A
Anhua
A subtle, decorative technique whereby porcelain ware is either incised with patterns into the surface or top-textured with white slip, then over-glazed; translates to “hidden” or “secret.”
Apocryphal marks
Marks on Chinese and Japanese porcelain indicating the reign of a certain Emperor but made at a later date and marked out of reverence and respect for the quality of ceramics from these periods. Common apocryphal marks on Chinese porcelain are those of Qianlong or Kangxi; Japanese artists often used the apocryphal Chenghua mark on their Arita pieces.
Arhat
A Buddhist term referring to beings who have achieved higher stages on the path to enlightenment but have not yet become fully enlightened Buddhas. There are different groupings of Arhats, but most common in China and Japan are sixteen or eighteen Arhatslso. Also known as Luohan in China and Rakan in Japan.
Arita
A renowned style of Japanese porcelain originating in the town of Arita in the early 17th century, celebrated for its exceptional quality, durability, and elegant designs. It was the first fine china produced in Japan and heavily influenced European porcelain production; also known as Imari ware.
Armorial porcelain
Custom-made porcelain decorated with the coat of arms of the owner. This type of porcelain was very popular during the 18th and 19th centuries when Europeans and Americans sent their designs to China to be copied onto porcelain sets. It often took several years for these orders to be completed.
Ashtamangala
From the Sanskrit ashta (eight) and mangala (auspicious), a sacred set of eight symbols representing good fortune, prosperity, and spiritual awakening in Hinduism, Buddhism, and Jainism. These symbols represent the qualities of an enlightened mind and include conch shells, endless knots, lotus flowers, victory banners (dhvaja), Dharmachakra or the Wheel of the Law, a pair of golden fish, jewelled parasols, and treasure vases (bumpa).
B
Bagua
Translating literally to “eight symbols” or “eight trigrams,” is a foundational concept in Chinese philosophy, cosmology, and art, representing the fundamental principles of reality. It is composed of eight distinct diagrams (trigrams) formed by combinations of yin (broken lines) and yang (unbroken lines), representing forces such as heaven, earth, fire, water, mountain, lake, wind, and thunder.
Baotou
A type of high-quality pictorial Chinese rug made in the region of Inner Mongolia, typically constructed of wool on a cotton foundation; also known as paotou.
Bencharong
Chinese ceramics from the 18th and 19th centuries created for the Thai market, characterised by a five-colour decoration featuring unusual motifs, such as Hindu and Buddhist deities and mythological creatures.
Bidriware
South Indian metalware consisting of blackened brass inlaid with silver, originally produced in the city of Bidar.
Bingata
A traditional Okinawan stencil-dyeing technique, originating in the 14th-15th century, characterised by vibrant, bold, and multicoloured designs. Developed during the Ryukyu Kingdom, it was historically used for aristocratic clothing.
Biscuit
Fired but unglazed porcelain or pottery, often used to describe the unglazed foot rim on a ceramic vessel; also known as bisque.
Bitong
Chinese cylindrical brush pots for calligraphy brushes that are often made from carved bamboo, lacquered wood, stone, or porcelain.
Bizen
A renowned type of Japanese stoneware originating from the Imbe area of Okayama Prefecture (formerly Bizen Province); one of Japan’s Six Ancient Kilns with a history spanning over 1,000 years.
Blanc de Chine
Refers to a type of white porcelain manufactured in Dehua, Fujian province, China, historically popular in Europe from the 17th century onward. Renowned for its ivory-white, translucent, and glossy appearance, it was mainly used for creating delicate, moulded figures, such as the goddess Guanyin, as well as vases and tea sets.
Bleu de Hue
Refers to high-quality blue-and-white porcelain commissioned by the Vietnamese court from Chinese kilns in Jingdezhen during the 18th to early 20th centuries. These pieces feature distinct, often custom-designed motifs for Vietnamese royalty.
Bumpa
A sacred ritual vase or ewer used in Tibetan Buddhist ceremonies for empowerment, purification, and offerings.
C
Cadogan
An unusual type of 19th-century teapot or hot water pot filled through the opening in its base with an internal vertical tube allowing it to be turned right way up without spilling any of the liquid; also known as a “puzzle pot.”
Canton enamel
Refers to 18th–20th century painted enamelware introduced in China via French missionaries and primarily produced in Guangzhou (Canton) for both domestic use and Western export. These pieces feature colourful hand-painted designs—often flowers, birds, or figures in famille rose palettes—on copper.
