2 10 40 https://cchu9080.lib.hku.hk/files/original/121/IMG_20210319_141331.jpg 96d980930eed6cfc359476f1b56cbbe9 https://cchu9080.lib.hku.hk/files/original/121/model_[20].json e4a73c92488e86b672621fc3bd3aa29f 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Probably Xi'an, Shaanxi Province, China (as it was the capital and cultural center of the Tang Dynasty) 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) 44.6 Width (cm) 9 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 Dr. T.T. Tsui, Tsui Art Foundation Ltd. Accession Number A unique identifier for an object HKU.C.1993.0990 Description A short physical description of the object with an overview of its historical and social significance The term “groom” is used to describe this middle-aged male figure as it was found alongside ceramic glazed horses. The outstretched arm presumably held the reigns off the horse. The figure was painted over using only three different colors, being brown, dark green, and creamy off-white. Other similar figures with the same color palette have been identified as the sancai (Tri-Color). Their heads and bodies are made separately using low-fired clay, after which they are sealed together and glazed over. Areas on the body where the glaze has chipped off, reveals the clay firing process underneath. Grooms are unique in the sense that their clothing and facial features are not Chinese but those of Central Asia. Nearby Turkic kingdoms would send their men with animals such as horses and camels for the Tang emperor as tributes for prosperous trade. These earthenware figures were funeral objects, and they were unearthed within the Tombs of high-ranking officials in the Tang Dynasty (618CE-907CE). The appearance and number of figures in a tomb depended on the status of the individual. A standard tomb contained figures of civil officials, warriors, servants etc. The belief was that the deceased could carry their earthy possessions and enjoy them in the afterlife. The sancai were to appear to protect and serve the deceased high-ranking official as they would in real life. Larger figures such as Guardian Gods were likely used to protect the spirit of the deceased and ward off tomb raiders. 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 Groom Earthenware Groom Horse Rider Tang dynasty https://cchu9080.lib.hku.hk/files/original/119/IMG_4166.jpeg 39ff56d4fd522b2daae5ab3f00593a07 https://cchu9080.lib.hku.hk/files/original/119/IMG_4276.jpeg 96aed152651359171234bbf0161d5c64 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Anyang, Henan Province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Shang 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 -1600 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 -1046 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 20.3 Width (cm) 7.5 Length (cm) 17.7 Accession Number A unique identifier for an object HKU.B.1953.0004 Description A short physical description of the object with an overview of its historical and social significance This Jue is one of the earliest bronzes uncovered in China, which can be dated back to the Chinese Bronze Age. The Jue presents a very iconic decorative pattern on its body that is the distinct and iconic decoration on Bronze vessels in the Chinese Bronze Age. The continuous spiral lines of the Jue's body are the Leiwen Motif, which serves as a background and simulates Thunder and Cloud. There are two lifted circle on the body, which denotes the eyes of the ancient Chinese mythological creature "Taotie". This Jue was made by clay piece-mould casting method that pours the molten bronze into the clay moulds and let it cool down. Jue is a wine vessel mainly for the ritual to the ancestors. Strong resistance to erosion of the bronze can allow the Jue to serve the ancestor for thousands of years. During the Shang Dynasty, people believed that deceased ancestors were not consciously dead, but went to a new world where the society was the same as ours. As a result, Jue, with other bronze vessels, serve as the funerary paraphernalia, placed into the tomb, that accompanies the ancestors to the new world and serves their daily life. Before being placed into the tomb, Jue will be filled with wine and the attendance will pour the wine to the ground (libation), which means offering the wine to the ancestor in another world with respect and reminiscence. 