Years 1 to 1000
Except otherwise stated, all results include the premium.
See also : Roman sculpture Ancient sculpture Animals Bird Horse Children China Chinese porcelain Antique to Yuan porcelain Chinese calligraphy Musical instrument Chinese instrument Chinese dragon Manuscript Paleography Judaica
See also : Roman sculpture Ancient sculpture Animals Bird Horse Children China Chinese porcelain Antique to Yuan porcelain Chinese calligraphy Musical instrument Chinese instrument Chinese dragon Manuscript Paleography Judaica
early 1st century CE - The Syon Aphrodite
2014 SOLD for £ 9.4M by Sotheby's
The wealthy Romans decorated their gardens with replicas of Greek marbles. By comparison, one can identify the most popular models from these Roman times and speculate about the lost originals.
The draped Aphrodite of Munich-Syon-Pozzuoli type is copied from a highly elegant Greek statue made around 420 BCE. An attribution to Alkamenes has been proposed. The Syon Aphrodite was sold by Sotheby's on July 9, 2014 for £ 9.4M from a lower estimate of £ 4M, lot 17.
At 203 cm high, it is larger than life. This specimen, which had lost its forearms, had been admired by Aldrovandi in Rome around 1550 in the garden of the Cardinals Cesi. She was then considered as an Agrippina. It entered in 1773 alongside other monumental marbles in the Great hall of Syon House, the residence of the Dukes of Northumberland, identified as a Livia dressed as Juno.
This Aphrodite was too beautiful, with her oval face, her parted lips and her hair tied in a tiara. It remained in Syon, dismissed by the experts who believed that the head was modern because of a crack along the neck. Some restorations had been made in the 18th century, including the fitting of a pair of forearms. The discovery of its twin sister around 2002 in Pozzuoli finally confirmed the admirable state of conservation of the Aphrodite of Syon. It dates from the Julio-Claudian period, at the beginning of the 1st century CE.
The draped Aphrodite of Munich-Syon-Pozzuoli type is copied from a highly elegant Greek statue made around 420 BCE. An attribution to Alkamenes has been proposed. The Syon Aphrodite was sold by Sotheby's on July 9, 2014 for £ 9.4M from a lower estimate of £ 4M, lot 17.
At 203 cm high, it is larger than life. This specimen, which had lost its forearms, had been admired by Aldrovandi in Rome around 1550 in the garden of the Cardinals Cesi. She was then considered as an Agrippina. It entered in 1773 alongside other monumental marbles in the Great hall of Syon House, the residence of the Dukes of Northumberland, identified as a Livia dressed as Juno.
This Aphrodite was too beautiful, with her oval face, her parted lips and her hair tied in a tiara. It remained in Syon, dismissed by the experts who believed that the head was modern because of a crack along the neck. Some restorations had been made in the 18th century, including the fitting of a pair of forearms. The discovery of its twin sister around 2002 in Pozzuoli finally confirmed the admirable state of conservation of the Aphrodite of Syon. It dates from the Julio-Claudian period, at the beginning of the 1st century CE.
133-138 Bust of Antinous
2010 SOLD for $ 24M by Sotheby's
With Trajan, the Roman Empire reached its greatest territorial extension. By consolidating the fragile borders, Hadrian extended the pax romana for half a century. There was no chronicler during his reign but his journeys have been reasonably retraced.
Around the Mediterranean sea, Hadrian shows himself passionately Philhellene, which is politically clever since it is necessary to avoid the eternal rivalries between the Greek cities. He was in Athens in 129 CE and in Egypt in 130.
A Bithynian about 20 years old, whose physical beauty matched the canon of Dionysus, was part of the emperor's suite. His biography contains no verifiable element : in fact he was more useful dead than alive. His drowning in the Nile reminds the epic legend of Osiris. His name was Antinous. The emperor deified him by imperial decree and multiplied the posthumous honors.
The emperor is powerful and the courtiers are numerous. The iconography of Antinous-Dionysus-Osiris takes on an unprecedented scale, which will cease to be useful after Hadrian's death in 138 CE.
A larger than life marble bust, 84 cm high including the base, was discovered in the 19th century in Banias, on the Golan Heights. It was inscribed in Greek by the dedicatee, belonging to a Roman patrician family : "from M. Lucius Flaccus to the god Antinous". Such a signature is unique in the iconography of Antinous.
In 133 and 134 Hadrian led a very deadly war in the Judaea raised by Bar Kokhba. Banias, romanized as Caesarea Philippi, had a long pagan tradition which justified an ostensible support to the emperor.
The bust is incomplete : the arms are missing, a shoulder is detached and the nose is broken. Despite this condition, it was sold for $ 24M by Sotheby's on December 7, 2010 from a lower estimate of $ 2M, lot 9.
Around the Mediterranean sea, Hadrian shows himself passionately Philhellene, which is politically clever since it is necessary to avoid the eternal rivalries between the Greek cities. He was in Athens in 129 CE and in Egypt in 130.
A Bithynian about 20 years old, whose physical beauty matched the canon of Dionysus, was part of the emperor's suite. His biography contains no verifiable element : in fact he was more useful dead than alive. His drowning in the Nile reminds the epic legend of Osiris. His name was Antinous. The emperor deified him by imperial decree and multiplied the posthumous honors.
The emperor is powerful and the courtiers are numerous. The iconography of Antinous-Dionysus-Osiris takes on an unprecedented scale, which will cease to be useful after Hadrian's death in 138 CE.
A larger than life marble bust, 84 cm high including the base, was discovered in the 19th century in Banias, on the Golan Heights. It was inscribed in Greek by the dedicatee, belonging to a Roman patrician family : "from M. Lucius Flaccus to the god Antinous". Such a signature is unique in the iconography of Antinous.
In 133 and 134 Hadrian led a very deadly war in the Judaea raised by Bar Kokhba. Banias, romanized as Caesarea Philippi, had a long pagan tradition which justified an ostensible support to the emperor.
The bust is incomplete : the arms are missing, a shoulder is detached and the nose is broken. Despite this condition, it was sold for $ 24M by Sotheby's on December 7, 2010 from a lower estimate of $ 2M, lot 9.
Capitoline Venus
2021 SOLD for £ 18.6M by Sotheby's
The Aphrodite of Knidos is one of the most important art works in history. Made by Praxiteles from the super-beauty Phryne, it was the first life size sculpture of full female nudity in Greek art at a time when full nude heroic males were common.
The goddess of love is featured standing with one leg very slightly bent, in modesty with a hand hiding the sex. The other arm is posed over a vase thrown with drapery upon it, raised here for assuring the stability of the heavy marble but also forwarding the idea of the preparation for a ritual bath.
The original marble was destroyed in a fire in 475 CE. The figure was highly popular and led to two Roman variants of the Venus pudica with sex and breast covered by the hands. They are known as the Venus de' Medici and the Capitoline Venus.
A Roman Imperial marble example of the Capitoline Venus was sold in Rome in 1776 by the art dealer Gavin Hamilton to the 8th Duke of Hamilton who was making his Grand Tour. While looking for customers in the previous year, Gavin Hamilton commented possibly wrongly that the head is not its own and rightly that the vase and its drapery are not antique.
