2 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/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 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/85/blackdish.jpeg ce76d65524ba9f57843042a44d92a337 https://cchu9080.lib.hku.hk/files/original/85/blacklacquerdishside.jpeg 5c983af90e381d520b732718b013b5d2 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 Qing 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 1662 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 1795 Materials What an object is made of, including any later additions (mounts, frames, etc.) Mother-of-pearl Height (cm) 1.5 Diameter (cm) 13 Accession Number A unique identifier for an object HKU.L.1966.0299 Description A short physical description of the object with an overview of its historical and social significance This small black lacquer dish with a low rounded rim is inlaid with soft mother-of-pearl decorations. Such dish was found ubiquitous in the Qing dynasty along with its unique mother-of-pearl inlay technique, which depicts the prevailing art style in the era. The interior of the dish contains an inlay design of two men in a garden, with a heavy Ming-Qing dynasty cultural ambience reflecting from the clothing and background of the art. Various designs can be seen in similar lacquer dishes, such as iconic scenes from classical novels, nature sceneries, and the daily lives of the people. The soft mother-of-pearl inlay technique is exquisitely intricate, the artisans need to carefully select high-quality mother-of-pearls, then peel and cut the shells into fine pieces, which are then inlaid into the lacquer dishes piece by piece. After further polishing, the dishes glow in vibrant hues. In some cases, gold and silver shavings are added to enhance the quality and visuals of the dishes. Although these black lacquer wares were popular across the country, they were explicitly common in the household of aristocrats, wealthy merchants and literati. Such lacquer dishes for instance were widely used in banquets to imply their luxurious lifestyle and social class. 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 Dish dish lacquerware Qing dynasty https://cchu9080.lib.hku.hk/files/original/82/IMG_3164.JPG ab7d53a34959b7a1dbaaa5dc60c77c29 https://cchu9080.lib.hku.hk/files/original/82/IMG_3169.JPG 92ce14528adb8eb83075afac07831728 https://cchu9080.lib.hku.hk/files/original/82/File_017.jpeg 17eab7f33bfc99bbdd9d3876791a9a83 https://cchu9080.lib.hku.hk/files/original/82/model_[17].json ee5adb9466b62dc5949a18201d5f62aa 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 Goryeo 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 918 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 1392 Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 9.0 Width (cm) 12.0 Accession Number A unique identifier for an object HKU.C.1964.0552 Description A short physical description of the object with an overview of its historical and social significance This ewer has a shape and function similar to a modern teapot; to carry and pour water. It is incised with flowers, lotus leaves and bushes, and together with its overall dark green glaze, this ewer is a notable variation of Goryeo celadon wares (sanggam cheongja), an inlaying technique developed and widely used during the Goryeo dynasty. The production method of celadon itself was introduced by China in the 10th century, so celadon wares like this embody past cultural and technological exchange between China and Korea. Towards the end of the Goryeo dynasty, frequent invasions by Mongolians deteriorated the maintenance of techniques to make celadon wares like this, so their styles became more simplified over time. The incision of flowers and bushes is not specific to a particular religion, though lotus leaves may be pointing to the prevalence of Confucianism and Buddhism during the Goryeo dynasty. Other Goryeo celadon wares are incised with legendary creatures like dragons and haetae (lion with a horn), and celadons with such patterns were also observable in China. For example, a funerary jar (HKU.C.1996.1076) produced in China during the Southern song dynasty (1127-1279) is also a celadon ware with green glaze, and is incised with a dragon. The use of incised celadon wares instead of ordinary ceramics to make ewers like this suggests that teatime was an important cultural aspect of people’s daily life during the Goryeo dynasty. 