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 Tripod wine vessel - Jue Subject The topic of the resource wine vessel Bronze Jue Shang dynasty Tripod wine vessel https://cchu9080.lib.hku.hk/files/original/112/photo_2021-04-08_22-11-43.jpg 8d76e008a54f263bce86fdc4998052c6 https://cchu9080.lib.hku.hk/files/original/112/photo_2021-04-08_22-11-45.jpg fd5cba8fee84082873f7f340ba423f2e https://cchu9080.lib.hku.hk/files/original/112/photo_2021-04-08_22-11-46.jpg 1cda5dec6a80da24083d97451a57a219 https://cchu9080.lib.hku.hk/files/original/112/Cheung_Ka_Man.json b0465eaa6f706f6f40513966480d8d46 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 Warring States 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 -475 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 -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 11.0 Length (cm) 27.0 Diameter (cm) 22.5 Accession Number A unique identifier for an object HKU.B.1954.0094 Description A short physical description of the object with an overview of its historical and social significance This round water basin (Jian) was one of the most common types of bronzes during the Shang Dynasty (ca. 1600–1050 B.C.) to the Warring States (ca. 475–221 B.C.). During that period, the bronze industry reached its peak as a symbol of productivity development. This water basin has a cow head-shaped animal with ears of mythic animals on each handle. Animal’s pattern was common on bronzes. Lozenge design can be found around the basin’s neck. Cloud and thunder veins, meaning the co-existence of clouds and thunders, can also be observed in this design. This kind of vein was commonly used on bronzes during that era. This basin could be made by using piece-mold casting, in which the bronzeworkers produced the bronzes by using clay molds. They reassembled different sections by firing to form the bronzes. The bronzeworkers could produce products with a high degree of sharpness with this method. The piece-molding casting was the most used way in that period. This kind of basins could be employed for several purposes. They could be used as a ritual vessel, washbasin, ice container, and even mirror (by using the reflection of water). However, the iridescence of this basin showed that it might have stayed underground and exposed to a high humidity place for a long time. This indicates that this basin could be a ritual vessel. The size, shape, and number of ritual bronzes could vary according to the owner’s social status. 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 Water basin (Jian), Warring States Source A related resource from which the described resource is derived Museum of the Institute of History & Philology, A. (n.d.). 雲紋，雷紋，雲雷紋: Museum of the Institute of history & PHILOLOGY, Academia Sinica. Retrieved April 08, 2021, from http://museum.sinica.edu.tw/en/knowledge-base/item/164/ D. (2004, October). Shang and Zhou Dynasties: The Bronze Age of China. Retrieved April 08, 2021, from https://www.metmuseum.org/toah/hd/shzh/hd_shzh.htm#:~:text=The%20era%20of%20the%20Shang,material%20culture%20of%20the%20time 蟠螭紋鑑. (n.d.). Retrieved April 08, 2021, from http://140.109.240.38/1_2/3DAA/object.php?item=60&&material=4-5-2 Li, S. (2020, July 28). Bronze art of Shang and Zhou Dynasties. Retrieved April 08, 2021, from https://chiculture.org.hk/en/china-five-thousand-years/1959 Contributor An entity responsible for making contributions to the resource Cheung Ka Man animal cloud and thunder vein piece-mold casting ritual warring states water basin https://cchu9080.lib.hku.hk/files/original/111/IMG_6037.JPG a516c8330d5f8035e2c14cb42f949ddd https://cchu9080.lib.hku.hk/files/original/111/IMG_5777.JPG 0cc33ee4d4ffa41c77792ef1f874b6c2 https://cchu9080.lib.hku.hk/files/original/111/IMG_5866.JPG 34893d5c9cb1483b068d6ec1a8067226 https://cchu9080.lib.hku.hk/files/original/111/IMG_6356.JPG ff5664c5fb5cf0536dbf19cac0519d27 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Guangzhou, Guangdong province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Early 20th century, Qing dynasty or Republican 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 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.) Copper Height (cm) 12.6 Width (cm) 8.3 Diameter (cm) 9.5 Accession Number A unique identifier for an object HKU.M.1997.1166 Description A short physical description of the object with an overview of its historical and social significance This brush holder with golden rims is decorated with painted enamels, which include iron-red, ruby, cobalt blue, green, and yellow. Foliage, trees, gardening, and flowers are shown on the front side and backside of the holder, which are framed on the violet flower-patterned background. On the front side, two women are playing with 4 children in different colors of clothes in their yard. On the backside, a woman is facing one child while 3 children are playing near the pond on the balcony with the view of a small mountain. <br /><br />This brush holder is made of copper coated with enamel. This technique was invented in Limoges, France during the Renaissance period, and was adopted by KangXi Emperor (1662-1722) from European merchants and Jesuit missionaries. Enameled metal wares, included plates, clocks, trays, were intended to be tributed to the court as luxury goods. With advanced skills and knowledge in enameling porcelain, the technique of fusing enamels within wire cells on copper and bronze was first introduced during the Ming dynasty (1368-1644) and becoming a trend by the Qing dynasty (1644-1911).