The Hamilton Venus resided in Hamilton Palace in Lanarkshire for nearly 150 years and in the collection of William Randolph Hearst from 1920 to 1940. It went out of view in a private collection after an auction in 1949.
It has just resurfaced and was sold for £ 18.6M from a lower estimate of £ 2M by Sotheby's on December 7, 2021, lot 70. Some 18th century restorations are listed in the catalogue. The original marble plinth is now resting on a wooden base for a total height of 197 cm.
The goddess of love is featured standing with one leg very slightly bent, in modesty with a hand hiding the sex. The other arm is posed over a vase thrown with drapery upon it, raised here for assuring the stability of the heavy marble but also forwarding the idea of the preparation for a ritual bath.
The original marble was destroyed in a fire in 475 CE. The figure was highly popular and led to two Roman variants of the Venus pudica with sex and breast covered by the hands. They are known as the Venus de' Medici and the Capitoline Venus.
A Roman Imperial marble example of the Capitoline Venus was sold in Rome in 1776 by the art dealer Gavin Hamilton to the 8th Duke of Hamilton who was making his Grand Tour. While looking for customers in the previous year, Gavin Hamilton commented possibly wrongly that the head is not its own and rightly that the vase and its drapery are not antique.
The Hamilton Venus resided in Hamilton Palace in Lanarkshire for nearly 150 years and in the collection of William Randolph Hearst from 1920 to 1940. It went out of view in a private collection after an auction in 1949.
It has just resurfaced and was sold for £ 18.6M from a lower estimate of £ 2M by Sotheby's on December 7, 2021, lot 70. Some 18th century restorations are listed in the catalogue. The original marble plinth is now resting on a wooden base for a total height of 197 cm.
25-220 Eastern Han - Nephrite Bear
2011 SOLD for $ 8.1 M by Elite Decorative Arts
A bear in solid white and green nephrite appears as the largest known jade sculpture of its time, the Eastern Han dynasty spanning from 25 CE to 220 CE.
This piece is 35.5 cm high and 19 cm wide and weighs 18.3 kg. Its calcification is extensive after centuries of burial in the grave of a significant figure. A cup shaped opening on the top of the head leads to consider that it was conceived as a stand for a flag, a table or a bell. The skin is covered with decorative relief patterns.
It was sold for $ 8.1M by Elite Decorative Arts on December 10, 2011, lot 100 here linked on the bidding platform LiveAuctioneers. The result in the region of $ 8M is confirmed by Auction Central News and by Paul Fraser Collectibles and is consistent with a $ 7.05M hammer price plus a 15 % premium.
The auction result for the Eastern Han dynasty nephrite jade bear (Lot 100) sold by Elite Decorative Arts on December 10, 2011, appears to be validated based on multiple contemporaneous reports and ongoing records from reputable auction platforms and art market sources. The hammer price was $7.05 million, with a final price (including buyer's premium) of approximately $8.1 million, as initially reported by Auction Central News (now part of LiveAuctioneers) and Paul Fraser Collectibles. This sale remains documented on LiveAuctioneers' platform and is frequently referenced in subsequent art market discussions, catalogs, and listings for comparable jade artifacts, without any evident disputes or retractions over the intervening years.
The high price was driven by the bear's exceptional rarity and historical significance: at 14 inches tall and weighing around 19 kg, it was described as the largest known solid nephrite jade sculpture from the Eastern Han dynasty (25–220 AD), a period renowned for jade carvings symbolizing power, immortality, and imperial prestige. This made it a standout artifact in the market for ancient Chinese jades, amid growing demand from collectors and institutions for well-provenanced pieces from this era. The auction itself grossed around $9 million overall, with the bear as the top lot, reflecting strong interest in high-end Asian antiquities at the time. That said, the final price was nevertheless below the presale estimate, which had been hyped as potentially reaching up to $20 million due to the piece's uniqueness and the booming market for Chinese artifacts in 2011.
Comparable Han dynasty jade auctions
April 22, 2021
Sotheby's Hong Kong
Exceptionally Large and Extremely Rare Zitan-Mounted Imperial Inscribed Archaic Jade Bi, Eastern Han Dynasty (25–220 AD), inscribed and mounted in Qianlong period (1770)
$6,927,856
The bi disc measures 23.8 cm in height.
April 5, 2016
Bonhams Hong Kong
Rare Pale Green Jade Figure of a Male Dancer, Eastern Han Dynasty (circa 100 AD)
$4,019,600
Part of the Sze Yuan Tang Archaic Jades collection.
November 29, 2024
Christie's Hong Kong
Jade Openwork 'Longevity' Bi Disc, Mid-Eastern Han Dynasty (circa 89–144 AD)
$3,251,934
From the Lantien Shanfang Collection; sold for over 25 times the low estimate in a white-glove sale.
This piece is 35.5 cm high and 19 cm wide and weighs 18.3 kg. Its calcification is extensive after centuries of burial in the grave of a significant figure. A cup shaped opening on the top of the head leads to consider that it was conceived as a stand for a flag, a table or a bell. The skin is covered with decorative relief patterns.
It was sold for $ 8.1M by Elite Decorative Arts on December 10, 2011, lot 100 here linked on the bidding platform LiveAuctioneers. The result in the region of $ 8M is confirmed by Auction Central News and by Paul Fraser Collectibles and is consistent with a $ 7.05M hammer price plus a 15 % premium.
The auction result for the Eastern Han dynasty nephrite jade bear (Lot 100) sold by Elite Decorative Arts on December 10, 2011, appears to be validated based on multiple contemporaneous reports and ongoing records from reputable auction platforms and art market sources. The hammer price was $7.05 million, with a final price (including buyer's premium) of approximately $8.1 million, as initially reported by Auction Central News (now part of LiveAuctioneers) and Paul Fraser Collectibles. This sale remains documented on LiveAuctioneers' platform and is frequently referenced in subsequent art market discussions, catalogs, and listings for comparable jade artifacts, without any evident disputes or retractions over the intervening years.
The high price was driven by the bear's exceptional rarity and historical significance: at 14 inches tall and weighing around 19 kg, it was described as the largest known solid nephrite jade sculpture from the Eastern Han dynasty (25–220 AD), a period renowned for jade carvings symbolizing power, immortality, and imperial prestige. This made it a standout artifact in the market for ancient Chinese jades, amid growing demand from collectors and institutions for well-provenanced pieces from this era. The auction itself grossed around $9 million overall, with the bear as the top lot, reflecting strong interest in high-end Asian antiquities at the time. That said, the final price was nevertheless below the presale estimate, which had been hyped as potentially reaching up to $20 million due to the piece's uniqueness and the booming market for Chinese artifacts in 2011.
Comparable Han dynasty jade auctions
April 22, 2021
Sotheby's Hong Kong
Exceptionally Large and Extremely Rare Zitan-Mounted Imperial Inscribed Archaic Jade Bi, Eastern Han Dynasty (25–220 AD), inscribed and mounted in Qianlong period (1770)
$6,927,856
The bi disc measures 23.8 cm in height.
April 5, 2016
Bonhams Hong Kong
Rare Pale Green Jade Figure of a Male Dancer, Eastern Han Dynasty (circa 100 AD)
$4,019,600
Part of the Sze Yuan Tang Archaic Jades collection.