Cavetto
A concave, hollow moulding featuring a regular curve that typically forms a quarter-circle or quarter-ellipse, commonly used in architecture, furniture, and decorative arts for cornices and edge profiles.
Chawan
A ceramic bowl specifically designed for preparing and drinking matcha, serving as a central utensil in the Japanese tea ceremony.
Chilong
An auspicious Chinese mythical creature often described as a “hornless dragon” or “young dragon.” Frequently featured as a decorative motif on jade, bronzes, and ceramics from the Warring States period to the Qing Dynasty, it symbolises strength and harmony.
Chirimen
Traditional Japanese crepe fabric distinguished by its unique bumpy, wrinkled surface texture known as shibo. Originally crafted from silk for high-grade kimonos, it is created by weaving untwisted warp threads with highly twisted weft threads, which shrink and curl when the fabric is processed in water.
Cinnabar lacquer
A brilliant, red pigment composed of mercuric sulfide used in Asian art—particularly Chinese lacquerware—since at least the 6th century B.C., characterised by intricate carvings on dozens to hundreds of layers of red-pigmented tree sap applied over a wood or metal base.
Cizhou
Refers to a type of sturdy, high-fired Chinese stoneware produced primarily in northern China from the late 10th century (Song Dynasty) through to the modern era.
Clair de Lune
Developed in China during the Kangxi period, a pale or sky blue monochrome glaze made by combining clear feldspathic glaze with cobalt.
Clobbered porcelain
Chinese 18th and early 19th century export porcelain later decorated with colourful enamels fired at low temperatures in studios across Europe, mainly in England and the Netherlands. Clobbered pieces often had firing flaws, and added decoration was designed to make them more saleable.
Cloisonné
A technique of enamelling metal objects with colourful vitreous enamels originally developed in the Near East and popular in both China and Japan. The designs are created by placing various enamels inside small compartments (cloisons) made out of strips of wire affixed to the surface of the object.
Cong
An ancient Chinese carved jade vessel popular during Shang and Zhou dynasties; the form was later used for rectangular porcelain vases now commonly referred to as “cong vases.”
D
Ding
A covered Chinese vessel or cauldron standing on three (round form) or four (rectangular form) feet and with two handles; traditionally made out of pottery and bronze, they were used for ritual offerings as well as storage and cooking over fire.
Doucai
Chinese for “contrasting colours,” a style of decoration popular since the Ming dynasty, with the whole design outlined in underglaze blue – as opposed to wucai where only parts of the decoration are in underglaze blue – and subsequently filled in with colourful overglaze enamels.
Dragon Robe
A heavily decorated and symbolic Chinese garment worn by emperors, imperial family members, and high-ranking officials primarily during the Qing dynasty; also known as “gunlongpao” or “longpao.”
Duan stone
A type of volcanic tuff primarily used to create Duan inkstones, which are considered the most prestigious of China’s “Four Famous Inkstones.” Mined in Zhaoqing, Guangdong Province (historically known as Duanzhou), this stone is prized for its fine grain, smooth texture, and ability to produce high-quality ink without damaging delicate brushes.
E
Emakimono
Japanese illustrated handscrolls, produced from the 8th to 16th centuries during the Heian and Kamakura periods, that combine text and painting to narrate stories in a horizontal format. These scrolls detail themes, such as romance, battles, religion, and folklore; also known as emaki.
F
Famille (Famille Rose, Famille Vert, Famille Jaune, Famille Noire)
Refers to a group of French terms used to categorise Chinese export porcelain of the Qing dynasty by the dominant enamel colour palette used in its decoration. The primary classifications are famille rose (pink), famille verte (green), famille jaune (yellow), and famille noire (black).
Fenghuang
A mythical, harmonious, and auspicious bird in East Asian folklore, similar to a phoenix, often paired with the Chinese dragon to represent Yin and Yang. It signifies virtue, grace, and imperial power.
Flambé glaze
A type of ceramic glaze known for its spectacular and unpredictable colour changes, typically producing rich hues of red, purple, and blue due to the chemical transformation of copper or iron oxides during high-temperature firing. The effect is so named because the finished product often resembles the streaks and splashes of a flame.
Flea bite
A pinpoint chip or pit in ceramics, porcelain, and glass that is often found along rims or edges. It is considered minor damage caused by wear, handling, or manufacturing flaws.
Foo dog(s)
Mythical creatures in Chinese culture representing Yin (female with cub) and Yang (male with ball). They are often situated in pairs at entrances of temples and homes, symbolising protection and power. Despite their name, they resemble lions rather than dogs.
