The specialists guide to Chinese antiques.

So just what is “chinoiserie” anyways?

Roger — Thu, 29 Jul 2010 05:06:57 +0000

While trolling around on the net, I came across this very nice blog post from Posh Living which does a wonderful job of explaining what chinoiserie is which is. A main staple amoung designers, chinoiserie design elements in a room are timeless and sophisticated. Since we have talked in the past about how chinoiserie screens are made, their post is a nice addition providing some historical background and is well worth the read.

“What most people don’t realize about Chinoiserie is that the style doesn’t come from China at all. As trade spread around the globe and Europe’s economy matured, more people could afford decorative goods. To keep up with demand for more ornate works, artisans created designs that were pure fantasy. Reading descriptions of Chinese scenes, European designers created their own versions. Often they are whimsical and even silly, and that makes them even more appealing.

“CHINOISERIE is a French word that means “in the Chinese taste”. It describes a European style of decorative ornament that was wildly popular in the seventeenth and eighteenth centuries, and still looks great today.”

Why Chinoiserie at all? Europeans’ fascination with the Far East began in Marco Polo’s day, in the thirteenth century. At a time when few people traveled the world, exotic goods such as silk fabrics, carpets and porcelain reached Europe via a trading route known as the Silk Road, which carried goods by cart and camel across the entire continent of Asia.

For wealthy Europeans, owning artifacts from the Far East was a status symbol. With these artifacts came stories from the traders of the amazing temples and pagodas they had seen and the strange costumes and appearance of the Oriental people. Cultures from Persia all the way to China were called “Oriental” by the Europeans. They made little effort to distinguish one people from another, and the fanciful designs of Chinoiserie often blend Chinese, Japanese and Persian or Indian elements.”

Have a read of the full post here to learn more:

http://poshsurfside.com/what-is-chinoiserie

and when finished, the wikipedia page on chinoiserie provides some additional background:

http://en.wikipedia.org/wiki/Chinoiserie

This content comes from The specialists guide to Chinese antiques. located at http://www.antique-chinese-furniture.com/blog/ For more articles please visit The specialists guide to Chinese antiques. - A unique insiders peek at the world of Chinese antiques & reproductions, Asian culture, exotic decor and oriental-inspired design from the far east. Everything you ever wanted to know!

A quick look at some beautiful antique shanxi painted furniture in unrestored form

Roger — Mon, 19 Jul 2010 15:45:45 +0000

During a recent buying excursion, I stumbled across these beautiful lacquered / painted armoires, from Shanxi province in Northern China. While not nearly as prized by Chinese buyers, who often prefer hardwoods like Hua li or Hong mu, the status of Shanxi painted furniture has nevertheless risen significantly over the years for its beauty and stunning colors and is a favorite of the noted Chinese collector Co La Ma.

Particularly interesting, is this close-up section of a door panel. Notice the change in color and patina which has occurred over the years? Once covered by a brass plate which was removed/lost within the last twenty or thirty years, (possibly during the great leap forward), the left side (where the colors are beautiful and subtle) has survived the years, protected by the brass or iron plate that would have originally been there. The colors on the right are faded and muted by comparison. The effect of daily life, pollution, coal dust and years of rough handling and exposure to the elements is clearly visible.

And yet, it remains beautiful. Known as “Bu Wen Qi” or “Da Qi,” the process used in this style of Chinese lacquering is both complex and unique. The first step would have involved covering the raw wood construction with a base layer of hemp, horsehair, straw or other fabric depending on the period in which it was made. This allows for the wood frame construction to shift to some degree without damaging the rigid upper layer of hardened lacquer. On older pieces this sometimes still visible in damaged areas and can be a good indicator of age.

The second step is the application of an even layer of gesso known as “ni zi, ” consisting of plaster mixed with pigs blood (which must be applied within a set period of time lest it spoil). This provides the base material and smooths any impurities or flaws in the wood, straw or fabric below. The third step is multiple coats of natural resin based lacquer, with vibrant red or “ink black” being the two most commonly used colors. Each coat of lacquer must be dried, and carefully wet sanded by hand with a very fine abrasive paper before receiving the next coat. The process is then repeated several times with even the most common pieces receiving at least five to seven coats, until the surface becomes smooth, glassy and mirror like. Finally in the forth step, an artist carefully hand paints motifs ranging from flowers and vases to city scenes to people.

Restoration of such pieces requires a extremely skilled craftsman in order to avoid further damage to the piece and to restore it to its former beauty.

A to Z: Restoring chinese wood carvings, wooden screens and carved architectural elements.

Roger — Sat, 10 Jul 2010 10:43:03 +0000

When a Chinese traditional homes is demolished to make way for the new, elements like antique window screens, carved panels & screens and other architectural elements are typically salvaged to be reborn as decorative items in modern homes. Thinking about adding such a piece of history to your collection? Here’s a quick look at the restoration process from start to finish.

Before and after cleaning

1. Cleaning

A years of being exposed to rain, dust, smoke (and who knows what else), quite a lot of build up can occur, which must be carefully removed. While there are several methods used in cleaning, initial stages typically use water. Depending on preferences, this process may be repeated several times, often using a small quantity of a gentle cleaner like hand soap or a touch of dish washing liquid.

Removing years of dirt

In Chinese, this process is often referred to as piāo bái (漂白) which means “to lighten,” and details may emerge that were not evident under all the years of dirt.

Beautiful color emerges

2. Repairs to carvings

After cleaning, the second step is repairing some (or all depending on preference) damaged sections of the wood carving. Typically this involves scraps of the same or similar wood which are then pegged and glued over the damaged areas (known as bu mutou 补木头). Once pegged and dried, the damaged sections can be carefully re-carved, sanded and detailed to match. Some people may prefer to re-carved/repair every minute detail. Others may choose to repair major damage only. Depending on the shape and structure of the carving other repairs to joinery may be required as well.

Repairing of damaged sections of carving

3. Touch-ups

After any damaged sections of the antique carving have been repaired, if the screen was painted, then replaced sections will need to be carefully hand painted to match the original color and style.

