YAO ANTIQUE AUTHENTIC TRIBAL USED CELESTIAL CROWN HAND HAMMERED KIM MUN LANTINSHA YUNNAN METAL BACKED BY HAND WOVEN HUMAN HAIR; CIRCA 1880

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  YAO ANTIQUE AUTHENTIC TRIBAL USED CELESTIAL CROWN HAND HAMMERED KIM MUN LANTINSHA YUNNAN METAL BACKED BY HAND WOVEN HUMAN HAIR; CIRCA 1880 MEASURING 17 INCHES IN CIRCUMFERENCE 6 INCHES IN DIAMETER X 1 INCH DEEP. HAND HAMMER WHITE METAL WITH HUMAN HAIR AND FIBER BACKING. AFFLUENT YAO FEMALES EXHIBIT THIS RARE AND UNUSAL PIECE OF JEWELRY DURING TRIBAL MARRIAGE RITUALS AND OTHER EXTREMELY IMPORTANT TRIBAL CEREMONIES ON THE TOP, BACK PORTION OF THEIR HEADS’ CROWN AS IT RESEMBLES A CELESTIAL BODY; IT’S MONIKER WAS ESTABLISHED; “CELESTIAL CROWN.” FOR SIMILAR EXAMPLES PLEASE REFERENCETHE BOOK ENTITLED: “THE YAO: THE MIEN AND MUN YAO IN CHINA, VIETNAM, LAOS, AND THAILAND” BY JESS G. POURRET PAGE # 164; THAT BOOK’S COVER AND MENTIONED PAGE NUMBER IS POSTED WITH THE OTHER PICTURES OF THIS PIECE IN THE ABOVE! IT HAS A MUSEUM COLLECTION CATALOGUE NUMBER
ON THE BACK THAT READS “1265A.



The origins of the Yao can be traced back 2000 years starting in
Hunan. The Yao and Hmong were among the rebels during the
Miao Rebellions against the Ming dynasty. As the Han Chinese
expanded into South China, the Yao retreated into the highlands
between Hunan andGuizhou to the north and Guangdong
and Guangxi to the south, and stretching into eastern Yunnan.
Around 1890, the Guangdong government started taking
action against Yao in northwestern Guangdong.The first
Chinese exonym for "Yao people" was the graphic
pejorative "jackal," with twentieth-century reforms
this was changed to yao: "precious jade."

Daoism has historically been important to the Yao.
Jinag Yingliang, in a 1948 study, argued that Yao
religion was characterized by a process of Han Chinese
influenced Daoisation the endurance of pre-Daoist folk
religion; and some Buddhist beliefs. The description of Yao
religionis similar to the definition of Chinese folk
religion as described by Arthur Wolf and Steve Sangren.
Scholar Zhang Youjun takes issue with claims of
"strong Buddhist influence" on the Yao, arguing
that "although Yao ritual texts contain
Buddhist expression, the Yao do not
believe in Buddhism at all.
They are resolutely Taoist.”

Yao society is traditionally patrilineal,
with sons inheriting from their fathers.
Marriage between first cousins is common.

The Yao follow patrilocal residence.
The Yao people have been farmers for over
a thousand years, mostly rice cultivation through
plowing, although a few practice slash-and-burn
agriculture. Where the Yao live nearby
forested regions, they also engage in hunting.

During the Southern Song (1127–127),
an imperial Chinese observer, Zhou Qufei,
described the Yao as wearing distinctive fine
blue clothing produced using indigo. The Yao
celebrate their Pan Wang (King Pan) festival
annually on the sixteenth day of the tenth lunar
month. The festival celebrates the mythical original
story of the Yao people, and has evolved
“into a happy holiday for the Yao to
celebrate a good harvest and
worship their ancestors.



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DAVID HOWARD AUTHORED BOOKS: "THE LAST FILIPINO HEAD HUNTERS," "SACRED JOURNEY: THE GANGES TO THE HIMALAYAS," "TEN SOUTHEAST ASIAN TRIBES FROM FIVE COUNTRIES" AND "PERSPECTIVES: INTERVIEWS ANSEL ADAMS, JERRY UELSMANN, RALPH GIBSON, AND ROBERT HEINECKEN." COVER "SMITHSONIAN MAGAZINE" 2014, DVD DOCUMENTARIES: "CHRISTO: THE UMBRELLA PROJECT," "KEITH HARING: ARTIST AT WORK" AND "NAM JUNE PAIK." DAVID HOWARD'S MUSEUM COLLECTIONS: THE METROPOLITAN MUSEUM OF ART; NEW YORK 2011, THE FIELD MUSEUM; CHICAGO 2013, THE MUSEUM OF MODERN ART (S.C.75.123); NEW YORK 1975, THE MUSEUM OF MODERN ART; SAN FRANCISCO: (SAN FRANCISCO ART INSTITUTE PHOTOGRAPHY PORTFOLIO) 1975, THE WHITNEY MUSEUM OF AMERICAN ART; (EAST VILLAGE ART SCENE DOCUMENTARY), NEW YORK 1985, THE OAKLAND MUSEUM; OAKLAND CALIFORNIA 1973. CLIENTS INCLUDE: PACE PRIMITIVE N.Y.C. THAMES & HUDSON, SMITHSONIAN MAGAZINE, THOMAS MURRAY: ASIATICA, ALEX ARTHUR; “TRIBAL MAGAZINE,” MARK JOHNSON TRIBAL ART, SUTTERFIELD TRIBAL ART, DAVE DEROCHE: GALLERY DEROCHE, ERIK FARROW: FARROW FINE ART, JOE GERENA FINE ART N.Y.C., STATE FARM INSURANCE COMPANY APPRAISAL CONSULTANT, P.B.S., B.B.C., BILL JAMESON, TASCHEN, XANADUE GALLERY, TONY MILTON: GONE BEYOND, RIPLEYS BELIEVE IT OR NOT MUSEUM, RUDOLF KRATOCHWILL: MABINI PROJECTS.
 

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ANDY WARHOL, JOSEPH ALBERS, ELLSWORTH KELLY, CLAES OLDENBURG, ROBERT MOTHERWELL, FRANK STELLA, JAMES ROSENQUIST, ROBERT RAUSCHENBURG, KEITH HARING, CHRISTO, ROBERT INDIANA, ROY LICHTENSTEIN, ROBERT MAPPLETHORPE, ALICE NEAL, ARTISTS, ART, ARTIST, PAINTING, SCULPTURE, PHOTOGRAPHY, SITE SPECIFIC, NAM JUNE PAIK, KENNY SCHARF, LOWELL NESBITT, LAWRENCE FERLINGHETTI, ARMAN ARMAN, CHARLES ARNOLDI, CHRIS BURDEN, ART STUDIOS, VIRTUAL REALITY, ABSTRACT EXPRESSIONISM, PRINT MAKING, ETCHING, PAINTING, HOLOGRAPHY, AFRICAN ART, WOODCARVING, MURAL. MURALS, COMPUTER ART, FIGURATIVE EXPRESSIONISM, IMPRESSIONISM, MULTI-MEDIA, MULTI MEDIA

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