Fukusa
A traditional Japanese textile primarily used as a formal gift cover or as a purification cloth in the tea ceremony. These square or nearly square pieces of lined fabric, typically made of fine silk, are celebrated for their intricate embroidery, dyeing, and weaving techniques.
G
Ge ware
A renowned type of Chinese pottery from the Song dynasty, often celadon-glazed and celebrated for its intentional “double crackle” glaze. It is one of the Five Great Kilns of the Song dynasty. Ge ware features thick, lustrous, grayish-blue or beige glazes with dark crackle patterns.
Gongshi
Refers to an ancient Chinese art form of collecting, appreciating, and meditating on naturally occurring or shaped rocks. Originating from the Tang dynasty (618-907), these stones symbolise miniature mountains or landscapes, fostering a connection with nature, spirit, and contemplation; commonly translated as “scholar’s rocks” or “viewing stones.”
Grisaille
Porcelain decoration painted in simple, monochromatic grey enamels, commonly seen on 18th-century Chinese export porcelain.
H
Himotoshi
The functional, typically paired holes or tunnels carved into a Japanese netsuke to allow a silk cord to pass through, attaching it to a sagemono (hanging item) and securing it behind the obi (sash).
Hongmu
Refers to a category of high-quality, dense, often fragrant, and durable heartwood used in traditional Chinese furniture and carvings, commonly known as mahogany or rosewood.
Hu
Refers to a type of vessel characterised by a pear-shaped, ovoid body that swells at the belly and flares into a narrow neck, often creating an S-shaped profile. Historically, it served as a crucial ritual wine vessel and later, a storage container for wine or grain.
Huanghuali
A rare and highly prized fragrant rosewood native to China’s Hainan Island and parts of Southeast Asia. Renowned for its durability and translucent, shimmering surface, it was the preferred material for the scholarly elite and imperial families during the Ming (1368–1644) and Qing (1644–1912) dynasties.
I
Ikat
A complex, ancient resist-dyeing technique primarily from Indonesia, India, and Central Asia, where threads are tied and dyed before weaving to create intricate, often feathered, patterns.
Ikebana
The traditional Japanese art of flower arrangement emphasising minimalism, structure, and the use of live, seasonal materials to create harmony between nature and humanity.
Imari
A renowned style of Japanese porcelain originating in the town of Arita in the early 17th century, celebrated for its exceptional quality, durability, and elegant designs. It was the first fine china produced in Japan and heavily influenced European porcelain production.
Inro
A traditional Japanese tiered and highly decorative small case used to hold medicine or personal seals, typically worn suspended from the obi (sash) of a kimono during the Edo period (1603–1868).
Ipsa
A traditional Korean metalwork technique, often called eunsilbagi or eunipsa, that involves inlaying silver or gold wire into grooves chiselled onto a metal surface—typically iron, bronze, or copper—to create intricate, decorative patterns.
J
Jha-phor
A traditional Tibetan tea bowl used for drinking mar-ja (butter tea) and eating the national dish tsampa (roasted barley flour).
Jue
An ancient Chinese vessel, specifically a type of tripod wine cup, used for libations and ceremonial drinking, prominently during the Xia, Shang, and Zhou dynasties.
Jun
A prestigious type of Chinese celadon stoneware developed during the Song dynasty (960–1279). It is celebrated as one of the “Five Great Kilns” of the era.
K
Kabuto
The traditional Japanese helmet famously worn by samurai warriors and their retainers. Originally developed in the 5th century with Chinese and Korean influences, it evolved into a sophisticated work of art that balanced battlefield protection with the symbolic representation of a warrior’s status, clan, and personality.
Kakejiku
A traditional Japanese hanging scroll used to display paintings or calligraphy. Unlike Western art that is typically framed and fixed, these scrolls are designed to be rolled up for compact storage and rotated frequently to match the season, an occasion, or the specific guests being hosted.
Kakiemon
A prestigious style of Japanese enamel-decorated porcelain developed in the mid-17th century by the Sakaida family in Arita, Japan. Characterised by its brilliant, milky-white body (“nigoshide”) and delicate, asymmetrical designs using iron red, green, blue, and yellow enamels, it was highly prized and exported to Europe, where it heavily influenced factories like Meissen.
Kamcheng
A traditional Peranakan (Straits Chinese) covered porcelain jar used primarily for storing food, water, or medicinal items.
Kammavaca
A highly sacred and ornamental 19th-century Burmese Buddhist manuscript containing Pali passages from the Vinaya Pitaka (monastic code).
