Neal Auction's Spring Estates Auction Achieves $2.2 Million Top 10 Lots

Total Page:16

File Type:pdf, Size:1020Kb

Neal Auction's Spring Estates Auction Achieves $2.2 Million Top 10 Lots FOR IMMEDIATE RELEASE PRESS CONTACT: Bettine Field Carroll [email protected] 504.899.5329 NEAL AUCTION’S SPRING ESTATES AUCTION ACHIEVES $2.2 MILLION TOP 10 LOTS #1 ▪ Lot 624 ▪ CHINESE HUANGHUALI STOOLS ▪ $69,310.00 Lot 624. A Pair of Antique Chinese Huanghuali Wood Square Stools, square frames enclosing flat panel tops above wide aprons with linked-ring struts supported on straight circular legs, mitered mortise and tenon construction; the underside retaining traces of clay and drill holes for soft-seat construction, height 20 1/2 in., width 23 1/2 in., depth 23 1/2 in. [$10,000/15,000] SOLD $69,310.00. #2 ▪ Lot 333 ▪ ROBERT S. DUNCANSON ▪ $65,725.00 Lot 333. Robert S. Duncanson (American/Ohio, 1821-1872), “Ohio River Valley Landscape,” oil on canvas, unsigned, 28 1/2 in. x 52 in., framed. [$40,000/60,000] SOLD $65,725.00. #3 ▪ Lot 667 ▪ CHINESE JADE CENSER ▪ $57,360.00 Lot 667. A Chinese Yellow Jade Tripod Covered Censer, Qing Dynasty (1644-1911), squat globular body with dragon handles raised on three mask head feet, domed cover surmounted by a coiled dragon, relief-carved throughout, height 5 1/4 in., width 7 3/4 in., elaborate custom carved wood stand, overall height 6 7/8 in. [$8,000/12,000] SOLD $57,360.00. #4 ▪ Lot 473 ▪ WILLIAM AIKEN WALKER ▪ $43,020.00 Lot 473. William Aiken Walker (American/South Carolina, 1838-1921), “Two Cotton Pickers in the Field, Palm Trees and a Cabin in Background,” oil on academy board, signed lower left, Kennedy Galleries label en verso, 9 in. x 12 in., framed. [$25,000/35,000] SOLD $43,020.00. #5 ▪ Lot 319 ▪ WILLIAM AIKEN WALKER ▪ $41,825.00 Lot 319. William Aiken Walker (American/South Carolina, 1838-1921), “Cabin Scene with Trumpet Vine and Jasmine,” oil on academy board, signed lower right, partial Devoe academy board label en verso, 12 in. x 9 in., framed. [$25,000/35,000] SOLD $41,825.00. #6 ▪ Lot 660 ▪ EIGHT CHINESE IVORY IMMORTALS ▪ $39,435.00 Lot 660. A Set of Eight Chinese Stained Ivory Figures of the Eight Daoist Immortals, each standing figure carved with its attribute: He Xiangu with a lotus flower, Cao Guojiu with castanets, Tieguai Li with an old crutch, Lan Caihe with a flower basket, Lu Dongbin with a sword, Han Xiang with a flute, Zhang Guo with a fish drum, and Zhongli Quan with a fan, heights 10 in. to 10 1/4 in., each raised on a wire inlaid cloisonné enamel embellished carved wood stand, overall heights 12 1/4 in. to 12 1/2 in. [$3,000/5,000] SOLD $39,435.00. #7 ▪ Lot 507 ▪ HELEN MARIA TURNER ▪ $34,655.00 Lot 507. Helen Maria Turner (American/New Orleans, 1858-1958), “Flowers,” oil on canvas, signed lower left, inscribed “H. Turner” en verso, 18 in. x 15 in., in original Arts and Crafts frame with artist plaque that includes title and inscription: First Prize - 1934. [$10,000/15,000] SOLD $34,655.00. #8 ▪ Lot 223 ▪ ADOLPHE YVON ▪ $28,680.00 Lot 223. Adolphe Yvon (French, 1817-1893), “Prisoner’s Escort, A Scene from the Crimean War,” 1855, oil on canvas, signed and dated lower right, 43 1/2 in. x 66 3/4 in. [$12,000/18,000] SOLD $28,680.00. #9 ▪ Lot 356 ▪ American Rococo Rosewood Center Table ▪ $27,060.00 Lot 356. An Important American Rococo Carved and Laminated Rosewood Center Table, c. 1850, attributed to John Henry Belter, New York, the serpentine white marble top above a conforming pierced skirt with grapevine carving, each side centered by a Renaissance portrait bust; fruit carved cabriole legs connected by C scroll stretchers, centered by a floral and fruit urn, casters, height 28 in., width 40 in., depth 29 in. [$25,000/35,000] SOLD $27,060.00 #10 ▪ Lot 143 ▪ CONTINENTAL IVORY MADONNA AND CHILD ▪ $27,060.00 Lot 143. A Continental Stained and Gilt Decorated Ivory Figural Group of the Madonna and Child, 19th c. or earlier, carved along the natural curve of the tusk, the Virgin modeled standing, wearing voluminous robes carrying the Christ child in her arms; the Christ child rendered in the pose of Salvator Mundi (Savior of the World) with his right hand raised in blessing and his left holding an orb (lacking cross), symbolic of Earth, height 16 in. [$3,000/5,000] SOLD $26,290.00 Prices realized include Neal Auction Company’s Buyer’s Premium. Neal Auction Company’s Buyer’s Premium is 22% of the hammer price up to and including $200,000, plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer the buyer’s premium is reduced by 2.5% of the 22%. IMAGE REQUESTS EMORY NOLAN ▪ [email protected] BETTINE CARROLL ▪ [email protected] NEAL AUCTION COMPANY ▪ 4038 MAGAZINE STREET ▪ NEW ORLEANS, LA 70115 www.nealauction.com ▪ 504.899.5329 .
Recommended publications
  • Eva Wong Taoism an Essential Guide
    Eva Wong Taoism An Essential Guide Donn still outsmarts gladsomely while inframaxillary Nickey poking that surety. Damoclean Roarke sometimes beacons any ephemeron clogs shily. Dimitri dribbles tritely while pilose Shlomo pents unexpectedly or treadle definitively. Magritte is my fave artist! Please select the tabs below to change the source of reviews. Sms or may need the rest and eva wong taoism an essential guide to new york city to the pursuit of heaven originally created. Taoist guide and eva wong taoism an essential guide to. This subtle concepts of taoism as monkey became one, eva wong taoism an essential guide ta taoism is imported from each other foot, the trip shortly, and shows or expired. Here is an essential guide to the spiritual essence of eva wong london and chuang tzu. Sun style and political theory: the essential guide to save you an item to get an illustration of eva wong taoism an essential guide you really think the. See your business and eva wong is magical theories from which will my items such as the shandong province of eva wong taoism an essential guide is the polluted air from the osher jcc marin in. Chinese religion and masculine side represent a formal definition would say that time were regarded by eva wong taoism an essential guide to student of learned with the bank for it stands for the arts was disillusioned that is. Wer mehr im detail, for specific arrangement of an essential guide to your inputs and many different powers and spirit stones can we will use. You want power in your desires summoned specifically for a yen for soul stones, revealing the fulfillment of taoism through asia, eva wong taoism an essential guide.
