬
AMBER-GLAZED POTTERY FIGURE OF A HORSE
JIN DYNASTY
霍州窯模印雙魚紋板沿洗
HUOZHOU WHITE-GLAZED MOULDED BRACKET SHAPED FLANGED HANDLE 'FISH' SHALLOW BOWL
南宋
SOUTHERN SONG DYNASTY
龍泉窯青釉雙魚洗
LONGQUAN CELADON 'TWIN FISH' DISH
宋/元
SONG/YUAN DYNASTY
定窰刻螭龍紋盌
CARVED 'DING'-TYPE 'CHILONG' BOWL
南宋
SOUTHERN SONG DYNASTY
QINGBAI BOWL WITH INCISED SWAN DECORATION
A Qingbai bowl from the Southern Song Dynasty (1127–1279). The bowl exhibits the classic features of Qingbai ware, with its delicate, thinly potted porcelain body and a translucent, pale bluishwhite glaze. The glaze has a glossy finish, characteristic of Qingbai ceramics, lending the piece an ethereal quality.
The interior of the bowl is intricately incised with a design featuring swanS, surrounded by stylized foliage and possibly waves, indicating a naturalistic setting. The incised decoration is skillfully executed, showcasing the Song artisans' mastery in subtle yet expressive motifs. The swan, with its elegantly curved neck and finely detailed feathers, serves as the focal point of the design, creating a sense of graceful movement within the bowl's shallow interior.
The bowl's rim is slightly lobed, adding a floral-like form that enhances its aesthetic appeal. This lobed design is a common feature in Southern Song ceramics, reflecting the period's appreciation for refined, nature-inspired shapes.
明 天啓
MING DYNASTY, TIANQI PERIOD
古染付八角兔文盤
KOSOMETSUKE EIGHT-SIDED ‘RABBIT’ PLATE
明末清初
LATE MING-QING DYNASTY
青花鶴鹿同春圖瓶
BLUE AND WHITE 'CRANE AND DEER' VASE
源流 PROVENANCE
邵維錫舊藏
The Victor Shaw Collection
源流 PROVENANCE
葉萬華舊藏
The Ye Wanhua Collection
清 康熙
QING DYNASTY, KANGXI PERIOD 青花狩獵圖洗 BLUE AND WHITE 'HUNTING' PLATE
This piece belongs to a type of 17th-century export porcelain specifically made for Dutch trade. When turned upside down, its shape closely resembles the felt hats fashionable at the time, which led Dutch merchants to refer to this form of porcelain as "klapmuts," after the hat.
The depicted pattern illustrates a Qing Dynasty noble hunting scene, reflecting the seasonal hunting expeditions undertaken by the nobility and their family during the four major annual hunts: spring search (春搜), summer fieldwork (夏苗), autumn hunting (秋 狝), and winter chase (冬狩)
清 康熙
QING DYNASTY, KANGXI PERIOD
青花三娘教子圖盤
BLUE AND WHITE 'SANNIANGJIAOZI' DISH
清 康熙
QING DYNASTY, KANGXI PERIOD
青花鴛鴦圖碗
BLUE AND WHITE 'MANDARIN DUCKI' BOWL
源流 PROVENANCE
Marchant, London.
清 康熙
QING DYNASTY, KANGXI PERIOD
青花牧馬圖瓶 BLUE AND WHITE 'HORSES' VASE
The vase features a lively scene depicting horses grazing amidst trees and rocky terrain, a motif characteristic of traditional Chinese blue-and-white porcelain popular during the Ming (1368–1644) and Qing (1644–1912) dynasties, reflecting an appreciation for natural and pastoral themes.
The painting on this vase is executed with precision, capturing the fluid and natural movements of the horses, demonstrating a keen understanding of their anatomy. The surrounding foliage and rocks are intricately detailed, adding a sense of dynamism to the composition.