Kannyu
A decorative crackle or crazing pattern in the glaze of ceramics, commonly used in Japanese and Chinese pottery. Unlike damage, this is an intentional aesthetic effect created by the differing contraction rates of the clay body and the glaze during the cooling process.
Karako
A Japanese term for Chinese children depicted on porcelain and other forms of Japanese art.
Katana
A traditional Japanese longsword used by the samurai, characterised by its curved, single-edged blade and long grip for two-handed use; it became the primary weapon of the samurai during the Muromachi period and remains a symbol of Japanese martial history and craftsmanship.
Khmer
Refers to the dominant ethnic group and language of Cambodia, as well as the civilisation of the Khmer Empire (9th–15th centuries) that produced some of Southeast Asia’s most iconic art and architecture.
Kimono
Meaning “thing to wear,” the traditional national garment of Japan characterised by a t-shaped wrapped-front design with long sleeves and a wide sash called an obi.
Kintsugi
A traditional Japanese art form that repairs broken pottery, ceramics, or glass using lacquer mixed with powdered gold, silver, or platinum. Instead of hiding damage, this method highlights cracks, embracing the philosophy of finding beauty in imperfection and enhancing the object’s history.
Kirtimukha
A fierce, fanged mythological guardian mask commonly found above doors in Hindu, Buddhist, and Jain temples, acting as a protector to consume negative energy and ego.
Kiseru
A traditional Japanese smoking pipe characterised by its long, slender stem and small bowl, designed for smoking finely shredded tobacco known as kizami.
Kiseru zutsu
A pipe holder or case for a kiseru usually made out of carved wood, ivory, antler, or lacquer. It functions as a protective sleeve or case, typically worn tucked into a person’s belt (obi) during the Edo and Meiji periods.
Kōbako
An incense storage box usually made from painted and decorated lacquered wood.
Kodo
A refined Japanese art form involving the appreciation of incense, where participants “listen” to the scents of aromatic woods, such as agarwood, often played as a game (kumikō). It is considered one of Japan’s three classical arts of refinement, alongside tea ceremonies and flower arranging.
Ko-Imari
Refers to Japanese porcelain produced in the Arita region of Saga Prefecture during the Edo period (1603–1868). Named after the port of Imari from which it was shipped, it became a highly prized export to European aristocrats in the 17th and 18th centuries.
Kokeshi
Traditional Japanese wooden dolls originating in the Tohoku region during the Edo period (1603-1868), characterised by a simple, limbless design with a cylindrical body and round head. Hand-painted in vibrant red, black, and sometimes green or yellow, these dolls traditionally represent children, symbolise good luck, and often serve as souvenirs.
Ko-Kutani
Refers to the earliest, most prestigious, and historically significant style of Kutani ware, a type of Japanese porcelain produced in the Ishikawa Prefecture (formerly Kaga Province) from the mid-17th to the early 18th century (roughly 1655–1705). It is celebrated for its bold, painterly, and dynamic aesthetic, featuring heavy, vibrant, overglaze enamels.
Koro
An incense censer or burner made in ceramic or metal, including bronze, copper, brass, and cast iron.
Ko-Sometsuke
Refers to a specific type of Chinese underglaze blue porcelain produced primarily during the Tianqi era (1621–1627) of the late Ming dynasty. It was produced for the Japanese market and intended for the traditional tea ceremony.
Kraak
A style of Chinese blue and white porcelain from the late Ming dynasty produced for export to Europe. It is believed to be named after the Portuguese ships, known as carracks, that transported it in the 16th and 17th centuries.
Kumiko
A highly skilled, traditional Japanese woodworking technique that involves assembling small, precisely cut wooden pieces into intricate geometric patterns without the use of nails, screws, or glue. This ancient art form originated during the Asuka period and is primarily used to create delicate, decorative latticework for Japanese architectural elements like sliding doors (shoji), screens, and transoms (ranma).
Kundika
A distinctive, long-necked water vessel of Indian origin used throughout Asia for Buddhist rituals, purification, and as a canteen for wandering ascetics.
Kutani
A celebrated style of Japanese porcelain from the southern region of Ishikawa Prefecture. Its name translates to “Nine Valleys,” referring to the village where the first kiln was established in 1655. It is globally renowned for its vivid, multi-colored overglaze decorations and intricate hand-painted designs.
