INDEX OF GENERAL SUBJECTS
A
Ancient Moon Pavilion. See Guyue Xuan
Apricot Grove Studio, 32–1:36–37; 32–3:35–36
Archers’ thumb rings, 35–3:16
Attiret, Jean-Denis, 38–2:40
Auctions
Beijing 2005, 37–3:45–47
conditions of sale, 30–3:24
first snuff bottle auction, 38–3:41
history of snuff bottle auctions, 38–2:49
Hong Kong 1997, 30–1:28–31
Hong Kong 1998, 30–3:28–32
Hong Kong 2000, 32–3:30–36
Hong Kong 2004, 36–2:35–40
Hunter collection 1998, 30–4:36
London 1999, 31–3:26; 31–3:34–36
London 2001, 33–2:36–37; 33–3:33–35
London 2002, 34–2:28–32; 34–3:39–40
London 2003, 35–2:34–38; 35–3:36–40
London 2004, 36–2:31–33; 36–3:35–38
London 2005, 37–3:38–44
London 2006, 38–2:43–46; 38–3:35–36
London 2007, 39–3:31–35
Mayan snuff bottle, 38–3:41
multiple lots, 38–2:43–44
New York
Christie’s 1998, 30–3:26–27; 30–4:34–35
Christie’s 1999, 31–2:33
Christie’s 2000, 32–1:35–38; 32–3:29
Christie’s 2002, 34–1:32–35
Christie’s 2003, 35–1:24–26
Christie’s 2004, 36–1:40
Christie’s 2005, 37–1:28–32; 37–2:39
Christie’s 2007, 39–1:37–40; 39–3:36–38
Sotheby’s 1998, 30–3:23–26; 30–4:31–34
Sotheby’s 1999, 31–2:33–36
Sotheby’s 2000, 32–1:38–40; 32–3:29
Sotheby’s 2001, 33–1:32–35; 33–3:30–32
Sotheby’s 2003, 35–1:24, 26–31
Sotheby’s 2004, 36–1:35–40
Sotheby’s 2005, 37–1:32–38
Sotheby’s 2007, 39–1:40
online, 32–3:29
pre-sale estimates, 36–2:32
Robert C. Eldred Co.
Summer Asian Sale 2000, 32–2:35
Summer Asian Sale 2003, 35–2:39–40
Summer Asian Sale 2007, 39–2:46–48
B
Badges of rank, 38–3:4–12
Baishe zhuan, 33–2:9–10
Bai Shi (Baishi), 34–3:17–18; 39–1:39
Base marks. See INDEX OF PHYSICAL ASPECTS OF BOTTLES, BASE MARKS
Bavarian glass, 30–4:29–30; 31–3:32; 32–1:18–26
Belleville, Charles de, 37–2:4
Bibliotheca Nicotiana, 38–3:13
Bi disc, 30–2:6; 35–3:13
Bi Rongjui (artist), 34–1:15
Blue and white porcelain, 31–2:12–21
Bole, 34–2:6–7
Bonsai, 32–3:19
Boot bottles, 37–1:34
Boxer Rebellion, 34–1:12–13
Bragge, William, 38–3:13–14; 39–2:18
Buddhism, 34–1:8
buried Buddhas in Qingzhou, 34–2:28
Chan sect, 32–1:5, 9
cintamani, 32–2:22
elephant symbolism, 33–3:19–20
Qing emperors, 33–3:22
symbols, 30–4:36; 38–3:7
Tibetan Gelugpa, 33–1:7, 8, 15
Burma, Qing period, 33–1:9
C
Calligraphy, 32–3:14; 34–1:16; 34–2:29; 34–3:4–20
cultural significance, 32–1:4; 32–3:15–16; 35–3:8
historical development, 35–3:4–6, 8
inscriptions, 35–3:9–12; 39–1:21–22
scholar art, 32–1:5, 7–8
script styles, 35–3:8
Cameron, Eunice, 39–3:36
Candy boxes, 30–1:3
Canteen snuff bottle, 35–3:37
Cao Cao, 37–1:17–18
Cao Xueqin, 33–1:6
Castiglione, Giuseppe (Lang Shining), 32–2:19; 32–3:19–20; 33–1:15; 33–3:16–17; 36–2:5; 37–2:4; 37–3:40; 38–2:4, 21, 22, 23, 24
Celadon ware, Song dynasty, 32–1:6
Chang’e, 31–3:19–20
Chengde palace complex, 33–1:10–12, 13
Chenghua reign marks, 31–3:24
Cheng Rongzhang (artist), 32–3:33; 34–3:39; 35–1:30; 36–1:13; 36–3:26; 37–3:11; 38–3:44
Cheng Shikui (artist), 38–2:25
Chen Guozhi (artist), 36–2:8; 37–1:36
Cheng Ziqing (artist), 35–3:11
Chen Jintang (artist), 32–3:12
Chen Mingyuan, 30–1:27
Chen Renpu (artist), 39–3:10
Chen Shaofu (artist), 34–1:17
Chen Yuanlong, 32–2:4
Chen Zhongsan (artist), 39–3:20
Chinese Inside Painting of the Modern Age, 39–3:8
Chinese life and culture
agricultural practice, 30–1:11–12
alcohol consumption, 32–1:16
ancestor worship, 30–2:4
art of imitation, 30–2:4–5; 31–3:29; 38–1:11–12
auspicious motifs, 38–1:40–42
badges of rank, 38–3:4–12
biographical dictionaries, 31–3:11, 14
Bronze Age, 31–3:13; 32–3:4, 6–7; 34–1:6
bureaucrats, 38–3:4
burial practices, 32–3:9–10; 34–2:5; 35–3:6–7, 13, 36; 36–1:15; 37–2:20–28; 38–2:18
cockfighting, 37–2:12–19
Communist-era snuff bottles, 36–2:9–10; 39–3:8–17
creative expression in, 31–3:5
distinguishing features, 34–1:5–6
dog stories and symbolism, 38–2:15–36
dragon symbolism and stories, 32–2:16–31
European contact, 34–1:4, 7, 8
goat/sheep symbolism and stories, 35–2:21–25
horse mythology and symbolism, 34–2:4–12
hunting practice, 31–3:17; 38–2:19–21
imperial architecture (Qing dynasty), 33–3:4–23
inscribed writing on significant objects, 35–3:6–9
interest in antique styles and motifs, 32–3:4–9; 33–3:9; 34–1:6
landscape painting and appreciation, 37–1:4–19; 38–1:4, 6–11
metalworking technique, 39–2:4–7
monkey symbolism and stories, 36–3:5–17
moon stories and beliefs, 31–3:19–21
Nationalist period, 34–1:4–5, 13–14
nineteenth century, 31–1:28–36; 31–2:4–11, 43
opium use and trade, 34–1:10–11
palindromes, 39–3:4–7
rabbit stories and beliefs, 31–3:17–23
reverence for past, 32–1:6
rise of cities, 38–1:6–8
role of art, 32–1:5
scholar art, 32–1:5–17; 32–3:17; 36–3:30; 38–1:7
significance of jade, 32–3:8–10
snake mythology and symbolism, 33–2:4–11
snuff bottle scholarship in study of, 36–2:4–11
status and role of scholars, 32–1:4–5; 38–1:6, 7–8
status of gold, 39–2:8
time and calendar systems, 32–2:16
tomb bottles, 37–2:20–28
trade, 34–1:7, 9
written and spoken language, 32–1:4; 34–3:6–8; 35–3:4–6. See also Calligraphy
