A few days ago, I posted a photo showing the absolute dawn of metal currency in China: the Shang Dynasty bronze cowrie shells (铜贝). Today, I want to share the next major evolution in my personal collection: three beautiful Western Han Dynasty Wu Zhu (五铢) coins covered in a gorgeous, crusty green malachite patina.

The King of Chinese Currency

Introduced by the legendary Emperor Wu of Han in 118 BC, the Wu Zhu coin is arguably one of the most successful coin designs in human history. While the earlier Ban Liang coin started the "round coin, square hole" tradition, it was the Wu Zhu that perfected it.This exact denomination was minted continuously across multiple dynasties for nearly 700 years until the Tang Dynasty finally replaced it in 621 AD. Because hundreds of billions were cast over the centuries, standard specimens are highly accessible today, making them the absolute cornerstone of any ancient Chinese coin collection (古泉收藏).

Why They Were Minted: Fighting InflationBefore Emperor Wu stepped in, the Han Dynasty relied on the Ban Liang (半两) system inherited from the Qin Dynasty. However, due to political instability and private minting, the early Han Ban Liangs suffered severe debasement. They grew thinner and lighter, completely losing the public's trust—some weighed under 1 gram.To fix the broken economy, Emperor Wu centralized all minting authority strictly to the capital city. He introduced the Wu Zhu, which literally translates to "Five Zhu" (a unit of weight equal to about 3.25 grams). By strictly enforcing this weight standard and adding a raised rim to prevent people from shaving bronze off the edges, he successfully stabilized the empire's economy.

Features of My Specimens (The Obverse)

If you look closely at the close-up of the front sides:

The Inscription: Read right-to-left, you can see 五 (Wu) on the right side and 铢 (Zhu) on the left.

The Calligraphy: The "五" character shows the classic Western Han stylistic trait where the upper and lower crossbars curve sharply inward toward each other, looking almost like an hourglass.

The Patina: All three have developed a rich, deep uncleaned green malachite and reddish cuprite patina over two millennia in the soil.

The Flip Side: Casting Marks (The Reverse)

I’ve also included a photo of the reverse sides. As you can see, they are completely blank, which is typical for this era. What makes the reverses fascinating is the texture. Because these were cast in molds (usually made of clay, stone, or bronze) rather than struck with a hammer and die, you can see the rough, porous surface left behind by the molten metal cooling down over 2,000 years ago. The slight variations in the inner square holes show how they were broken off from the casting "trees" and filed down by hand by ancient mint workers.

I love these pieces because they physically hold the history of an empire trying to stabilize its economy. What do you think of the contrast between the thick bronze cowries and the flat cash coins? Do you hold any early Chinese cast bronze in your collection?

It all started with a flawed prototype I purchased — and instead of settling, I chose to redesign it from the ground up.

Over the course of a year, I developed a completely new, movie-accurate Woody voice box, focused on capturing the character’s iconic sound with precision. During that time, I pitched the concept to multiple factories across the UK, USA, and Germany, searching for a partner who truly shared my vision.

Eventually, I found the right team — and despite the challenges of the COVID-19 pandemic, I moved forward and funded the entire project myself.

This isn’t just a toy upgrade. It’s a labor of love, created for collectors and fans who care about authenticity and want a screen-accurate experience.

– DivineChild_CreativeRebellion

DivineChild_CreativeRebellion Company For the first time ever, a Toy Story product features Tom Hanks actual voice, taken directly from PIXAR original audio archive.

The Divine Child Woody Voice Box is the ultimate upgrade for collectors, delivering true movie accuracy with authentic sound and phrases from the films.

Why collectors love it:

Tom Hanks’ Voice from Pixar Archive – The real Woody, just like in the movies.

High-Fidelity Audio – Clear, rich, and faithful to the original recordings.

Iconic Phrases straight from Toy Story:

“There’s a snake in my boot!”

“Reach for the sky!”

“This town ain't big enough for the two of us”

“Somebody’s poisoned the water hole!”