November 29, 2024
Christie's Hong Kong
Jade Openwork 'Longevity' Bi Disc, Mid-Eastern Han Dynasty (circa 89–144 AD)
$3,251,934
From the Lantien Shanfang Collection; sold for over 25 times the low estimate in a white-glove sale.
Tang
1
Horse by Han Gan
2017 SOLD for $ 17M by Christie's
Silk painting in ink and colors already existed under the Han, before the invention of paper. As early as 550 CE, an art critic defines six principles to be considered for appreciating a figurative work. The first principle is not derogable : the artist must transfer his energy into his art. It is also the basis of calligraphic art.
The Tang are great protectors of the arts. Narrative paintings feature groups in complex situations, with picturesque detail. The Taizong emperor also inaugurates the Tang's passion for the horse, that indispensable auxiliary of the warrior. He commissions the portraits of his favorite horses to Yan Liben.
The Tang imperial horses are the subject of a selection, integrating the best foreign breeds. The peak is reached during the reign of Xuanzong. His stable is reputed to house 40,000 horses, some of which are specially trained to dance in front of the emperor. Polo, hunting and jousting are practiced with passion. The main horse painter is Chen Hong.
Around 750 CE the self-taught artist Han Gan is noted for his artistic talents and invited to collaborate with Chen Hong. Han Gan abandons stylization for realism. The portrait of a horse, sometimes with a rider or a groom, becomes his exclusive theme. Each animal is observed individually.
On March 15, 2017, Christie's sold at lot 509 for $ 17M the image of a horse by Han Gan, 32 x 38 cm, very readable but heavily cracked. The animal with an elegant two-tone hair walks with a dignified slowness. The colophon of the Qianlong emperor includes no less than twelve imperial seal marks and the artwork is listed in the catalogue of his collection, the Shiqu Baoji.
Xuanzong's long reign is culturally splendid and politically catastrophic. The emperor had abandoned management to devote himself to pleasures. He was deposited in 756 CE after a short civil war. This date is probably the terminus ante quem for an original painting by Han Gan.
The Tang are great protectors of the arts. Narrative paintings feature groups in complex situations, with picturesque detail. The Taizong emperor also inaugurates the Tang's passion for the horse, that indispensable auxiliary of the warrior. He commissions the portraits of his favorite horses to Yan Liben.
The Tang imperial horses are the subject of a selection, integrating the best foreign breeds. The peak is reached during the reign of Xuanzong. His stable is reputed to house 40,000 horses, some of which are specially trained to dance in front of the emperor. Polo, hunting and jousting are practiced with passion. The main horse painter is Chen Hong.
Around 750 CE the self-taught artist Han Gan is noted for his artistic talents and invited to collaborate with Chen Hong. Han Gan abandons stylization for realism. The portrait of a horse, sometimes with a rider or a groom, becomes his exclusive theme. Each animal is observed individually.
On March 15, 2017, Christie's sold at lot 509 for $ 17M the image of a horse by Han Gan, 32 x 38 cm, very readable but heavily cracked. The animal with an elegant two-tone hair walks with a dignified slowness. The colophon of the Qianlong emperor includes no less than twelve imperial seal marks and the artwork is listed in the catalogue of his collection, the Shiqu Baoji.
Xuanzong's long reign is culturally splendid and politically catastrophic. The emperor had abandoned management to devote himself to pleasures. He was deposited in 756 CE after a short civil war. This date is probably the terminus ante quem for an original painting by Han Gan.
2
756 Guqin
2011 SOLD for RMB 115M by China Guardian
The qin is the traditional Chinese plucked string instrument. The antique variants are now designated as guqin.
The guqin is the first of the four treasures of the scholar, ahead of Chinese go, calligraphy and ink painting. It was known since ancient times and the Chinese tradition likes to assign it with a pre-dynastic origin. Confucius is quoted among the sages who improved the instrument.
The classical seven-string guqin provides a music of great subtlety facilitated by the dots of harmony distributed on the surface. The wooden back is also an invitation to the inscription of poems.
The Imperial guqin are of great rarity. One of them named Da Sheng Yi Yin (legacy of the Great Sage) was sold for RMB 115M by China Guardian on May 22, 2011, lot 3570.
Lacquered in black and brown, it wears a poem and a seal and its harmonics match the months of the Chinese calendar.
Its date possibly refers to the first year of the Suzong emperor of the Tang matching 756 CE, although four other interpretations are also proposed. It probably refers to a historical event instead of the manufacture date of the instrument.
It is piano shaped 120 cm long, in Fuxi style. Its color is chestnut with black strings below th seven emblems. Such qin with rounded neck and larger curvature are classified as palace instruments of the Tang.
Da Sheng Yi Yin (大圣遗音, "Legacy of the Great Sage" or "Musical Legacy of the Sage")
Auction Details
Sold at China Guardian Auctions (Beijing) on May 22, 2011, in a dedicated special session titled "俪松最珍——唐琴大圣遗音" (highlighting its rarity), lot 3570. The final transaction price was RMB 115 million (approximately US$18 million at the time, including buyer's premium). This was a confirmed, successful sale widely reported in Chinese media and auction records as a landmark for Tang-era artifacts. No post-sale issues or cancellations occurred.
Age and Origin
Mid-Tang Dynasty (approximately 8th century, possibly specifically linked to around 756 CE during Emperor Suzong's reign). Attributed to the renowned Lei family workshop (雷氏), one of the most celebrated Tang guqin makers known for superior craftsmanship and tonewood selection. This makes it roughly 1,200–1,300 years old as of the 2011 sale (and over 1,250 years today).
Authentication and Originality
Widely accepted as authentic by experts from institutions like the Palace Museum, auction houses, and guqin scholars. Authentication is based on:
Made primarily from paulownia wood (桐木). Surface lacquer is chestnut-shell brown/black dominant, with some black lacquer and minor vermilion (red) repairs. It shows natural aging cracks (duanwen) that enhance resonance. Preservation is exceptional for its age, though it suffered water rust and graying from early 20th-century neglect (leakage in storage). Overall condition remains excellent, with intact original form and no major structural alterations.
Reworks, Repairs, and Provenance
Represents the pinnacle of Tang guqin craftsmanship, Lei-family legacy, and sonic perfection. Its rarity (few Tang examples survive intact) and imperial aura make it a "national treasure"-level artifact. Often highlighted in discussions of guqin history, tonewood aging traditions, and literati culture.
The guqin is the first of the four treasures of the scholar, ahead of Chinese go, calligraphy and ink painting. It was known since ancient times and the Chinese tradition likes to assign it with a pre-dynastic origin. Confucius is quoted among the sages who improved the instrument.
The classical seven-string guqin provides a music of great subtlety facilitated by the dots of harmony distributed on the surface. The wooden back is also an invitation to the inscription of poems.
The Imperial guqin are of great rarity. One of them named Da Sheng Yi Yin (legacy of the Great Sage) was sold for RMB 115M by China Guardian on May 22, 2011, lot 3570.
Lacquered in black and brown, it wears a poem and a seal and its harmonics match the months of the Chinese calendar.
Its date possibly refers to the first year of the Suzong emperor of the Tang matching 756 CE, although four other interpretations are also proposed. It probably refers to a historical event instead of the manufacture date of the instrument.