The vase's pear-shaped body, with its slender neck and slightly flared rim, harmonizes with the painted decoration. The rim is adorned with a geometric pattern, serving as a border that frames the scenic imagery below. Such vases were not only functional but also regarded as symbols of cultural and artistic achievement, showcasing the high standards of ceramic production during the Kangxi period.
明-清
MING - QING DYNASTY
青白釉印花龍紋盞
QINGBAI TYPE MONOCHROME 'DRAGON' CUP
清 乾隆
QING DYNASTY, QIANLONG PERIOD
槳胎白釉堆塑竹節形執壺
WHITE-GLAZED SOFT PASTE PORCELAIN EWER
QING DYNASTY, QIANLONG PERIOD
墨彩百鳥山水圖大碗
GRISAILLE-DECORATED 'BIRDS' PUNCH BOWL
源流 PROVENANCE
The Collection of H. Marshall Goodman Jr
QING DYNASTY, QIANLONG PERIOD
珊瑚紅釉描金松石綠壁飾
CORAL RED-GROUND AND GILT-DECORATED TURQUOISE-ENAMELLED WALL ORNAMENT
QING DYNASTY
青花夔龍紋四方尊
BLUE AND WHITE 'KUILONG' VASE, ZUN
源流 PROVENANCE
繼遠美術，香港
K.Y Fine Art, Hong Kong
清道光
QING DYNASTY, DAOGUANG PERIOD 黃釉人物圖筆筒
CARVED YELLOW-GLAZED 'FIGURAL' BRUSH POT, BITONG
This brush pot, showcases the detailed craftsmanship of the Daoguang period. The exterior is intricately carved with a scene of a dynamic figure on horseback, his right arm raised with a whip, suggesting a moment of action. Swirling clouds around the figure add a sense of movement. Accompanying him is a barefoot jingguai （精怪）holding a vase of flowering branches.
The brush pot is covered in a rich yellow glaze, a color closely linked with the imperial court during the Qing Dynasty. This glaze is applied over both the interior and exterior, highlighting the carving's depth and adding a glossy finish. The base of the brush pot is incised with the six-character Daoguang mark, indicating its origin within the emperor's reign (1821-1850). This combination of intricate carving, imperial yellow glaze, and the Daoguang mark underscores the brush pot's significance as an example of the artistry and cultural values of the period.
清 光緒
QING DYNASTY, GUANGXU PERIOD
大雅齋粉彩松石綠地花鳥圖渣斗
FAMILLE ROSE TURQUOISE-GROUND VESSEL, ZHADOU
清 雍正
QING DYNASTY, YONGZHENG PERIOD
粉彩描金花鳥圖盤
FAMILLE ROSE 'BIRD' DISH
清
QING DYNASTY
青花獅子圖瓶
BLUE AND WHITE 'LION' VASE
源流 PROVENANCE
葉萬華舊藏
The Ye Wanhua Collection
QING DYNASTY
粉彩花鳥圖瓶
FAMILLE ROSE 'BIRD' VASE
民國 REPUBLIC PERIOD
洋彩伏虎圖杯
ENAMELLED MILLE FLEURS 'TIGER' CUP
展覽 EXHIBITION
二十世紀
20TH CENTURY
粉彩蛋殼瓷八駿圖大碗
FAMILLE-ROSE ENAMELED 'EIGHT HORSES' BOWL
源流 PROVENANCE
Roger Keverne
牡丹堂
The Peony Collection
出版 PUBLISHED
JADE, Roger Keverne, 1991, pg.109
展覽 EXHIBITION
Jades from CHINA
The Museum of East Asian Art, Bath, England.
EASTERN ZHOU - WESTERN HAN DYNASTY 白玉獸面紋劍璏 JADE SWORD SLIDE
東周- 西漢
EASTERN ZHOU - WESTERN HAN DYNASTY
玉獸面紋劍璏
JADE SWORD SLIDE
宋/遼
SONG / LIAO DYNASTY
兔型雕塑
CARVED FIGURE OF RABBIT
QING DYNASTY
玉雕獸首帶扣
JADE TWO-PART BELT BUCKLE
戰國- 清
WARRING STATES PERIOD - QING DYNASTY
玉雕昆蟲
JADE CARVING OF INSECTS
方去疾
Fang Quji. (Chinese, 1922–2001)
潘伯鷹用印
Pan Boying. (Chinese, 1899–1966)
源流 PROVENANCE
潘伯鹰
Pan Boying
出版 PUBLISHED
玄隱廬錄印P27，新加坡風雲出版社，1982年。
"Xuan Yin Lu Yin", p. 27, Singapore Fengyun Publishing House, 1982.
