4 10 40 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 https://cchu9080.lib.hku.hk/files/original/49/IMG_6975_[1].jpg 51e7adcd269a4328caa07c59bc190f01 https://cchu9080.lib.hku.hk/files/original/49/IMG_7191.jpg 6f5fadc62fd2a6f8d86046724ce080e0 https://cchu9080.lib.hku.hk/files/original/49/IMG_7576.jpg 546896713b2b47b626dd98ad66b41b4b 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Henan province, Huangdao and Lushan, China Artist/Maker The name of the artist, maker, or workshop that made the object Tang Dynasty ceramic makers 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 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 907 CE Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Lead-glaze Height (cm) 35.4 cm Width (cm) 32.2 cm Depth (cm) 33.4 cm Length (cm) 32.2 CM Diameter (cm) 32.2 CM Accession Number A unique identifier for an object HKU.C.1965.0295 Description A short physical description of the object with an overview of its historical and social significance Ceramics with black glazes were first made in Zhejiang province during the Eastern Han dynasty. Several kilns in Henan province, especially in Huangdao and Lushan, produced examples of contrasting splashes of glaze in colors such as cream and white during the Tang dynasty. <br /><br />This jar is one of the example too. After the initial glazing, the splashes were added by pouring them into cups that were held sideways or upside down so that they would trail around the body. The jar is mainly for storing things such as food and wine. <br /><br />Also, from the design of the jar, there are white glazes but not just only the stone jar which showed that Tang Dynasty was overall prosperous that even stonewares can include different kinds of extra designs 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 Dynasty's Jar Contributor An entity responsible for making contributions to the resource Tsang Ka Yue Jeffrey 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 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Ji’an county, Jiangxi province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Southern Song dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1127 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1279 Height (cm) 12 Width (cm) 5.8 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Unknown Accession Number A unique identifier for an object HKU.C.1953.0060 Description A short physical description of the object with an overview of its historical and social significance The bowl is resist-decorated on the interior with two flowers and phoenixes which are under a transparent glaze. This tea bowl was produced in the Jizhou Kiln at Yonghe Town of Jiangxi province. The Jizhou kilns in Jiangxi province were most well known for the technique of using paper cut-outs as stencils to create resist designs. The production process of this tea bowl involved leaving paper cut-outs of phoenixes and flowers on four sides of the interior to be burnt away in the kiln later during firing, while other parts of the interior were left untouched. Paper cut-outs usually featured “auspicious characters” or simple floral patterns, often spread around the sides of the bowl In this case, the phoenixes, a bird in Chinese mythology, represents harmony, prosperity, and virtue. They may also symbolize the union of yin and yang, balance in the universe. In Chinese culture, they represented the empress and can often be seen in the decorations for weddings or royalty, along with dragons, which represented the emperor due to these two creatures being symbolic of the blissful relationship between husband and wife. Furthermore, a Chinese character that means “stone” can be observed on the unglazed base of the bowl, suggesting the tea bowl is made from stone. Considering Jiangxi province was known to be an important tea-producing area and there was increasing popularity of tea-drinking in China during the Song dynasty, this stoneware is undoubtedly used for tea-drinking. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tea Bowl https://cchu9080.lib.hku.hk/files/original/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/134/P3190948.JPG 672cce75da92a341b91c127711638f71 https://cchu9080.lib.hku.hk/files/original/134/P3190996.JPG 190bc2886b6eee57fd66eb95e0e3e2fd https://cchu9080.lib.hku.hk/files/original/134/P3191008.JPG 19b3f19f911c5536a9c0f011cc6d38ab https://cchu9080.lib.hku.hk/files/original/134/model_[2].json b36f91133f61307ca9295f9ebcfc5bfa 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Xian, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 31.4 Width (cm) 10.2 Depth (cm) 9 Accession Number A unique identifier for an object HKU.C.1959.0498 Description A short physical