It is piano shaped 120 cm long, in Fuxi style. Its color is chestnut with black strings below th seven emblems. Such qin with rounded neck and larger curvature are classified as palace instruments of the Tang.
Da Sheng Yi Yin (大圣遗音, "Legacy of the Great Sage" or "Musical Legacy of the Sage")
Auction Details
Sold at China Guardian Auctions (Beijing) on May 22, 2011, in a dedicated special session titled "俪松最珍——唐琴大圣遗音" (highlighting its rarity), lot 3570. The final transaction price was RMB 115 million (approximately US$18 million at the time, including buyer's premium). This was a confirmed, successful sale widely reported in Chinese media and auction records as a landmark for Tang-era artifacts. No post-sale issues or cancellations occurred.
Age and Origin
Mid-Tang Dynasty (approximately 8th century, possibly specifically linked to around 756 CE during Emperor Suzong's reign). Attributed to the renowned Lei family workshop (雷氏), one of the most celebrated Tang guqin makers known for superior craftsmanship and tonewood selection. This makes it roughly 1,200–1,300 years old as of the 2011 sale (and over 1,250 years today).
Authentication and Originality
Widely accepted as authentic by experts from institutions like the Palace Museum, auction houses, and guqin scholars. Authentication is based on:
- Classic Tang construction (伏羲式/Fuxi style with rounded neck and larger curvature, often classified as palace instruments).
- Core paulownia wood soundboard and typical Tang joinery/sound holes (dragon pool/longchi and phoenix pond/fengzhao on the back).
- Cursive script inscription "大圣遗音" and poetic銘文 (e.g., "巨壑迎秋，寒江印月。万籁悠悠，孤桐飒裂") matching Tang calligraphy and literary styles.
- Sonic qualities aligning with historical descriptions of Lei-family instruments.
It is considered highly original in its core structure—one of the few surviving "true" Tang guqin available in private hands or auctions (most top examples reside in museums like the Palace Museum). It exemplifies all "nine virtues" of ideal guqin sound: 奇 (strange/wonderful), 古 (ancient), 透 (penetrating), 润 (moist/rich), 静 (quiet/tranquil), 圆 (round), 匀 (even), 清 (clear), 芳 (fragrant/aromatic).
Made primarily from paulownia wood (桐木). Surface lacquer is chestnut-shell brown/black dominant, with some black lacquer and minor vermilion (red) repairs. It shows natural aging cracks (duanwen) that enhance resonance. Preservation is exceptional for its age, though it suffered water rust and graying from early 20th-century neglect (leakage in storage). Overall condition remains excellent, with intact original form and no major structural alterations.
Reworks, Repairs, and Provenance
- Repairs/Reworks: Minor lacquer repairs (vermilion patches); the key intervention was a 1947 restoration by master Guan Pinghu (管平湖), who spent months repairing leakage damage after Palace Museum assessment—restoring clear, penetrating, crisp sound (described as 清脆松透, extremely fine quality). No extensive modern reworks altering the Tang structure.
- Provenance: Imperial Qing Palace collection (stored in the southern warehouse of the Hall of Mental Cultivation/养心殿南库, where emperors kept treasures). Post-1911 (after Puyi’s expulsion from the Forbidden City), discovered damaged by the Qing aftermath committee. Briefly in Palace Museum holdings; repaired 1947; later owned by famed collector/connoisseur Wang Shixiang (王世襄), who acquired it in 2003 for RMB 8.91 million (a prior record). Consigned to China Guardian in 2011. Current whereabouts (as of 2026) appear to be in private collection following the sale; it has been referenced in exhibitions and Palace Museum-related contexts but not confirmed as publicly displayed recently.
Represents the pinnacle of Tang guqin craftsmanship, Lei-family legacy, and sonic perfection. Its rarity (few Tang examples survive intact) and imperial aura make it a "national treasure"-level artifact. Often highlighted in discussions of guqin history, tonewood aging traditions, and literati culture.
3
Tang period copy of a calligraphy by Wang Xizhi
2010 SOLD for RMB 310M by China Guardian
The greatest masters of calligraphy pass on their knowledge to the literati. Under the Jin in the 4th century CE, Wang Xizhi achieves the supreme elegance with cursive calligraphy, to which his son Wang Xianzhi brings fluidity by writing each character in a single brush stroke.
On November 20-23, 2010, China Guardian sold for RMB 310M a fragment containing 4 lines on silk 25 x 14 cm of a poem by Wang Xizhi on the theme of a security wish. It is illustrated in the post sale article shared by BBC. This sheet has been separated into two pieces in ancient times.
Its cursive script is much in the style of Wang Xizhi. Experts believe that it was made in the Tang dynasty period. The auction house checked its provenance up to the time of the Yuan.
No autograph work by Wang Xizhi is surviving. The Qianlong emperor inscribed this manuscript twice. He considered it as important as another script from Wang Xizhi on the subject of the sunshine after heavy snow that was in the Imperial Collection.
Copy of a work by Wang Xizhi - a Jin dynasty figure who is known as the Sage of Calligraphy. The original is lost. The copy is a scroll on silk with four lines of characters. It was sold by China Guardian in November 2010. Significance of the copy in the history of Chinese calligraphy.
The specific copy you're referring to is a famous silk scroll fragment known as Ping An Tie (平安帖, "Safety Wish Script" or "Letter of Good Wishes for Safety"), a short four-line text attributed as a copy of a work by Wang Xizhi (王羲之, 303–361 CE), the Jin dynasty calligrapher universally revered as the Sage of Calligraphy (书圣) in Chinese history.
No original authentic works by Wang Xizhi survive today—his originals are lost, largely due to the passage of time, wars, and the fragile nature of early materials. What remains are copies (often called "traces" or moben 摹本) made by later generations, some from as early as the Tang dynasty (618–907 CE), when Emperor Taizong passionately collected and promoted Wang's style, commissioning precise reproductions and rubbings.
This particular piece is a small silk hand scroll fragment (approximately 24.5 cm × 13.8 cm) bearing just four lines of running script (行书, xingshu) characters. It was sold at the China Guardian Auctions autumn sale in Beijing on November 20, 2010, fetching 308 million yuan (about $46.3–46.4 million USD at the time, including buyer's premium). This made it one of the most expensive Chinese artworks ever sold at auction up to that point (second only to another Chinese work in recent records), and it highlighted the surging market for top-tier classical calligraphy.
The content expresses a courteous inquiry about someone's well-being (along the lines of wishing safety and health), typical of Wang's surviving letter-style pieces.
Significance in the History of Chinese Calligraphy
Wang Xizhi's influence is foundational: he perfected and popularized the running script, blending the structure of regular script with the fluidity of cursive, achieving an ideal balance of elegance, natural flow, spontaneity, and structural integrity. This style became the model for virtually all later Chinese calligraphy, studied and emulated by emperors, scholars, and artists across dynasties.
Since no originals exist, high-quality historical copies like this one carry immense value:
On November 20-23, 2010, China Guardian sold for RMB 310M a fragment containing 4 lines on silk 25 x 14 cm of a poem by Wang Xizhi on the theme of a security wish. It is illustrated in the post sale article shared by BBC. This sheet has been separated into two pieces in ancient times.