近現代書畫家款印綜匯P1161，上海書店出版社，2002年。
"Compilation of Inscriptions and Seals of Modern and Contemporary Calligraphers and Painters", p. 1161, Shanghai Bookstore Publishing House, 2002.
海派書法家系列作品集·潘伯鷹P255，上海書畫出版社。
"Collection of Works by Haipai Calligraphers: Pan Boying", p. 255, Shanghai Calligraphy and Painting Publishing House.
玄隱廬錄印，西泠印社出版社，2022年。
"Xuan Yin Lu Yin", Xiling Seal Art Society Publishing House, 2022.
李宗力 (唐木)
LI ZONGLI (TANGMU)
壽山芙蓉石雲龍鈕方章
FURONG SOAPSTONE 'DRAGON' SEAL
姚仲達
YAO ZHONGDA
壽山艾葉綠
鳳鳥鈕方章
SOAPSTONE 'PHOENIX' SEAL
陳強
CHEN QIANG
壽山芙蓉石
瑞獸鈕方章
SOAPSTONE 'MYTHICAL BEAST' SEAL
溫立武
WEN LIWU
壽山牛角涷 螭龍鈕方章
SOAPSTONE 'CHILONG' SEAL
明治時代
EDO PERIOD
虎根付
IVORY NETSUKE: 'SNARLING TIGER'
源流 PROVENANCE
The Estate of Suzanne Cecil
江戶時代
EDO PERIOD 鯱圖織物
TEXTILE: 'SHACHIHOKO'
六代 清水六兵衛
KIYOMIZU ROKUBEI VI (1901-1980)
卯之年満月茶碗
TEABOWL: 'FULL MOON IN THE YEAR OF THE RABBIT'
江戶時代
EDO PERIOD
柿右衛門様式
色絵粟鶉文皿
KAKIEMON 'MILLET AND QUAIL' DISH
源流 PROVENANCE
R.& V. Tregaskis Oriental Art, Sydney.
江戶時代
EDO PERIOD 鉄地黒漆塗六十二間筋兜
KABUTO: IRON 62 PLATE 'SHISHI' 銘 勝正
SIGNED 'KATSUMASA'
江戶時代 前期-中期
Early/Mid Edo Period
鉄地黒漆塗烈勢面
Ressei Menpo: Iron with black lacquer
江戶時代 中期
Mid Edo Period
漆塗鬼面前立
Maedate: Black, red and gold lacquer with oni design
明治時代
MEIJI PERIOD
漆塗蛇皮包鞘打刀拵
KATANA KOSHIRAE: LACQUERED SNAKE-SKIN SCABBARD
江戸時代初期
EARLY EDO PERIOD
揚羽蝶図鐔
TSUBA: 'SWALLOWTAIL BUTTERFLY' 無銘
UNSIGNED, ATTRIBUTED TO UMETADA SCHOOL
江戶時代
EDO PERIOD
竹虎図鐔
TSUBA: 'TIGER AND BAMBOO'
江戶時代
EDO PERIOD
波に鯉図鐔
TSUBA: 'CARP FISH'
銘 武州住 安親
SIGNED 'BUSHU-JU YASUCHIKA'
江戶時代
EDO PERIOD
龍虎図鐔
TSUBA: 'TIGER AND DRAGON'
銘 三上美英
SIGNED 'MIKAMI BIEI'
源流 PROVENANCE
霜剣堂，東京 Sokendo, Tokyo
江戶時代
EDO PERIOD 夫婦鹿図鐔
TSUBA: 'MEOTO-JIKA' (DEER) 銘 平安城東山住 木村清庸
SIGNED 'HEIANJO HIGASHIYAMA JU KIMURA KIYOTSUNE'
源流 PROVENANCE
銀座長州屋，東京 Ginza Choshuya, Tokyo
江戸中期 I 山城国東山
Mid Edo period I Higashiyma, Yamashiro province
赤銅魚子地丸形高彫色絵象嵌
Shakudo, Nanakoji, High-relief, Inlay
This tsuba features a high-relief depiction of an autumn scene, showcasing a realistic representation of life and dynamism. The body of the deer is rendered in deep-colored suaka (copper) with soft fur details achieved through fine engraving. The volume of the legs, as well as the eyes and mouth, are meticulously crafted, giving the deer a lively and vivid appearance. The scattered fallen leaves and pine needles around the scene are also precisely depicted, adding to the overall impression and decoration of the tsuba.