See also Confucius and Confucianism; specific dynasty or period
Chinese Snuff Bottles, by Marcus Huish, 39–2:18
Chinese Snuff Bottles from the Baur Collection, by Vérène Nicollier, 39–3:44
Cixi, Empress Dowager, 32–1:17; 33–3:11, 12; 37–2:20; 38–2:25, 26–27; 39–3:11
Cizhou ware, 30–3:4
Coin snuff bottles, 30–1:4–10; 30–2:16; 31–3:35; 33–1:5; 37–2:9
Collecting
as art form, 31–3:5–6
esoteric collecting, 31–3:5–16
Glickman book on collectors and collecting, 38–2:48–49
insurance, 32–3:26–27; 33–2:39
motivation, 31–3:6
trends in China, 39–3:44
See also Evaluating snuff bottles
Collections
Albemarle, 36–2:31
Altman, Benjamin, 38–2:48
Asakura, Mr., 31–3:39
Au Hang Family, 30–1:3; 39–3:28
cover bottles, 39–3:3
Balbach, Charles, 39–1:34
Baur, 39–3:44
Beatty, Chester, 39–1:4–5
Bier, Lawrence, 36–1:39–40
Blair, James, 32–3:21; 35–1:23, 32–34; 38–2:48
Bloch, Mary and George, 30–1:4, 9, 13, 14, 32; 30–4:3; 31–3:26; 32–2:3; 37–3:25; 39–1:4
Bragge, William, 38–3:13
British Museum, 32–3:4–20
Burghley House, 31–3:28–29; 38–1:44; 38–2:37–38
Candler, 30–3:23
Carpenter, Belle, 33–2:35
Converse, Edward C., 38–2:48
Copley, Lionel, 31–3:26
Crane, 36–2:3; 38–2:3; 39–2:3; 39–3:18, 19–20
Crow, Trammel S. and Adina, 36–3:39
Crozier, Mary, 36–3:27; 38–2:48
Dane, 39–2:46
Deng Xiao Ping, 30–2:3
Du Boulay, Anthony, 35–3:36
Exstein, Blanche B., 34–1:32–35
Fausone, Shirley and Vincent, 35–3:3
Franz, Lutz and Hedda, 31–3:26
Friedman, Pamela R. Lessing, 30–2:30; 30–3:31; 31–3:3; 37–3:43
Fuller, Richard, 30–4:20, 23
Gadient, Ida and Sanford, 31–1:41
Gilbert, John, 35–2:39
Golder, Faith and Sylvan, 30–1:32–33
Grimberg, Joe, 34–1:3
Guo’an, 32–3:30
Hamilton, Ann and John, 30–2:3; 33–2:3; 35–1:26
Hancock, Eric, 34–3:39
Hasterlik, Bernice Straus, 31–2:33
Hawaii, 37–1:3; 39–1:3
Hickmott, Susan, 35–2:39
Holden, Rachelle, 32–1:35–40
Hsieh, Robert and Molly, 36–1:35–39
Hui, Humphrey K. F., 30–1:33; 34–3:3, 34–36
Hunter, Neal W. and Frances R., 30–4:31–34; 31–2:33, 34
Isaacs, Diane, 39–2:46
James, Mary Ann and Henry, 30–4:26–27
J&J, 30–1:15; 30–3:32; 31–3:14; 33–2:38; 34–1:37; 34–2:34; 35–1:31; 36–2:35–40; 39–1:37–38
Kalabushkin, V. S., 30–4:14
Ko, 30–1:5, 37–3:12–17; 39–1:12
Lester, Pauline, 30–3:23
Lo, Kenneth K. L., 30–4:3
Loh, Quentin, 35–1:3
Lord Cunliffe, 34–3:38–39
Low, Denis, 31–3:38
book review, 33–1:29–31, 35; 39–3:39–43
Mack, Gerry P., 30–2:3, 30; 31–3:26, 34–36
Marakovic, Nicola, 36–1:3; 38–1:3
Marquess of Exeter, Burghley House, 31–3:28–29
Martin, Charles, 31–3:28–29; 38–2:37
McElney, Brian, 31–3:33
Melnikov, Dimitry, 30–4:14
Menil, 33–1:23–24; 33–3:25
Meriem, 39–3:36–38
Min Chiu Society, 38–1:40–42
Motozou Hakutsuru, 30–3:25
Mullin, Terry, 30–3:3; 32–1:3
National Palace Museum (Taipei), 34–1:5
North Carolina Museum of Art, 30–3:23; 31–2:33
Noyes, Melville and Ruth, 30–3:23
Pietsch, Charles, 33–1:32–35; 33–2:35
Piper, Robert G., 37–2:3; 38–3:3
Princeton University Museum, 32–1:29; 32–3:21–22
Pritchard, Helen, 38–3:23
Pugh, Avrina and Betha, 37–1:32–33
Renk, Martha M., 37–2:39
Rothholz, Jack and Florence, 39–2:46
Sanctum of Enlightened Respect, 31–2:3, 37; 33–3:3; 34–2:3; 34–3:23–24; 35–1:35–36, 38; 39–3:39–43
Silver, Joseph Baruch, 31–2:31–32; 39–3:22–23
Sin, Christopher C. H., 35–2:3
Spinnaker, 38–3:38–39
Stone Picking Studio, 30–3:28
Strong, Margaret Woodbury, 32–2:35
Sung, Eugene Y. C., 30–4:20–21
Takeda, Hirotada, 30–1:33
Thal, 30–4:20
Thomson, 39–3:23–24
Toledo Museum of Art, 37–2:39
Ueltzen, Florence E., 36–3:39
Wald, Francine and Bernard, 36–3:3; 37–3:3
White Wings, 30–1:15
Wilson, John, 30–3:23
Communist China, 34–1:14; 34–2:35; 35–3:5; 36–2:9–10; 38–2:44
Confucius and Confucianism
burial practices, 30–2:4
dragon symbolism, 32–2:18
Eight Trigrams, 34–2:10–11
historical development, 30–1:13; 34–1:6–7
nature worship, 30–1:13; 38–1:6–7
nostalgia for Zhou dynasty, 32–3:4
post-Han Neo-Confucian movement, 32–3:4–5
Song dynasty, 32–1:5
Counterfeits. See Fakes and forgeries; Imitations
Cover bottles
Au Hang Collection, 30–1; 39–3
Bloch, Mary and George, 30–4; 32–2
Crane Collection, 36–2; 38–2; 39–2
Fausone, Shirley and Vincent, 35–3
Grimberg, Joe, 34–1
Hamilton, John and Ann, 30–2; 33–2
Hawaii Collection, 37–1; 39–1
Hui, Humphrey K. F., 34–3
Lo, Kenneth K. L., 31–1
Loh, Quentin, 35–1
Marakovic, Nicola, 36–1; 38–1
Mullin, Terry, 30–3; 32–1; 33–1
Pamela R. Lessing Friedman Collection, 31–3
Piper, Robert G., 37–2; 38–3
Sanctum of Enlightened Respect, 31–2; 32–3; 33–3; 34–2
Sin, Christopher C. H., 35–2
Wald, Francine and Bernard, 36–3; 37–3
D
Daoguang period (1820–1850)
cricket cults, 30–2:12
current scholarship, 36–2:8
dragon motif, 31–3:15; 33–3:9
life and culture, 31–1:33–34; 31–2:10
opium use and trade, 34–1:10; 34–3:20
painting style, 38–3:40
palindrome-inscribed bottle, 39–3:4
porcelain, 30–3:14; 31–2:12, 17–18; 35–2:36; 38–3:40; 39–1:28, 29
portrait of emperor, 30–1:8–9
reign marks, 31–2:17; 31–3:14, 24; 34–3:8; 38–3:40; 39–1:21, 26–27
snuff bottle arts, 35–3:20–21; 36–2:8, 24, 25–26; 37–3:10–11