L
Lifan pottery
A distinct type of burnished black earthenware originating from the Sichuan province of China, dating primarily to the Han Dynasty (202 BC–220 AD). These ancient, often hand-built, amphora-style vessels are characterised by their dark, polished surfaces, two large handles, and often, decorative incised geometric patterns or relief spirals.
Lokapala
Refers to celestial beings tasked with protecting the Buddhist dharma, the religious community, and the four cardinal directions. In Chinese art, they are often known as Tian Wang (Heavenly Kings) or Zhenmuyong (tomb guardians), frequently depicted as armoured, wrathful figures in sculpture and Tang Dynasty ceramics.
Longquan celadon
A prestigious, historic Chinese green-glazed porcelain produced in Zhejiang province from the Three Kingdoms period (220–420) to the Qing Dynasty, reaching its peak during the Southern Song. Renowned for its jade-like, thick, and viscous green glaze, it is created using traditional, complex firing techniques in “dragon kilns.”
Luohan
The Chinese term for an Arhat, a Sanskrit term representing a “worthy one” or a Buddhist sage who has attained enlightenment and is a disciple of the Shakyamuni Buddha. In Chinese art, they are revered as protectors of the Buddha’s law and are often depicted in groups of 16, 18, or 500.
M
Mae-kanagu
Refers to the decorative metal clasps or front fittings found on traditional Japanese tobacco pouches (tabako-ire). These intricate ornaments were a staple of men’s fashion during the Edo period and into the 19th century, serving both a functional and highly aesthetic purpose.
Maki-e
A 1,200-year-old traditional Japanese lacquer art involving painting designs with urushi (natural lacquer) and sprinkling gold or silver powder onto it before it hardens. Developed during the Heian period, this luxurious technique is applied to high-end items, including fountain pens, watches, and tableware.
Mandala
A geometric and often intricate symmetrical pattern representing the universe used in Hinduism, Buddhism, and Jainism as a spiritual tool for meditation, ritual, and focusing attention.
Manga
Japanese comics/graphic novels with roots in early Japanese art.
Mark and period
Refers to a piece of pottery or porcelain that bears the reign mark (nianhao) of a specific emperor and was produced during that same reign.
Meiping
Meaning “plum vase,” a classic silhouette in Chinese ceramics characterised by a narrow base, a wide, well-rounded body, a short neck, and a small opening.
Menuki
A pair of small, decorative metal ornaments woven under the handle wrapping (tsuka-ito) of a Japanese sword, such as a Katana. While they are highly artistic, they serve both functional and aesthetic purposes.
Mille fleur
In Chinese and Japanese ceramics, a densely packed, intricate, and colourful decorative pattern consisting of numerous small, diverse flowers and leaves that completely covers the surface of an object. Also known as millefiori.
Minogame
A legendary turtle from Japanese folklore, distinguished by its incredibly long lifespan and a unique “tail” made of seaweed and algae.
Mokume-gane
A traditional Japanese metalworking technique developed in the 17th century during the Edo period by master swordsmith, Denbei Shoami. This technique involves layering, fusing, and manipulating different types of non-ferrous metals to produce intricate, organic patterns that resemble wood grain or natural, flowing landscapes.
Moriage
A technique used in Japanese ceramics, particularly porcelain and earthenware, to create a raised, three-dimensional decorative effect.
Mudra
A Sanskrit term meaning “seal” or “sign,” refers to a symbolic hand gesture or body pose used in Buddhist, Hindu, and Jain iconography to represent specific states of mind, actions, or, in the case of Buddha, key moments in his life.
N
Nabeshima
Refers to the historic samurai clan that ruled the Saga Domain in Japan, or the highly refined, exclusive porcelain (Nabeshima-yaki) produced under their patronage during the Edo period (1603–1868).
Netsuke
Small, intricately carved miniature sculptures originating in 17th-century Japan. They served a functional purpose as toggles used to secure personal items, such as medicine boxes (inrō), tobacco pouches, and purses, to the sash (obi) of a traditional kimono.
Nimbus
A flickering “cloud” of flames surrounding the head of a prophet to suggest sanctity.
Niō
Guardian statues, or “Benevolent Kings,” that can be found in Buddhist temples throughout Japan.
O
Obi
Refers to a traditional, wide sash or belt worn with a Japanese kimono. It is a critical component of Japanese attire that has evolved from a simple cord into a highly decorative, artistic accessory representing status, season, and occasion.
Ogi
Refers to a folding, collapsible hand-held fan, typically made from split bamboo or another lightweight wood, and featuring a painted paper screen. This fan became a significant art form, status symbol, and accessory in Japanese culture from the Heian period (710–1185 AD) onward.