    [Show full text]
  • A Cantonese Opera Based on a Midsummer Night's Dream
    A Dream in Fantasia — A Cantonese Opera Based on A Midsummer Night's Dream Loretta Ling Yeung, Hong Kong and Augusta, Georgia USA Abstract This review discusses an appropriation of A Midsummer Night's Dream by the Hong Kong Young Talent Cantonese Opera Troupe. While retaining most of Shakespeare's characters and his basic plot structure, the new opera, A Dream in Fantasia, aimed to expand the audience for Cantonese opera. At the same time it proved to be transparently entertaining to its Cantonese audience. A Dream in Fantasia (adapted from William Shakespeare's A Midsummer Night's Dream), with a new script by Keith Lai. Hong Kong Young Talent Cantonese Opera Troupe. Director, Lee Lung. Cast: Lam Tin-Yao as Linghu Feng (Demetrius); Doris Kwan as Xiahou Jun (Lysander); Lam Tsz-Ching as Yuwen Piaopiao (Hermia); Cheng Nga-Kei as Murong Xiangxiang (Helena); guest artist Kwok Kai-Fai as Crown Prince Gongyang (Oberon); guest artist Leung Wai-Hong as the Crown Princess (Titania); Hong Wah as the Forest Fairy (Puck); Wong Kit-Ching as Shangguan Chan (Peter Quince); Yuen Seen-Ting as Zhuge Zi (Bottom); Keith Lai as Chanyu Xiong 2 Borrowers and Lenders (Egeus); and Wong Po-Hyun as Queen Xuanyuan (Hippolyta). Tsuen Wan City Hall Auditorium, Hong Kong, 14 December 2013. As I enter the theater at the City Hall of Tsuen Wan, a suburb of Hong Kong, the audience — predominantly elderly people and women — is eagerly waiting to watch A Midsummer Night's Dream in a Cantonese version, entitled A Dream in Fantasia (figure 1).1 At stage right, a small Chinese orchestra is about take us to Fairyland, where four confused young lovers will try to find true love, while a group of villagers prepare a show for the Queen's birthday.
    [Show full text]
  • The Daoist Tradition Also Available from Bloomsbury
    The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.
    [Show full text]
  • The Dictionary of Chinese Deities
    THE DICTIONARY OF CHINESE DEITIES HAROLD LIU For everyone who love Chinese myth A Amitabha Amitabha is is a celestial buddha described in the scriptures of the Mahayana school of Buddhism. Amitabha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia. An Qisheng An immortal who had live 1.000 year at he time of Qin ShiHuang. According to the Liexian Zhuan, Qin Shi Huang spoke with him for three entire days (including nights), and offered Anqi jade and gold. He later sent an expedition under Xu Fu to find him and his highly sought elixir of life. Ao Guang The dragon king of East sea. He is the leader of four dragon king. His son Ao Bing killed by Nezha, when his other two son was also incapitated by Eight Immortals. Ao Run The dragon king of West Sea. His crown prine named Mo Ang and help Sun Wukong several times in journey to the West story.His 3th son follow monk XuanZhang as hisdragon horse during Xuan Zhang's journey to the West. Ao Qin The dragon king of South sea AoShun The dragon King of North sea. Azzure dragon (Qing Long) One of four mythical animal in China, he reincanated many times as warrior such as Shan Xiongxin and Yom Kaesomun, amighty general from Korea who foiled Chinese invasion. It eleemnt is wood B Bai He Tongzhu (white crane boy) Young deity disciple of Nanji Xianweng (god of longevity), he act as messenger in heaven Bai Mudan (White peony) Godess of temptress Famous prostitute who sucesfully tempt immortal Lu Dongbin to sleep with her and absorb his yang essence.
    [Show full text]
  • Origin Narratives: Reading and Reverence in Late-Ming China
    Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”).
    [Show full text]
  • Appendix 2 Chinese Deities and Spirits
    Appendix 2 Chinese deities and spirits This appendix includes a selection of the most common and important gods, goddesses, Buddhas, bodhisattvas, ancestors, and spirits that one can find in reli- gious sites across China. For each major religion, I present the most important deities of the pantheon as people would encounter them in a temple or other sacred space. Of course, there are many other deities presented in temples across China; yet, these are some of the most common of the range of deities – which ultimately cover all aspects of people’s physical and spiritual lives. Animistic ideas (referring to the idea of having or expecting mutually recip- rocal relationships of respect, gift-exchange, and communication; see Harvey 2013) in China stem at least as far back as the proto-Daoist text, the Zhua¯ngzi 庄子, from around 300 BCE, the first seven, inner chapters of which scholars think were written by Zhua¯ ng Zho¯u 庄周 (c. 369 BCE – c. 286 BCE). This text explains ideas about carefree living, naturalness, and relativity of perceptions, and Zhua¯ ngzi seems to attempt to get people to recognize that they live in a multi- species symbiotic community in which each aspect is in relationship and that each deserves respect. The Zhua¯ ngzi continues to be a widely-read and influential book among contemporary Chinese readers. Other popular literary texts include religiously-informed animistic ideas as well. Journey to the West (Xı¯yóujì 西游记), The Investiture of the Gods (Fe¯ngshén Yaˇnyì 封神演义), Dream of the Red Chamber (Hónglóu mèng 红楼梦), and the Water Margin (Shuıˇ huˇ zhuàn 水浒传; aka., Outlaws of the Marsh), all contain examples of some natural phenomenon such as a rock, animal, or flower, which has absorbed the essence of the cosmos for so long that it becomes a spirit being and chooses to incarnate in the human world to experience life in a human form.