sociopolitical environment, 31–1:28–29; 36–2:25–26
Daoism, 34–1:8; 34–2:13, 16–17
dragon symbolism, 32–2:18
scholar art, 32–1:7, 10, 11–12, 13–14; 34–1:15
symbols, 38–3:7–8
De Brossard, Gabriel-Léonard, 36–1:25; 36–2:5
Decoration of snuff bottles
historical practice, 31–3:11
identifying artists, 31–3:11–13
See also INDEX OF PHYSICAL ASPECTS OF SNUFF BOTTLES, MOTIFS AND SYMBOLISM
Deification of the Gods (novel), 32–2:18–19
D’Entrecolles, Père, 30–2:7; 30–3:6
D’Incarville, Pierre, 36–1:25
Ding Erzhong (artist), 30–1:30; 34–1:15; 34–3:36; 35–1:34–35; 36–3:12; 38–1:40–41; 38–3:38–39; 39–3:40
auctions
Eldred 2007, 39–2:47–48
Hong Kong 2000, 32–3:34–35
Hong Kong 2004, 36–2:40
New York 2001, 33–3:30
New York 2003, 35–1:30
cover bottle, 34–3:3, 29
Lanting Preface, 33–1:30, 35
Orchid Pavilion Preface, 34–3:10–11
studio name, 31–3:11
Ding Guiling (artist), 35–1:29
Ding princes, 35–1:19, 20
Ding ware, 30–3:4
Dong Xue (artist), 37–1:41; 39–3:10–11
Dragon boat races, 32–2:20–21
Duan Fang, 30–4:32
Duanwu (Dragon Boat) festival, 33–2:7–8; 36–1:4–5
Du Fu, 34–2:19–20
E
Eccentric Genius of the Hebei School, 33–1:36, 39
Eight Eccentrics of Yangzhou, 34–3:16–17
European and Western influences
Bavarian glass work, 30–4:29–30
Christianity and the Taiping Rebellion, 31–2:4–5, 10
famille-rose palette, 32–2:4–5
first contact, 34–1:4, 7, 8
glassmaking, 30–2:6–8, 15, 16; 32–1:20; 36–1:14
introduction of snuff to China, 34–1:4
painting, 32–3:19–20
porcelain work, 30–3:4–6; 31–3:26–28; 36–2:6; 37–2:4
Qing period, 33–1:5–6, 8, 12–13; 34–1:8–9; 36–2:5–6; 38–2:39–42
resistance to, 34–1:7
snuff bottle decoration, 37–2:4–11
trends in research and scholarship, 36–2:4–5
European subjects
coin snuff bottles, 30–1:4–7
hair color and style, 30–4:16; 31–1:33
Evaluating snuff bottles, 39–3:25–26, 34–35
blue and white porcelain, 31–2:12–21; 37–2:38
collectors’ labels, 34–3:39
computerized imagery to identify fakes, 33–1:18–22
dating, 38–3:20–21
eighteenth century vs. nineteenth century, 39–1:18–30
glass bottles, 39–1:22–25
inscriptions, 39–1:21–22
inside-painted bottles, 34–2:31–32
ivory identification and testing, 33–2:12–13
new bottles, 31–2:22–30
reign marks, 31–2:15–18; 39–1:25–27
ultraviolet fluorescence, 33–1:18–19; 33–2:12–13
See also Fakes and forgeries
F
Fahua, 30–3:4
Fakes and forgeries, 33–2:36, 38; 38–3:36–37, 44–45; 39–2:52; 39–3:26, 34
bronze bottles, 37–3:10–13; 39–1:16
collectors’ labels on bottles, 34–3:39
Daoguang period, 37–3:10–11
enamels on glass, 37–3:13–17; 39–1:16–17
imitations and, 35–3:23
inside-painted bottles, 39–3:34–35
Japanese versions of imperial ivory, 39–1:4–15
modern Jingdezhen production, 35–2:30–31
Moss lectures on, 36–3:26–27; 37–3:10–21; 38–3:22–23
See also Evaluating snuff bottles; Imitations
Famille-rose porcelain
historical development, 30–3:6; 31–3:26–28; 32–2:4–15
Kangxi period, 32–2:4–9
Qianlong period, 32–2:12–15; 35–2:4–20
Yongzheng period, 32–2:9–11
See also INDEX OF PHYSICAL ASPECTS OF BOTTLES, MATERIALS, Porcelain snuff bottles, famille-rose
Famille-verte, 32–2:4
Feng shui, 33–3:5; 37–1:11
Fiori, Christopher, 37–2:4
Five Tiger Generals, 30–4:8
Fontenay, Jean de, 37–2:5
Forbidden City, 33–3:4, 5–23
Fragrant Ink Studio, 39–3:10
Fu Jian, 30–4:10
Fuxi and Nüwa, 32–2:24–25; 33–2:5
G
Gan Xuanwen (artist), 30–1:30; 34–1:15, 17; 39–3:19
auctions
Hong Kong 2000, 32–3:31
London 2003, 35–2:37
New York 2000, 32–1:36
New York 2005, 37–1:35
calligraphy, 34–3:12, 35; 35–1:34
Gao Liang, 32–2:19
Gaozu, Emperor (Wude reign) (618–626), 30–3:4; 38–2:24
Ge Hong, 31–3:21
Genghis Khan, 33–1:7; 34–1:7
Gherardini, 37–2:4
Glassmaking
in Bavaria, 32–1:18–19
evolution in China, 30–2:4, 6–7, 12; 32–1:19–21; 32–3:11
glass decorating and, 36–1:15
imitations of other materials, 30–2:4–18; 35–3:17–23
for inside-painted bottles, 39–3:8–9
Qing dynasty, 36–1:13–27; 36–2:12–29
red glass technique, 36–1:16–17
Gong Xian (artist), 37–1:13–14
Gravereau, Jean Baptiste, 32–2:5; 37–2:4
Guangxu period (1875–1908), 30–1:9; 39–3:11
dragon motif, 33–3:9
Empress Dowager Cixi, 33–3:11, 12
Guangzhou school
auctions
London 2001, 33–2:36
New York 2003, 35–1:29
cover bottles, 33–2:3
inside-painted bottles, 36–2:8–9
porcelain, 32–2:8–9, 10; 37–1:37
Guan Yu, 30–4:8
Gui Xianggu (artist)
auctions
Hong Kong 1989, 30–1:30
Hong Kong 2000, 32–3:32
New York 2000, 32–1:36
cover bottle, 34–3:29
Guo Xi (artist), 37–1:7–8, 10
Gu Yuexan (artist), 33–1:5
Guyue Xuan
auctions
Hong Kong 2000, 32–3:32
Hong Kong 2004, 36–2:38
London 2003, 35–2:35
New York 2000, 32–1:36, 38
New York 2005, 37–1:28
cover bottles, 30–3:3, 22
history, 30–4:31; 31–1:41–42; 31–3:14; 36–2:7, 18–19; 38–1:16–17; 38–3:43
imperial archives and, 38–1:32
origins and meaning of names and marks, 31–3:14–15; 38–1:16, 17, 21, 22, 23, 29–31
snuff bottles, 38–1:17–32
H
Hai Wang, 32–2:10, 11
Hallmarks. See INDEX OF PHYSICAL ASPECTS OF BOTTLES, HALLMARKS
Hall of Constancy. See Xingyouheng Tang
Han dynasty (206 b.c.–220 a.d.)