<br /><br /><br />Bibliography <br /> <p><span>Vinhais, L., Welsh, J. (2015) <em>China of All Colours. Painted Enamels on Copper. </em>UK: Jorge Welsh. </span></p> 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 Brush holder Date A point or period of time associated with an event in the lifecycle of the resource Early 20th century 20th century Brush holder Copper enamels Guangzhou painted enamels Qing dynasty Republican period https://cchu9080.lib.hku.hk/files/original/110/IMG_4561.JPG 759d1cb10e24488303eff598f886f5c4 https://cchu9080.lib.hku.hk/files/original/110/IMG_4847.JPG e7374936326d82ec2a16ad8e190fc250 https://cchu9080.lib.hku.hk/files/original/110/IMG_4875.JPG aeb0533767b3166791b7b9f39b20f7ef https://cchu9080.lib.hku.hk/files/original/110/IMG_4931.JPG 3fdb5df7359b95c045eb06fb0ee7c904 https://cchu9080.lib.hku.hk/files/original/110/IMG_4611.JPG 5363ce1195cf5e0f018af10088a72a96 https://cchu9080.lib.hku.hk/files/original/110/IMG_4630.JPG 9db0805174db44add944bc171ed68c27 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Korea Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Joseon 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 1392 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 1912 Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 28.2 Width (cm) 15.6 Accession Number A unique identifier for an object HKU.C.1957.0210 Description A short physical description of the object with an overview of its historical and social significance The grey colored wine jar is glazed and slightly decorated with black wavy lines drawn by a brush, and overall speaking is very simple. There are protruding rings around the jar, making the jar more decorative. The jar is protected rather well, though there are a few visible cracks on it, which could be made during the firing process. The bottom and the rim of it was repaired. The jar could be crafted from clay with a high iron composition, as from the chipped parts of the object one could see that the unpainted parts are of a reddish color. Judging the pottery’s greenish grey body and the black slip, the jar should be of the Punch’ông style, which usually comes out of a similar color, although the slips are white in color. As the Punch’ông pottery are usually from the 15 and 16 century, one could assume that the wine jar was made in the 15 or 16 century. The pottery is used as a wine jar, and, by judging its simple decoration, it could be used at a restaurant or a wine tavern. Also, as it does not have any handles on it, it is assumed that the container is placed on a table rather than hung onto walls or being carried by waiters. Also, as the wine jar is large in volume, which normal domestic families would not be able to use, one could suggest that the jar was used commercially. Source: Hammer, E., & Smith, J. E. (2002). The Arts of Korea: A Resource for Educators (Pck ed.) [E-book]. Metropolitan Museum of Art. https://hkuhk-my.sharepoint.com/personal/pcobb_hku_hk/_layouts/15/onedrive.aspx?originalPath=aHR0cHM6Ly9oa3Voay1teS5zaGFyZXBvaW50LmNvbS86ZjovZy9wZXJzb25hbC9wY29iYl9oa3VfaGsvRXZldlNCTG5qeHBIdkoybnQxM3p3c1FCSlVjZkdlOFNicmxraFMwcEI5c2s0UT9ydGltZT1vVXNldl9fNjJFZw&id=%2Fpersonal%2Fpcobb%5Fhku%5Fhk%2FDocuments%2Fcoursework%2F2021ASpring%2DCommonCore%2Fresources%2FCeramics%2FThe%20Arts%20of%20Korea%2Epdf&parent=%2Fpersonal%2Fpcobb%5Fhku%5Fhk%2FDocuments%2Fcoursework%2F2021ASpring%2DCommonCore%2Fresources%2FCeramics Artist/Maker The name of the artist, maker, or workshop that made the object 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 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 Wine Jar https://cchu9080.lib.hku.hk/files/original/109/IMG_20210322_123551.jpg f6bed63c578c42a2441ad42c307982dd https://cchu9080.lib.hku.hk/files/original/109/IMG_20210322_123144.jpg 3c5545704809a31bf93613bb3d2ae5bc https://cchu9080.lib.hku.hk/files/original/109/IMG_20210322_122633.jpg 3af773c087eb648cb150d62367743c2d https://cchu9080.lib.hku.hk/files/original/109/Lin_Meixuan.json 317fafd9089b080d750786c73ae48a14 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Kaifeng, Henan province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made 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 960 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) 11.5 Width (cm) 8.3 Accession Number A unique identifier for an object HKU.C.1958.0214 Description A short physical description of the object with an overview of its historical and social significance This vase should be a kind of Mei bottle. Mei bottle is a bottle type with a small mouth, short neck, large shoulders, thin bottom, circle foot. The smallmouth can only insert plum branch, "Mei" means plum in Chinese; thus, we call Mei bottle. Because of the bottle's slender body, it was called a "jing bottle" in the Song Dynasty, which was used for holding wine. In the Song Dynasty, many beautiful porcelains were made by official kilns, including Ru porcelains, Qingbai porcelain, etc. Although unearthed in Kaifeng, this song vase was not made in an official kiln. The vase itself can be distinguished from the colour and the glaze, it should belong to the Yaozhou kiln product, and the porcelain glaze has the phenomenon of natural opening. The bottle is not transparent, and the pattern is a leaf pattern. The pattern is not drawing exquisitely so that the vase may come from the folk workshop. The original owner of this porcelain vase was not born into a wealthy family but an ordinary citizen's family. However, the round body of the vase also shows that the firing process of porcelain was mature during the Song Dynasty. 