Its cursive script is much in the style of Wang Xizhi. Experts believe that it was made in the Tang dynasty period. The auction house checked its provenance up to the time of the Yuan.
No autograph work by Wang Xizhi is surviving. The Qianlong emperor inscribed this manuscript twice. He considered it as important as another script from Wang Xizhi on the subject of the sunshine after heavy snow that was in the Imperial Collection.
Copy of a work by Wang Xizhi - a Jin dynasty figure who is known as the Sage of Calligraphy. The original is lost. The copy is a scroll on silk with four lines of characters. It was sold by China Guardian in November 2010. Significance of the copy in the history of Chinese calligraphy.
The specific copy you're referring to is a famous silk scroll fragment known as Ping An Tie (平安帖, "Safety Wish Script" or "Letter of Good Wishes for Safety"), a short four-line text attributed as a copy of a work by Wang Xizhi (王羲之, 303–361 CE), the Jin dynasty calligrapher universally revered as the Sage of Calligraphy (书圣) in Chinese history.
No original authentic works by Wang Xizhi survive today—his originals are lost, largely due to the passage of time, wars, and the fragile nature of early materials. What remains are copies (often called "traces" or moben 摹本) made by later generations, some from as early as the Tang dynasty (618–907 CE), when Emperor Taizong passionately collected and promoted Wang's style, commissioning precise reproductions and rubbings.
This particular piece is a small silk hand scroll fragment (approximately 24.5 cm × 13.8 cm) bearing just four lines of running script (行书, xingshu) characters. It was sold at the China Guardian Auctions autumn sale in Beijing on November 20, 2010, fetching 308 million yuan (about $46.3–46.4 million USD at the time, including buyer's premium). This made it one of the most expensive Chinese artworks ever sold at auction up to that point (second only to another Chinese work in recent records), and it highlighted the surging market for top-tier classical calligraphy.
The content expresses a courteous inquiry about someone's well-being (along the lines of wishing safety and health), typical of Wang's surviving letter-style pieces.
Significance in the History of Chinese Calligraphy
Wang Xizhi's influence is foundational: he perfected and popularized the running script, blending the structure of regular script with the fluidity of cursive, achieving an ideal balance of elegance, natural flow, spontaneity, and structural integrity. This style became the model for virtually all later Chinese calligraphy, studied and emulated by emperors, scholars, and artists across dynasties.
Since no originals exist, high-quality historical copies like this one carry immense value:
- They preserve the closest approximations of Wang's brushwork, rhythm, and spirit.
- Tang-era or Song-era copies (this piece was often described as an ancient copy, though its exact dating attribution varied in reports—likely Tang or later but of exceptional pedigree) are especially prized because they were made when original works or very early copies were still accessible.
- They serve as critical models for learning and transmission of the art form.
- In the modern era, such rare survivors underscore Wang's enduring status as the pinnacle of the art, driving record-breaking prices and reflecting cultural nationalism and collector enthusiasm for China's classical heritage.
900 CE Hebrew Bible with Masorah
2023 SOLD for $ 38M by Sotheby's
With the exception of the Dead Sea Scrolls, early Bible manuscripts did not survive although some Jewish literature from the so called silent period had been found in the Cairo Genizah.
One of the earliest surviving Bibles remains nearly complete in all its three parts : Pentateuch, Prophets, and Writings. Its Hebrew text is as the Jews are still using it in current days.
Already exceptional in its time, it was written around 900 CE by a single scribe on 400 30 x 36 cm parchment leaves that had required about 200 sheepskins. This manuscript includes punctuations and vowels for a better readability.
It was assembled as a codex, an antique technique recently forwarded to the Jews through the Muslims, much easier to use than a scroll, by which sheets inscribed with text in both sides were folded and sewn together.
Precise instructions on how to recite and understand it, known as the Masorah, were added in the margins. The Masoretic Bibles were used as references and not for liturgy and are extremely rare. Due to Rabbinic rules no similar system applied in the scrolls. The Masoretes were scholars-scribes who were also entrusted to maintain the text of the Bible unchanged throughout the generations.
Used for private worship in its first centuries, it was donated in the 13th century CE to a synagogue in Makisin, a town in Syria that was soon destroyed during the Mongol or Timurid invasions. Out of view after that event, the codex resurfaced as a time capsule in 1929, acquired in Frankfurt through a librarian by the scholar David Sassoon who was assembling the largest and most important private collection of Hebrew manuscripts in the world.
Remaining in private hands, it was sold for $ 38M from a lower estimate of $ 30M by Sotheby's on May 17, 2023, lot 1. This historical document weighs 11.8 Kg. It had been rebound by Sassoon. Only about 12 folios are missing.
A similar example is the Aleppo Codex prepared ca 930 CE, of which nearly 40 % of the pages were lost in the 1950s.
One of the earliest surviving Bibles remains nearly complete in all its three parts : Pentateuch, Prophets, and Writings. Its Hebrew text is as the Jews are still using it in current days.
Already exceptional in its time, it was written around 900 CE by a single scribe on 400 30 x 36 cm parchment leaves that had required about 200 sheepskins. This manuscript includes punctuations and vowels for a better readability.
It was assembled as a codex, an antique technique recently forwarded to the Jews through the Muslims, much easier to use than a scroll, by which sheets inscribed with text in both sides were folded and sewn together.
Precise instructions on how to recite and understand it, known as the Masorah, were added in the margins. The Masoretic Bibles were used as references and not for liturgy and are extremely rare. Due to Rabbinic rules no similar system applied in the scrolls. The Masoretes were scholars-scribes who were also entrusted to maintain the text of the Bible unchanged throughout the generations.
Used for private worship in its first centuries, it was donated in the 13th century CE to a synagogue in Makisin, a town in Syria that was soon destroyed during the Mongol or Timurid invasions. Out of view after that event, the codex resurfaced as a time capsule in 1929, acquired in Frankfurt through a librarian by the scholar David Sassoon who was assembling the largest and most important private collection of Hebrew manuscripts in the world.
Remaining in private hands, it was sold for $ 38M from a lower estimate of $ 30M by Sotheby's on May 17, 2023, lot 1. This historical document weighs 11.8 Kg. It had been rebound by Sassoon. Only about 12 folios are missing.
A similar example is the Aleppo Codex prepared ca 930 CE, of which nearly 40 % of the pages were lost in the 1950s.
Codex Sassoon (also known as Codex Sassoon 1053 or S1) is widely regarded as the earliest and most complete surviving manuscript of the Hebrew Bible (Tanakh). Dating to the late 9th or early 10th century CE (circa 880–960 CE, likely produced in the Land of Israel or Syria), it is a monumental Masoretic codex written on parchment by a single scribe. The manuscript contains all 24 books of the Hebrew Bible, missing only about 8–12 leaves (including the first 10 chapters of Genesis and a few others), making it more complete than the famous Aleppo Codex (which suffered significant damage) and predating the fully complete Leningrad Codex (1008 CE) by nearly a century.
It serves as a critical textual witness to the Masoretic tradition—the authoritative system of vowel points (nikkud), cantillation marks, and marginal notes that standardized the Hebrew Bible's reading and transmission. Carbon dating and paleographic analysis confirm its age, positioning it as a vital bridge between earlier fragments (like the Dead Sea Scrolls) and the standardized medieval biblical text used today.