Ojime
A small, typically spherical or barrel-shaped bead used in traditional Japanese art and costume, specifically from the Edo period (1603–1868) to the early Meiji period; it can be fashioned with carved wood, lacquer, ivory, stone or metal.
Okimono
A Japanese term for small, decorative sculptures or figurines intended for display, most notably in a tokonoma (alcove) of a traditional Japanese home or on a butsudan (Buddhist altar).
P
Paste
A term used for porcelain; hard-paste (true porcelain) is fired at around 1400 °C while soft-paste (artificial porcelain) is fired at lower temperatures at around 1200 °C. It is less vitrified and therefore weaker and more likely to crack when exposed to hot liquids.
Peranakans
A vibrant and ornate style of porcelain custom-made in China for the wealthy Peranakan Chinese communities in Southeast Asia during the 19th and early 20th centuries; it is typically heavily enamelled in a characteristic colourful pastel palette, often featuring fenghuang birds and peonies – both important symbols in the Peranakan culture.
Pith paper
A delicate, translucent material made from the inner spongy core, or pith, of the rice-paper plant (Tetrapanax papyrifer), a shrub native to Southern China and Taiwan.
Q
Qilin
A legendary, benevolent chimerical creature in Chinese mythology often described as having a deer-like body, dragon head, and scales, symbolising prosperity, good fortune, and the arrival of a sage or ruler.
Qingbai
A renowned type of Chinese porcelain characterised by its translucent white body and a delicate, icy-blue or pale greenish-blue glaze; also known as Yingqing.
R
Raden
A traditional Japanese decorative technique—dating back over 1,200 years to the Nara period—that involves inlaying or affixing thin, shimmering, iridescent slices of seashell or mother-of-pearl (often abalone or turbo marmoratus) into the surfaces of lacquerware, wood, or metal.
Ratha
A Sanskrit term for a spoked-wheel chariot, carriage, or cart, deeply rooted in Indian art, mythology, and architecture. Primarily, it refers to massive, ornate, wooden chariots used in Hindu festivals (Ratha Yatra) to carry deities, but it also defines a specific type of monolithic temple architecture and vertical structural projections on temple exteriors.
Rebus
A visual pun where images are used to represent words with similar pronunciations to convey hidden meanings—typically auspicious wishes, social messages, or personal names.
Rose Mandarin
A style of Chinese export porcelain characterised by detailed scenes of Chinese figures in domestic or courtly settings.
Rose Medallion
A highly recognisable style of Chinese export porcelain that first appeared around 1820. Characterised by its vibrant famille rose palette, it typically features a central medallion (often a peony or bird) surrounded by alternating panels of courtly figures, birds, butterflies, and flowers.
Rouge de Fer
A type of rust-red, overglaze enamel decoration used on Asian ceramics, particularly Chinese and Japanese export porcelain. It is characterised by its iron oxide-based pigment, which produces a matte, iron-red or reddish-orange colour.
Ruyi
A traditional Chinese S-shaped decorative sceptre, historically symbolising power, good fortune, and the fulfilment of wishes. Originating over 3,000 years ago, it evolved into a decorative, artistic object made of jade, precious metals, or wood.
S
Sakazuki
A traditional, shallow, saucer-like cup used for drinking Japanese sake, often associated with formal, ceremonial, or celebratory occasions.
Sakura
Meaning “cherry blossoms” in Japanese, a profound symbol in Japanese art, literature, and culture, representing the fleeting beauty, transience of life, and renewal. Blooming for only a short period (about 10 days), they embody both life and mortality.
Sancai
Chinese for “three colours”, a style of glaze/slip decoration in green, brown or amber, white, and their combinations; it was developed and popularised during the Tang dynasty.
Sang-de-boeuf
A rich, glossy, deep-red glaze with subtle streaks of purple or green, primarily used on Chinese porcelain. Developed during the Kangxi period (1662–1722) to replicate Ming “sacrificial red,” this technique involves firing copper oxide in a reducing atmosphere.
Satsuma
A highly decorative type of Japanese earthenware pottery originating in the late 16th century in Satsuma Province in southern Kyushu. It is best known for its ivory-colored or beige crackled glaze (kannyu), and its intricate, hand-painted polychrome enamel and gold gilt designs.
Sawankhalok ceramics
Esteemed 14th–16th century Thai stoneware produced in the Si Satchanalai region. Renowned for their green celadon glazes, iron-black underglaze decorations, and durable, iron-rich, dark clay bodies, these wares were significant export items to Southeast Asia during the Ming dynasty’s trade restrictions.