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 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 Song Vase Song dynasty stoneware vase wave https://cchu9080.lib.hku.hk/files/original/108/D47917DA-3BEF-48CD-8872-50D94F0CE23A.jpeg f499598f5b835fad89691734d0ca87b6 https://cchu9080.lib.hku.hk/files/original/108/chan_ting_chai.json 48f956d40585ba3dd9c016831776fcb5 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Lishui, Zhejiang province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made 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 960 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) 8cm Diameter (cm) 12.3cm 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.1955.0157 Description A short physical description of the object with an overview of its historical and social significance This bowl has rounded sides, the exterior carved with lotus petals, covered overall with an even olive-green glaze. The olive-green glaze with small cracks shown by the bowl is known as Celadon or greenware. Because of its olive-green colour, Celadon wares could resemble Jade, one of the most valuable materials in the Song Dynasty. Celadon ware was notably regarded by the Chinese Imperial court and has a high value, with Celadon wares from Longquan kilns in Lishui, Zhejiang province being the most representative one. There is also a belief that Celadon wares would break or changes their colour if they are in contact with poisoned food, that is one of the reasons why some bowls and dishes are made of Celadon. Celadon production is invented by the Chinese which supplied the Southern Song court after the collapse of the Northern dynasty in 1127 and exported to East Asia, Southeast Asia, and the Islamic world. This bowl does not contain any engraving or decorations, which shows the style of pottery in the Song Dynasty which is the brilliant feldspathic glazes over a stoneware body and emphasizes the simplicity of form. 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 Lobed Bowl bowl celadon Ceramic Song dynasty https://cchu9080.lib.hku.hk/files/original/107/IMG_0340.jpeg c2738018adb8d374469f8f466c30d323 https://cchu9080.lib.hku.hk/files/original/107/IMG_0358.jpeg 1a7e1bcb7dee9c053c2cf96520eb5e08 https://cchu9080.lib.hku.hk/files/original/107/IMG_0375.jpeg 38b32b1331c3109809763990a6c15f5a https://cchu9080.lib.hku.hk/files/original/107/IMG_0393.jpeg 6c68e2ab079c98a9607eced880fa76c8 https://cchu9080.lib.hku.hk/files/original/107/IMG_0396.jpeg 07394b33bfaf2e5ac04cc472f532057f https://cchu9080.lib.hku.hk/files/original/107/IMG_0406.jpeg a0a44f178c22ac2e2cf261f1aba98219 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Along the upper Yellow River bank regions in China, including Gansu, Qinghai and Sichuan Province. Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Machang Phase (2300-2000 BCE), Majiayao Culture, Neolithic 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 2300 BCE 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 2000 BCE Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 11.4 cm Width (cm) 19.4 cm (ears included) Diameter (cm) 16.2 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 Mr. TAM Bing Yiu Accession Number A unique identifier for an object HKU.C.2009.1803 Description A short physical description of the object with an overview of its historical and social significance The pot is made of clay and hardened through heating. It is supposed use to hold food or drink. It is decorated, usually on the upper part only, with lots of leaves or waves alike geometric patterns executed in black pigment with brushing work. Pottery designed with paints is among the most iconic of the archaeological remains from Neolithic cultures. The earthenwares were often equipped with fanciful thin wall, paints and burnishes. The Majiayao culture was boomed in the agricultural communities along the upper Yellow Riverbank regions including Gansu, Qinghai and Sichuan province. The culture was from 3300 to 2000 BC and divided into three phases, including Majiayao, Banshan and Machang phase. In Majiayao phase, pot makers generally decorated their crafts with the designs in black pigment featuring sweeping parallel lines and dots. Meanwhile, for the potters in Banshan phase were famous for having curvilinear designs using both black and red paints. In Machang phase, the potteries were similar, but usually not as fine and high quality as the ones in the previous phases because it was having a mass production to support the demand of the rapid-growing population. The craft shows a clear and logical design and savour evolution, leading from remarkable designs in the past cultures to linear beauty in Majiayao culture. The popularity of ceramics dropped dramatically once the crafting skills of bronze, lacquer and precious metals were matured in the later times. 