agriculture, 30–1:12, 13
ceramic imitations of other materials, 35–3:15
cloisonné, 30–3:12
coinage, 30–1:8
counterfeit materials, 30–2:4
dragon motif, 32–2:16, 18, 24–25
glass objects, 30–2:5–6, 7
imitation of other materials, 35–3:13
importance of jade, 32–3:9–10
moon mythology, 31–3:20
porcelain, 34–1:22
scholars in, 32–1:4
snake symbolism and mythology, 33–2:8
writing and calligraphy, 35–3:7, 8
Hanlin Academy, 32–1:14
Hao Shouchen, 36–2:39; 37–1:30
Hebei School, 33–1:36, 39; 34–2:35; 39–3:13, 16
Heshen, 34–1:4, 9–10; 36–2:7–8; 39–2:4
He Shuiqing (artist), 39–3:12
Hexi painting, 33–3:8–9
Hollowing of bottles, 31–3:9
Hongli. See Qianlong period
Hongwu, Emperor (1368–1398), 32–3:14
Hong Xiuquan, 31–2:5
Houyi, 31–3:20
Houzhu, Emperor (565–576), 38–2:25
Huangxing, 33–3:3
Huang Zhong, 30–4:8, 32; 32–1:36; 32–3:32; 34–2:31
Hua Yan (artist), 32–3:19; 34–3:16
Huish, Marcus, 39–2:18
Hu Xuan, 31–3:14–15; 38–1:17, 21, 23, 31
I
Imitations
archaism as decorative motif, 32–3:4–20
glass imitating other materials, 30–2:4–18; 35–3:13, 17–23; 38–1:11
historical practice in China, 30–2:4–5; 35–3:13–17; 38–1:11
porcelain imitating other materials, 30–3:4–21; 35–3:13–15; 38–1:11
See also Fakes and forgeries
Imperial workshops
cover bottles, 38–2:3
enameled snuff bottles, 37–3:5–9
interaction with non-imperial workshops, 30–2:16
ivory snuff bottles, 39–1:4–15
porcelain marks, 31–2:16–17
Yongzheng snuff bottles, 37–2:29–37
Incense, 32–1:6
Inner-Painting Art Research Association, 39–3:12
Inside-painted bottles
Crane Collection, 39–3:19–20
fakes and forgeries, 38–3:36–37
Golden Age, 39–3:8
modern practitioners, 39–3:8–17
portrait bottles, 39–3:25
techniques, 39–3:8–9
See also INDEX OF PHYSICAL ASPECTS OF BOTTLES, INSIDE-PAINTED BOTTLES
Insurance, 32–3:26–27; 33–2:39
Iron brushwork, 31–3:11, 12
Ivory
identification and testing, 33–2:12–13, 28–29
Japanese versions of imperial ivory, 39–1:4–15
laws governing, 33–2:29–34
manufactured substitutes, 33–2:27–28
natural substitutes, 33–2:24–27
structure and properties, 33–2:12
types of, 33–2:13–24
See also INDEX OF PHYSICAL ASPECTS OF BOTTLES, MATERIALS, Ivory, material
J
Jade Hall, 32–1:14
Japan
Japanese versions of imperial ivory, 39–1:4–15
snuff bottle fakes from, 37–3:11
snuff containers of, 30–2:29; 31–3:32; 33–3:35; 36–2:9; 39–1:4–5, 7, 8
war with China, 34–1:5
Jesuits, 30–2:7–8, 16; 30–3:5–6; 31–3:26–28, 32; 32–1:20; 32–2:4, 5; 33–1:5–6, 8; 34–1:7, 8, 9; 36–1:14; 37–2:4; 38–2:40
Jewish community in China, 39–3:22
Jia Chang, 37–2:15
Jiangnan style, 31–3:14
Jian Yuan (Grove of Reflection), 30–4:31; 31–1:42
Jianyuan period (134–129 b.c.), 30–4:10
Jiaqinq period (1796–1820)
base marks, 35–2:15–16
dragon motif, 33–3:9
enameled snuff bottles, 30–3:26; 37–3:6; 38–3:3
glass production, 36–2:26
life and culture, 31–1:30–32
marks, 31–3:14; 39–1:5–6, 26
New York 2002 auction, 34–1:33
porcelain imitations of other materials, 30–3:19
reign marks, 31–2:17; 34–3:8; 36–2:24; 38–1:3
sociopolitical environment, 31–1:28; 36–2:7–8
Jin dynasty (265–420), 30–1:13, 24; 34–3:8–9
Jingdezhen
cover bottles, 38–1:3; 38–3:3
destruction, 34–3:20
false jade vessels, 30–3:4
historical development, 31–2:14; 35–2:26; 35–3:16–17
male “baby” snuff bottle, 34–1:3
modern ceramics, 35–2:26–33
palindrome-inscribed bottle, 39–3:4
porcelain making, 31–3:26; 32–1:17; 32–2:6–8, 11–12, 14–15; 35–2:4–6; 35–3:16–17
Qianlong period, 38–2:7–12 (passim)
rebuilding of imperial kiln, 34–3:20
reign marks, 39–1:5–6
Taiping Rebellion and, 31–2:4–5, 8, 11, 18
Tang Ying period, 30–3:6–19
Jingyun, 34–2:14
Ju Chao (artist), 36–2:8
Jueshan (artist), 39–3:40
K
Kangxi period (1661–1722), 39–3:40–41
base marks, 32–2:5, 6, 7; 37–3:7; 38–3:34; 39–1:5
ceramic glazes, 32–1:6–7
Chengde palace complex, 33–1:10–11
cloisonné work, 30–3:12
enamel on metal, 37–1:29
famille-rose enamels, 32–2:4–9
glassmaking, 30–2:7–8, 9–10, 12, 5; 31–3:32; 32–1:20; 36–1:15–20
Hall of Constancy in, 35–1:19
imitations of other materials in ceramic or glass, 35–3:16–18
life and culture, 34–1:9
porcelain arts, 30–3:5, 6–7; 31–2:13, 14; 31–3:28; 37–2:4; 37–3:11; 38–3:33–34
portrait of emperor, 37–3:38, 39
reign marks, 31–3:24; 34–3:9; 36–1:15; 36–2:4; 37–1:25
snuff use, 32–1:11; 36–1:13; 37–3:40
yellow snuff bottle, 36–1:14
Katon, 34–1:34
Ke Lan (artist), 39–3:11, 12
Kublai Khan, 34–1:7
Kuixing, 32–2:26
L
Lacquer work
evolution in China, 32–3:13–14
porcelain imitations, 35–3:15
See also INDEX OF PHYSICAL ASPECTS OF SNUFF BOTTLES, MATERIALS, Lacquer, material
Lam, Peter, 34–3:34, 35–36
Lambert, John, 32–2:9
Lang Shining. See Castiglione, Giuseppe
Lanting Preface, 32–3:34; 33–1:35; 34–3:10–11; 35–3:12; 39–3:14
Lao Ge, 30–3:11, 13
Laozi, 30–1:23
Lee, King Yee, 39–2:11, 13–15
Li Bo, 34–2:17
Li Cuiling (artist), 39–3:14
Li Hung-chang, 37–2:10
Li Junfeng (artist), 39–3:14–15
Li Junting (artist)
auctions
Hong Kong 2000, 32–3:32
London 1999, 31–3:39
New York 2002, 34–1:33
New York 2003, 35–1:25, 26–27
New York 2005, 37–1:33
imitations, 36–2:21–22
style, 36–2:20–21
Li Kechang (artist), 32–3:35–36; 39–3:9–10
Lingdi, Emperor (168–188), 38–2:25
Lingnan school. See Guangzhou school
Lin Zexu, 34–1:10
Liquan zi zhi, 36–2:31
Li Shoucheng (artist), 34–2:31–32
Li Song (artist), 32–2:20
Li Tieguai, 32–3:15
Liu Bei, 30–4:8; 39–3:16
Liu Dasheng (artist), 39–3:13–14, 20
Liu Guanxiong, 33–3:3
Liu Hai, 31–3:35
Liu Kunyan (artist), 39–3:11–12
Liu Sheng, 30–2:5–6