Perfect for Upgrades – Replace old or broken voice boxes in your Woody doll for a fresh, movie-perfect experience.

The Divine Child Woody Voice Box is a highly sought-after, first-of-its-kind collectible for Toy Story fans — combining screen-accurate sound with the original voice performance from Tom Hanks.

Give your Woody doll the most authentic voice possible — straight from Pixar vault.

Limited availability – secure yours now!

TOY STORY Woody’s Pull‐String Dialogue Lines

- Toy Story 1 & 2 (Canon) — 7 Phrases

"Reach for the sky!."

"You're my favourite deputy."

"Yee-haw! Giddyap, pardner! We got to get this wagon train a-movin'!"

"This town ain't big enough for the two of us."

"There's a snake in my boots."

"Somebody's poisoned the water hole."

"I'd like to join your posse, boys. But first I'm gonna sing a little song."

- Toy Story 3 & 4 (Canon) — 8 Phrases

"Reach for the sky!."

"There's a snake in my boot."

"You're my favourite deputy."

"I'd like to join your posse, boys. But first I'm gonna sing a little song."

"Yee-haw!"

"Giddyap, pardner! We got to get this wagon train a-movin'!"

"Somebody's poisoned the water hole."

"This town ain't big enough for the two of us."

While i had GI Joe figures as early as 1983 (born in 1981), I eventually switched from play to collecting. From 1997, until 2023 or so, I set about collecting all of the ARAH line figures, with all file cards, and all accessories. I did so largely from the help of online group, buying and selling lots on Ebay, and perusing vintage stores wherever I went.

My parameters for collecting were to complete all the figures: every accessory and file card that would have originally come with the figure. I was never too into vehicles - so I was really just focused on completing the figure line. I also decided that my version of being a "completist" would mean that I would approach "completion" from the perspective of a child. For example: if I was a kid and I had sent away for Starduster, I wouldn't care about getting a slightly different version (if I had even known that there was a difference) - I would think "I already have that figure". The same thing for the original versions of Steel Brigade. However, if I was a kid and I saw the Gold Head Version, I would think "that's a different figure - I need him!". So I didn't get too into variations of figures to complete my collection - I wanted one complete version of every distinct figure from the perspective of my child self. I believe that resulted in a total tally of about 523 figures.

I have since began collecting some of the smaller scale vehicles as well, and have been working on displaying them. I'll post that in the future.

Update to my last post. In March of 2025 I organized all my TWR pieces. Thought I’d show them off to compliment my other collection of trains.

Hi everyone, sharing the 7th sets of my collection. I acquired this pair 30 years ago and have never found a single match. They are Song/Jin Dynasty Cizhou-style ceramic figures of equestrian players drumming on horseback. When you compare the pair, you can see they are completely different also:

The Riders' Faces and Heads: The rider on the right has a distinctly larger head, a taller crown, and much broader features. The rider on the left has a more elongated, rounded head with simpler features.

The Drums and Arm Placement: The rider on the left holds a smaller drum tightly against their chest with arms closely tucked in. The rider on the right holds a wider, more pronounced drum further out, creating a completely different arm posture.

The Horses' Heads and Manes: The horse on the left is sculpted with its head tucked lower and a smoother profile. The horse on the right has a more upright neck, decorated with prominent, thick black brushstrokes marking out the mane.

The Baseboards: The left figurine sits on a rounded, oval-shaped baseboard. The right figurine sits on a more angular, wedge-shaped platform with a sharper point at the front.

What makes them uniquely fascinating when compared with the other Song Cizhou figurines from the internet.

• Tang Structure, Song Craft: In typical Song Cizhou wares, figurines are almost never attached to flat, unglazed baseboards. However, these figures feature solid, flat, unglazed platform bases—a trait explicitly characteristic of Tang Dynasty tomb figurines.

 * 100% Manually Hand-Sculpted: Looking closely at the side and back, these are entirely handmade rather than mold-made. The rugged pinching, hand-sculpted limbs, and artisanal imperfections highlight the spontaneous nature of Northern Chinese folk pottery.