description of the object with an overview of its historical and social significance The unglazed standing female attendant was discovered in tomb and presented ritual function. It is one of the mingqi, which means spirit articles as replicas of the entourages that are buried with the dead. The lady figure was mould-made and coloured. Unfortunately, due to its nature of unglazed, the colour wore out over time and the little pigment is left. She stands with her right hand held in front of her chest. It is possible for her right hand to hold an item. However, it is unidentified now. Probably damaged or lost during excavation. The attendant’s dressing style has reflected fashion and people’s opinion on beauty during the time. Parted in the middle, her hair is tied into two buns. This is common among Tang young ladies who are yet to marry. She wears a loose robe with long sleeves that can hide her hands, reveals the fashion of Tang dynasty. The cloud-like gown is vividly represented by a few lines. From the traces of paint on her faces, she has a plump and rounded face, expressing a mild and graceful smile. The female figurine has reflected the fashion of mid-Tang dynasty. The trend had begun during the time of Emperor Xuanzong (685-762). One of his concubines, Yang Yuhuan has a plump and full shape which become the beauty standard at that time. In addition to the rich material life and luxurious lifestyle of the elites, Tang people think of plump and full-figure body shapes as the ideals of beauty. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unglazed Female Attendant Contributor An entity responsible for making contributions to the resource Wei Ka Ting attendant burial goods ceramics female Figurine Tang dynasty https://cchu9080.lib.hku.hk/files/original/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/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/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/139/IMG_0002.JPG 6198051b28e1086810a1d1bd714047f0 https://cchu9080.lib.hku.hk/files/original/139/IMG_0084.JPG 5a75787055e1c20bd1c9255285f4be0c https://cchu9080.lib.hku.hk/files/original/139/IMG_9997.JPG 8bc5c79e5da026fcfcd286ddcc84c7ce https://cchu9080.lib.hku.hk/files/original/139/IMG_9977.JPG cdb51b38dd9c6f2fe121782f15912b7e https://cchu9080.lib.hku.hk/files/original/139/IMG_0270.JPG 4262998ed2559c5ea9e6e0d3de4057d9 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Gong Xian, Henan Province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang Dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 7 Width (cm) 6 Length (cm) 14.4 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Mr Matsushige Hirota Accession Number A unique identifier for an object HKU.C.1961.0433 no.74 Description A short physical description of the object with an overview of its historical and social significance The elbow rest is modeled as a crouching rabbit with asymmetrical rounded eyes and surmounted by a flat oval top decorated with a hand-drawn asymmetrical flower, glazed with green, brown and cream white. These colors were produced by sancai glaze which was widely used for burial figures namely vessels and figurines in the Tang Dynasty. Thus, elbow rest is not only solely used for literati to stabilize the hand during painting and writing calligraphy but also satisfying the needs of the deceased as burial goods (Valenstein, 1988). Appeasing the deceased is important in China as many people believe in animism in which a spirit survives after one’s death and reacts differently according to the treatment towards them (Brown, 2020). Moreover, filial piety requires continuous caring for the ancestors by the alive (Brown, 2020). Therefore, people put burial goods into the tombs to serve and accompany them in the afterlife. Apart from providing service to the deceased, it can reveal the power and status of the dead by the sizes, types and qualities of the figures (Valenstein, 1988). For example, female servants, horses and ox would commonly be found in the tomb of wealthy merchants in the Tang Dynasty (Yung-Ch’Uan, 1990). Inhuman burial ceremonies that had been popular during the Shang Dynasty (1751-1111 BCE) were gradually replaced by larger-scale clay objects such as chimeras and guardian gods in the Tang Dynasty (Yung-Ch’Uan, 1990). Reference: Brown, N. (2020, January 1). Religion – Perspectives: An Open Introduction to Cultural Anthropology, 2nd Edition. Pressbooks. https://perspectives.pressbooks.com/chapter/religion/ Valenstein, S. G. (1988). A Handbook of Chinese Ceramics (Revised & Enlarged ed.). Metropolitan Museum of Art. Yung-Ch’Uan, H. (1990). The Tri-color Pottery of T’ang Dynasty: The Colorful Art in the Middle Ages of China. National Museum of History.