Liu Shouben (artist), 30–1:22; 34–3:28, 29; 37–1:41; 39–3:8, 10, 40
auctions
Hong Kong 2000, 32–3:36
New York 2000, 33–1:33
New York 2003, 35–1:29
cover bottles, 33–3:3
Liu Xinkai (Qiushi) (artist), 39–3:13
Liu Xuande, 39–3:16
Liu Yizi (artist), 33–1:36–39; 34–2:36; 36–3:18; 39–3:15–16
Liu Ziyi (artist), 34–2:36; 39–3:15, 16
Liu Zongyuan, 34–2:20
Li Yanting, 37–1:30
Li Yiqing, 30–1:24
Lu Dong (artist), 34–3:16
Lu Ji, 34–2:18
Lu Jiangguang (artist), 39–3:15
Luohan imagery, 30–4:9–10; 32–2:30
Lu Xiang (artist), 31–3:12
Lu You, 30–1:14; 39–3:3
M
Ma Chao, 30–4:8
Manchu dynasty (1644–1912). See Qing dynasty (1644–1912)
Mao Dan, 30–1:12
Mao Zedong, 34–1:5, 6
Marco Polo, 34–1:8
Ma Shaoxian (artist), 31–3:21
London 1999 auction, 31–3:34
New York 2000 auction, 32–1:39
Ma Shaoxuan (artist), 30–1:20, 31; 34–1:15, 16, 17; 34–2:18, 19; 34–3:36; 35–1:34; 36–2:32; 38–2:31; 39–3:20, 25, 42–43
auctions, 39–2:47, 48; 39–3:38
Hong Kong 1998, 30–3:32
Hong Kong 2000, 32–3:32–33
Hong Kong 2004, 36–2:39
London 1999, 31–3:34
London 2001, 33–2:37
London 2004, 36–2:33
London 2005, 37–3:43
New York 1998, 30–3:27; 30–4:32, 35
New York 1999, 31–2:34
New York 2000, 32–1:36, 39
New York 2002, 34–1:34
New York 2003, 35–1:25, 29, 30
New York 2004, 36–1:38, 40
New York 2005, 37–1:30, 35–36
biography and study of (book review), 30–2:26–30
cover bottles, 33–3:3; 34–3:3
European subjects of inside-painted portraits, 37–2:10–11
Li Shoucheng, 34–2:31
montage style, 35–3:12
Orchid Pavilion Preface, 34–3:11–12
script, 34–3:9, 11–12
Mask handles, 31–3:13
Master of the Rocks school, 32–1:40
Materials, snuff bottles. See INDEX OF PHYSICAL ASPECTS OF BOTTLES, MATERIALS
Mayan snuff bottle, 38–3:41
Medicine bottles, 31–2:14
Meiping vase form, 31–3:8, 9
Meng Zishou (artist), 30–4:8; 34–2:4
Metalworking techniques, 39–2:4–7
Miao rebellion, 31–2:8, 11
Ming dynasty (1368–1644)
calligraphy, 35–3:9
Central Asian relations, 32–3:11
dragon motif, 32–2:18–19
European contact, 34–1:8
herdboy motif, 30–1:17
interest in antique styles and motifs during, 32–3:4, 6
landscape art, 38–1:4–7
porcelain work, 30–3:6; 32–1:8; 34–1:22; 39–1:29
reign marks, 31–2:17; 31–3:24; 39–1:27
scholars in, 32–1:5, 9
social values, 32–3:6
tea drinking, 32–1:9
Mint marks, 30–1:4, 5
Mongolia, 30–1:3; 33–1:5
conquering of China, 34–1:7
horse motif, 34–2:31
Mongolian-style metal work, 31–3:15–16
Qing dynasty and, 33–1:7–8, 11–12; 38–2:41
Monk Tiao, 30–4:10; 32–2:30
Motifs and symbolism. See INDEX OF PHYSICAL ASPECTS OF BOTTLES, MOTIFS and SYMBOLISM
Mughal style, 37–1:34
Museums and exhibitions
Arthur M. Sackler Galleries of Art (Washington, D.C.), 32–3:25
Art Museum of the Chinese University of Hong Kong, 30–1:33
Elegance and Radiance: Grandeur in Qing Glass, 32–2:34–35
Arts of Pacific Asia (Asia Week in New York, 2002), 34–1:36
Asakura Choso Museum (Tokyo), 31–3:39
Asian Art in London 2000, 32–2:34
Asian Art in London 2001, 33–2:35–37
Asian Art in London 2002, 34–3:37–40
Asian Art in London 2003, 35–2:34; 35–3:35–40
Asian Art in London 2004, 36–2:30–34
Asian Art in London 2005, 37–3:49
Asian Art in London 2006, 38–3:33–37
Asian Civilisations Museum (Singapore), 31–3:37; 34–3:23–24
Chinese Snuff Bottles–Treasures from the Sanctum of Enlightened Respect, 31–3:38
Chinese Snuff Bottles from the Sanctum of Enlightened Respect III, 39–2:53
Beijing Bao Lee Museum, 35–2:41
British Museum (London), 31–1:38
Brussels Oriental Art Fair (2006), 37–3:49
Burghley House (Stamford, England), 38–1:44; 38–2:37–38
Chang Foundation (Taipei), 32–1:42–43
China Institute in America (New York)
Chinese Snuff Bottles from the Pamela R. Lessing
Friedman Collection, 30–2:30; 30–3:31
Chinese Cultural Center (San Francisco), 32–1:41; 32–2:34
Chinese University of Hong Kong Art Museum, 36–2:8; 37–3:26; 39–3:44–45
Inkplay in Microcosm, 34–3:34–36
Cincinnati Art Museum, 30–1:32
Collections Baur (Geneva), 32–1:41–42; 33–2:38; 37–1:43
Crow Museum (Dallas), 36–3:39
Freer Gallery (Washington, D.C.), 32–3:24
Frye Museum (Seattle), 30–2:23; 30–4:23
Grosvenor House Art and Antiques Fair (2006), 37–3:49
Guggenheim Museum (New York), China: 5000 Years (1998), 30–3:23
Hillwood House Museum (Washington, D.C.), 32–3:22–23
Hong Kong Museum of Art, 37–3:26
Min Chiu Society exhibition, 38–1:40–42
Houston Museum of Natural Sciences, 30–2:29–30
Imperial Palace, Beijing, 32–1:41
International Asian Antique and Art Fair (Hong Kong, 2006)), 37–3:49
International Asian Art Fair (Asia Week in New York, 2002), 34–1:36
International Asian Art Fair (Asia Week in New York, 2006), 37–3:49
Los Angeles County Museum, 35–3:29
Sumptuous Microcosm: Snuff Bottles from California Collections, 36–2:4
Maastricht International Fine Art and Antique Fair (2006), 37–3:49
Metropolitan Museum of Art (New York), 38–2:48
Manchu Art exhibit, 39–2:53
When Silk was Gold (1998), 30–3:23
Museum of Tobacco Arts and Crafts (Tokyo), 30–1:33; 31–3:41
National Museum of History (Taiwan), Jade: Ching Dynasty Treasures, 30–2:29; 30–4:37
New York Arts of Pacific Asia Show (2006), 37–3:49
Norton Simon Museum (Pasadena, California), 35–3:26–27
Oakland Museum of California, 36–2:41
Pacific Asia Museum (Pasadena, California), 35–3:27
Palace Museum (Beijing), 31–3:38–39; 35–1:38
Philadelphia Museum of Art, 36–1:30–32; 36–3:27
Portland Art Museum (Oregon), J&J Collection, 34–1:37; 34–2:34
Princeton University Museum, 32–1:29; 35–1:23, 32–34; 38–2:48
Qing vases of Anthony Cheung, 39–3:44