江戶時代後期
LATE EDO PERIOD
猛禽捕猿図縁頭
FUCHI-KASHIRA: 'HAWK AND MONKEY'
銘 美廣
SIGNED 'YOSHIHIRO'
源流 PROVENANCE
The Estate of Raymond Mitchell
R.& V. Tregaskis Oriental Art, Sydney
江戶時代
EDO PERIOD
巣籠鶴透図鐔
TSUBA: 'CRANE'
源流 PROVENANCE
霜剣堂，東京 Sokendo, Tokyo
江戶時代
EDO PERIOD
鷺図縁頭
FUCHI-KASHIRA: 'HERON' 銘 坂井美次
SIGNED 'SAKAI YOSHITSUGU'
源流 PROVENANCE
真玄堂，東京
Shingendo, Tokyo
江戶時代
EDO PERIOD
月夜狸図縁頭
FUCHI-KASHIRA: 'RACCOON'
銘 河野春明
SIGNED 'KONO HARUAKI'
江戶時代
EDO PERIOD
竹虎図縁頭
FUCHI-KASHIRA: 'TIGER AND BAMBOO'
銘 蟠龍軒 貞中
SIGNED 'BANRYUKEN SADANAKA'
江戶時代
EDO PERIOD
放馬図縁頭
FUCHI-KASHIRA: 'HORSES'
銘 三上光寛
SIGNED 'MIKAMI MITSUHIRO'
江戶時代
EDO PERIOD
牛図縁頭
FUCHI-KASHIRA: 'OX'
銘 松下亭 元廣
SIGNED 'SHOKOTEI MOTOHIRO'
江戶時代
EDO PERIOD
獅子図縁頭
FUCHI-KASHIRA: 'SHISHI'
江戸時代
EDO PERIOD 金無垢 海老図目貫
江戶時代
EDO PERIOD
金無垢 竜図目貫
MENUKI: SOLID GOLD 'DRAGON'
無銘 伝脇後藤
UNSIGNED, ATTRIBUTED TO WAKI-GOTO SCHOOL
江戶時代
EDO PERIOD
川に馬図小柄
KOZUKA: 'HORSES AND STREAM'
銘 自立斎 友英
SIGNED 'JIRYUSAI TOMOHIDE'
江戶時代
EDO PERIOD
魚図小柄
KOZUKA: 'FISH'
銘 髙行
SIGNED 'KOAN KAO'
江戶時代後期
LATE EDO PERIOD
海鼠図小柄
KOZUKA: 'SEA CUCUMBER'
無銘 伝岩本
UNSIGNED, ATTRIBUTED TO IWAMOTO SCHOOL
This kozuka features a sea cucumber design on a copper base, creating a warm contrast with the inlaid shakudo, an alloy of copper and gold. The craftsmanship reflects the refined metalworking traditions of the late Edo period, known for realistic and naturalistic designs.