Physical Description
The manuscript's early history is obscure, with no records for centuries after its creation—possibly hidden or preserved in synagogues. It resurfaced in the 20th century:
On May 17, 2023, Sotheby's New York offered it in a dedicated single-lot sale with an estimate of $30–50 million—the highest ever for a manuscript or historical document at auction. It sold for $38.1 million (including buyer's premium), setting the world record for the most valuable manuscript ever sold at auction (surpassing Leonardo da Vinci's Codex Leicester at $30.8 million in 1994). The buyer was Alfred H. Moses (former U.S. Ambassador and philanthropist), on behalf of the American Friends of ANU – Museum of the Jewish People. He donated it to the ANU Museum of the Jewish People in Tel Aviv, Israel, where it is now permanently displayed and accessible to the public as part of the museum's core collection.
As of February 2026, the Codex Sassoon remains at the ANU Museum, symbolizing a return to Israel after centuries and ensuring its preservation for global Jewish heritage and scholarly study. It stands as one of the most important artifacts in Jewish history, embodying the faithful transmission of the biblical text across over a millennium.
Codex Sassoon (also Codex Sassoon 1053 or S1) and the Aleppo Codex (known as Keter Aram Tzova or "Crown of Aleppo") are two of the most important surviving medieval manuscripts of the Hebrew Bible (Tanakh). Both are Masoretic codices from the late 9th to early 10th century CE, produced in the region of the Land of Israel/Syria (likely Tiberias or nearby), featuring Tiberian vowel points (nikkud), cantillation marks, and extensive Masoretic notes for textual precision. They represent the pinnacle of the Masoretic tradition, which standardized the Hebrew Bible's transmission.
However, they differ significantly in completeness, textual authority, condition, provenance, and modern status. Scholars generally regard the Aleppo Codex as the more authoritative and precise exemplar, while the Codex Sassoon stands out for its near-completeness.
Key Comparison Table
Approximate Date
Sassoon : Late 9th–early 10th century CE (ca. 880–960 CE; carbon dating and paleography support this)
Aleppo : Circa 920–930 CE (written in Tiberias; corrected by Aaron ben Asher)
Completeness
Sassoon : Nearly complete: Contains all 24 books of the Hebrew Bible; missing only ~8–12 leaves (e.g., first ~10 chapters of Genesis and a few others); hundreds more partially affected but overall ~95%+ intact
Aleppo : Significantly incomplete: Originally 487 folios; now only ~294 survive (60% extant); major losses include most of the Torah (Pentateuch, except some later sections), parts of Prophets and Writings; lost during 1947 Aleppo riots and aftermath
Textual Accuracy & Authority
Sassoon : High quality Masoretic notes; includes a key proofreading note (on folio 112) referencing Aaron ben Asher's work in the "Crown" (explicitly the Aleppo Codex), suggesting the scribe consulted it for corrections. Some scholars see it as derived from or proofread against Aleppo. However, experts describe its scribal quality as "surprisingly sloppy" compared to Aleppo, with less precise ga'ya (cantillation) markings in open syllables.
Aleppo : Widely regarded as the most accurate surviving Masoretic manuscript; corrected and annotated directly by Aaron ben Moses ben Asher (the greatest Masorete); endorsed by Maimonides (Rambam) as authoritative; serves as the model for many modern editions (e.g., Jerusalem Crown Bible for surviving portions)
Physical Description
Sassoon : Large parchment codex (~792 pages, ~12 kg); single scribe; modern leather binding; well-preserved overall despite age
Aleppo : Parchment codex; written by Solomon ben Buya'a, Masora by Aaron ben Asher; originally in codex form; surviving portions show high scribal precision
Historical Provenance
Sassoon : Obscure early history; resurfaced in 20th century; owned by David Solomon Sassoon (1929); sold 1978 ($320K), then 1989 ($3.19M) to Jacqui Safra; auctioned 2023 for $38.1M (record for any manuscript)
Aleppo : Produced in Tiberias; moved to Jerusalem, then Aleppo (Syria) by ~14th century; housed in Aleppo's Central Synagogue for centuries; damaged/lost portions in 1947 anti-Jewish riots; smuggled to Israel 1958; some leaves recovered later
Current Location & Status (as of February 2026)
Sassoon : Permanently at ANU – Museum of the Jewish People, Tel Aviv, Israel (donated post-2023 auction by Alfred H. Moses); on public display
Aleppo : Surviving portions at Shrine of the Book, Israel Museum, Jerusalem; climate-controlled exhibition; no major changes reported recently
Scholarly Significance
Sassoon : Earliest and most complete surviving Hebrew Bible; fills gaps in Aleppo (especially Torah); vital for textual criticism and Masoretic studies; its reference to Aleppo confirms the latter's existence and prestige
Aleppo : "Crown" of biblical manuscripts; benchmark for accuracy; used as exemplar by scribes; despite losses, surviving text is prioritized for editions and scholarship
Modern Value/Impact
Sassoon : Record-breaking $38.1M sale (2023); symbolizes preservation and return to Jewish heritage
Aleppo : Invaluable despite incompleteness; foundational for biblical studies; no recent sales (institutional)
Summary of Strengths
It serves as a critical textual witness to the Masoretic tradition—the authoritative system of vowel points (nikkud), cantillation marks, and marginal notes that standardized the Hebrew Bible's reading and transmission. Carbon dating and paleographic analysis confirm its age, positioning it as a vital bridge between earlier fragments (like the Dead Sea Scrolls) and the standardized medieval biblical text used today.
Physical Description
- Format: A large codex (book form) bound in leather, weighing around 12 kg (about 26 lbs), with approximately 792 pages (folios).
- Script: Written in beautiful, clear Hebrew script with Tiberian Masoretic accents, vowel points, and extensive marginal notes (masorah) for textual accuracy.
- Condition: Remarkably well-preserved for its age, though showing expected wear from centuries of handling.
The manuscript's early history is obscure, with no records for centuries after its creation—possibly hidden or preserved in synagogues. It resurfaced in the 20th century:
- In 1929, acquired in Frankfurt by David Solomon Sassoon (1880–1942), a renowned collector of Judaica from the famous Sassoon family (Iraqi-Jewish magnates). He added his bookplate and named it after himself.
- After his death, it was sold in 1978 by Sotheby's (Zurich) to the British Rail Pension Fund for around $320,000.
- In 1989, purchased by Swiss banker and collector Jacqui Safra for $3.19 million (equivalent to about $7–8 million today).
On May 17, 2023, Sotheby's New York offered it in a dedicated single-lot sale with an estimate of $30–50 million—the highest ever for a manuscript or historical document at auction. It sold for $38.1 million (including buyer's premium), setting the world record for the most valuable manuscript ever sold at auction (surpassing Leonardo da Vinci's Codex Leicester at $30.8 million in 1994). The buyer was Alfred H. Moses (former U.S. Ambassador and philanthropist), on behalf of the American Friends of ANU – Museum of the Jewish People. He donated it to the ANU Museum of the Jewish People in Tel Aviv, Israel, where it is now permanently displayed and accessible to the public as part of the museum's core collection.