Robert Hall gallery (June 2001), 33–2:35–36
Robert Hall gallery (November 2002), 34–3:37–38
Robert Kleiner gallery (November 2002), 34–3:38
Royal Academy of Arts
China: The Three Emperors, 1662–1795, 37–3:38–41, 49
One Hundred Masterpieces of Imperial Chinese Ceramics, 30–3:31
Return of the Buddha: The Qingzhou Discoveries, 34–2:28
Royal Ontario Museum, 30–1:21
San Francisco Arts of Pacific Asia (2006), 37–3:49
Seattle Art Museum, 30–1:21; 30–2:23–24; 30–4:23
Seattle Asian Art Museum, 30–2:22; 30–4:19–21
St. Petersburg Museum of Fine Arts, 31–1:41
State Museum of Oriental Art (Moscow), 30–4:14–17
Strong Museum (Rochester, New York), 32–2:35
Taipei Gallery (New York), 32–1:42
Tobacco and Salt Museum (Tokyo), 30–2:29; 30–3:32; 32–3:37; 33–2:38–39
trends in snuff bottle exhibitions, 36–2:4
University of Michigan, Museum of Art at the, 35–2:41
University Museum and Art Gallery (Hong Kong), Virtuous Treasures: Chinese Jades for the Scholar’s Table, 39–3:45
Victoria and Albert Museum (London), 35–1:23
Encounters: The Meeting of Asia and Europe, 36–3:35
Walters Art Gallery (Baltimore, Maryland), 32–1:33; 32–3:27–28
Muwang (1001-945 b.c.), 34–2:7–8
N
New bottles, 31–2:22–30; 39–2:52–53
Nian Xiyao, 30–3:6–7; 35–3:17
Nicholson, Grace, 39–2:12–13
Nicollier, Vérène, 37–1:43; 39–3:44
Niu Junfang (artist), 39–3:11
North and South dynasties (420–589), dragon motif, 32–2:16
Northern Song period (960–1127 a.d.), 30–4:8; 34–2:28; 38–2:24–25
interest in antique styles and motifs during, 32–3:5
landscape art, 38–1:7
luohan imagery, 30–4:10
Northern Wei period (386–581 a.d.), 34–2:28
glassmaking in, 30–2:5, 7
O
Oldest snuff bottle, 38–3:41
One Bottle Studio, 39–3:17
Opium Wars, 31–1:28–29, 30–32; 34–1:10–11; 34–3:20; 36–2:25
P
Palindrome inscriptions, 39–3:4–7
Perfume bottles, 36–3:39
Photography, snuff bottle, 33–1:35
Pitt, Thomas, 32–2:9
Polishing snuff bottles, 37–2:23
Porcelain manufacturing
blue and white porcelain, 32–1:8; 37–2:38
European and Western influences, 30–3:4–6; 31–3:26–28
European–Chinese trade, 34–1:8, 9
imitations of other materials, 35–3:13–17
introduction of famille-rose palette, 32–2:4–15
Jingdezhen technique (convention lecture), 31–1:37; 31–3:26
modern Jingdezhen production, 35–2:26–33
peachbloom glaze, 38–3:33–34
scholar art, 32–1:8
technical and historical development, 34–1:22
Q
Qi, 32–1:16
Qian Hui’an, 30–1:17
Qianlong period (1735–1796), 30–1:30; 32–1:31–32; 33–2:35; 38–3:35
badges of rank, 38–3:8–9, 11–12
calligraphic arts, 34–3:12–13
carving skills, 36–2:15, 19, 25
Central Asian relations, 32–3:11
cloisonné work, 30–3:13; 39–1:37–38
commemorations of military victories, 32–3:10–11
design features, 36–3:38
dragon motif, 31–3:15
emperor’s life, 38–2:4–5, 20–21, 39, 40
emperor’s poetry, 38–2:5–14
enameled snuff bottles, 36–1:3; 37–3:5, 7; 39–1:16–17
European and Western influence, 33–1:6; 34–1:9; 36–2:5–6; 37–2:4–5, 6, 7
famille-rose snuff bottles, 35–2:4–20
glass cover bottles, 35–2:3
glassmaking in, 30–2:10, 12–13, 14, 15–16; 32–1:20; 36–2:12–22
Hall of Constancy, 35–1:20
imitations of other materials in ceramic or glass, 35–3:15–16
imperial architecture, 33–3:15
imperial jade, 31–3:8–9
imperial snuff bottle collection, 34–1:4–5
importance of jade, 32–3:9
ivory snuff bottles, 32–2:3; 39–1:4–15
Leshan Tang ji, 35–2:7–8
life and culture, 31–1:28; 34–1:9–10; 34–3:13–14
marks, 30–1:3, 30; 30–3:8; 31–2:16–17; 31–3:14–15, 24; 34–2:30; 34–3:7, 8, 9, 13; 35–3:38; 36–2:13, 16, 9; 37–3:7; 38–1:3, 28–30, 31–32; 38–3:40; 39–1:5, 6, 25–26; 39–2:49
metal-encased glass bottles, 31–3:15–16
painting style, 38–3:40
porcelain arts, 30–3:6, 30–3:8–20; 30–4:15; 31–2:14–15; 32–2:12–15; 38–3:40; 39–1:26–28, 30
porcelain figures, 30–4:3
portrait of emperor, 33–1:15; 37–3:38, 39, 40; 38–2:4
preferred materials, 32–1:15
scholar art, 32–1:11
significant features, 38–2:4
Yuyong mark on bowl, 31–3:8
Qiao sisters, 32–1:36
Qin dynasty (221–206 b.c.), 34–1:6; 34–2:6–7; 34–3:8; 39–3:31
bureaucracy, 38–3:4
Qing dynasty (1644–1912), 32–1:31–32; 34–1:8–9
art motifs and symbolism, 31–2:10; 31–3:10; 33–1:4, 9–15; 34–1:14–15
badges of rank, 38–3:4–12
cloisonné, 30–3:12–13
coins, 30–1:9
corruption during, 39–3:11
court archives, 36–2:5
dates, 31–1:35
dating and attribution of artworks, 36–2:9
distinctive features of snuff bottles, 33–1:4–5
enameled snuff bottles, 37–3:5–9
enamel work (convention lecture), 31–1:37–38; 31–3:26–28
European and Western influence, 36–2:5–6; 38–2:39–42
fake bronze snuff bottles, 37–3:11–13
glassmaking in, 30–2:7–14, 15; 36–1:13–27; 36–2:12–29
imitations of other materials in ceramic or glass, 35–3:13–15, 16
imperial architecture, 32–1:30; 32–3:22; 33–1:13–14; 33–3:4–23
interest in antique styles and motifs during, 32–3:4, 7, 17
life and culture, 31–1:28–35; 31–2:4–11, 38; 32–3:23–24; 33–1:4–9; 36–2:7–8
mask handle motif, 31–3:13
opium use and trade, 34–3:20
opposition to, 32–1:13, 16
origins, 33–3:4; 38–2:39
palindrome-inscribed bottles, 39–3:4–7
porcelain, 30–3:4–6, 8–19; 32–1:8; 33–3:31; 34–1:22
rebuses, 36–1:5–12
regional relations, 33–1:7–8; 36–2:5–6
reign marks, 31–2:15–16; 31–3:24; 38–1:28–30
scholars in, 32–1:4, 5, 17
snuff bottles, 34–1:14–16, 22; 36–2:12–29; 37–3:10–12; 38–3:38–39; 39–3:25
social values, 32–3:6
summer palaces, 33–3:4
Taiping Rebellion, 31–1:29, 30; 31–2:4–8, 10–11; 34–3:20
trends in research and scholarship, 36–2:5
Western contact, 33–1:5–6, 8, 12–13; 34–1:8–9, 10–13
Xinjiang jade, 33–1:8–9