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 Ewer Source A related resource from which the described resource is derived https://www.umag.hku.hk/en/collection_detail.php?id=95484567 celadon greenware teapot https://cchu9080.lib.hku.hk/files/original/11/IMG_4786.jpg 339dc021dfcb5960c00057430a29f02c https://cchu9080.lib.hku.hk/files/original/11/IMG_4781_2.JPG a1b1bf242abe5e52d92fa5f7d0966b6c https://cchu9080.lib.hku.hk/files/original/11/IMG_9058.JPG 82ccbbabe900fa0fe4c2a49c3980361f 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 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 -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) 21.3 cm Diameter (cm) 24.3 cm (for the belly) Accession Number A unique identifier for an object HKU.B.1955.0173 Description A short physical description of the object with an overview of its historical and social significance Dui is a vessel developed from Gui.[1] In the Spring and Autumn Period to the Warring States Period, Dui was originally used in ritual events to hold food and a symbol of social ranking. It is a combination of a bowl that holds rice and a covering lid. [2] This vessel illustrates a typical Dui design that started in the late Spring and Autumn Period.[3] It is a sphere sliced open in the middle, creating two parts similar in shape, demonstrating advanced craftsmanship at that time. Both the bowl and the lid have two ring ear handles and three ring legs. So, the lid can stand alone and used as a bowl too.[4] The bowl has a shoulder, straight neck and smaller diameter mouth, while the mouth of the lid is larger (子母口).[5] Therefore, the lid can be placed upon the bowl without disrupting its smooth appearance. Rings of grooves parallel to the ground (瓦紋),[6] one of the simplest decorative elements for bronze vessels, is used to decorate the vessel's surface. This may be due to Dui started to be used as daily food vessels during the Warring States Period, less focus on the aesthetics.[7] The area surrounding the rings ears are flat and lower than the ridges of the grooves. Also, some ridges near the rings are distorted, proving that the ring ears and the grooves were made separately. However, Dui started to decline in the Qin and Han dynasty due to difficulties in production and lack of practicality. Dui was then replaced by other iron-made vessels and earthenware. [8][9] [1] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [2] 谷朝旭, & 张懋镕. (2016). 中国古代青铜器整理与研究. 青铜敦卷 (Di yi ban.; 第一版. ed.). 北京: 科学出版社. [3] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [4] Asian Art Museum of San Francisco. Avery Brundage Collection & Lefebvre d'Argencé, René Yvon (1977). Bronze vessels of ancient China in the Avery Brundage Collection. San Francisco The Museum [5] 李建伟., 牛瑞红., & 牛瑞红. (2000). 中国青铜器图录 (Di 1 ban.; 第1版. ed.). 北京: 中国商业出版社 : 新华书店经销. [6] 林巳奈夫, 廣濑薰雄, & 郭永秉. (2019). 殷周時代靑銅器纹饰之研究 (Di 1 ban.; 第1版. ed., 殷周靑銅器綜覽 ; 2). 上海: 上海古籍出版社. [7] 馬承源. (2002). 中國靑銅器硏究 (Di 1 ban.; 第1版. ed.). 上海: 上海古籍出版社. [8] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [9] Li, H. (1980). The wonder of Chinese bronzes. Beijing: Foreign Languages Press. 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 Food Vessel (Dui) Contributor An entity responsible for making contributions to the resource Lo Sum Yin Silviane Chinese grains ritual https://cchu9080.lib.hku.hk/files/original/86/IMG_7614.JPG 425dbbafa866e032525bd4c19344df38 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 Eastern Han dynasty Diameter (cm) 11.6 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 and Mrs Angus. H. Forsyth Accession Number A unique identifier for an object HKU.B.1993.0981 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 25 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 220 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Description A short physical description of the object with an overview of its historical and social significance This LTV mirror has rich decoration on it. In its rim, there are two layers of sawtooth pattern, one of them are double-lined. Its inner section has a diagonally hachured band, some TLV pattern, 4 nipples and 8 animals on it, which by guessing, there is a rat, a panther, a tiger, a pair of phoenix, a turtle and an unknown animal. Most of these creatures have positive symbols. For example, the turtle symbolizes longevity, while phoenix means flourishing. These two creatures are the divine beast, which ancient Chinese worship and believe they could protect their land. There are zodiac animals such as rat and tiger. In its centre, there is a double-lined square, 4 petals and a round knob, making the shape of a flower. This mirror is well-preserved with only a few flaws. The bronze did not get oxidized much. Most of its pattern is clearly shown. There are some flaws on its rim and a little part is scratched out in its centre which has oxidized to a brighter yellow. The mirror side is glossy and smooth. 