Sgraffito
A ceramic decoration technique where a top layer of coloured slip or glaze is carved away on leather-hard clay to reveal a contrasting colour underneath. In Asian art, it is famously used to create intricate designs, such as peony scrolls, on Chinese pottery.
Shakudo
A traditional Japanese metal alloy, consisting primarily of copper and gold, famous for the deep blue-black or “raven black” patina it develops after being treated with a specific chemical solution.
Shibuichi
A traditional Japanese metal alloy primarily used in decorative arts. The name literally translates to “one-quarter,” referring to its standard composition of one part silver to three parts copper.
Shikki
Japanese for “lacquerware,” a traditional craft involving the coating of objects—typically made of wood, paper, or basketry—with the refined sap of the lacquer tree.
Shimazu crest
A Japanese family crest (kamon) featuring a cross inside a circle, representing the Shimazu clan who ruled the Satsuma domain for nearly 700 years. In the context of Japanese ceramics, it is synonymous with Satsuma ware.
Shin-hanga
Meaning “new prints” in Japanese, an early 20th-century Japanese art movement of ukiyo-e woodblock prints inspired by Western art and intended for export rather than the domestic market.
Shishi
A mythological lion-like creature in East Asian art that acts as a guardian against evil spirits and harmful influences. Originating from Chinese Buddhism, these figures spread across Asia, becoming a prominent artistic motif in China, Korea, and Japan.
Shiwan
Refers to a renowned style of traditional Chinese pottery and stoneware produced in the Shiwan subdistrict of Foshan, near Guangzhou in Guangdong Province, Southern China. Often referred to as “the ceramic art of the people” or “folk art,” Shiwan ware is distinguished from refined imperial porcelain by its rustic charm, vivid realism, and thick, varied glazes.
Shoushan
Refers to a highly prized, soft, and colourful agalmatolite stone mined in Shoushan village, Fuzhou, China, used for over 1,500 years in exquisite carvings and as a premier material for imperial seals. Known for a smooth, waxy texture and varied colours, it is considered one of the “four great seal stones” of China.
Shunga
A genre of Japanese erotic art, primarily woodblock prints and paintings, that flourished between the 17th and 19th centuries during the Edo period.
Snuff bottle
A small, hand-held vessel made from a variety of materials, including glass, metal, porcelain, ivory, and stone; primarily used to hold finely-ground tobacco, spices, and herbs.
Sōsaku-hanga
A 20th-century Japanese art movement that revolutionised printmaking by emphasising the artist as the sole creator. Emerging in the early 1900s, this movement shifted away from the traditional collaborative system.
Suiteki
A small functional vessel used in East Asian calligraphy and ink painting to hold water and precisely deposit a few drops onto an inkstone to mix with an inkstick.
Sumi-e
A Japanese term for ink painting, originating from Chinese Zen Buddhist, ink-wash, and brush-painting traditions. It focuses on capturing the spirit or essence of a subject—often nature—through simple, spontaneous, and non-erasable black-and-white brushstrokes, emphasising minimalism, meditation, and artistic freedom.
Sutra
A sacred text or scripture, typically representing a discourse or sermon attributed to the historical Buddha or, in Mahayana traditions, later enlightened beings.
T
Tabako bon
A traditional Japanese portable tobacco smoking set, often regarded in Asian art and antique circles as a highly decorative, personal, or functional piece of furniture.
Tabako-ire
A Japanese tobacco pouch, commonly used during the Edo (1603–1868) and Meiji (1868–1912) periods to store finely shredded tobacco (kizami-tabako).
Tamahagane
Maning “precious steel” or “jewel steel,” the traditional, high-carbon steel produced in a furnace and used for crafting authentic Japanese swords and tools.
Tansu
Refers to traditional, mobile storage cabinetry from Japan, featuring distinct, often elaborate iron hardware and specialised designs for various household goods.
Taotie
A prominent, stylised, and bilaterally symmetrical zoomorphic mask motif found on Chinese bronze vessels and jade items from the Shang and Zhou dynasties. Characterised by large, bulging eyes, fangs, and horns, this “gluttonous” motif symbolised protection, spiritual authority, and warnings against greed.
Tetsubin
A traditional Japanese cast-iron kettle with a spout and handle, used primarily for boiling water for tea. Renowned for both functionality and artistic, often ornate relief designs, they enhance the tea-drinking experience by improving the water’s taste and imparting minerals.