Qingming Festival, 30–1:22–23
Qingquan, 33–3:3
Qin Shihuang, 34–1:6; 34–3:7–8
Qin Shihuangdi, 39–3:31, 32, 33
Qiushi. See Liu Xinkai (artist)
Qiushi (artist), 38–2:21–23
Qiu Wei, 34–2:18–19
Qiu Ying, 30–1:12–13
Qu Yuan, 36–1:4; 37–1:13
R
Rebuses and puns, 34–1:14; 35–2:23–24; 39–2:51
in badges of rank, 38–3:10–12
for continuous reign, 36–1:5–7
with monkey image, 36–3:8–15
Qing dynasty, 36–1:5–12
Red Cliff themes, 36–3:18–23; 37–1:17–19
Reign marks. See INDEX OF PHYSICAL ASPECTS OF BOTTLES, REIGN MARKS
Ren Renfa (artist), 32–3:18
Research
for collecting, 31–3:10
future of snuff bottle scholarship, 36–2:6–11
state of snuff bottle scholarship, 36–2:4–6
Ricci, Matteo, 30–2:7; 33–1:6; 34–1:8
Ripa, Matteo, 32–2:4
Rong Lu, 39–3:3
Ruan Yuan, 34–3:17
Ru wares, 30–3:4
Ruyi scepters, 32–1:7; 35–3:15
S
Scholars
art objects and art motifs, 32–1:5–17; 36–2:8
calligraphic arts, 32–1:5; 34–3:4, 5–6
examinations, 32–1:4, 5–6; 32–2:25–26
leisure activities, 34–2:13–20
persecutions, 34–1:6
role of, 32–1:4, 5
servants of, 32–1:17
social class of, 32–1:4
status of, in Chinese society and culture, 32–1:4–5; 38–1:6
urbanization movement and, 38–1:6–9
Seal marks
fakes and forgeries, 39–3:26
See also INDEX OF PHYSICAL ASPECTS OF BOTTLES, SEAL MARKS
Shandong School, 34–1:15
Shang dynasty (1766–ca. 1050 b.c.), 30–1:11; 34–1:6
calligraphic decoration, 32–3:16, 17
inscribed writing, 35–3:7
Shegong, 30–4:10; 32–2:30
Shen Quanlin, 34–3:16
Shen Zhou, 37–1:16–17
Shi Chuan (artist), 35–1:28
Shishou Shanren (artist), 36–2:40
Shixiang, 34–2:29–30
Shi Yun, 30–1:3
Shunzhi emperor
bronze snuff bottles, 39–1:16
Hall of Constancy and, 35–1:19
imperial architecture, 33–3:5
Six Dynasties period (220–589)
luohan imagery, 30–4:9–10
Size of snuff bottles, 35–1:21–23, 31; 36–2:13
Snuff bottles and snuff taking, 37–2:4, 20; 39–3:25
Bavarian containers, 32–1:18–26
declining interest in snuff taking, 34–1:5
design requirements, 32–1:21
in early Chinese fiction, 33–1:6–7
hollowing, 39–1:7
origins and early development, 31–2:13–14; 33–1:4–5; 34–1:4, 9; 36–1:13–14; 37–3:10; 38–3:38
outside of China, 32–1:18
physical aspects of snuff bottles. See INDEX OF PHYSICAL ASPECTS OF BOTTLES
Qing dynasty, 34–1:14–16, 22
scholar art, 32–1:9–17
size of snuff bottles, 35–1:21–23, 31; 36–2:13
Song dynasty (960–1279), 39–3:22
calligraphic decoration, 32–3:16–17
celadon ware, 32–1:6
dragon motif, 32–2:17, 18, 2:20–21
imitations of other materials in ceramic, 35–3:13
interest in antique styles and motifs during, 32–3:4–6
lacquer work, 32–3:14
porcelain, 30–3:4; 34–1:22; 35–3:35
rock motif, 32–1:9
scholars in, 32–1:4, 5, 7
Stoppers, 36–3:35–36
Japanese, 39–1:8
official’s-hat form, 31–3:8; 33–1:14–15
selection of, 31–3:9–10
significance of, 31–3:9
Studio of Accumulated Antiquity, 34–3:17
Studio of Appreciation of Imperial Favor, 37–1:34
Stumpf, Killian, 30–2:8; 31–3:32; 32–1:20; 32–3:11; 36–1:14
Su, Prince, 33–3:3
Su Dong Bo, 34–3:18
Su Feng-yi (Su Yi Feng) (artist), 30–4:36; 37–1:43; 37–2:15; 39–3:13
Sui dynasty (581–618), 30–1:12; 34–1:22
Sun Guoting, 34–2:29
Sun Shihua (artist), 32–3:18
Sun Xingwu (artist), 32–3:32; 34–1:17; 36–1:39
Suo Jing (artist), 34–2:35–37; 39–3:16
Su Shi (Su Shih), 34–3:18; 36–3:18–22; 37–1:18–19; 38–2:34
Su Wu, 32–3:35; 33–2:3; 35–2:24–25
Suyun daoren, 38–2:27–29; 39–3:3
Suzhou style, 38–3:38
agate snuff bottles, 32–1:37; 35–2:36
auctions
Hong Kong 1997, 30–1:29, 30
Hong Kong 1998, 30–3:32
Hong Kong 2000, 32–3:33
Hong Kong 2004, 36–2:39
London 2001, 33–2:37; 33–3:35
London 2002, 34–2:29–30
London 2004, 36–3:36–37
New York 1998, 30–3:26; 30–4:34
New York 2004, 36–1:36, 40
New York 2005, 37–1:34–35
record auction price, 34–2:30
calligraphy, 34–3:14
characteristics, 30–4:16; 39–1:19
cover bottles, 37–3:3; 39–1; 39–2:3
growth in 19th century, 31–2:9
nephrite carving, 32–3:3; 33–1:10
T
Taiping Rebellion, 31–1:29, 30; 31–2:4–8, 10–11, 18; 34–1:11; 34–3:20; 36–2:25, 31
Taiwan, Imperial snuff bottle collection in, 34–1:4–5
Takeuchi Seiho, 37–2:15–16
Tang dynasty (618–907), 38–3:34
dragon motif, 32–2:18
historical and political developments, 32–3:4
luohan imagery, 30–4:10
porcelain, 30–3:4; 34–1:22; 35–3:35–36
scholars in, 32–1:4
Tang Ying, 30–3:6, 7–19; 32–2:11–12, 14–15; 35–2:4–6, 8, 13; 35–3:17; 38–2:7–13 (passim)
Tang Zichuan (artist), 33–3:34
Tan Xinpei, 30–4:32; 32–1:36; 32–3:32; 34–2:31
Tao Yuanming, 30–1:13–14; 34–2:14–15, 16, 17
Tea, 32–1:9; 34–2:22
Yixing teapots, 34–2:27, 32
Thomson, Kenneth, 39–3:23–24
Three Kingdoms period (220–265), 30–4:8
Tianbao period (742–755), 38–2:25
Tibet, 30–1:9–10; 34–3:37
Qing dynasty, 33–1:7–8, 13–14, 15; 36–2:5
Tiger legends and symbolism, 30–4:5–12
Tongzhi Restoration, 36–2:25–26, 27–28
Trompe l’oeil, 30–3:4–22
Tsuda Family, 31–2:3; 33–3:31; 35–1:25
U
Ulugh Beg, 32–3:11
W
Wang Bingrong (artist), 32–3:35; 33–2:36–37; 35–1:29; 36–1:37; 36–2:8; 37–1:36; 39–3:29, 38
Wang (C. C.) Jiqian (artist), 37–1:5, 37–1:6
Wang Guangyu (Wang Guanyu) (artist), 30–4:36; 33–1:39; 37–1:41; 39–3:13
Wang Hui (artist), 34–1:17
Wang Qingfang (artist), 39–3:17
Wang Shi (artist), 32–3:35
Wang Shizhen, 36–1:13
Wang Su (artist), 31–2:9; 31–3:14; 39–1:24
Wang Wei, 34–2:15–16
Wang Wenshao, 32–3:33
Wang Xisan (artist), 30–4:7; 31–2:35; 31–3:20; 32–2:21; 32–3:20, 35; 33–1:33, 36; 34–1:34; 34–2:35; 35–1:23, 29; 37–1:41; 38–2:20, 23–24, 44; 39–1:16, 17; 39–3:8, 10, 13, 15, 17, 20
Wang Xizhi, 31–3:12, 13; 32–3:14; 34–3:10; 35–1:34; 39–3:14
