3 10 40 https://cchu9080.lib.hku.hk/files/original/18/IMG_3326.JPG 86b3b8424a4163283375c49928e63ddf https://cchu9080.lib.hku.hk/files/original/18/IMG_3285.JPG d2f31ffd67cf5561c99b70287e959f79 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Shaanxi, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made 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 1046 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 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 14.0 Width (cm) 0.3 Length (cm) 25.2 Accession Number A unique identifier for an object HKU.B.1953.0018 Description A short physical description of the object with an overview of its historical and social significance This plain halberd head is decorated with crude patterns— simple and smooth lines at the pointed end which suggests that it might be mould-made instead of handcrafted. Holes are pierced on its body for attachment to wood or bamboo handles. Despite lacking in decoration, the surface is glazed with metal, probably tin, which was popularly used in Eastern Zhou bronze weapon production. Compared to those heavily decorated objects in the Shang dynasty, bronze products in the Zhou dynasty are mostly austere with simplistic designs which reveal a change in fashion trend and a shift in common idea to “less is more” (in Chinese pusu). Abundant bronze weapons in multiple sizes and shapes, including this kind of halberd head, were commonly excavated together with kilns in production sites located at Qishan, Shaanxi (formerly known as Zhouyuan), and Xian, Shaanxi (formerly named Fenghao) which revealed the mass production scale and maturation of the bronze industry in the Zhou dynasty. Over 180 pieces of bronze objects, including vessels and weapons like this, were also uncovered in a tomb at Sanmenxia, Henan. Accompanying the dead underground, bronze weapons served as protection in the afterlife and gave ancient Chinese a sense of security. 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 Halberd head bronze weapons burial goods https://cchu9080.lib.hku.hk/files/original/8/0069_1.JPG 10e9e42d84c99db9e32702862bf80baf https://cchu9080.lib.hku.hk/files/original/8/vase_4.jpg 56c1216dc0aafef691821eb3923a8138 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/. Description An account of the resource hidden https://cchu9080.lib.hku.hk/files/original/8/vase_5.json df90da33d7f40857cada067330ee1c18 3D Model A 3D rendering of a physical object. Date From a A numeric date or range of dates indicating when an object was made 25 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Lead-glaze 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 Ronald Tam Accession Number A unique identifier for an object HKU.C.1953.0069 Description A short physical description of the object with an overview of its historical and social significance One of the most common types of vessels found in Han tombs, this rounded storage jar (hu) would have been used to hold offerings of wine. Lead glazes in shades of green and brown became popular in the Han dynasty as a way to make earthenware non-porous. Glazing also had the effect of imitating the appearance of more expensive bronze vessels, which had been a staple of tomb furnishings since the Shang dynasty (ca. 1600–1046 BCE). The characteristic iridescence of such objects results from their exposure to moisture in damp tombs. Width (cm) 11.7 Height (cm) 12.8 Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Eastern Han dynasty Place of Origin The geographic location where an object was made Henan, China 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 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 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 Han Vase burial goods ceramics https://cchu9080.lib.hku.hk/files/original/123/Library_-_9854_of_4019.JPG e4034064c85c8f0534dcee21718b7486 https://cchu9080.lib.hku.hk/files/original/123/cheungchunyui.json a61015c24533eb65a00354c2a7f552fc 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Sui dynasty. Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 581 CE Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618CE Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 32.8cm Width (cm) 30.5cm Depth (cm) N/A Length (cm) 4.2cm Diameter (cm) N/A Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution N/A Accession Number A unique identifier for an object HKU.C.1953.0041 Description A short physical description of the object with an overview of its historical and social significance The stoneware horse is equipped with saddle and its' face is clearly presented, the eyes, nose and ear holes are clearly identifiable. Moreover, there is a little ball-shaped under its' month. The horseshoes are also easy to identify and is stored nicely. However, the stomach of the horse is hollowed with dirt inside. Overall, apart from tedious coloring, the model is good and identifiable as a horse. The whole horse is in flesh color, the color is slightly damaged and repaired with new painting. As mentioned, the horse was made in qui dynasty. In qui dynasty, the emperor always initialed war with other countries, for example, Korean in the past. The horse maybe represent war horses which was put in soldiers or generals' horse to represent their status or identity as of a higher rank citizens. So the horse is more like an decorative item, however, the horse lack colorful painting on or the painting were faded out due to time passed, like terra-cotta warriors did. Moreover, the tactile impression of it is rough, therefore my guess is it was a decoration of a relative poorer soldier in that dynesty. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Horse statue 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/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/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/143/Lau_Chun_Pang.json b9a7fa2c70e7bfab81ffae2935cd4ee3 3D Model A 3D rendering of a physical object. Text Any textual data included in the document Place of Origin: Hebei, China Culture/Period: Northern Wei dynasty Date: 386-534 CE Material: Earthenware Dimension: Height: 13.5 cm Width: 8 cm Depth: 18 cm Accession Number: HKU.C.1953.0038 Contributor: Lau Chun Pang Description: This horse is hollow, standing on a rectangular base. In ancient China, horses played a crucial role in war and entertainment. The bulging sack slinging over its saddlecloth is an indicator of its role as transporting goods, possibly along the Silk Road. Back in the Northern Wei dynasty, the Luoyang City was the oriental starting point of the road. Therefore, horses had significant instrumental and monetary value, equivalent to fancy cars in the modern day. Cracked on the based and covered in the debris of dirt, it was dug out from the underground. Being the symbol of wealth, clay horses were buried together in the tomb with the deceased with superior social status. It was believed that such burial ritual would continue the wealth of the diseased even in the underworld. Such ritual can be dated back to the earliest period of Chinese history. During the Shang (1600-1046 BCE) and Zhou (1045-221 BC) dynasties, horses were buried alive in tombs of the rich. But then they were replaced by clay ones. Place of Origin The geographic location where an object was made Hebei, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Northern Wei dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 386 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 534 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 13.5 cm Width (cm) 8 cm Depth (cm) 18 cm Accession Number A unique identifier for an object HKU.C.1953.0038 Description A short physical description of the object with an overview of its historical and social significance This horse is hollow, standing on a rectangular base. In ancient China, horses played a crucial role in war and entertainment. The bulging sack slinging over its saddlecloth is an indicator of its role as transporting goods, possibly along the Silk Road. Back in the Northern Wei dynasty, the Luoyang City was the oriental starting point of the road. Therefore, horses had significant instrumental and monetary value, equivalent to fancy cars in the modern day. Cracked on the based and covered in debris of dirt, it was dug out from the underground. Being the symbol of wealth, clay horses were buried together in the tomb with the deceased with superior social status. It was believed that such burial ritual would continue the wealth of the diseased even in the underworld. Such ritual can be dated back to the earliest period of Chinese history. During the Shang (1600-1046 BCE) and Zhou (1045-221 BC) dynasties, horses were buried alive in tombs of the rich. But then they were replaced by clay ones. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pack horse https://cchu9080.lib.hku.hk/files/original/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/138/IMG_6555.jpeg 47ae0b7b42278c3e2bb1f2460f762f67 https://cchu9080.lib.hku.hk/files/original/138/IMG_7221.jpeg 5c8838721e3eff933633d8b788c945c8 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Dongcheng District, Beijing, China Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1654 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1722 Materials What an object is made of, including any later additions (mounts, frames, etc.) Rhinoceros horn Height (cm) 14 cm Width (cm) 10.6 cm Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Tan Siew Nguk Accession Number A unique identifier for an object HKU.M.2017.2398 Description A short physical description of the object with an overview of its historical and social significance This is a Rhinoceros horn-shaped cup covered with lacquer from the Qing dynasty. The inscriptions on the bottom of the cup show that it was a gift from the Qing Emperor Kangxi (1654-1722) to Tan Siew Nguk. The material, solid rhinoceros horn, symbolises the persistence of nature as it is a relatively hard material compared to wood. The lacquer-glazed surface provides the object with protection against water and acid. The increased durability of the cup echoes with the theme of the persistence of nature. Influenced by Manchu arts, this portable cup was decorated with rich botanical elements and great details. Strokes on the leaves are carved out clearly. The edge of the cup is carved into a chain of circular shape, giving the viewers an impression of clouds. Other natural imageries such as a reptile, flowers, and leaves can be seen on the sides of the artefact, presenting a vivid scene of the countryside to the viewers. The small capacity and thick edge of the cup suggest that this cup is mainly for decorative purposes instead of practical drinking purposes. On the bottom of the vessel, apart from the inscriptions, a short stroke of depression is visible, plausibly a natural imperfection of the material. Incorporating a blemish into the artefact reflects the Qing cultural value of respecting an object’s natural beauty as the artist did not try to cover it nor carve it out. This vessel serves as a celebration of the beauty of nature as shown from the material and surface carvings. Suggested by the context, the recipient of the object had contributed to the Qing society that Kangxi praised him through this object, portraying the social norm and hierarchy during the Qing dynasty. The detailed carvings manifest the skilled craftmanship of Qing artists and the strong cultural power of Qing. Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Qing dynasty, Kangxi Period Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rhinoceros horn-shaped cup https://cchu9080.lib.hku.hk/files/original/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