3 10 40 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/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/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/80/DSC_0332.JPG 543591c8552ca4e3978671e02db9ac74 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Luoyang, 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) 7.0 Diameter (cm) 10.0 Accession Number A unique identifier for an object HKU.C.1953.0023 Description A short physical description of the object with an overview of its historical and social significance The pot is covered in a colorful glaze with fluid-like patterns. The lead-based glaze is known as 'sancai', meaning 'three colors', even though the number of colors is not necessarily restricted to 3. Various metal oxides are added to the glaze before being applied to a clay vessel, including iron oxide for red and yellow, copper oxide for green, and cobalt oxide for blue. During the firing process, the molten glaze is poured over the vessel, creating the natural flowing patterns. Sancai is usually used on white ‘kaolin clay’ since the Sui Dynasty (CE 581-618), but it is not the case here. The clay used has a darker color, owing to higher amounts of ferric substances. Being quite expensive, sancai is usually applied to funerary figures in tombs of aristocrats and officials, and might have been used on luxury items for scholars. It is believed that funerary objects can be used by the dead in the afterlife. During the Tang Dynasty (CE 618-907), the manufacture of funeral objects was scaled up, and a set of clay animals and furniture is often included according to funeral customs. 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 Jarlet burial goods ceramics 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/68/Object_1.jpg 749032935f16a2b5324a207b110c518d https://cchu9080.lib.hku.hk/files/original/68/Object_2.jpg 45fc7324bcb1529eee0dd27620e5708c https://cchu9080.lib.hku.hk/files/original/68/3D_Model.obj d570d4a900410ba51f3a414c86e3f312 https://cchu9080.lib.hku.hk/files/original/68/3D_Model.1.mtl 739a0624b5c069a4f942357b2399da20 https://cchu9080.lib.hku.hk/files/original/68/3D_Model.2.jpg 9b4df7e8d54793c363a5f9b62f8c47a4 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Luoyang, Henan Province, 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.) Bronze Height (cm) 1.2cm Diameter (cm) 15.8cm Accession Number A unique identifier for an object HKU.B.1954.0151 Description A short physical description of the object with an overview of its historical and social significance This mirror has two sides, a polished side and a reverse side with a knob and decoration. This is the typical design for early mirrors in China, which has no handle. To solve the problem that the polished side is easy to become clouded by moisture when handed, a knob with a hole is attached to the reverse. People can use a cord to loop through the hole in the knob to hold the mirror to avoid touching the polished surface. In addition, these knobs have not only practical functions but also have spiritual meanings. Inscriptions on other mirrors from the same period indicate that the knotted cord on the knob holds symbolic significance for the family unit's perpetuation. Apart from the knob, animal figures and inscriptions are also found on the reverse side. Animals used for decorations on mirrors commonly include taotie, dragon, phoenix and the four divine beasts. These animal figures are abstracted from real animals or purely imagined ones representing ancient Chinese people's spiritual beliefs. In order to understand the decorative designs, inscriptions can be the clues. This is because, apart from indicating the making and the ownership of the mirror, the inscriptions also serve to summarize the decoration figures 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 Mirror from Luoyang Han Dynasty mirror https://cchu9080.lib.hku.hk/files/original/64/20210318_124100[0].jpg 066ac261bcc41c331df32615256a65eb https://cchu9080.lib.hku.hk/files/original/64/20210318_124105.jpg a63b6cc5dad1442dedd52c3b3e4f9a9e https://cchu9080.lib.hku.hk/files/original/64/20210318_124924.jpg 4d1825ef2bfc6ec18b38003c3cbfb1d5 https://cchu9080.lib.hku.hk/files/original/64/20210318_123924.jpg 882dc7ecd4f313068c212fb049a6f68a https://cchu9080.lib.hku.hk/files/original/64/Chak_Chun_Wai.json b5111809a0e9e856c7d72b12b98ef04b 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 Late Zhou 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 -1100 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 Height (cm) 4.1 Length (cm) 18 Accession Number A unique identifier for an object HKU.B.1956.0142 Description A short physical description of the object with an overview of its historical and social significance The bronze belt hook is long, thin and round ended with raised arc. There is also a button inlayed at the bottom of the hook and the upward curled head respectively so the two ends of the belt could be fixed. The overall shape is like a crawling snake, with the head and tail form the hook. Snake is the sixth of the 12 Chinese zodiac animals . As number six is considered to be lucky and can bring good fortune and snake is regarded as a symbol of the power of nature . Therefore, in the ancient time people would like to have their daily necessities with animal