Wang Xueming (artist), 39–3:15
Wang Zhenpeng (artist), 32–2:20
Wanli period (1573–1620), 30–3:6; 32–3:19
Watteau, Jean-Antoine, 37–2:5
Weidong, Yao (artist), 38–3:3
Wei Yingwu, 34–2:18
Western influences. See European and Western influences
Wu Cheng’en, 36–3:7
Wude reign. See Gaozu, Emperor
Wu Gang, 31–3:20–21
Wu Song, 30–4:5
Wu Tao (artist), 31–2:7
Wu Ti, Emperor (140–87 b.c.), 30–1:8
Wu Xijiu (artist), 36–2:29
Wu Yuchuan (artist), 36–2:31; 38–1:23–27, 30, 31
Wu Zetian, Empress (609–705), 32–3:14–15
Wu zhu coins, 30–1:8–9
Wu Zixu, 32–2:20
X
Xianfeng period (1850–1861), 36–2:27
porcelain work, 31–2:18
sociopolitical environment, 31–1:28–29; 31–2:8
Xiangjun (artist), 38–2:30
Xiaoxia (artist), 36–2:39
Xiao-Xiang, 37–1:13
Xichi (artist), 34–3:16, 18–19
Xie An, 34–2:10
Xie Dingahu, 30–4:5
Xifeng shanfren, 31–3:12
Xingyouheng Tang (Hall of Constancy), 30–1:30, 35; 30–3:13; 35–1:19–20; 36–2:39
hallmark, 39–1:21–22
Xinluo Shanren (artist), 34–3:16
Xiwangmu, 31–3:20
Xuantong, Emperor (1908–1912), Ma Shaoxuan’s portrait of, 30–1:31; 30–2:27
Xuanwu, 33–2:6
Xuanzhuang, 36–3:7
Xuanzong, Emperor (713–755), 38–2:25
Xu Liwei (artist), 39–3:8
Y
Yang Boda, 37–3:12
Yang He Tang, 30–1:27
Yang Xiang, 30–4:5
Yangzhou School, 30–1:27; 32–3:18–19; 38–1:31–32; 39–3:19
auctions
Hong Kong 2000, 32–3:32
London 1999, 31–3:39
London 2001, 33–2:37
London 2006, 38–3:36
New York 2000, 32–1:36
New York 2001, 33–3:30
New York 2002, 34–1:33
calligraphy, 34–3:14, 16–17
cover bottles, 36–2:3
style, 36–2:20–21
Yan Yutian (artist), 34–3:3; 39–3:20
Yan Yutien (artist), 36–2:32
Yao Mendong (artist), 34–1:33
Ye Bengqi (artist), 30–4:32; 32–1:36–37; 32–3:35; 33–1:34; 34–1:33–34; 34–3:36; 36–3:26–27; 37–3:10, 12, 13–17, 46; 39–1:16, 17; 39–3:8, 10, 17, 20
Ye family, 34–2:35; 39–1:16–17; 39–3:8
Yen Yutian (artist), 36–1:38
Ye Shuying (artist), 32–3:35; 39–3:8
Ye Studio, 30–1:16
Ye Xiaofeng (artist), 30–3:32; 31–2:35; 34–3:36; 39–3:8, 10, 17
Ye Zhongsan (artist), 30–1:17; 30–3:25; 30–4:8; 33–1:35; 34–1:14, 15–16, 17; 34–2:31; 35–1:34; 36–3:5, 6; 37–2:11; 38–2:20, 26, 31; 39–1:16–17; 39–3:40
auctions, 39–3:35
Beijing 2005, 37–3:47
Hong Kong 2000, 32–3:35, 36
London 1999, 31–3:34
London 2003, 35–2:37
London 2006, 38–2:45–46
New York 1999, 31–2:34–35
New York 2000, 32–1:36; 33–1:33
New York 2002, 34–1:34
New York 2003, 35–1:29
New York 2005, 37–1:31–32, 35
cover bottle, 34–3:29
hundred boys theme, 35–1:21–22
Yian, 33–3:3
Yijing, 35–2:23–24
Yijin (Yizhin) zhai, 36–2:7; 37–1:34
Yikuang, 34–3:3
Yin Chang, 35–1:30
Yin Xi, 30–1:23
Yin-yang, 33–3:5
Yiru Jushi (artist), 30–3:25
Yixing workshops, 31–2:8
auctions
New York 2002, 34–1:33
New York 2005, 37–1:36
cover bottles, 37–2:3
modern ceramic production, 34–2:22–27
pottery, 32–1:9
significance of, 37–2:3
snuff bottles, 32–1:9–10; 34–2:19
stoneware, 32–2:8
Yong Huang, 35–1:20
Yongle, Emperor, imperial architecture, 33–3:5
Yongluo, Emperor, 32–2:19
Yongxing, 36–2:7
Yongzheng period (1723–1735), 35–1:19; 36–2:5; 38–2:25
base marks, 32–1:16; 32–2:10 11; 37–3:7
embellished glass bottles, 31–2:34
enameled snuff bottles 37–3:5
famille-rose enamels, 32–2:9–12
glassmaking in, 30–2:12, 14; 35–3:22; 36–1:20–27
imitations of other materials in ceramic, 35–3:14–15
imperial architecture, 33–3:4–5
ivory snuff bottles, 39–1:13–14
Palace Workshop snuff bottles, 37–2:29–37
porcelain work, 30–3:6, 7; 35–2:4, 6; 37–3:11
portrait of emperor, 37–3:38, 39
reign marks, 31–2:15–16; 31–3:24; 34–3:9; 39–1:27–28
Young, Mary Margaret (Meriem Collection), 39–3:36
Yu, Emperor, 37–1:10, 12
Yuan dynasty (1260-1368), 34–1:7–8
Yuanmingyuan, 30–1:27; 30–4:31; 31–1:42
destruction of, 34–1:11; 36–2:12
glasswork, 36–2:12–13
Qing period, 33–1:10
Yuan period (1260-1368)
anti-Mongol expression, 32–3:18
nephrite bowl, 32–1:6
Yuan Shi Kai, 33–3:3
Yucheng (artist), 32–1:8
Yu Guoding (artist), 31–3:12
Yun Shixiang (artist), 39–2:3
Yun Shouping (artist), 31–3:13
Yu Zhonglin, 32–2:18–19
Z
Zaichuan, 30–1:30
Zai Fu, 34–3:3
Zaifu, Prince, 32–3:33
Zaiquan, 35–1:19, 20
Zang Yingxuan, 30–3:6; 35–3:16–17
Zhang Bao Hua (artist), 38–3:37
Zhang Boatian (artist), 32–1:36; 34–1:17
Zhang Daoling, 33–2:8–9
Zhang Fei, 30–4:8
Zhang Junping (artist), 39–3:15
Zhang Sengyou (artist), 32–2:29
Zhao Mengfu, 35–3:10–11
Zhao Qi, 31–3:14
Zhao Yun, 30–4:8
Zhao Zhiqian, 31–3:10–11; 36–2:8
Zheng Bangiao (artist), 34–3:16–17
Zhengde emperor, 39–1:27
Zheng Xie (artist), 34–3:16–17
Zhenwu, 33–2:6
Zhen Zhongsan (artist), 31–3:34
Zhiting school, 35–1:28; 36–1:36
Zhong Ji (artist), 32–1:36
Zhong Kui, 31–1:32–35, 43; 33–2:8; 36–1:5
Zhou Chu, 30–4:5
Zhou dynasty (1122–256 b.c.), 30–1:12; 34–1:6
calligraphic decoration, 32–3:16
glassmaking, 32–3:11
as Golden Age, 32–3:4
inscribed genealogy, 35–3:7
snake mythology, 33–2:5
Zhou Hongbin (artist), 32–3:33; 33–2:37
Zhou Honglai, 36–2:29; 39–3:40
Zhou Hongli (artist), 32–1:12
Zhou Leyuan (artist), 31–2:5; 34–1:15, 17; 34–2:16; 34–3:17, 36; 35–1:34; 36–2:9; 38–1:41; 39–3:9, 19, 20
auctions
Hong Kong 2000, 32–3:31, 32
Hong Kong 2004, 36–2:40
London 1999, 31–3:34
London 2001, 33–2:37
New York 1999, 31–2:35
New York 2000, 32–3:29; 33–1:33
New York 2004, 36–1:38–39
cover bottle, 34–3:3
Zhou Shaoyuan (artist), 36–2:39
Zhou Zhiyan, 34–3:16
Zhubin, 31–3:14
Zhu Geliang, 39–3:16
Zhu Xuan (artist), 39–3:19
Ziaquan, 32–3:33
Zitan wood, 32–1:7–8
Ziyizi (artist), 32–3:33; 35–1:7–8
Ziyu, 31–3:12
Zong Bing, 37–1:12
Zunghars, 33–1:7
Zuo Shiyong, 32–2:4–5