Retouching the color

4. Display in the home!

The final and most rewarding step… Options range from hanging or mounting to stands and even frames.

Display in the home

5. Learn More

I recommend you buy the book Chinese Houses: The Architectural Heritage of a Nation from Amazon.

Enjoy!

Chinese buyer who refused to pay for looted bronzes weeps as he realizes that his credibility is shot.

Roger — Fri, 18 Jun 2010 15:22:16 +0000

Without saying if I agree or disagree, here are two interesting articles which I picked up off the Museum Security Network website (though one was originally from Bloomberg) regarding last years controversial auction of a bronze heads of a rat and a rabbit looted from Beijing’s Summer Palace in 1860 . Interesting perspectives – one must wonder if Cai Ming Chao simply “got caught up in it all?”

Chinese Art Dealer in Unpaid YSL Bronzes Furor Weeps as he realizes that his credibility is shot.

March 10 (Bloomberg) — Cai Mingchao (蔡铭超) the Chinese art dealer who is refusing to pay for the $40 million Qing bronzes he successfully bid for in the Yves Saint Laurent auction, wept when he realized that his credibility was shot and he may now have to close his business.

Cai, 44, spoke in an interview after turning away hundreds of calls from reporters about the Feb. 25 sale. He was praised in China for walking away from the bronzes, which were plundered by foreign troops, and has been condemned by other dealers. In the world of high-end art sales, where millions of dollars worth of items may sell on the basis of a phone call or handshake, defaulting is seen as unprofessional.

“This has damaged me: I have lost the business I love,” said Cai, in his office in the southeastern city of Xiamen. Cai said he had bid with the intention of paying, then had second thoughts and decided it’s wrong to do so. He again denied acting in concert with China’s government.

The Christie’s International sale is renewing debate in art circles on the moral and legal right of auction houses to sell controversial items, including those that some nations regard as looted. Cai’s default may also heighten calls for more checks on bidders. Art transactions were worth 43.3 billion euros ($54.5 billion) in 2006, according to a 2008 report by the European Fine Art Foundation.

International Law

Christie’s has always held that the sale of all of the Saint Laurent items, including the sculptures, was legitimate because the items had legal titles. Not so, said an ad hoc group of lawyers in China that in January threatened to sue Christie’s for offering the animal-head bronzes, saying it contravened international law.

The mid-18th-century sculptures of a rabbit and a rat were taken from the Old Summer Palace in Beijing by invading French and British soldiers in 1860.

The 1995 United Nations Unidroit Convention limits claims on stolen cultural artifacts to within 50 years of their theft.

On Feb. 23 in Paris (Xiamen is seven hours ahead of France), a court ruled that the sale could go ahead. Hours later, Cai called Christie’s Shanghai-based business development director Wang Jie from his favorite leather couch on his dark-wood, second-floor office and registered to bid.

“I thought to myself, ‘It’s impossible to find these items again,’” Cai said.

No Documents

On the afternoon of Feb. 25, Cai said, Wang called to say Christie’s agreed, after an internal meeting, that he would have three to four months to settle the bill if he won. None of the agreements was documented, Cai said. That contravenes Christie’s own terms-of-sale rules, stated at the back of its brochure, that “a prospective buyer must complete and sign a registration form and provide identification before bidding.”

Christie’s Hong Kong-based spokeswoman Kate Malin would not verify Cai’s identity and said the company would not comment on the bronzes sale because of client confidentiality.

It’s not uncommon for auction houses to let their best customers and those they consider wealthy bid on big-ticket items without asking guarantees or proof of ability to pay, said George Sutton, a Minneapolis-based analyst with Craig-Hallum Capital Group, who covers Christie’s rival Sotheby’s. French billionaire Francois Pinault owns London-based Christie’s.

“Something like this isn’t good for the reputation of the auction house,” said Sutton, “And will cause the need for change. This suggests possibly that change should happen.”

“These days,” said Cai, “you can’t even get a loan of 10,000 yuan ($1,289) without pledging your house or car as collateral, and I could just bid on an item worth hundreds of millions of yuan with one phone call.”

Buzz Cut

Cai’s black, unbuttoned choker-collar suit hung loosely on his tanned 5-foot-2-inch frame. He wore a buzz cut, rubber-soled black canvas shoes and a three-day-old moustache. Cai moved as quickly as he spoke, with a Fujian accent that flattened loud vowels. He smoked three Kent cigarettes in 30 minutes, sometimes struggling to hold back more tears.

Cai, a native of Xiamen, wouldn’t say how much he’s worth. The third of a cloth merchant’s four children, he said he inherited some money and made the rest in stocks and real estate. Cai said he left Xiamen’s art school at 18 and started in business by renting a store trading cloth. In 2005, he opened Xiamen Xinhe Art International Auction Co. after leaving the state-backed Xiamen Auction Co. where he said he started the art-sale department.

Ming Buddha

In October 2006, Cai made headlines when he paid a record HK$117 million ($15 million) for a Ming Dynasty Shakyamuni bronze Buddha at a Sotheby’s auction in Hong Kong. Cai said he settled the bill in three months and it shouldn’t matter how he did so. He said he still owns the Buddha, which is kept in a safe.

“He has a very good reputation with art dealers,” said Roger Keverne, 62, head of his namesake gallery and chairman of Asian Art in London, an annual exhibition by the city’s galleries. Keverne said he’d met Cai in Beijing and Hong Kong in the past few years. “I found him charming, his manners immaculate. I have only heard good things about him.”

At about 2 a.m. Xiamen time on Feb. 26, the last day of the Saint Laurent sale was under way in Paris. With seven lots to go before the bronzes came up, Cai got a call from Christie’s Asia Deputy Chairman Ken Yeh to prepare to bid. Cai watched the auction live from a Phoenix Television broadcast. First came the rat head. Cai looked on as the bidding on Lot 677 climbed from 9 million euros to 10 million euros to 11 million euros.

“Just as they were about to close the deal, I went in,” said Cai. “I felt if I didn’t bid, I will lose it forever.”