Thabeik
Refers to a monk’s alms or begging bowl. While traditionally used by Buddhist monks in Myanmar (Burma) to collect food donations, the term is most widely recognised in the art market for decorative Burmese silver bowls that mimic this shape.
Thangka
A traditional Tibetan Buddhist painting on cotton or silk appliqué, usually depicting deities, mandalas, or scenes from Buddhist teachings.
Tokonoma
A raised, recessed alcove in a traditional Japanese room designed as a dedicated space to display art objects, such as hanging scrolls (kakejiku), flower arrangements (ikebana), or pottery. It acts as the aesthetic, focal point of the home and is not to be entered or walked upon.
Trigrams
A foundational concept in Chinese philosophy, cosmology, and art, representing the fundamental principles of reality. It is composed of eight distinct diagrams formed by combinations of yin (broken lines) and yang (unbroken lines), representing forces such as heaven, earth, fire, water, mountain, lake, wind, and thunder; also known as bagua.
Tsakli
Tibetan Buddhist miniature paintings or woodblock prints, typically produced in sets, used as initiation cards in rituals and for monastic training.
Tsuba
A Japanese term for the hand guard, typically a metal disc, located between the hilt and the blade of a Japanese sword, such as a katana or wakizashi.
Tsuka-ito
The technical Japanese term for the cord or ribbon-like wrapping (ito) used to wrap the handle (tsuka) of a Japanese sword, such as a katana or wakizashi.
U
Uchiwa
Refers to a traditional, non-folding, rigid hand fan with a paddle-like shape, widely used in Japan and deeply rooted in Asian culture for both practical cooling and artistic expression.
Ukiyo-e
Meaning “pictures of the floating world,” a genre of Japanese art flourishing from the 17th to 19th centuries, primarily featuring vibrant woodblock prints and paintings. It captured popular culture, focusing on subjects such as courtesans, kabuki actors, landscapes, and daily life, reflecting a hedonistic, transient lifestyle.
Urushi
Refers to a natural lacquer derived from the sap of the lacquer tree (Toxicodendron vernicifluum), which is native to East and Southeast Asia, including Japan, China, Korea, and Vietnam. It is both the material (raw sap) and the final art form (lacquerware).
Usubata
A traditional Japanese vase, often bronze or brass with a broad, flat rim and sometimes with twin handles and a tripod base, used for ikebana (flower arranging).
V
Vahana
Refers to the mount or vehicle of a Hindu deity, typically an animal or mythical creature that serves as their carrier and symbol.
Vajra
Sanskrit for “diamond” or “thunderbolt,” a key ritual tool and symbol in Asian art, particularly in Tibetan and Esoteric Buddhism. It represents the indestructibility of a diamond and the irresistible force of a lightning bolt, symbolising skillful, transformative spiritual power.
W
Washitsu
A traditional Japanese-style room characterised by tatami mat flooring, sliding paper screens (shoji), and a display alcove (tokonoma).
Wucai
Meaning “five colours,” a renowned Chinese porcelain decoration style originating in the Ming dynasty, featuring vibrant, multi-colored designs. It combines underglaze blue outlines with overglaze enamels—typically porcelain white, red, green, yellow.
Y
Yingqing
A renowned type of Chinese porcelain characterised by its translucent white body and a delicate, icy-blue or pale greenish-blue glaze; also known as Qingbai.
Yixing pottery
A world-renowned type of unglazed stoneware from Yixing, Jiangsu Province, China. Highly prized by tea connoisseurs, these pots are uniquely capable of absorbing the essential oils of tea, which “seasons” the vessel over time to enhance the flavour of future brews.
Yù
The Chinese term for jade, a highly revered, extremely tough, and durable mineral aggregate used for over 5,000 years to create jewellery, artistic carvings, and ceremonial objects.
Yuhuchun
Refers to a classic pear-shaped vase in Chinese ceramics. The name literally translates to “Jade Bottle Spring,” likely inspired by a brand of wine or the visual purity of spring water.
Yukata
A traditional Japanese, lightweight, unlined summer garment, often described as a casual, cotton version of a kimono.
Yuzen-birodo
A refined Japanese artistic technique combining Yuzen stencil dyeing with cut velvet (birodo), creating three-dimensional, painterly textiles, primarily produced for export during the Meiji era (1868–1912).
Z
Zitan
A rare and highly prized purple-black or reddish-purple hardwood commonly known as red sandalwood. It has been esteemed for centuries in China for its extreme density, fine grain, and durability, particularly for imperial furniture and art objects.