1 10 40 https://cchu9080.lib.hku.hk/files/original/144/IMG_1107.JPG 0819ab5886d4883621533574e22315a3 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Mongolia, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Northern Wei dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 386 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 534 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Pigment Height (cm) 23.2 Width (cm) 7.8 Depth (cm) N/A Length (cm) N/A Diameter (cm) 5.5 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Mr. T. Y. King Accession Number A unique identifier for an object HKU.C.1959.0494 Description A short physical description of the object with an overview of its historical and social significance The warrior figurine was made of ceramic material with pink-orange pigment. Due to the imperfect preservation condition, the pigment wore completely for the regions of the head and lower body with a little coating left on the main body (clothes and arms), revealing the underlying original tone of ceramic material. For maintaining the integrity of the figurine, soil and mud residues that imbedded into the figurine have not been removed completely. The figurine was made with a bulky middle part, moderately large bottom part and relatively thin upper part while its head was made separately and fitted into the body afterwards. The not perfectly fixed head makes the head wobbling when handing it. The figurine shows the posture of a man standing still facing right to the front with one arm and both legs hang down naturally. It right forearm is missing due to unknown reason, leaving a hole that allows us to look into the hollow interior of its body from the lateral view. The missing right hand should be holding something originally as suggested by the staff of HKU Art Museum. This kind of figurine is commonly found in the tombs of officials in ancient China. It is believed that the figurines are warrior attendants that guarding the security of the tomb and the afterlife of the master of the tomb. It reveals the general belief in the afterlife of ancient Chinese. The larger the size of the figurines, the higher the social status of the tomb’s occupant. As supported by figurines dug up from tombs, a typical warrior figurine should be holding a shield and weapon on hand. Therefore, the missing part of our figurine should be a weapon or shield beside the confirmed forearm. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ceramic Figurine Contributor An entity responsible for making contributions to the resource Chan Sai Wai Raymond Figurine Pigment Tombs Warriors https://cchu9080.lib.hku.hk/files/original/143/Lau_Chun_Pang.json b9a7fa2c70e7bfab81ffae2935cd4ee3 3D Model A 3D rendering of a physical object. Text Any textual data included in the document Place of Origin: Hebei, China Culture/Period: Northern Wei dynasty Date: 386-534 CE Material: Earthenware Dimension: Height: 13.5 cm Width: 8 cm Depth: 18 cm Accession Number: HKU.C.1953.0038 Contributor: Lau Chun Pang Description: This horse is hollow, standing on a rectangular base. In ancient China, horses played a crucial role in war and entertainment. The bulging sack slinging over its saddlecloth is an indicator of its role as transporting goods, possibly along the Silk Road. Back in the Northern Wei dynasty, the Luoyang City was the oriental starting point of the road. Therefore, horses had significant instrumental and monetary value, equivalent to fancy cars in the modern day. Cracked on the based and covered in the debris of dirt, it was dug out from the underground. Being the symbol of wealth, clay horses were buried together in the tomb with the deceased with superior social status. It was believed that such burial ritual would continue the wealth of the diseased even in the underworld. Such ritual can be dated back to the earliest period of Chinese history. During the Shang (1600-1046 BCE) and Zhou (1045-221 BC) dynasties, horses were buried alive in tombs of the rich. But then they were replaced by clay ones. Place of Origin The geographic location where an object was made Hebei, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Northern Wei dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 386 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 534 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 13.5 cm Width (cm) 8 cm Depth (cm) 18 cm Accession Number A unique identifier for an object HKU.C.1953.0038 Description A short physical description of the object with an overview of its historical and social significance This horse is hollow, standing on a rectangular base. In ancient China, horses played a crucial role in war and entertainment. The bulging sack slinging over its saddlecloth is an indicator of its role as transporting goods, possibly along the Silk Road. Back in the Northern Wei dynasty, the Luoyang City was the oriental starting point of the road. Therefore, horses had significant instrumental and monetary value, equivalent to fancy cars in the modern day. Cracked on the based and covered in debris of dirt, it was dug out from the underground. Being the symbol of wealth, clay horses were buried together in the tomb with the deceased with superior social status. It was believed that such burial ritual would continue the wealth of the diseased even in the underworld. Such ritual can be dated back to the earliest period of Chinese history. During the Shang (1600-1046 BCE) and Zhou (1045-221 BC) dynasties, horses were buried alive in tombs of the rich. But then they were replaced by clay ones. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pack horse https://cchu9080.lib.hku.hk/files/original/141/20210322_133456.2.jpg 950f301db4dfabb100f17e6699e4b714 https://cchu9080.lib.hku.hk/files/original/141/Jeenat_Walia.json ae7144a8226edf8331e9200159f96221 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.9.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133456.4.jpg 950f301db4dfabb100f17e6699e4b714 https://cchu9080.lib.hku.hk/files/original/141/20210322_133945.4.jpg 16299e01ab734c63a1cb30fdf28939d4 https://cchu9080.lib.hku.hk/files/original/141/20210322_133416.4.jpg 43d7fa2c619dc243a5ee50d2542116ef https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.8.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.7.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133456.3.jpg 950f301db4dfabb100f17e6699e4b714 https://cchu9080.lib.hku.hk/files/original/141/20210322_133945.3.jpg 16299e01ab734c63a1cb30fdf28939d4 https://cchu9080.lib.hku.hk/files/original/141/20210322_133416.3.jpg 43d7fa2c619dc243a5ee50d2542116ef https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.6.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.5.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133945.2.jpg 16299e01ab734c63a1cb30fdf28939d4 https://cchu9080.lib.hku.hk/files/original/141/20210322_133416.2.jpg 43d7fa2c619dc243a5ee50d2542116ef https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.4.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.3.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133456.1.jpg 950f301db4dfabb100f17e6699e4b714 https://cchu9080.lib.hku.hk/files/original/141/20210322_133945.1.jpg 16299e01ab734c63a1cb30fdf28939d4 https://cchu9080.lib.hku.hk/files/original/141/20210322_133416.1.jpg 43d7fa2c619dc243a5ee50d2542116ef https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.2.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133048.1.jpg 8747fee09aabc610f7b45d7d6df685c5 https://cchu9080.lib.hku.hk/files/original/141/20210322_133456.jpg 950f301db4dfabb100f17e6699e4b714 https://cchu9080.lib.hku.hk/files/original/141/20210322_133945.jpg 16299e01ab734c63a1cb30fdf28939d4 https://cchu9080.lib.hku.hk/files/original/141/20210322_133416.jpg 43d7fa2c619dc243a5ee50d2542116ef 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Suzhou or Yangzhou, China, Asia Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Qing Dynasty, Qianlong Period, 18th century Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1644 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1911 Materials What an object is made of, including any later additions (mounts, frames, etc.) Lacquer Height (cm) 17.3 Width (cm) 31 Depth (cm) 15.8 Diameter (cm) 92 Accession Number A unique identifier for an object HKU.L.1971.0457 Description A short physical description of the object with an overview of its historical and social significance A precisely carved box with a cover, made of red layers of lacquer over a wooden core, in other words Qidao. The box is octagonal in shape with smooth rounded corners, the interiors and the base lacquered black. The sides are covered with engravings of floret diaper ground. The box is supported by a short sturdy black lacquered foot. The cravings on the vertical faces of the box illustrate pots and boxes filled with flowers and fruits. The fine-textured and smooth interior is a 4D octagon designed to hold objects similar to the carvings on the box; fruits and flowers. The cravings on top of the box illustrate people of different ages, an old man with a child and a middle aged man. They are in a rocky landscape surrounded by streams and jagged rocks. This scenery represents the usage of the box in a familial situation with the purpose of serving all ages. During the Qing Dynasty around 1644-1911, carved lacquer wares were made in Suzhou or Yangzhou, the ware were seen as an ornament meant for the usage of upper-class families. Similar lacquer boxes were used for serving wine during birthday banquets. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Craved Lacquer Box https://cchu9080.lib.hku.hk/files/original/139/IMG_0002.JPG 6198051b28e1086810a1d1bd714047f0 https://cchu9080.lib.hku.hk/files/original/139/IMG_0084.JPG 5a75787055e1c20bd1c9255285f4be0c https://cchu9080.lib.hku.hk/files/original/139/IMG_9997.JPG 8bc5c79e5da026fcfcd286ddcc84c7ce https://cchu9080.lib.hku.hk/files/original/139/IMG_9977.JPG cdb51b38dd9c6f2fe121782f15912b7e https://cchu9080.lib.hku.hk/files/original/139/IMG_0270.JPG 4262998ed2559c5ea9e6e0d3de4057d9 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Gong Xian, Henan Province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang Dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 7 Width (cm) 6 Length (cm) 14.4 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Mr Matsushige Hirota Accession Number A unique identifier for an object HKU.C.1961.0433 no.74 Description A short physical description of the object with an overview of its historical and social significance The elbow rest is modeled as a crouching rabbit with asymmetrical rounded eyes and surmounted by a flat oval top decorated with a hand-drawn asymmetrical flower, glazed with green, brown and cream white. These colors were produced by sancai glaze which was widely used for burial figures namely vessels and figurines in the Tang Dynasty. Thus, elbow rest is not only solely used for literati to stabilize the hand during painting and writing calligraphy but also satisfying the needs of the deceased as burial goods (Valenstein, 1988). Appeasing the deceased is important in China as many people believe in animism in which a spirit survives after one’s death and reacts differently according to the treatment towards them (Brown, 2020). Moreover, filial piety requires continuous caring for the ancestors by the alive (Brown, 2020). Therefore, people put burial goods into the tombs to serve and accompany them in the afterlife. Apart from providing service to the deceased, it can reveal the power and status of the dead by the sizes, types and qualities of the figures (Valenstein, 1988). For example, female servants, horses and ox would commonly be found in the tomb of wealthy merchants in the Tang Dynasty (Yung-Ch’Uan, 1990). Inhuman burial ceremonies that had been popular during the Shang Dynasty (1751-1111 BCE) were gradually replaced by larger-scale clay objects such as chimeras and guardian gods in the Tang Dynasty (Yung-Ch’Uan, 1990). Reference: Brown, N. (2020, January 1). Religion – Perspectives: An Open Introduction to Cultural Anthropology, 2nd Edition. Pressbooks. https://perspectives.pressbooks.com/chapter/religion/ Valenstein, S. G. (1988). A Handbook of Chinese Ceramics (Revised & Enlarged ed.). Metropolitan Museum of Art. Yung-Ch’Uan, H. (1990). The Tri-color Pottery of T’ang Dynasty: The Colorful Art in the Middle Ages of China. National Museum of History. https://cchu9080.lib.hku.hk/files/original/138/IMG_6555.jpeg 47ae0b7b42278c3e2bb1f2460f762f67 https://cchu9080.lib.hku.hk/files/original/138/IMG_7221.jpeg 5c8838721e3eff933633d8b788c945c8 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Dongcheng District, Beijing, China Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1654 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1722 Materials What an object is made of, including any later additions (mounts, frames, etc.) Rhinoceros horn Height (cm) 14 cm Width (cm) 10.6 cm Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Tan Siew Nguk Accession Number A unique identifier for an object HKU.M.2017.2398 Description A short physical description of the object with an overview of its historical and social significance This is a Rhinoceros horn-shaped cup covered with lacquer from the Qing dynasty. The inscriptions on the bottom of the cup show that it was a gift from the Qing Emperor Kangxi (1654-1722) to Tan Siew Nguk. The material, solid rhinoceros horn, symbolises the persistence of nature as it is a relatively hard material compared to wood. The lacquer-glazed surface provides the object with protection against water and acid. The increased durability of the cup echoes with the theme of the persistence of nature. Influenced by Manchu arts, this portable cup was decorated with rich botanical elements and great details. Strokes on the leaves are carved out clearly. The edge of the cup is carved into a chain of circular shape, giving the viewers an impression of clouds. Other natural imageries such as a reptile, flowers, and leaves can be seen on the sides of the artefact, presenting a vivid scene of the countryside to the viewers. The small capacity and thick edge of the cup suggest that this cup is mainly for decorative purposes instead of practical drinking purposes. On the bottom of the vessel, apart from the inscriptions, a short stroke of depression is visible, plausibly a natural imperfection of the material. Incorporating a blemish into the artefact reflects the Qing cultural value of respecting an object’s natural beauty as the artist did not try to cover it nor carve it out. This vessel serves as a celebration of the beauty of nature as shown from the material and surface carvings. Suggested by the context, the recipient of the object had contributed to the Qing society that Kangxi praised him through this object, portraying the social norm and hierarchy during the Qing dynasty. The detailed carvings manifest the skilled craftmanship of Qing artists and the strong cultural power of Qing. Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Qing dynasty, Kangxi Period Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rhinoceros horn-shaped cup https://cchu9080.lib.hku.hk/files/original/134/P3190948.JPG 672cce75da92a341b91c127711638f71 https://cchu9080.lib.hku.hk/files/original/134/P3190996.JPG 190bc2886b6eee57fd66eb95e0e3e2fd https://cchu9080.lib.hku.hk/files/original/134/P3191008.JPG 19b3f19f911c5536a9c0f011cc6d38ab https://cchu9080.lib.hku.hk/files/original/134/model_[2].json b36f91133f61307ca9295f9ebcfc5bfa 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Xian, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 31.4 Width (cm) 10.2 Depth (cm) 9 Accession Number A unique identifier for an object HKU.C.1959.0498 Description A short physical description of the object with an overview of its historical and social significance The unglazed standing female attendant was discovered in tomb and presented ritual function. It is one of the mingqi, which means spirit articles as replicas of the entourages that are buried with the dead. The lady figure was mould-made and coloured. Unfortunately, due to its nature of unglazed, the colour wore out over time and the little pigment is left. She stands with her right hand held in front of her chest. It is possible for her right hand to hold an item. However, it is unidentified now. Probably damaged or lost during excavation. The attendant’s dressing style has reflected fashion and people’s opinion on beauty during the time. Parted in the middle, her hair is tied into two buns. This is common among Tang young ladies who are yet to marry. She wears a loose robe with long sleeves that can hide her hands, reveals the fashion of Tang dynasty. The cloud-like gown is vividly represented by a few lines. From the traces of paint on her faces, she has a plump and rounded face, expressing a mild and graceful smile. The female figurine has reflected the fashion of mid-Tang dynasty. The trend had begun during the time of Emperor Xuanzong (685-762). One of his concubines, Yang Yuhuan has a plump and full shape which become the beauty standard at that time. In addition to the rich material life and luxurious lifestyle of the elites, Tang people think of plump and full-figure body shapes as the ideals of beauty. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unglazed Female Attendant Contributor An entity responsible for making contributions to the resource Wei Ka Ting attendant burial goods ceramics female Figurine Tang dynasty https://cchu9080.lib.hku.hk/files/original/128/20210323_145159.jpg 044d95029028ebb371889aa754ad87cb https://cchu9080.lib.hku.hk/files/original/128/20210323_144801.jpg b56ec32a8d68e4aa44e260da9baf6454 https://cchu9080.lib.hku.hk/files/original/128/Foo_Kwan_Yee_Queenie.json d304938bc02cabedeef94ff5eacc74de 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Nanfeng county, Jiangxi, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Southern Song dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1127 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1279 Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 4cm Width (cm) 11.2cm Diameter (cm) 11.2cm Accession Number A unique identifier for an object HKU.C.1981.0853 Description A short physical description of the object with an overview of its historical and social significance The bowl is painted with prunus under the moon, such that the blossom is an iconic symbol of the Southern Song. This may due to the fact that the blossom was flourished in the capital of Southern Song, i.e. HangZhou, and the falling of prunus represents the political instability during the period of time metaphorically. Since Southern Song is a period that prefers the pen to the sword, the composition of this design may be inspired by literati calling on the artistic conception of the beauty of blossoms under the gentle light of a crescent moon. The pairing gives a sense of tranquility. The bowl was made of stoneware coated with white glaze inside. Song dynasty played an important role in the advancement of pottery production, many prestigious pottery kilns thrived and more technically innovative ways were adopted and glazing was a major method to make raw ceramics look mature. The ceramic was fired under high temperature. After that, glazing gave an effect of iridescence under the reflection of light and a smooth texture. While for the outside of the bowl, the texture remains raw at the bottom. This kind of small bowl was usually used for the consumption of alcohol and tea. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bowl Subject The topic of the resource Prunus and Moon Creator An entity primarily responsible for making the resource Foo Kwan Yee https://cchu9080.lib.hku.hk/files/original/126/IMG_0660.JPG a2ee9c081d1fb1d93356cced3abdd229 https://cchu9080.lib.hku.hk/files/original/126/IMG_2334.JPG 3ba61badf9797ce140cc14e74df41515 https://cchu9080.lib.hku.hk/files/original/126/Harjono_Alicia_Angelica.json 0132376d2203a3ec64459b0ada406920 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Spring and Autumn Period Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -771 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -476 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 6,3 cm Width (cm) 4 cm Accession Number A unique identifier for an object HKU-B-1957-0161 and HKU-B-1957-0188 Description A short physical description of the object with an overview of its historical and social significance Chariots were commonly used in China from around 1250 BCE when various