Bid Applause

He offered 12 million euros. A rival countered with 13 million euros, so Cai went up to 14 million euros — the final bid. Applause broke out. Next up was the rabbit head. Cai’s 14 million-euro bid beat a rival’s 13.5 million euros and he secured the second bronze.

“At that time, maybe I didn’t consider if I could pay for them,” said Cai. “At the most, I would sell some of my ceramics to pay for them.”

Hours after the auction ended, the State Administration of Cultural Heritage responded to the sale with a circular requiring Christie’s to detail the ownership and provenance of artifacts it brings into or out of China. When Cai heard of this, he started to question his purchase.

“I felt an internal struggle,” he said. “I felt, ‘If I paid this money and I can’t get the goods, what do I do?’”

Unpaid Adviser

That afternoon, Cai called and asked for a meeting with Niu Xianfeng, a Beijing-based deputy director of Ministry of Culture affiliate National Treasures Fund, which helps retrieve lost relics abroad. Cai has been an unpaid adviser with the fund since December 2007.

Cai said he kept calling Christie’s Wang between Feb. 26 and March 1 seeking the bill and the condition report of the bronzes. Cai said Wang told him Christie’s was chaotic and that people were away and that he should try later. Cai said he didn’t get any documents from Christie’s about the sale. Christie’s Malin declined to comment about this.

Cai came to think that accepting the bronzes was like buying “two time bombs and placing them at home, not knowing when they will explode.” Asked if he considered that before bidding, Cai said he couldn’t tell what prompted him to, just that he felt “mixed emotions” when the sculptures were on the block.

On Feb. 28, Niu and colleague Wang Weiming arrived at the Xinhe office and Cai told them he won the auction.

Officials ‘Shocked’

“They were shocked,” Cai said. “Then they said, ‘Good, good, we thought foreigners had bought them.’”

Niu didn’t answer his cell phone seeking comment.

Cai said he asked Niu and Wang to organize a news conference in Beijing under the National Treasures Fund’s banner to end speculation on who bought the bronzes.

After his March 2 news conference, Cai had the art world speculating on his motives and whether he had state backing. That night, he flew back to his office in Xiamen, a city of 2.5 million people just across the sea from Taiwan, sat on his couch and wept.

A March 4 Xinhua commentary compared Cai’s default with not paying ransom to kidnappers. “Paying would encourage more such stealing, and make the robbers happy,” the commentary said.

Berge’s Choice

Pierre Berge, partner of the late Yves Saint Laurent and the man who put the art collection up for sale, will keep the bronzes at home if they don’t sell, Agence France-Presse reported on March 3, citing him in an interview with French radio. Berge couldn’t immediately be reached for comment.

“If he wants to keep them at home, let him do it,” said Cai.

Hong Kong antiques dealer Yumi Kunizuka, whose family consigned a collection in London in 1989, said this case is not so much a lesson in law and art-auction protocol than manners.

“The whole matter could have been handled with more grace and wisdom by Christie’s, Berge and Cai,” said Kunizuka. Berge could have done more for Saint Laurent’s memory by not flaunting the bronzes, Christie’s shouldn’t have agreed to auction the items and Cai was unprofessional in what he did, Kunizuka said.

Hong Kong, where the auction house and main rival Sotheby’s hold biannual art sales, is Christie’s hub for the sale of Chinese antiquities, with revenue of more than HK$1 billion last year. Including other art categories, Christie’s Hong Kong sales last year tallied $452.3 million, about 11 percent of its total.

Export License

On March 6, Xinhua said, citing Cultural Heritage Administration Director Shan Jixiang, that its circular on Christie’s “does not limit the return” of the bronzes. According to the terms of sale stated in Christie’s brochure, it’s “the buyer’s sole responsibility to obtain any relevant export or import license. The denial of license or the delay in obtaining licenses” don’t justify the rescission of sale.

China isn’t the only nation trying to repatriate lost treasures, said He Shuzhong, founder of Beijing Cultural Heritage Protection Center, a nongovernmental organization.

Last week, the Indian government said it facilitated the return of independence leader Mahatma Gandhi’s personal effects from a New York auction after the Indian public decried the sale. Indian liquor magnate Vijay Mallya paid $2.1 million for the items, which included Gandhi’s glasses, sandals and pocket watch.

Bounds of Law

Retrieving the items should be done in a calm way that is within the bounds of law and respectable conduct, said He. Rash actions in the name of patriotism would backfire, he said.

Art-auction defaults aren’t new. In 1987, Australian businessman Alan Bond bid a record $53.9 million at Sotheby’s New York for Vincent van Gogh’s “Irises,” then a record price for any work of art, and couldn’t pay for it. The painting had to be resold.

In September last year, Sotheby’s sued Cnet Inc. founder Halsey Minor to recover $16.8 million that the auction house said it’s owed for three pieces he bought at sales. Later that month, Minor sued Sotheby’s for not disclosing that the consignor of a painting he bought owes the auction house money.

The default on the bronzes purchase raises the question of how well auction houses perform their due diligence and whose interest they represent. Christie’s brochure states it “acts as agent for the seller.”

Auction houses make most of their commission from buyers, who pay up to 25 percent of the hammer price on their purchases, as they lower or waive commission for sellers to secure the right to represent the most valuable collections.

European Auction

The dispute marred the most successful auction in Europe, with 373.9 million euros raised and 96 percent of lots sold including the bronzes. Cai’s winning bid totaled 31.5 million euros, including Christie’s 3.5 million-euro commission.

In Cai’s 2,000-square-foot office, hydraulic-powered mahogany doors opened to reveal a sanctum lined with ceramics and Buddhas dating back as far back as the 14th century.

He swiped his wallet across a section of wall embedded with an electronic lock and a secret stairway appeared, leading to an underground showroom with hundreds of antiques.

Cai said that, fearing for his reputation, he’s canceling Xinhe’s spring sale, which tallied 47.4 million yuan last year, one of the Fujian province’s biggest. The fall sale may also be called off.

If he could do it again, Cai isn’t sure he would bid for the bronzes.