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 Gameboard: Mirror Subject The topic of the resource TLV mirror https://cchu9080.lib.hku.hk/files/original/75/IMG_4714.JPG 0d9211ba0f731cf8194de65d83068f70 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 Song dynasty and Yuan 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 13th century 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 14th century Materials What an object is made of, including any later additions (mounts, frames, etc.) Glass Height (cm) 10-15cm (by observation) Width (cm) / Depth (cm) 10-15cm (by observation) Length (cm) / Diameter (cm) ~7cm (by observation) 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 Songyin Ge Collection Accession Number A unique identifier for an object HKU.M.2019.2468 Description A short physical description of the object with an overview of its historical and social significance It is a blown glass bottle in green color with a rounded body, a narrow and tall neck, a flared opening. The green color in Chinese culture means environment, life, fresh and hope such positive images. Many artefacts and valuable crafts from China are also made of jadeite and it is green in color. Thus, green also means wealthy. This glass bottle is made in Song dynasty and it is one of the earliest glass-made products in China but not made by Lapis Lazuli. However, the earliest glass-made product in the world is produced in about 1 century by Roman. There is also various research to tell us that the technology of glass-making from western is transferred to China during Song dynasty. Thus, this glass bottle represents the popularity of trading product and technology between Eastern and Western in 13th century. In Chinese culture, some picture or pattern represented luck and goodness will be drawn on every craft. However, we cannot see any add-ons or extra decoration on the bottle. This tells us that China is not good at decorating glass-made products during Song dynasty. A lot of bottles with the same characters are found in the Abud Refuge Cave in Roman Judea. Thus, these bottles are believed for residential usage to store different type of liquid. 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 Glass bottle easiest glass-made product in China https://cchu9080.lib.hku.hk/files/original/95/IMG_0985.JPG b8d014abba45efad812ddc4aa1af6fbb https://cchu9080.lib.hku.hk/files/original/95/IMG_3347.JPG 6702f76e861611c14db096eba5652106 https://cchu9080.lib.hku.hk/files/original/95/IMG_3349.JPG a3c311f14d6667298159bd1a2c6de60b https://cchu9080.lib.hku.hk/files/original/95/IMG_0651.JPG 5fa6426e14b7d46b11ce24c58077c751 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 Han 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 -206 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 220 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 9.6 cm Width (cm) 21.5 cm Length (cm) 23.1 cm Accession Number A unique identifier for an object HKU.C.1990.0930 Description A short physical description of the object with an overview of its historical and social significance This grinding mill model comprises mainly of two parts: a rotary mill and a circular mortar or tray. For the mill, it has a round millstone. However, a stick that operated the millstone might be missing. Like other earthenware ceramics from the Han dynasty (206 BCE- 220 CE), the grinding mill has been buried in a moist environment for centuries. The patina in some parts (particularly the inner bottom part) of the mill has therefore changed into a luminescent green glaze. The inner bottom part of the glazed mill becomes shiny and light reflective. Being a funerary object (mingqi), this mill is a miniature model of a grinding mill in real life. Farmers ground grains in the mill for food making. Unlike other decorative funerary objects, this mill merely has some curve-lined patterns on the outer surface of the tray. The reason may be that this mill was deemed as a tool for farming purpose in another world only and thus no fashioned designs or prestigious symbols were seen. As Chinese people in the Han dynasty believed that the afterlife was the extension of life in reality, they had to prepare daily necessities for their ancestors. Thus, this mill was buried with replicas of other relevant farming structures, such as granaries, and even farmer figures. People hoped to provide abundant food for the ancestors living in another world and keep their spirits delighted. 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 Grinding Mill Contributor An entity responsible for making contributions to the resource Pun Kam Wing Grinding Mill Mill Model 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