• The Base Evidence: The underside shows deep, rustic manual trimming marks and authentic, natural soil patina accumulated over centuries.

Some of these dolls are from when I was a kid. The majority aren’t in their original outfits.

I have thrifted and rescued numerous dolls on my thrifts and only getting around to setting up this little display.

I know that there are traditional collectors who keep their dolls in their original outfits and such but I’m not one of those. We’re all different right.

Many of these dolls I’ve rescued have found their way to me without their outfits…sometimes damaged hair…and I’ve used the opportunity to give them a new life.

I’m proud of them. They make me happy so I wanted to share them with the world.

Please be kind 💖 much love and appreciation 🥲

Almost all of the trinket boxes have their corresponding trinkets.

Title basically says it all. I finally organized my main collection (Tony, Minis, and Capsule Plarail aren’t here bc they’re stored in a different place)

Hello everyone,

I wanted to share two Chinese porcelain seal paste boxes from my collection and highlight the core values that make items like this highly collectible in the Chinese literati tradition.

According to Chinese porcelain experts, these pieces were made during the Tongzhi period (1862–1874) and the Guangxu period (1875–1908). This perfectly aligns with the late Qing Dynasty revival movement, where artisans crafted high-quality copies of "High Qing" styles and applied apocryphal (commemorative) marks out of reverence for the past.

Here is a breakdown of their artistic and historical value:

1. Material Excellence (Twin Perfections of Clay and Glaze)

The Body: Fine, dense porcelain indicating highly refined and aged clay. This level of clay refinement was reserved for imperial kilns or high-end private studios.

The Glaze: Completely free of the "wavy glaze"  seen on common late Qing mass-traded export wares. The firing temperature inside the kiln was perfectly controlled, giving the surface a warm, jade-like texture.

2. Literati Iconography

The Dragon Motif (Qianlong Mark / Tongzhi Period): Represents courtly dignity (miaotang zhi qi ). The symmetrical "facing dragon" is exceptionally majestic and fierce, typical of the Tongzhi revival style.

The Intertwined Lotus (Kangxi Mark / Guangxu Period): Represents continuity. It beautifully utilizes the iconic fenshui ink-wash gradation technique to give the petals deep blue depth, capturing the fresh elegance of a classic scholar's library.

3. Empirical Context

The dragon box still contains its original cinnabar paste, mixed with traditional castor oils and minerals to ensure it stays vibrant for centuries. It also retains an old metallic authentication sticker inside the lid reading (Jiàndìng - Appraised) wrapped in a traditional huiwen meander border.

4. The Connoisseur’s Philosophy

In Chinese porcelain circles, there is a famous rule: Better a masterpiece with a hairline crack than a flawless piece of ordinary quality. Even though the first piece has a hairline crack (chong), the sheer artistic execution of its brushwork outshines any common, undamaged box from the same era.

To me, these two complement each other perfectly—one masculine and regal, one feminine and elegant. They are a miniature history of late Qing ceramic art.

Let me know what you think or if you collect any scholar's desk items!

I think it’s almost been a decade since I’ve started collecting. Includes sugar packets from: Netherlands, Germany, Austria, Switzerland, Poland, France, Italy, Albania, Denmark, Ireland, Finland, Spain, Portugal, Turkey, United States, Kenya, Tanzania, Japan, Korea and India

Hi everyone! This is the third set of ancient items from my personal collection that I wanted to share with you.

I acquired this rare matching pairs roughly thirty years ago from a US-based dealer. Both are high-quality Republic Period (early 20th century) archaic revivals of Qianlong imperial porcelain. One is a Two-Handled Zun Vase (Deer Head Vase), and the other is a Tianqiuping (Celestial Globe Vase).

According to museum experts, these are not ordinary folk kiln wares. They were part of a historically documented, government-commissioned run of fine porcelain, where only about 100 pieces of each shape were produced to be used as state gifts for foreign diplomats and high-ranking officials. Finding a paired set like this today is incredibly rare.