“No one (in the government) knew what I was doing,” said Cai. “Even if they knew, they wouldn’t look for me. Why should I help? I am not on their payroll.”

He said he’s now trying to pick up the pieces of his life. If he ends his art-auction activity, Cai said he may focus on his real-estate and securities trading businesses.

“When I turn on my cell phone and walk out of this place, I really don’t know what kind of life I will have,” he said.

To contact the writer on the story: Le-Min Lim in Hong Kong at lmlim@bloomberg.net

China conveniently forgets the provenance of ‘looted’ bronze heads

Hero or hooligan — opinions are divided on Cai Mingchao, the Chinese man who bid US$50-million for two bronze heads from the collection of fashion designer Yves Saint Laurent, but then announced he had no intention of paying for them. The Qing dynasty sculptures of a rat and a dog were looted by British and French troops from the old imperial Summer Palace near Beijing more than 150 years ago.

China says its feelings were “hurt” by the sale, but it’s arguable British and French feelings were also hurt by the incident that preceded the looting.

First, though, Cai and his “patriotic” stand. In a story carried on the front page of The China Daily, he put the loftiest spin on his actions: “The auction negated the history that the cultural relics were looted, defied the ethics of international society, and breached the rules of commercial auctions,” he said. An online survey conducted by sina.com.cn, a Chinese government-run Web site, also showed more than 70% of the netizens support Cai’s action for he had safeguarded China’s interests.

As the BBC noted, another commentator, writing in the Beijing News, also lavished praise on the bogus bidder. “Cai Mingchao’s bid was a patriotic political act to strike back at an illegal auction,” said Wang Zhanyang, a professor at the Central Socialist Academy. In a typical example of Chinese double-think, he added the art expert had not caused any trouble because the Chinese government did not recognize the legality of the sale.

Elsewhere, responses were less enthusiastic. According to Agence France-Presse, Liang Fafu, a blogger, said Cai had made the Chinese “look even worse on the international scene.”

“We come across as untrustworthy people, a bunch of con men. Who wants to deal with that kind of people in the future?”

Zhao Yu, a senior culture ministry official, told the Beijing Times Cai’s behaviour had done his compatriots no favour. “In overseas auctions… bidders usually need no deposit and simply rely on their reputation,” he said. “The fact that Cai Mingchao has gone back on his word in reality means he has undermined the credibility enjoyed by Chinese people at large international auctions.”

His muted response also has something to do with the provenance of the heads themselves. As Richard Spencer, The Daily Telegraph’s correspondent in Beijing, explains in his blog, “State media, while particularly sensitive to the European insult, are often rather careful to avoid hyping these items up as examples of high Chinese culture: for good reason, as they are not really Chinese, and the whole story of the fountain of which they are part is shrouded in ambiguity.”

It’s also worth recalling how the heads came to be in western hands in the first place. It’s not as if the British and French woke up one day and decided to launch an expedition to loot the Yuanming Yuan. Rather they were responding to an atrocity perpetrated by the emperor Xianfeng — the torture of two western envoys sent under a flag of truce to negotiate, and the murder of most of their small escort of British, French and Indian troopers.

As Geremie Barmé writes in his history of the palace, The Garden of Perfect Brightness, A Life in Ruins (link through Spencer blog), “In the autumn of 1860, a delegation of English and French negotiators were despatched to Peking to exchange treaties with the Chinese court following a peace settlement that had been forced on Peking …

“After numerous prevarications, bluffs and acts of deception on the part of the Qing Court, the emissaries of the emperor … detained 39 members of the delegation. They were imprisoned in the Yuan Ming Yuan, used as hostages in the negotiations with the foreign powers, and subsequently tortured. Of their number 18 died and, when their bodies were eventually returned to the Allied forces in October, 1860, even the liberal use of lime in their coffins could not conceal the fact that they had suffered horribly before expiring.”

In giving the order to loot the palace, Lord Elgin, the British high commissioner to China, wanted to punish the emperor and his officials, not his people. Memory of this part of the proceedings has faded from Chinese consciousness, Barmé goes on.

“Although without doubt an act of wanton barbarism, it is revealing that in popular Mainland Chinese accounts of the sackings of the palaces available to readers since the 1980s, one is hard pressed to find any mention of the atrocities committed by the Qing negotiators that led to this final act of vandalism. Nor in these popular histories are there detailed descriptions of the sly manipulations of the Qing Court in the tense days leading up to the sacking.”

National Post

awordsworth@nationalpost.com

http://network.nationalpost.com/

Smuggled out just 4 years ago, a rare Tang Dynasty sarcophagus returns to China

Roger — Fri, 18 Jun 2010 14:46:50 +0000

No wonder customs is so difficult when it comes to exporting antique stone these days…..

The return of a smuggled Tang Dynasty (AD 618 – 907) sarcophagus from the United States to China may serve as a good example for international collaboration to curb the rampant pillaging and smuggling of treasures, researchers have said.

The 27-ton stone coffin of Tang empress Wu Huifei (AD 699-737) arrived at the Shaanxi History Museum on Thursday, four years after it was smuggled out of the country.

The sarcophagus is 4 meters long, 2 meters wide and 2 meters high. It features flowers and maiden figures in relief. Robbers stole it from Wu’s tomb in the southern suburbs of Xi’an, capital of Shaanxi province, in 2006.

“It is a rare cultural relic with high scientific, historical and artistic value,” said Liu Daiyun, director of the research department of the Shaanxi provincial archaeological research institute.

Xi’an police found out about the sarcophagus in February 2006 during an investigation over a tomb robbery. They seized a computer containing a number of its pictures in a suspect’s house and local archaeologists soon identified the relic’s origin.

After two years of investigations, police discovered the sarcophagus had been smuggled out of China and sold to a businessman in the US for $1 million, police sources said.

“We contacted the businessman through mediators and told him we had to get the relic back. If necessary, we would seek help from Interpol,” said Han Yulin, head officer of the heritage investigation team of Xi’an’s public security bureau.