states were battling to take control of China. Other than its main purpose as transportation, chariots were also a symbol of high social status and a shock weapon. The chariot fitting item above is a part of a chariot, which is more complex in design and assembly than traditional carts and carriage as it could only be used by nobles and high-ranking soldiers. Chariot fittings largely varied in their shape and size. Compared to the other same artifacts, this item has a simpler design and pattern. Unlike the other chariot fittings which have a complicated shape (for example bullhead or asymmetrical shapes), this set is shaped like a simple tube with geometrical engraving. In addition to that, this item consists of 1 material only, unlike others that are made with hints of gold, silver, and iron as decorations. As metalwork was considered artwork and produce aesthetically beautiful artifacts, there could be several meanings to the geometrical pattern that is engraved into these chariot fittings, being combining modern elements with traditional objects. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chariot Fittings 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Ji’an county, Jiangxi province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Southern Song dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1127 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1279 Height (cm) 12 Width (cm) 5.8 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Unknown Accession Number A unique identifier for an object HKU.C.1953.0060 Description A short physical description of the object with an overview of its historical and social significance The bowl is resist-decorated on the interior with two flowers and phoenixes which are under a transparent glaze. This tea bowl was produced in the Jizhou Kiln at Yonghe Town of Jiangxi province. The Jizhou kilns in Jiangxi province were most well known for the technique of using paper cut-outs as stencils to create resist designs. The production process of this tea bowl involved leaving paper cut-outs of phoenixes and flowers on four sides of the interior to be burnt away in the kiln later during firing, while other parts of the interior were left untouched. Paper cut-outs usually featured “auspicious characters” or simple floral patterns, often spread around the sides of the bowl In this case, the phoenixes, a bird in Chinese mythology, represents harmony, prosperity, and virtue. They may also symbolize the union of yin and yang, balance in the universe. In Chinese culture, they represented the empress and can often be seen in the decorations for weddings or royalty, along with dragons, which represented the emperor due to these two creatures being symbolic of the blissful relationship between husband and wife. Furthermore, a Chinese character that means “stone” can be observed on the unglazed base of the bowl, suggesting the tea bowl is made from stone. Considering Jiangxi province was known to be an important tea-producing area and there was increasing popularity of tea-drinking in China during the Song dynasty, this stoneware is undoubtedly used for tea-drinking. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tea Bowl https://cchu9080.lib.hku.hk/files/original/123/Library_-_9854_of_4019.JPG e4034064c85c8f0534dcee21718b7486 https://cchu9080.lib.hku.hk/files/original/123/cheungchunyui.json a61015c24533eb65a00354c2a7f552fc 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Sui dynasty. Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 581 CE Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618CE Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 32.8cm Width (cm) 30.5cm Depth (cm) N/A Length (cm) 4.2cm Diameter (cm) N/A Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution N/A Accession Number A unique identifier for an object HKU.C.1953.0041 Description A short physical description of the object with an overview of its historical and social significance The stoneware horse is equipped with saddle and its' face is clearly presented, the eyes, nose and ear holes are clearly identifiable. Moreover, there is a little ball-shaped under its' month. The horseshoes are also easy to identify and is stored nicely. However, the stomach of the horse is hollowed with dirt inside. Overall, apart from tedious coloring, the model is good and identifiable as a horse. The whole horse is in flesh color, the color is slightly damaged and repaired with new painting. As mentioned, the horse was made in qui dynasty. In qui dynasty, the emperor always initialed war with other countries, for example, Korean in the past. The horse maybe represent war horses which was put in soldiers or generals' horse to represent their status or identity as of a higher rank citizens. So the horse is more like an decorative item, however, the horse lack colorful painting on or the painting were faded out due to time passed, like terra-cotta warriors did. Moreover, the tactile impression of it is rough, therefore my guess is it was a decoration of a relative poorer soldier in that dynesty. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Horse statue