Here is a breakdown of each piece from my collection:

Part 1: The Blue and White Underglaze Red Two-Handled Zun Vase

Classification: High-spec "State-Gift Level" revival porcelain. Made in Jingdezhen during the late Qing to early Republic Period (c. 1910–1930s).

The Underglaze Red: The red pigment fired beautifully bright and exhibits natural "green moss spots" (copper oxidation). This is a hallmark of traditional mineral pigments fired in wood kilns, which modern chemical fakes cannot replicate.

The Painting: Decorated in a variation of the Wanhua ("Ten Thousand Flowers") style over a dense scroll/spiral ground (wōwén). The brushwork is incredibly fine. In that era, only master artisans could handle such intensive, full-surface painting.

The Form: A stately, full-bodied Zun shape (often called a Deer-Head Vase). This was a classic Qing court display style used to show status in elite households and government estates.

Mark & Provenance: The base features an apocryphal “Great Qing Qianlong Period Manufacture” mark. However, the calligraphic style is highly regular, perfectly fitting the high-end revival pieces of the Republic era. It also features a handwritten asset control number ("015") on the base, providing solid evidence of it being systematically cataloged in an old collection.

Collector's Value: As they say in the antiques trade, "An old copy of an older masterpiece is a treasure in itself." Given the historical turbulence of the past century, a survivor from a limited run of 100 is exceptionally rare.

Part 2: The Blue and White Underglaze Red Cloud and Dragon Tianqiuping

The Motif: Features the classic imperial theme of a massive dragon chasing the flaming pearl amidst crashing waves and rolling clouds. The dynamic "Sea and Dragon" motif represents the highest tier of traditional Chinese porcelain decoration.

Technical Execution: The dragon is rendered in underglaze copper red. The outlines are sharp, and the red tone shifts organically from deep to light. This level of gradient control demonstrates absolute mastery over kiln temperatures.

The Blue Gradients: The cobalt blue in the clouds shifts subtly into violet tones. It utilizes the Fenshui (blue-dashing/washing) technique popularized in the Kangxi and Qianlong eras, giving the cloud formations a distinct 3D depth.

Dating Indicators: The unglazed base reveals a fine, smooth paste texture often referred to as "glutinous rice paste" (nuòmǐtāi). The foot rim is rounded into a clean "loach back" (níqiūbèi) shape. This meticulous potting technique mimics Qianlong imperial standards perfectly.

Glaze Texture: The glaze layer is clear, lustrous, and shows faint "wave ripples" (bōlàngwén) under glancing light. While it lacks the heavy density of a genuine Qianlong period piece, it possesses a refined elegance unique to the finest Republic-era creations. Experts confirm this was also part of that early Republic 100-piece limited run.

Market & Condition: The vase retains a soft, mellow, natural luster (bǎoguāng) that only comes with age. While genuine Qianlong period originals of this size and complexity command millions at auction, high-end Republic revivals like this remain deeply sought after by serious collectors for their impeccable artistry.

Summary

To find these two masterfully painted, technically challenging underglaze red pieces together as a set is a dream come true for me. They represent a fascinating intersection of early 20th-century diplomacy and ceramic art history—a perfect miniature capsule of an era.

Would love to hear your thoughts or see if anyone else collects similar Republic-era revivals.

Yesterday I took on the gargantuan task of photographing and organizing the bulk of my Etch A Sketch collection!

I have over 500 photos to edit and organize - a task I sincerely look forward to. Fun fact! Before pursuing a career as a full-time Etch A Sketch artist, I worked as a photo retoucher for 3 years!

Some fun statistics about what's in the bins:

1. These bins contain 269 Etch A Sketch-related products! Of those 269,

2. 53 are repeats (you can thank bin 9 for containing most of my extras, which I use as canvases for my art)

3. 180 are unique variants, which included packaging variants from different eras, and products New In Packaging (NIP) but not loose if I had them NIP

4. 32 products are Etch A Sketch-related, but are not Etch A Sketch toys that you use by turning knobs. For example, I have Etch A Sketch napkins and an Etch A Sketch pool float, as well as the Etch A Sketch Freestyle (post-2016) that uses Boogie Board technology to draw on a screen that is meant to loosely resemble an Etch A Sketch.