“After three rounds of negotiations, he agreed to return the relic to China unconditionally.”

The sarcophagus was shipped back on March 16 from Virginia and arrived in Guangzhou, capital of Guangdong province, on April 17.

“Although this is not the first time smuggled antiques have been returned through legal means, it is still encouraging,” said Tan Ping, head of the museum and cultural relics department of the State Administration of Cultural Heritage (SACH).

The pillaging of Chinese antiques is a serious problem in China. Chinese art analysts have blamed a thriving global market for the relics as the reason behind widespread tomb robberies.

“Pillaging at archaeological sites and smuggling of relics have become rampant in recent years,” SACH deputy director Tong Mingkang said last Saturday, which was China’s Cultural Heritage Day.

Driven by high profits, a number of people have put numerous looted and smuggled Chinese artifacts on sale in foreign countries, Tong said.

Foreign museums have a collection of about “1.64 million Chinese relics”, Tan said, adding that it was impossible to provide an exact figure for those relics in the hands of private collectors.

SACH has reiterated its objection to any auction or purchase of smuggled Chinese cultural relics.

Tan said China continues to seek the return of its looted relics through “legal or diplomatic means”.

To that effect, the country has reached agreements with 11 countries including Peru, India, Italy and the US to impose import restrictions on relics.

These restrictions will reduce the economic incentive behind the pillaging, said Professor Li Boqian, an archaeologist at Peking University.

“If looters cannot send the items to buyers in the United States or other foreign countries, they are less likely to risk raiding an archaeological site,” Li said.

The professor also stressed the importance of local police efforts in fighting the problem.

“Xi’an police set a good example by keeping a close eye on the looting of antiques,” Li said.

China has retrieved nearly 4,000 antiques through legal and diplomatic means since 1998, SACH archives showed.

Original article: http://english.cri.cn/6909/2010/06/18/189s577412.htm

State Administration of Cultural Heritage (SACH): http://www.sach.gov.cn/

Shaanxi History Museum: http://www.sxhm.com/

唐贞顺皇后石椁移交仪式在我馆隆重举行

本网讯：2010年6月17日14点30分，唐贞顺皇后敬陵被盗石椁的交接仪式在我馆隆重举行。景俊海副省长、陕西省公安厅、陕西省文物局、西安市公安局、西安海关、陕西出入境检验检疫局等相关单位的领导出席移交仪式，CCTV-新闻频道进行现场直播。中央电视台从17日上午7时30分起分别在各档新闻节目中进行滚动报道，引起了社会各界的高度关注。新华社、人民日报、文汇报、陕西电视台、华商报等二十多家媒体蜂拥而至，进行了详细的采访和报道。

该石椁于2005年被盗，流失海外达五年之久，重归故里实属不易。2006年元月，西安市公安局破获以杨彬为首的特大盗掘走私文物案，经审查，犯罪分子供认2004年6月至2005年5月，对位于西安市长安区大兆乡庞留村的一座唐代墓葬实施盗掘，墓内石椁已被走私出境。为了抢救保护劫后余存的文物，经陕西省文物局批准，陕西省考古研究院、陕西历史博物馆、长安区文物局联合组队对该墓进行了抢救性发掘。根据墓葬形制和出土文物，确认该墓为唐贞顺皇后敬陵。并发掘出土石椁残件，为之后石椁的追索提供了重要的证据。

几年来，西安警方不懈努力，积极追索流失文物。2009年警方通过特情获悉，石椁已被美国某古董商购买。经反复联系沟通，古董商表示愿意派代表与我们谈判，约定于2009年12月29日在香港,与其代表人迈克见面，洽谈石椁的归还问题。事情取得了重要进展，我们立即向上级领导汇报，引起领导的高度重视，决定由西安市公安局刑侦局胡家华政委、李浩处长、韩清龙大队长和我馆程旭副馆长、文物征集处师小群处长组成追索文物谈判小组，赴港与对方谈判。在谈判中，我们就文物的所有权、涉案性质、追索归还等原则问题阐明了立场，美方代表则对法律责任、归还方式等问题有所顾虑。虽然没有达成实质性协议，但美方表达了愿意与中国警方和博物馆合作的意向，并表示尽力说服其委托人把石椁归还中国。最终美方买家同意将石椁无条件归还并交与博物馆。

在文物追索、谈判、接收过程中，陕西省文物局赵荣局长、郭宪曾副局长及相关处室高度重视，多次召开协调会，部署、指导各项工作，使石椁的回归、安置和展示有序进行。

2010年3月7日，石椁从美国弗吉尼亚州启运， 4月17日抵达中国广州。我馆文物征集处和西安市公安局刑侦局办理石椁入境、通关及查验等相关手续，并专程前往广州接运文物。于4月29日晚安全运抵我馆。

石椁回归后，文物征集处负责组装石椁，在后勤处、保卫处、陈列部、资料室、宣教部、保管部、创优办等多个兄弟部门的密切配合下，经过一个多月的紧张施工，石椁的保护、修复、安装及展示等工作顺利进行。在石椁安装期间，馆领导多次亲临工作现场指导安装工作、慰问工作人员，确保了安装工作的顺利完成。至此，被盗出境，漂泊美国四年的唐贞顺皇后敬陵石椁，终于在我馆与西安警方的共同努力下回归故土。

这是我馆首次征集的海外流失文物，也是我馆馆藏文物中体量最大的一件唐代文物珍品，为我省文物保护事业做出的重要贡献。

在移交仪式上，西安市公安局副局长肖西亮介绍案情和追索过程，陕西省文物鉴定委员会负责人呼林贵宣读鉴定结论及介绍石椁历史价值，省公安厅副厅长马中林、陕西历史博物馆馆长成建正签署了移交证书，陕西历史博物馆党委书记冯庚武致辞，对省委、省政府、省文物局领导的重视与支持，西安警方、海关、出入境检验检疫等相关部门的密切配合表示感谢。出席交接仪式的副省长景俊海指出，此次文物回归，表明陕西公安、文物联合保护文物的机制是有效的、有力的，我们有能力保护好陕西丰富的文物资源。他希望公安机关和文物部门继续紧密配合，打防结合，建立新的文物保护机制，确保文物安全，打击盗窃、盗掘、走私、非法倒卖文物等犯罪行为。同时，对追回来的文物进行修复展示，发挥其应有的作用。