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 Pot Contributor An entity responsible for making contributions to the resource HUI Tsz Lok ceramics Machang Phase Majiayao Neolithic China pottery https://cchu9080.lib.hku.hk/files/original/100/20210318_113125.jpg 090651539e2422309bddd7d3aa88181a https://cchu9080.lib.hku.hk/files/original/100/20210318_113738.jpg d420d610c4fa7178cb1202f2c8c32d64 https://cchu9080.lib.hku.hk/files/original/100/IMG-20210318-WA0017.jpg 8e90c9514650ab7f8b0aa10c0b2d5e30 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Changsha, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Eastern Zhou 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 771 BCE 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 256 BCE Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 35.6 cm Diameter (cm) 16 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 the Mengdiexuan society Accession Number A unique identifier for an object HKU.B.1993.0991 Description A short physical description of the object with an overview of its historical and social significance The object was a Wine vessel (Hu) produced during the Eastern Zhou dynasty (771–256 BCE). As it had been kept oxidized for a very long time, though the original dark green colour has somewhat been left intact, it’s surface has also shown large signs of faded gray and dark yellow. On the top of the vessel, there is a cover for the storage of the wine in the container. Vessels produced from the same period usually have handles designed on both sides for carriage and delivery. There are two bulging projections found opposite to each other. Probably the vessel had been so designed to allow handles to be added in the manufacturing process, or it could be hung upon on both sides of a shoulder pole for laborers to deliver the wine vessels. That no handles had been found on any part of the vessel might be the effects of long centuries of ageing erosion. Similarly manufactured and designed vessels from the same period usually were decorated with mythic animal patterns on the outer surface. However, the vessel found here had been decorated with six bands of low relief bumpy dots. Scholars have found that, in the ancient times, the earliest Chinese bronze manufactured products were made by piece-mold casting, whereby artisans usually made a model of the item to be cast using clay mold. Then the craftsmen cut in parts to get the model and then reassembled the parts by cementing them together. By looking at the surface of the vessel, we can find very rough rudimentary vestiges on the body and the pattern, showing not just low craftsmanship in assembling the sections together but also suggesting the more commonly usage of the item for commoners at that time. Again, the low relief bands found on the surface of the vessel as against the more complicated designs of mythic animal patterns (for example, the taotie mythic beast) and the missing handles on both sides all suggest the vessel’s more affordable pricings and more popular accessibility. At the bottom part of the vessel, we can find there is a projected bulge designed like a handle. It is placed right in the center of the bottom of the vessel, a design best fit for its fixing on wooden poles set on wheeled carts for road transportation or ship decks for long-range water transportation. Whether the vessels were used for wine storage or other drinks, its primitive and economic design made the item marketable. The piece-mold casting method of manufacturing all sorts of bronze-made items allowed the craftsmen and the artisanal workers to produce similar items at different prices to suit different market demands at different prices. All these have helped in the imaginative reconstruction of patterns of daily lives of both ordinary people and noble aristocracy. This leapt of knowledge and imagination about the ancient past not only helps us today to picture the technological level of bronze manufacturing production, but also the popularity of metal products circulated for all walks of life during the Eastern Zhou dynasty. At a time when China had been divided into many different states competing and at war with each other all the time, getting a glimpse of the advancement of the manufacturing of bronze products can help enhance our understanding about geographical diversities in culture but also the diffusion of technology through war and migration patterns from that 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 Wine vessel (Hu) Subject The topic of the resource Wine vessel (Hu) Source A related resource from which the described resource is derived <a href="http://www.benjanssens.com/portfolio/bronze-ritual-wine-vessel-hu/" title="Bronze ritual wine vessel hu">Bronze ritual wine vessel hu</a><br /><a href="http://searchcollection.asianart.org/view/objects/asitem/search@/0?t:state:flow=854e6f6b-b0b8-4a48-9c74-689ab9e22e3d" title="Ritual wine vessel (hu) with cover">Ritual wine vessel (hu) with cover</a><br /><a