源流 PROVENANCE
The JC Hawkshaw Collection
The Henri Vever Collection
The Peter Hawkins Collection
The Campbell Cooper Collection
江戶時代後期
LATE EDO PERIOD
蜂図笄
KOZUKA: 'WASP'
銘 大森英秀
SIGNED 'OMORI EISHU'
源流 PROVENANCE
The Campbell Cooper Collection
江戶時代
EDO PERIOD
KOZUKA: 'TIGER AND BAMBOO'
UNSIGNED, ATTRIBUTED TO KAGA-GOTO SCHOOL
明治時代
MEIJI PERIOD
松に鷹図蒔絵刀掛
KATANA-KAKE: 'HAWK AND PINE TREE'
西藏 或十八世紀
TIBET. POSSIBLY LATE 18TH CENTURY. 吉祥天母像
PALDEN LHAMO (SANSKRIT: ŚRĪ DEVĪ) 布面彩繪
COLOUR PIGMENT ON CANVAS
Palden Lhamo is remarkable for the extraordinary power she is claimed to possess. In 20th century Tibet she was believed to be the protector of Tibet itself and she played a role in protecting both the Dalai and Panchen Lamas. One of her older roles was as protector of the city of Lhasa.
She is shown riding a mule through an ocean of her enemy’s blood. In her raised hand she holds a club with a vajra finial to show her active nature of power symbolized by the vajra which demonstrates that all the actions she performs are achieved performed with wisdom as their basis.
Visible on the rear flank of her mule is an eye. An angry deity shot an arrow at her and the hole it made became an eye of Wisdom.
She wears a garland of the heads of her enemies and her mule wades through an ocean of blood and entrails taken from the enemies of Buddhism.
The row of stitching to the right side is quite normal. Tibetan artists used whatever cotton canvas they could get from India and at times had to stitch odd pieces together to make a suitable surface to paint on.
西藏 十六-十七世紀 TIBET. 16TH-17TH CENTURY.
捶揲銅鎏金飾件：狮鷲
TWO FRAGMENTS SHOWING RIDERS ON TOP OF VYALA
西藏 十六-十七世紀 TIBET. 16TH-17TH CENTURY.
捶揲銅鎏金飾件：雪狮
FRAGMENTS SHOWING BEARDED SIDDHA ON SNOW LION.
西藏 十六-十七世紀 TIBET. 16TH-17TH CENTURY.
捶揲銅鎏金飾件：狮子 大象
THREE FRAGMENTS OF LIONS ON TOP OF ELEPHANTS
西藏 十六-十七世紀 TIBET. 16TH-17TH CENTURY
捶揲銅鎏金飾件：摩羯 龙 蛇神
THREE FRAGMENTS SHOWING A DRAGO, A MAKARA AND A SERPENT-DEITY
西藏 十四或十五世紀
TIBET. POSSIBLY 14TH -15TH CENTURY
木雕鏤空背光
WOODEN MANDORLA 木製彩繪
WOOD WITH POSSIBLE TRACES OF PAINT
This mandorla acted as a ‘frame’ for a bronze – or possibly clay – image and was intended to place the image in an appropriately divine setting. It is not possible to know exactly which deity it would have housed but the size of the orange blessed area where the image’s base would have been placed suggests it might have been intended to house an image of the Buddha.
The sacred area on which the image sat is surrounded by purifying lotus petals. The two standing deities appear to belong to the Lotus family of deities and are surrounded by their flowers and attended by the mythical vyala.
The row above shows 4 forms of the Buddha and their identity suggest that the missing fifth figure might have been that of Vairocana – the Buddha of Complete Wisdom. The ritual practice of Vairocana was popular in Tibet until the 15-16th cent and waned thereafter.
At top of the image of Garuda with outstretched wings may be seen. He is the supreme protector from hindrances and is usually represented by snakes held in his claws.
李氏朝鮮
JOSEON DYNASTY
瑠璃釉水滴
COBALT BLUE UNDERGLAZED 'CARP' WATER DROPPER
高棉 十二世紀
KHMER 12TH CENTURY
褐釉鴞型陶罐
BROWN-GLAZED OWL-SHAPED JAR