移交仪式结束后，西安市公安局刑侦局局长孙建华、副局长曹楠华、西安市公安局刑侦局韩清龙、陕西省文物鉴定专家呼林贵、我馆文物征集处师小群接受了媒体的采访。（馆文物征集处）

http://www.sxhm.com/www/bgscn.asp?ID=5796

Germany’s fake terracotta warriors – seems even the museums get duped sometimes

Roger — Tue, 15 Jun 2010 12:47:57 +0000

Somehow I missed this one (which dates all the way back to 2007). While I have to admit its a bit cynical to say it, I find this absolutely hilarious (on so many levels, I can’t even begin to touch on all of them). From rampant piracy in China, to its historical context concerning fakes to the gullible nature of foreigners doing business in china. Either way, for any of us who have burned a few bucks on a item we thought was “an authentic antique,” its good to know that from time to time even the experts get taken for a ride.


A fake at the Hamburg museum.	On of our own “authentic fakes

German museum admits terracotta warriors are fakes

More than 10,000 visitors to an exhibition of terracotta warriors in Hamburg are to be offered refunds after organizers admitted the figures on display are fake. Germany’s art world was stunned by the scandal, which came to light when officials from Xian, the home of the 2,000-year-old clay army, said they were unaware that they had lent any of their figures to Germany and that those on display at Hamburg’s Museum of Ethnology could not possibly be real as the originals were all elsewhere.

Chinese experts are on their way to the northern port city to examine the objects in the Power of Death exhibition, which consists of eight clay warrior figures, two horses and 60 smaller artefacts including bronze vessels, weapons and tools. German art detectives have launched their own investigation.

A spokesman for the Leipzig exhibition company, Centre of Chinese Arts and Culture (CCAC) which arranged the show, reluctantly admitted on German television that the figures were copies. But he was keen to stress the figures’ similarity to the originals.

“First of all one has to say that the material clay was also used in those days. Then one can say that these figures are the same size as those in Xian, but in any case they are not originals,” Yolna Grimm said. He added that the figures had been obtained from public authorities, institutes and businesses in China.

The company also organised a show of terracotta warriors in Leipzig two years ago, but there visitors were explicitly told that they were viewing copies.

Wulf Köpke, director of the Museum of Ethnology, said he had agreed to the exhibition on the firm understanding that the exhibits were genuine and the company had assured him that was the case.

“The CCAC presented us with certificates of authenticity, but not documentation proving how they had been transported,” he said.

The museum has not managed to free itself from suspicion of involvement, particularly as the figures for exhibition were delivered after dark. “The fact that the warriors came to the museum in the dead of night adds to the sense that deception was at play,” wrote Die Welt newspaper.

Grimm of the CCAC insisted he had never claimed the figures were original. “There was never a word about originals in the Hamburg contract,” he said.

China’s state office for the administration of cultural artifacts in Beijing, said it was likely that the exhibits were illegal copies. “It looks like this is a problem with the protection of copyright,” a spokesman told German media.

Authorities in Xian confirmed that the only exhibition of the clay soldiers that had been authorized was the ongoing First Emperor exhibition at the British Museum in London, China’s biggest ever overseas loan of the figures.

Many have questioned the timing of the row. China recently heaped criticism on Germany after the exiled Tibetan spiritual leader, the Dalai Lama, paid a visit to the chancellor, Angela Merkel. Political leaders promised that Germany’s refusal to stop the visit would have “consequences”.

Until now the Chinese authorities have often turned a blind eye to terracotta warrior fakes, even allowing a controlled number of authorised fakes to be made by certified manufacturers. It is not clear whether the Hamburg exhibits were authorised copies.

Hamburg’s museum has now put up a sign informing visitors that the authenticity of the exhibits is in doubt. “Some or all of the objects in the exhibition that are said to be authentic may in fact be copies,” the sign reads.

An "authentic rare blue terre cotta warrior" on a customers balcony

German art critics have called it the “art crime of the decade”, saying that exhibition-goers have been conned in what could be one of the biggest copyright infringement cases Germany has ever known.

The terracotta army was uncovered around three decades ago by a farmer digging a well. It comes from the tomb of China’s first emperor, Qin Shihuangdi, who spent more than 20 years laying the foundations of modern China before his death in 210 BC. The clay soldiers were created to protect him in the afterlife.

Original article from the guardian.co.uk, Wednesday 12 December 2007

China Coal City’s Tycoons Splurge on Antiques as Dealers Swoop

Roger — Sat, 15 May 2010 15:56:24 +0000

These days there is a TON of news articles about the art market and China’s insatiable demand for Chinese artworks and antiques. Did I mention there was a ton of these articles recently? Regardless, this is one of the more interesting ones…

June 26 (Bloomberg) — Few people gave Zhao Xin a second look when he strolled into the biggest antique show in China’s coal city of Taiyuan, Shanxi, wearing straw-trimmed canvas shoes, black polyester-mix clothes, and a tobacco-stained grin.

That changed when he went to a booth run by Hong Kong dealer Raymond Chak. Pointing at Chinese gilt-bronze Buddha statues, he said, “Show me this, that, and that.” Ten minutes later, Zhao had bought about eight antiques for nearly 1.5 million yuan ($220,000). In the next hour, he spent at least another 2 million yuan on paintings, ceramics and other artworks at other booths, as bystanders looked on.

Zhao is one of the world’s biggest buyers of Chinese antiques, say art dealers like Shanghai-based Lu Feifei. He also belongs to a group of tycoons in China’s top coal-producing province of Shanxi, many of whom earned their wealth selling the fuel, and in recent years began paying top dollar for Chinese relics at auctions and galleries from Hong Kong to New York.

Reached on his mobile phone, Zhao simply said he was retired and wouldn’t say how he earned his money.