    [Show full text]
  • The Eight Immortals
    The Eight Immortals Gallery Objects: The ivory chess set and the carved elephant tusks. The eight immortals are legendary beings who lived at various times and attained immortality through their studies of nature’s secrets. They can be male or female, young or old, shown together or separately. Any man or woman appearing in a landscape with pine trees, cranes, deer and the fungus of immortality may be considered an immortal. The most important, Zhongli Chuan is generally shown as a fat man with a bare belly, always holding a fan with which he is believed to revive the souls of the dead. According to many stories, he married a young and beautiful wife and retired to his native place to life the life of a philosopher. One day he was walking in meditation and came upon a young woman in deep mourning, sitting near a fresh grave and fanning the upturned soil. When asked why she was fanning the ground, she said that her late husband had begged her not to remarry until the soil on his grave was dry. She had found someone she wanted to marry and wanted the grave to dry quickly. Zhongli offered her his help. Taking her fan, he invoked spirits to his aid, struck the fan to the tomb and the soil instantly dried. The widow thanked him gaily, and walked away without her fan. When Zhongli’’s young wife saw the fan, she demanded to know all about it. When she heard the story she became very indignant, saying she would never behave like that.
    [Show full text]
  • God Is Transgender
    GOD IS TRANSGENDER In what was an intellectual high for the New York Times, the Gray Lady printed an op- ed article titled “Is God Transgender?” by a New York rabbi named Mark Sameth. Related to a man who “transitioned to a woman” in the 1970s, Sameth contends that “the Hebrew Bible, when read in its original language, offers a highly flexible view of gender.” He puts forward many historical examples of gender fluidity in the Hebrew scriptures, in order to maintain that religion should not be put in service of “social prejudices” against transgendering. His treatment of the Bible amounts to excellent scholarship. Proposing that the God of Israel was worshipped originally as “a dual-gendered deity,” the rabbi asserts, that the etymological derivation of Yahweh is “He/She” (HUHI). His argument requires that the Tetragrammaton be read, not from right to left (as Hebrew always is), but from left to right: The four-Hebrew-letter name of God, which scholars refer to as the Tetragrammaton, YHWH, was probably not pronounced “Jehovah” or “Yahweh,” as some have guessed. The Israelite priests would have read the letters in reverse as Hu/Hi—in other words, the hidden name of God was Hebrew for “He/She.” Some biblical scholars say that “Yahweh” is derived from the third-person singular of the verb “to be” (hayah), whether a qal imperfect (“he is” or “he will be”) or the causative hiphil imperfect (“he causes to come into being, he creates”). This view is confirmed by numerous lines of evidence: the interpretation given in Exod 3:14 (“Say to the sons of Israel, ‘ehyeh [‘I am’ or ‘I will be’ (who I am/will be)] sent me to you”); the use of shortened forms of Yahweh at the end (“Yah” or “Yahu”) or beginning (“Yeho” or “Yo”) of Hebrew names; the spelling “Yabe” known to the Samaritans; and transliterations “Yao,” “Ya-ou-e,” and “Ya-ou-ai” in some Greek texts.
    [Show full text]
  • Proquest Dissertations
    TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.