As of February 2026, the Codex Sassoon remains at the ANU Museum, symbolizing a return to Israel after centuries and ensuring its preservation for global Jewish heritage and scholarly study. It stands as one of the most important artifacts in Jewish history, embodying the faithful transmission of the biblical text across over a millennium.
Codex Sassoon (also Codex Sassoon 1053 or S1) and the Aleppo Codex (known as Keter Aram Tzova or "Crown of Aleppo") are two of the most important surviving medieval manuscripts of the Hebrew Bible (Tanakh). Both are Masoretic codices from the late 9th to early 10th century CE, produced in the region of the Land of Israel/Syria (likely Tiberias or nearby), featuring Tiberian vowel points (nikkud), cantillation marks, and extensive Masoretic notes for textual precision. They represent the pinnacle of the Masoretic tradition, which standardized the Hebrew Bible's transmission.
However, they differ significantly in completeness, textual authority, condition, provenance, and modern status. Scholars generally regard the Aleppo Codex as the more authoritative and precise exemplar, while the Codex Sassoon stands out for its near-completeness.
Key Comparison Table
Approximate Date
Sassoon : Late 9th–early 10th century CE (ca. 880–960 CE; carbon dating and paleography support this)
Aleppo : Circa 920–930 CE (written in Tiberias; corrected by Aaron ben Asher)
Completeness
Sassoon : Nearly complete: Contains all 24 books of the Hebrew Bible; missing only ~8–12 leaves (e.g., first ~10 chapters of Genesis and a few others); hundreds more partially affected but overall ~95%+ intact
Aleppo : Significantly incomplete: Originally 487 folios; now only ~294 survive (60% extant); major losses include most of the Torah (Pentateuch, except some later sections), parts of Prophets and Writings; lost during 1947 Aleppo riots and aftermath
Textual Accuracy & Authority
Sassoon : High quality Masoretic notes; includes a key proofreading note (on folio 112) referencing Aaron ben Asher's work in the "Crown" (explicitly the Aleppo Codex), suggesting the scribe consulted it for corrections. Some scholars see it as derived from or proofread against Aleppo. However, experts describe its scribal quality as "surprisingly sloppy" compared to Aleppo, with less precise ga'ya (cantillation) markings in open syllables.
Aleppo : Widely regarded as the most accurate surviving Masoretic manuscript; corrected and annotated directly by Aaron ben Moses ben Asher (the greatest Masorete); endorsed by Maimonides (Rambam) as authoritative; serves as the model for many modern editions (e.g., Jerusalem Crown Bible for surviving portions)
Physical Description
Sassoon : Large parchment codex (~792 pages, ~12 kg); single scribe; modern leather binding; well-preserved overall despite age
Aleppo : Parchment codex; written by Solomon ben Buya'a, Masora by Aaron ben Asher; originally in codex form; surviving portions show high scribal precision
Historical Provenance
Sassoon : Obscure early history; resurfaced in 20th century; owned by David Solomon Sassoon (1929); sold 1978 ($320K), then 1989 ($3.19M) to Jacqui Safra; auctioned 2023 for $38.1M (record for any manuscript)
Aleppo : Produced in Tiberias; moved to Jerusalem, then Aleppo (Syria) by ~14th century; housed in Aleppo's Central Synagogue for centuries; damaged/lost portions in 1947 anti-Jewish riots; smuggled to Israel 1958; some leaves recovered later
Current Location & Status (as of February 2026)
Sassoon : Permanently at ANU – Museum of the Jewish People, Tel Aviv, Israel (donated post-2023 auction by Alfred H. Moses); on public display
Aleppo : Surviving portions at Shrine of the Book, Israel Museum, Jerusalem; climate-controlled exhibition; no major changes reported recently
Scholarly Significance
Sassoon : Earliest and most complete surviving Hebrew Bible; fills gaps in Aleppo (especially Torah); vital for textual criticism and Masoretic studies; its reference to Aleppo confirms the latter's existence and prestige
Aleppo : "Crown" of biblical manuscripts; benchmark for accuracy; used as exemplar by scribes; despite losses, surviving text is prioritized for editions and scholarship
Modern Value/Impact
Sassoon : Record-breaking $38.1M sale (2023); symbolizes preservation and return to Jewish heritage
Aleppo : Invaluable despite incompleteness; foundational for biblical studies; no recent sales (institutional)
Summary of Strengths
- Aleppo Codex wins on precision and pedigree: It's the gold standard for Masoretic accuracy, directly tied to Aaron ben Asher, and has been the authoritative reference for nearly 1,000 years. Many scholars would choose it over Sassoon for textual fidelity where both overlap.
- Codex Sassoon wins on completeness and accessibility: Its near-full preservation makes it indispensable for studying missing sections of Aleppo (e.g., much of the Torah). The explicit consultation note linking the two adds historical depth.
In a historic standalone auction today, the Codex Sassoon—the earliest and most complete Hebrew Bible—sold for $38.1 million during Marquee Week at #SothebysNewYork. #AuctionUpdate pic.twitter.com/Dj3wxLpekf
— Sotheby's (@Sothebys) May 17, 2023
Coming to auction this May is one of the most impressive artifacts of human history and culture: The Codex Sassoon Hebrew Bible.
— Sotheby's (@Sothebys) February 15, 2023
Over 1,000 years old, the bible puts an end to the great “silent period,” during which virtually no Hebrew literature survives. pic.twitter.com/DoKWEi2cXo
masterpiece
Five Dynasties - Evening Colors over Autumn Mountains by Guan Tong
Taipei Palace Museum
The image is shared by Wikimedia.
Later Zhou Chai Kiln
The Later Zhou dynasty (Hou Zhou, 後周; 951–960) was a short-lived Chinese imperial dynasty and the final of the Five Dynasties that ruled much of northern China during the chaotic Five Dynasties and Ten Kingdoms period (907–960). This era bridged the collapse of the Tang dynasty and the rise of the Song dynasty.
Chai Kiln wares are legendary as one of China's "Five Great Kilns" (柴汝官哥定), attributed to the Later Zhou dynasty under Emperor Chai Rong. They are extremely rare because no confirmed kiln site has been definitively excavated with matching wares, making authenticated examples exceptionally scarce and valuable. Traditional descriptions praise them as "blue as the sky, bright as a mirror, thin as paper, and resonant as a chime" (青如天、明如镜、薄如纸、声如磬).
Key Features (Based on Typical Chai Kiln and Comparable Celadon Examples)
Chai Kiln wares are legendary as one of China's "Five Great Kilns" (柴汝官哥定), attributed to the Later Zhou dynasty under Emperor Chai Rong. They are extremely rare because no confirmed kiln site has been definitively excavated with matching wares, making authenticated examples exceptionally scarce and valuable. Traditional descriptions praise them as "blue as the sky, bright as a mirror, thin as paper, and resonant as a chime" (青如天、明如镜、薄如纸、声如磬).
Key Features (Based on Typical Chai Kiln and Comparable Celadon Examples)
- Glaze and Color: A distinctive turquoise/celadon (Qing glaze) with a luminous, glassy, translucent quality. The glaze often shows subtle variations in tone (sky-blue to greenish), high gloss, and sometimes fine crackle or "ice crack" patterns. It is thin, even, and jewel-like, with excellent light transmission.