patterns. Besides, the hook is inlayed with gold, silver and turquoise which are the supplement of gold and jade hook. It has shown the social status and wealth of the owner which could only consider as a middle class. The belt hook is used for fastening the user’s clothes along the waist and it became commonly used because of the increased popularity of horse riding from the China late Eastern Zhou 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 Belt Hook Source A related resource from which the described resource is derived https://147.8.225.32/en/collection_detail.php?id=98259719 https://cchu9080.lib.hku.hk/files/original/62/DSC_0070.JPG b3170f9446025935a5a7c4c63505c1f7 https://cchu9080.lib.hku.hk/files/original/62/Ng_Sze_Yuet.json 26dd75b2fbaeb33885bc9d95480e672e 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 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 906 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 9.3 Width (cm) 9.0 Depth (cm) 0.9 Accession Number A unique identifier for an object HKU.B.1957.0195 Description A short physical description of the object with an overview of its historical and social significance This is a mirror with lion and grape design made in the Tang Dynasty. On the decorative side of the mirror, clusters of grape, leaves, butterflies and five lions are surrounded by the outer section with similar objects but with birds and dragonflies instead of lions. Sections are separated by double raised bands. More to note, the knob is in the form of a crouching lion, along with square and grape leaves design, it should be made in the early half of eighth century. In the outer section, three gestures of birds are depicted: birds in flight, pecking at grapes and resting on branches of trees. The detailed appearance of birds indicates people at that time have strong interest in nature. Decorations on mirrors could also be used as pictorial representations of legend. For instances, lion could be an auspicious animal derived from the Mediterranean area and the Middle East to China via the Silk Road. Despite green stains on both reflective and reverse sides of the mirror due to loss of protective layer, the craftsmanship is rather delicate. The facial features of the lions are clear with small details such as their noses reaching high. Body features like hair on their tails are also definite. The delicate design and thickness of the mirror indicate the middle of eighth century was an age of luxury and affluence. Mirrors in this era are thicker than at any previous time, it is assumed that the prosperity of the age made materials abundant. 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 Bronze square mirror with grapes design Contributor An entity responsible for making contributions to the resource Ng Sze Yuet Source A related resource from which the described resource is derived Nakano, Tōru, Youhe Zeng, and Suzanne Elizabeth Cahill. Bronze mirrors from ancient China: the Donald H. Graham Jr. collection. Hong Kong: Orientations, 1994. Bronze china Metalwork Mirrors Tang dynasty https://cchu9080.lib.hku.hk/files/original/60/IMG_1716.JPG b0e2ccff4dc2e8878370f70815e3781c https://cchu9080.lib.hku.hk/files/original/60/IMG_2119.JPG 98114b252f4c293db0e96f05bb39e562 https://cchu9080.lib.hku.hk/files/original/60/IMG_2401.JPG 746355258789108c8c20ad09670ebb08 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Luoyang , 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) 5 Width (cm) 9.2 Length (cm) 11.5 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 Gift of Mr. Matsushige Hirota Accession Number A unique identifier for an object HKU.C.1961.0244 Description A short physical description of the object with an overview of its historical and social significance The elbow rest consists of three colours (green, yellow, brown ), which are the primary colours of the Tang dynasty Sancai glaze's (University Museum and Art Gallery, 2021) . Sancai glaze , namely ‘ tri colour glaze’ ( National Museum of History Republic of China , 1988). The name ‘tri colour glaze’ can be explained by the three colours of the elbow rest above (University Museum and Art Gallery, 2021) . It can also be referred to multicolour, as in Chinese tradition , ‘three’ means ‘several’ ( National Museum of History Republic of China , 1988). The colours are produced by adding different chemicals to the clear glaze. ( Valenstein , 1975) For instance , green colour is produced by adding copper oxide , while yellow and brown colour is created by adding iron oxide. ( Valenstein , 1975) Moreover ,dripping effects on the elbow rest are created during the heating process. When the clay is heated , glazes melt and freely flow down. ( National Museum of History Republic of China , 1988) Sancai glaze is commonly used in the Tang dynasty's funerary objects, which served as ‘ming qi’, objects for the dead to use ( National Museum of History Republic of China , 1988). The Chinese ancestor reckoned that spirits live on and can enjoy funerary objects in their afterlife ( National Museum of History Republic of China, 1988) Since Sancai is the symbol of wealth of the living world , the Tang Chinese hope to continue enjoying wealth after dead (University Museum and Art Gallery, 2021). 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 Tang's Elbow rest Sancai glaze