    [Show full text]
  • Translating Otherness: Images of a Chinese City Audrey Heijns*
    Journal of World Languages, 2016 Vol. 3, No. 1, 67–78, http://dx.doi.org/10.1080/21698252.2016.1224139 Translating otherness: images of a Chinese city Audrey Heijns* Faculty of Humanities, Institute for Area Studies, University of Leiden, Leiden, Netherlands (Received 5 October 2015; Accepted 10 August 2016) This article investigates the way Western configurations of Eastern identities are formed. It focusses on how Western encounters in the East are represented in the West and what role translation plays in this process. It probes the representation of those cultural practices and encounters that are particularly prominent in the literary genre of travel writing. Here, three Dutch accounts of travels to Guangzhou (China) from the late nineteenth century will be compared, and their methods of translation will be analyzed. The examples show that a different style of translation can result in a different image of the city and that the travel accounts under investigation possess varying degrees of Orientalizing and appropriative style, even though the three writers follow more or less the same itinerary. It appears that they are not merely providing a representation of the Other, but, in fact, are merging the Other with the Self. Ultimately, the degree of merging the Other with the Self depends on the style of translation and each of these styles is defining for the configuration of identity, which, from a Western view, makes the East appear inferior, superior or universally equal. Keywords:: East and West; cultural translation; travel writing 1. Introduction This study probes the way that Western configurations of Eastern identities are formed by looking at the representation of foreign cultural practices and encounters.
    [Show full text]
  • The Eight Immortals
    Ta l e s o f A d v e n t u r e s Dear Collectors, Let me offer you a journey among the wonderful world of Chinese tales which are very . popular among Chinese snuff bottles I especially want to thank you Gayle Laverlochere for letting me use her researches. Laurence Souksi ,, , The story of Zhong Kui In Chinese folklores, Zhong Kui is a god who exorcises ghosts and evil spirits. As legend has it, he lived in Zhongnan Mountain in the early Tang Dynasty. He was born with a panther-like head, ring-like eyes, an iron face and curly whiskers. Tough very ugly, he was a profoundly learned and talented fgure. As a man of integrity, he always upheld justice and feared no evil or mischievous being. In 712 when Emperor Xuanzong of the Tang Dynasty ascended the throne, Zhong Kui went to Chang'an to take the imperial civil examination. Impressed by Zhong's fve poems entitled Holding Banquets in Yingzhou, the chief examiner praised him as a prodigy and enrolled him top of all examinees. During the palace examination, however, a treacherous minister named Lu Qi judged Zhong Kui by the appearance, and repeatedly spoke ill of him before the emperor. As a result, Zhong Kui failed to claim championship in the exam. Infuriated, he bumped his head against a pillar in the palace and thus killed himself. Te entire court was shocked. Ten Emperor Dezong issued an imperial edict, conferring upon Zhong Kui the title of Demon Queller who traveled all over the world to kill the evil and expel the wicked.
    [Show full text]
  • 6. Tradition, Culture, Belief, Shrine, Chinese Gods and Feng Shui Chinese People Have a Strong Belief in Gods Combined With
    6. Tradition, Culture, Belief, Shrine, Chinese Gods and Feng Shui Chinese people have a strong belief in gods combined with the teachings of Confucianism, Taoism and Buddhism. These are the source of Chinese traditions and rituals which will be discussed further. 6.1 Traditions of Chinese People 6.1.1 Chinese New Year Chinese New Year is the New Year tradition in Chinese Lunar New Year. It starts on the first day of the first month in Chinese lunar month. Then, Lantern Festival is celebrated on the fifteenth day of and traditionally ends the Chinese New Year period. Chinese New Year is considered to be one of the most important holidays of Chinese people. Thai- Chinese people normally celebrate the tradition for 3 days; buying day, worshiping day and traveling day. One of the symbols of Chinese New Year is Ang pow (a red envelope), an envelope of money that adults will give to minors and exchange the envelops with each other. This also called as Tae Ea (tie the waist). As the Chinese coins have holes in the middle, Chinese adults will string the coins together with red ropes into bunches and bring them to children. The children will tie bunches of coins to their waist. Greetings and Blessing Words in Chinese New Year In Chinese New Year, people will say blessing or greeting words to others including putting up red couplets (ห่ออ่วย) to celebrate Chinese New Year. The popular terms include: 新正如意新年發財 / 新正如意新年发财 X īn zhēng rúyì xīnnián fācái/ xīn zhēng rúyì xīnnián fācái Good luck and be prosperous in New Year 恭喜發財 / 恭喜发财 Gōngxǐ Fācái Congratulations and be prosperous 6.1.2 Lion Dance Tradition At present, the traditions of Thai-Chinese descents in Ratchaburi province gradually disappeared.
    [Show full text]