These bins only contain a fraction of my entire Etch A Sketch collection. What is not pictured is another entire shelving unit that contains hundreds of Pocket (small) and Classic (Large) Etch A Sketch canvases that I use for commissions, workshops, live events, and more. The number of Pocket Etch A Sketches can fluctuate frequently for this reason. I also generally have around 50 Etch A Sketches in my office at any given time.

I recently reconfigured my office to accommodate a shelving unit which will allow me to properly display some of these beauties. I've spent the last 20+ years working on this collection, and it would be a real shame to banish them to the bins forever. So my plan is to treat my office shelving as rotating seasonal displays to give many variants an opportunity to shine while not over-cluttering the shelves.

Thanks as always for your support of my foolhardy endeavor to amass a small museum worth of Etch A Sketch history!

​

As you may have read in my earlier posts, I have spent the last 30+ years gathering thousands of antiques and collectibles. Last week, I began the journey of gradually sharing my collection with the community. My very first post introduced my background and why I started collecting, followed by three detailed posts in the antiques section showcasing three specific sets of Chinese antiques. Today, I am expanding my sharing into the collectibles and Asian culture spaces. While my previous posts focused on historical antiques, this post spotlights a deeply nostalgic set of collectibles that holds immense sentimental value for my family.

I am an Asian American scientific researcher and research engineer. After obtaining my PhD in electrical engineering in 1991 and completing a year and a half of postdoctoral research, I was the definition of a typical "STEM guy"—completely accustomed to rigorous logic and rational thinking.

My wife, on the other hand, is the exact opposite. She has studied art since childhood, operates with an emotional mindset, and possesses a sharp artistic intuition. Out of love, two people with vastly different personalities came together. To keep our love fresh and vibrant, I realized I needed to break out of my rigid "STEM guy" mindset and move closer to her world. I decided to cultivate a hobby we could share. By searching for unique, interesting objects, I naturally opened the door to the world of collecting.

When I first entered this field, I quickly learned the Chinese collector's proverb: “The water runs deep and treacherous.” As a newcomer, it is inevitable to pay "tuition" (making costly mistakes) and experience “dayan” (being deceived by fakes). But in my opinion, making mistakes isn't scary. The key lies in maintaining a heart of humility and a commitment to self-correction. In fact, life itself is no different: as long as you hold onto these two mindsets, anything can be accomplished. Collecting, in essence, is a spiritual practice centered on the heart. It taught me “Duan She Li” (the art of decluttering and emotional detachment)—a profound life lesson.

To build a strong foundation in our early days of marriage, I began collecting items specifically for her. Today, I want to share a particularly nostalgic set from our journey: our "Precious Moments" Porcelain Figurines.

Most of these pieces were acquired during our early years. My wife was incredibly fond of them when she was young, back when collecting them was highly popular among young women. At $10 to $30 a piece back then, they were the ultimate birthday gifts. Today, they carry our most beautiful memories.

1. Collection Identity & Background

Designed by Samuel Butcher, these matte porcelain bisque figurines are instantly recognizable by their iconic "tear-drop eyes." Our collection features classic pieces like The Vessel of Friendship Never Drifts Away (the 1985 boating edition seen in the front) and Sewing Basket / Dear Mother (the 1979 embroidery edition). While their monetary value isn't high today, their emotional significance makes them a priceless archive of our family history.

2. The Technical Details (The STEM Guy in me enjoys this!)

Even with sentimental items, the researcher in me loves the details. The tiny stamped symbols on the bottom of each figurine (like an olive branch, cedar tree, or snowflake) signify the exact production year. The bases also display the official title, artist signature, and production trademarks (like Enesco), which are crucial for verifying the specific editions.

I look forward to sharing more stories of "paying my tuition" in the future! I'd love to know—did anyone else or their partners collect these back in the day?