To court buyers in Shanxi — which has a reputation for being a cultural capital of sorts — about 50 of the world’s top names in Chinese antique sale flew from Hong Kong, London and the U.S. into Taiyuan to sell millions of dollars worth of ceramics, jade and snuff bottles. The city has an average per capita income of 15,230 yuan last year, and operates two flights a week to Hong Kong. Taiyuan is an hour by flight from Beijing.

Spotting Money

“In Shanxi, it’s hard to tell who the rich guys are,” said Ronald Chak, a nephew of Raymond who helps run one of Hong Kong antique dealership Chak’s Co. Ltd., which organized the Taiyuan fair. “You’d think some were ordinary folks and then you see them step into their Mercedes 500.”

“According to estimates from Artron, total global auction sales of both fine and decorative Chinese art in 2007 summed to approximately 2.3 billion euros,” said the European Fine Art Foundation (TEFAF) in a report published in March this year. About $500 million of items are auctioned by Christie’s International and Sotheby’s, based on company figures and estimates. The others are sold in galleries or in person.

Like diamonds, the portability of antiques make them more attractive than property or bulkier assets for buyers who have to relocate in a rush and frequently, said Stephen Vickers, chief executive of Hong Kong-based FTI International Risk Ltd. Owners could then convert them back into cash once they have settled in a new location.

Mainland Challenge

While Westerners still dominate the most-expensive segment of this market at auction, they are increasingly being challenged by buyers from mainland China, according to John Berwald, of New York-based dealership Berwald Oriental Art.

Christie’s says Americans are its biggest clients in this category of art, followed by mainland Chinese and Hong Kongers. While Shanxi buyers are new to the international art-trading scene compared with their Beijing and Shanghai peers, they are gaining a name as some of China’s fiercest bidders.

“They are a force to reckon with, no doubt about it,” said Kevin Ching, chief executive of Sotheby’s Asia, who attended the Taiyuan fair. On paper, Shanxi buyers formally accounted for just $4 million of Sotheby’s Chinese antiques at its Hong Kong auctions, though the actual figure is much larger because many bid through agents in the city, he said, declining to give specifics.

There are about 51,000 people in China who have 100 million yuan or more, according to Hurun’s latest China rich list, released in April. Of these, 1,050 are in Shanxi. The actual number of rich individuals in the province is probably more than twice the number on the list, said Rupert Hoogewerf, publisher of Hurun Report, which compiles China’s rich list.

‘Hidden Wealth’

“There’s a lot of hidden wealth in Shanxi,” he said.

Zhao owns the best private collection of ceramics kept by Qing Dynasty Emperor Daoguang (reign: 1820-1850) and dealers consider him a very important antiques buyer, according to Lu.

At the fair, Zhao asked about a red-beaded bracelet Raymond Chak wore; Chak immediately rolled it off his hand and handed it over. Zhao wound the new purchase on his wrist and carried on his shopping spree.

“Come to the antiques fair now,” he said into his mobile phone. “Today is their last day and a perfect opportunity to rip off Raymond Chak.”

His posse laughed, Chak wiped his forehead and chuckled dryly.

Investment Choice

“Zhao might not know which piece makes the best investment, but his aesthetics sense in antiques is probably better than even the dealers,” said Chak in an interview as Zhao shopped.

At first glance, there seems little about this northern province of 34 million people that hints at its wealth. Unlike coastal Shanghai or Guangdong, whose trade with the outside world created a class of traders and entrepreneurs, Shanxi is landlocked. In 2006, the per-capita income of its urban residents was 10,794 yuan, below the national average.

Still, Shanxi produces about 80 percent of China’s coal, the nation’s main source of fuel; it accounts for the biggest share of the province’s economy. As prices more than quintupled between 2002 and 2008, a class of new rich, dubbed “Coal Bosses” emerged in Shanxi.

Shanxi’s new rich have a reputation in China for brashness and ostentatious spending. In Taiyuan, taxi drivers recount stories of coal barons buying entire apartment blocks or Louis Vuitton bags by the dozens.

Buying Hummers

A coal baron of Xiaoyi City once bought 15 Hummers in one go, says state-run Jingji Cankao Bao. They also travel in groups to Beijing and Shanghai to buy property, state media say.

Even though coal’s value has nearly halved since its peak in August as growth slowed, many Shanxi tycoons are still putting their money in antiques, where the rarest items are fetching record prices as property prices tanked, said dealer Lu.

In May, property prices in 70 Chinese cities had their sixth straight month of decline, according to the Statistical Bureau.

At Christie’s Hong Kong sale last month, a pair of Qing Dynasty imperial gilt-bronze bells fetched HK$45.5 million, the priciest at auction.

“Antiques make better investments than most,” said Nie Zhihui, a collector who says he made his fortune selling coal to steel companies in the region. Nie, 40, wearing a buzz cut and black T-shirt, declined to say how much he’s worth.

Filmy Air

In Taiyuan, nylon flags advertising the fair flapped in the filmy air, which reduced visibility to about 300 meters. In alleys, vendors touted pyramid stacks of watermelons by the road; street-side stores flashed neon signs advertising noodles and medicine. In some empty lots, the rubble of demolished structures is covered by blue-and-red tarp sheets.

The widest road in Taiyuan, a city of 3.4 million people, is a thoroughfare, six lanes each way, built soon after the 1949 Communist Party came to power in China, called Yingze Jie, which means Road to Welcome Mao Zedong. Mao never came to Taiyuan.

At the antiques fair, some haggled in the open as dozens gathered to watch the commotion, while others negotiated behind partitions; when it came time to pay, one buyer reached into his bowling bag and pulled out bundles of red 100-yuan notes, the biggest denomination of the Chinese currency, another said he would wire-transfer the money. After paying, some just tucked the purchases in their bags and left.

The organizer, Chak’s Co., didn’t answer requests seeking attendance and sales figures.

