A superb, very large and rare opposing pair of porcelain figures modelled as red-crowned cranes (Grus japonensis), also called the Japanese crane,

Republic of China, 1912-1949.

Finely detailed throughout, beautifully painted and glazed in various colours, modelled perched on a stump adorned with lingzhi fungus.

Impressed Jin Sheng Cheng Zao seal to bases.

In Chinese culture, the crane is venerated as the prince of all feathered creatures and thus has a legendary status. Embodying longevity and peace, it is the second most favored bird symbol after the phoenix. Throughout the imperial times, crane motifs were used on the robes of civil officials to depict their ranks.

There are four types of cranes in Chinese mythology: White, black, blue and yellow. But rather than the color, the setting and postures of the swan are more important. A crane that is shown with its wings stretched out and one leg raised symbolises longevity. A crane perched on a rock and looking at the sun stands for an important authority who can see everything. Two cranes walking or flying together is the ultimate symbol of longevity. The red-crowned cranes are the fairy cranes in Chinese myths and legends, often reputed as the ‘Deity of Wetlands’. The red-crowned crane is also a symbol of nobility.

The red-crowned crane is among the rarest cranes in the world.

In Europe, porcelain birds have their origins in the princely tradition of maintaining collections of living animals and birds in menageries and aviaries, which were viewed as microcosms of the universe, and emblems of royal power and enlightenment.