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Pectoral19th century Tibet Silver and jade 52.1cm Earring

19th century Tibet Silver and jade 24.1cm

Headdress19th century Tibet

Necklace19th century Tibet Amber, jade and silver

Necklace9th century Tibet jade and silver 52.7cm

Two Beads19th century Tibet Jade and silver Diam. (1.5 cm)

Necklace9th century Tibet Silver and jade 45.7cm

String of Beads19th century Tibet Jade and silver (38.1 cm)

Seated Tara 15th–16th century Tibet Dry lacquer H. (22.9 cm)

Pendant in the Shape of a Boylate Ming (1368–1644) or early Qing (1644–1911) dynasty mid-17th century China Tourmaline

VaseQing dynasty (1644–1911) 18th century China Rose quartz H 14.9cm

Basket with Crabs Qing dynasty (1644–1911) China Gray amethyst H. (19.7cm)

Bitter Melons Qing dynasty (1644–1911)18th century China Turquoise H. (8.3 cm)

Cloisonné China late Ming (1368–1644) or early Qing (1644–1911) dynasty mid-17th century

Water Dropper in the Shape of a CraneQing dynasty (1644–1911)18th century China Agate H: (6 cm)

A crane holding a branch of peaches symbolizes longevity. The crane is believed to live for more than a thousand years and is associated with the immortals, who are thought to ride on its back. The peach is believed to have more potent life-extending power. According to Chinese legend, it grows on sacred trees in the garden of the Queen Mother of the West and ripens every three thousand years. A person who eats the peach will live forever.

Bowl Qing dynasty (1644–1911), Qianlong period (1736–95)Amber H 2.2 cm

Brush Holder with Poet Li Bai, Two BrushesQing dynasty (1644–1911) 18th century Jade (nephrite) Ornament (Ruyi) Coral.

Lion and Cub Qing dynasty (1644–1911)18th century China Lapis lazuli H. (6 cm)

Carving 18th century China Bluish agate H. (7.3 cm)

Container in the Shape of Buddha’s HandQing dynasty (1644–1911) 18th centuryChina Amethyst H 8.9cm

The Buddha’s Hand citron takes its common name from its shape, which resembles the idealized fingers of the Buddha. Although the fruit is inedible, it has a strong fragrance and is used as an offering at the altar.

Buddha’s Hand Qing dynasty (1644–1911)18th century China Carnelian H. (10.2 cm

Budda's Hand.Qing dynasty (1644–1911) China Jade (nephrite) (16.2 cm)

Its name in Chinese, foshou, has almost the same sound as “fortune” and “longevity,” thus imbuing it with another layer of good wishes.

Budda's HandQing dynasty (1644–1911) China Jade (nephrite) (16.2 cm)

Buddhist Monks Hanshan and ShideQing dynasty (1644–1911) 17th–18th century China Amber H. (8.9cm)

Covered Vessel in the Shape of a BirdQing dynasty (1644–1911)18th–19th century ChinaRock crystal H. (7.6 cm)

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double vase 18th century China Carnelian and white agate H 10.8cm

Dongfang Shuo Stealing the Peach of Longevity Qing dynasty (1644–1911) China Amber H. (16.5 cm)

Elephant and Two BoysQing dynasty (1644–1911)19th century ChinaKosmochlor jadeitite H. (13.3 cm)

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Elephant Carrying a Vase Qing dynasty (1644–1911) 18th–19th century China Jade (nephrite) inlaid with ruby H. (11.6 cm)

An elephant carrying a vase was a popular subject in the decorative arts because of its auspicious meaning. The words “vase” and “elephant” are homonymic with “peace” and “signs,” thus coinciding with the Chinese proverb, “When there is peace, there are signs.”

Figure of a Fantastic Animal Qing dynasty (1644–1911) China Black quartz H. (11.4cm)

Twelve animals of the Chinese zodiac, Qing dynasty (1644–1911), 19th centuryJade (nephrite) H. each approx. 2 in. (5.1 cm)

Sound: Nawang Khechog - Thanksgiving to Mother Earth

Text and pictures: Metropolitan MuseumCopyright: All the images belong to their authors

Arangement: Sanda Foişoreanuwww.slideshare.net/michaelasanda

Stone carving is one of the oldest arts in China, its beginnings dating back to remote antiquity. Although jade, the mineral nephrite, was held in the highest esteem, all stones that could achieve a luster after polishing, be it agate, turquoise, malachite, chalcedony, quartz, jasper, or lapis lazuli, were also appreciated. Stone carving experienced an efflorescence during the Qing dynasty (1644–1911), when an abundant supply of raw materials, exceptionally accomplished craftsmen, and, in particular, keen imperial patronage contributed to the creation of numerous superb works.

The stone carvings of the Qing period can be grouped in three categories: personal adornments such as rings, bracelets, and pendants; articles for daily use (mainly in the scholar's studio) such as brush holders, water pots, and seals; and display pieces such as copies of antiques, miniature mountains, and animal and human figures, the latter being the largest of the group. The carvings can also be classified by their decorative style: archaic or classical, meaning their shapes were derived from ancient ritual vessels; "Western," which bore the influence of contemporary Mughal art from northern India; and new or modern, meaning novel shapes and designs created during the Qing dynasty.

A common decorative theme, especially among works of the new style, was the use of rebuses, which are symbols associated with auspicious meanings, to convey wishes for prosperity, longevity, good fortune, perpetuation of a family line, or academic success. The tradition began early but remained largely in the popular culture until the sixteenth and seventeenth centuries, when significant social changes and increased imperial patronage helped elevate the rebus to the high art of the court.