Buddha Beads

Most of the booths reported strong sales. Hui Zengjiu, a Beijing-based dealer specializing in antique Buddha beads and enamels, said he had recouped the 50,000 yuan he paid for his 3 meter-by-3 meter booth. The booth of Priestley & Ferraro, with a store on London’s King Street, was seen selling some ceramics.

“A lot of China’s finest treasures are in the hands of Shanxi collectors,” said Ching.

None has found its way in the form of loans or donations to the Shanxi Museum, about 3 kilometers southwest of the World Trade Hotel, where the antiques fair is held.

Chen Fenxia, a Shanxi Museum spokeswoman, said she’s heard of art buying by the province’s tycoons.

Asked if Shanxi Museum, which gets its annual funding of 10 million yuan from the government, would accept loans or donations by tycoons, she said, “I imagine they bought the antiques only as investments.”

At the fair, Zhao turned and told an accompanying friend, Feng Buwu, “Find something you like and buy it. Be quick.”

Antiques dealers must be thinking the same.

To contact the writer on the story: Le-Min Lim in Hong Kong at lmlim@bloomberg.net

June 25, 2009

Original article here:

China Coal City’s Tycoons Splurge on Antiques as Dealers Swoop (Bloomberg)

Reduced prices – Sale of gorgeous antique walnut alter tables, armoire, benches from Gansu province.

Roger — Tue, 11 May 2010 15:16:03 +0000

One of ACF’s local “inside suppliers” wishes to liquidate his existing stock of restored antique walnut furniture from Gansu at reduced prices, as he is now dealing only in un-restored antiques. As an “inside supplier” this restorer does not normally sell directly to overseas customers and instead local furniture factories buy from him to then resell in their own warehouse at a premium. As he is one of the few people who specializes primarily in walnut furniture from Gansu province (halfway between Beijing and Tibet), this is an very unusual and rare opportunity to see such a large volume of walnut pieces in one single location. Normally factories will only have a few such pieces (which they likely purchased from him).

While not as costly as rosewood or Huali, walnut furniture is generally more expensive them Elm, Pine or Poplar and are generally sold at a higher premium. Availability has dropped and prices for walnut furniture have risen significantly over the past few years. Walnut is a much harder wood, more durable and longer lasting with a rich deep copper or caramel brown color with a nice grain and wonderful texture. Restorers also tend to use better brass hardware for walnut as the two colors compliment each other. Mostly from Western Gansu, styles are often understated, well balanced and elegant in their own right.

A few other things to know about this lot:

ALL these pieces are antique (there are no vintage or reproduction pieces in this batch).
Quality is quite good and all pieces are restored and ready to ship.
With a very few exceptions 90% of the pieces are walnut and from Gansu.
Not all items are pictured here (there is at least a 40 foot container).
He also has a few rare items that are not seen very often.
Sizes and proportions are very practical and usable.
The flash on the camera tends to give everything more contrast and more yellow (note this).

Larger photos of the complete lot can be seen online at this address:

http://www.antique-chinese-furniture.com/gallery/thumbnails.php?album=254

Or go to http://www.antique-chinese-furniture.com/gallery/

then navigate to

Customer Orders > General Sourcing > walnut 05-04-2010

For price list/additional details email me at roger at antique-chinese-furniture.com

Mystery: Are these Chinese oracle bones inscriptions carved on a tortoise shells?

Roger — Sun, 25 Apr 2010 09:54:53 +0000

Interesting recent find… The question is “what is it?” Are these oracle bones ( 甲骨 jiǎgǔ) ? And if so, why is it not cracked? Or was this particular one simply used for practicing carving inscriptions? Or maybe even record keeping? Is this pictographs indeed an example of jiăgŭwén (oracle script) or is it seal script (小篆 Xiaozhuan /大篆Dazhuan)? What about clerical script (Li shu 隸書)?

According to the I-Ching, tortoise divination is one of the best method for making sense of the events. So, the very symbolism of the tortoise shell itself, would lead credence to the idea that this was used for some form of divination. Most popular and known for during the Shang dynasty, documented cases show this practice continued up until the Qing Dynasty though less frequently. Personally I would guess this example is Ming. But as I said, your guess is as good as mine…

If anyone wants to dig-in to what it says, Harmen Mesker’s website has some fascinating Chinese character analysis topics.

Sotheby’s sues Chinese buyers for ‘non-payment’

Roger — Thu, 08 Apr 2010 15:26:53 +0000

Interesting article on the FT website. You are not supposed to reprint their articles in full so, here is a few of the more relevant clippings from the article:

Sotheby’s is suing two mainland Chinese buyers for HK$2.1m ($270,000) in Hong Kong after they allegedly failed to pay for five Chinese paintings and an antique incense burner that they won at auctions last October.

The disputes highlight a challenge for Sotheby’s, which is increasing its dealings with less experienced buyers from new markets such as China, who are not familiar with international bidding rules. As China’s economy continued its break-neck growth in the past few years, many people turned to overseas markets to park their new-found wealth, buying everything from properties to wines.

The new rich have also been some of the most aggressive bidders at auctions.

“A lot of people have become interested in bidding in overseas auctions. But they are not used to the terms and conditions in places outside of China,” said Kevin Ching, Sotheby’s Asia chief executive.

In 2006, Sotheby’s was forced to file its first arrears cases in Hong Kong in at least a decade when it sued a Chinese buyer for HK$1.9m over two Chinese paintings. It later took the case to a mainland court, the first time the auction house issued a writ of that kind in China.

Two years ago, it sued a Chinese collector for HK$6.8m, saying the buyer failed to pay for a contemporary Chinese painting that he won in an auction in Hong Kong.

Now, Sotheby’s is suing a Shenzhen resident who made the top bid of HK$1.3m, including buyer’s premium, for five Chinese ink and colour paintings in its autumn sale in Hong Kong last October, but has allegedly refused to pay.

The auctioneer has also filed a separate writ against a Beijing bidder who bought an 18th century incense burner, or censer, at the autumn auction for HK$800,000, but has also allegedly not paid.

Original article here:

http://www.ft.com/cms/s/0/d11c5382-14d8-11df-8f1d-00144feab49a,s01=1.html