href="https://www.metmuseum.org/toah/hd/shzh/hd_shzh.htm" title="Shang and Zhou Dynasties: The Bronze Age of China">Shang and Zhou Dynasties: The Bronze Age of China</a> https://cchu9080.lib.hku.hk/files/original/98/20210322_133148_008.jpg 98068378d0cce0b022b989311935948e https://cchu9080.lib.hku.hk/files/original/98/20210322_133746_008_saved.jpg 19bae48f4e67f8114e360e8346e055fc https://cchu9080.lib.hku.hk/files/original/98/20210322_133432_059_saved.jpg eed845fac3a810bf930a002f2253576e https://cchu9080.lib.hku.hk/files/original/98/20210322_134317.jpg b54bcade52dc475b408c5056eb3cfc5f 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Unknown exact location, likely Southern China or Yangtze River mid to downstream towns or cities. (Core territory of the Southern Song Dynasty) Artist/Maker The name of the artist, maker, or workshop that made the object Zhang Fa Jing (張法敬) Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Six Dynasty period, more specifically, Southern Song Dynasty (420-479 AD) (also known as Liu-Song Dynasty after the Emperor's surname, Liu) 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 422 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 424 (most likely 424) Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Silver Height (cm) 16.7 centimetres Width (cm) 6.5 centimetres Depth (cm) N/A Length (cm) 6.1 centimetres 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, presumably an original collection by the HKU museum. Accession Number A unique identifier for an object HKU.B.1970.0442 Description A short physical description of the object with an overview of its historical and social significance The Standing Buddha sculpture is a prominent object of worship throughout Chinese History, with Buddhism becoming the dominant religion of China from the Han Dynasty onward. The Buddhist sculpture belongs to the Southern Song Dynasty of the 5th Century, an era marked by prolonged and endemic political instability. Peace, especially inner peace, is an essential value promoted by Buddhism, which many believers would seek to reach, not despite of, but because of the hardship encountered in their daily lives. The design of the Buddhist sculpture generally takes resemblance to other such sculptures of the time. One prime example is the large water lily (lotus) leaf behind Buddha. In Buddhist beliefs and symbolism, the lotus represents purity of the body, speech and mind, as if floating above the murky waters of material attachment and physical desire. According to legend, Gautama Buddha's first steps made lotus flowers appear everywhere he stepped. The lotus leaf also represents tranquility, and moral superiority, key traits every Buddhist would seek to reach. Thus, the addition of the lotus to the Buddha statue not only represents the importance of self-identity crucial within Buddhism, but also the piousness and devotion of the artist himself towards Buddhism. Another notable detail is the descriptions engraved on the backside of the lotus leaf, written in Middle Chinese. It roughly records the date of creation of the sculpture, then records the personal views and beliefs of the artist himself towards the Buddhist religion, which includes his worldview and what he considers a utopian society, one where all lives live in harmony, a key Buddhist belief. This might be written as a sign of hope, as the era when the sculpture was made was marked by political instability and turmoil. From a material perspective, the Bronze-Silver alloy structure suggests that the sculpture likely belongs to a semi-wealthy, middle class and well-to-do owner, as poorer peasants could only afford cheaper stone sculptures, while the ruling class aristocrats would have access to more exquisite Silver was an expensive metal back then. this sculpture serves more as a transitional turning point of Buddhist art and sculpturing. Gone were the early stone and purely copper sculptures (occasionally Jaded for more exquisite and luxurious ones) of the Han Dynasty (202 BC-220 AD), yet the trend for golden Buddhist sculptures of the Tang Dynasty (618 AD-907 AD) had yet to come. The result is a mixture of Bronze and Silver, a transitional material. 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 Standing Buddha Subject The topic of the resource This object is a Standing Buddha Sculpture made from a combination of bronze/ copper and silver. Description An account of the resource This Standing Buddha Sculpture originates from the Six Dynasties period of Ancient China, more specifically, the short-lived Southern Song Dynasty of the 5th century (Also-known as the Liu-Song Dynasty). This sculpture is likely situated or at least located at sites of worship, as Buddhism is the dominant religion of China at the time. The exact location of excavation is not known. Source A related resource from which the described resource is derived https://www.umag.hku.hk/en/collection_detail.php?id=65252574 Contributor An entity responsible for making contributions to the resource Kwan Long Hei Linus Bronze Buddhism Buddhist Copper Gautama Buddha Guanyin Sculpture Silver