- Body/Fabric: Fine, dense, high-fired porcelain or stoneware body (often pale or whiteish). Extremely thin walls in premium examples, contributing to the resonant "ring" when tapped. The base is typically unglazed or partially glazed, revealing the refined clay.
- Form and Decoration:
- Pillow/Tombstone Base Shape: Ceramic pillows (zhen) from this era were functional (headrests) but also burial/tomb items. "Twin ducks" suggests a sculpted form with two ducks (symbolizing marital harmony or auspiciousness) as the main motif or supports. Alternatives include rectangular/blocky tombstone bases or boat/child figures. Surfaces may feature subtle incised, molded, or applied decorations (e.g., floral, avian, or abstract patterns) under the glaze.
- Size: Often compact (e.g., 13–20+ cm range for pillows), portable yet substantial for auction display.
- Craftsmanship: Hand-modeled or molded with precise detailing; high-temperature firing produces the signature glaze effects. No heavy painted enamels—beauty comes from form, glaze purity, and minimalism.
- Condition and Rarity: Auctioned pieces are typically in excellent preservation (intact glaze, minimal wear), with strong provenance. Only a handful of authenticated Chai Kiln pieces exist in private or museum collections, driving record prices.
twin duck pillow
2026 SOLD for HK$ 660M before fees by CITIC
660,000,000 HKD. □✨
— chaiyao.io (@cbid_io) May 10, 2026
The Chai Yao masterpiece makes history.
At https://t.co/j1pRgMNiP9, we don’t just admire the heritage—we build the gateway for its digital evolution. From the auction floor to the blockchain, the momentum for Art RWA is unstoppable. □
Witness the fusion… pic.twitter.com/mCf5T46PJk
The HKD 660 million lot (sold above the 400–600 million HKD estimate) refers to a rare Five Dynasties period (907–960 AD) Chai Kiln (柴窑, also called Zhu Yao) celadon-glazed ceramic artifact, often described in promotional contexts as a high-value "twin ducks pillow" or similar shaped piece, but auction references more precisely identify it as a Qing Glaze Tombstone Base.
The image shows the turquoise-glazed ceramic artifact displayed in a glass case with auction labeling, highlighting its status as a high-value Chinese cultural heritage piece.
It exceeded its high estimate in a competitive spring sale, highlighting surging demand for imperial/rare early ceramics amid RWA/tokenization interest (e.g., via platforms like chayao.io). The piece was displayed in a glass case with auction tags, emphasizing its museum-quality status.
These artifacts represent peak technical achievement in early Chinese ceramics: purity of glaze, innovation in kiln technology, and cultural symbolism (ducks for fidelity/prosperity; tomb items for afterlife). Their value stems from extreme scarcity, historical lore, and collector/investor appeal.
Note that "twin ducks pillow" may be a descriptive shorthand; core references point to the Qing-glazed tomb-related form.
It was a public auction.
HKD 660M Lot: Exact Catalog Details
Lot 61 — "Five Dynasties Chai Kiln Qing Glaze / Celadon Tombstone Base" (also referred to as Celadon Epitaph Base or Tombstone Base Piece) from the CITIC International Auction in Hong Kong, "Spring Art Treasures Auction (Part Two)", which opened around May 10, 2026.
These pieces exemplify the pinnacle of early Chinese ceramic innovation under imperial patronage, with values driven by extreme scarcity, historical lore, and growing investor interest (including RWA tokenization).
The image shows the turquoise-glazed ceramic artifact displayed in a glass case with auction labeling, highlighting its status as a high-value Chinese cultural heritage piece.
It exceeded its high estimate in a competitive spring sale, highlighting surging demand for imperial/rare early ceramics amid RWA/tokenization interest (e.g., via platforms like chayao.io). The piece was displayed in a glass case with auction tags, emphasizing its museum-quality status.
These artifacts represent peak technical achievement in early Chinese ceramics: purity of glaze, innovation in kiln technology, and cultural symbolism (ducks for fidelity/prosperity; tomb items for afterlife). Their value stems from extreme scarcity, historical lore, and collector/investor appeal.
Note that "twin ducks pillow" may be a descriptive shorthand; core references point to the Qing-glazed tomb-related form.
It was a public auction.
- Auction House: Hong Kong CITIC International Auction (also referred to as CITIC International Auction in Hong Kong).
- Auction: "Spring Art Treasures Auction (Part Two)" — the core lot was Lot 61, described as the "Five Dynasties Chai Kiln Qing Glaze / Celadon Tombstone Base" (or related celadon ceramic artifact; promotional materials sometimes use variant descriptions like "twin ducks pillow," "dragon boat fortune child pillow," or similar forms).
- Date: The auction occurred very recently (kicked off around May 10, 2026, based on contemporaneous reports).
- Without premium: The HKD 660 million is typically the hammer price (the final bid amount before buyer's premium).
- With premium: Auction houses like this add a standard buyer's premium (often 15–25% or tiered on top of the hammer, plus any taxes/fees), so the total amount paid by the buyer would be higher (exact premium percentage not specified in public reports for this lot, but the headline "sold for 660 million" usually refers to the hammer).
HKD 660M Lot: Exact Catalog Details
Lot 61 — "Five Dynasties Chai Kiln Qing Glaze / Celadon Tombstone Base" (also referred to as Celadon Epitaph Base or Tombstone Base Piece) from the CITIC International Auction in Hong Kong, "Spring Art Treasures Auction (Part Two)", which opened around May 10, 2026.
- Pre-sale Estimate: HKD 400–600 million.
- Sale Price: Hammer price HKD 660 million (record for Chai Kiln; described as exceeding prior anchors). This is the headline transaction figure; buyer's premium would add extra (standard rates apply, making total buyer cost higher).
These pieces exemplify the pinnacle of early Chinese ceramic innovation under imperial patronage, with values driven by extreme scarcity, historical lore, and growing investor interest (including RWA tokenization).
child pillow
2025 SOLD for HK$ 410M before fees by CITIC
This refers to a Five Dynasties Chai Kiln (Later Zhou) Blue-Glazed Dragon Boat Fortune Child Pillow, sold for HKD 410 million at the Hong Kong CITIC International Autumn Auction on October 12, 2025.
Key Features of This Lot
Key Features of This Lot
- Form: Ceramic pillow (zhen) in a sculpted, complex shape combining a dragon boat with fortune child (auspicious child figure) motifs. Size approximately 13 × 17 cm. These pillows served practical (headrest) and symbolic/tomb purposes; this example features intricate openwork or carved elements, rare for the period.
- Glaze and Color: Signature Chai Kiln turquoise/celadon ("Qing glaze" or blue-glazed) — luminous, glassy, translucent, sky-blue to greenish tones with high gloss and jewel-like quality. Described as "blue as the sky, bright as a mirror."
- Body and Craftsmanship: Fine, thin-walled high-fired stoneware/porcelain body. Exquisite carved dragon boat and fortune child patterns under the glaze. Base mark: "Great Zhou" (大周), directly linking it to the Later Zhou imperial court under Emperor Chai Rong.
- Rarity: Extremely scarce; Chai wares have near-extinct survival rates with few authenticated examples. This was highlighted as the first complete vessel with clear royal marks to appear publicly, setting a benchmark for the category.
