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|---|---|---|---|---|---|---|---|---|---|
durom.1955.lennard8 | 1955.lennard8 d3.jpg | data/raw/images/oriental/1950s | Oblong metal box with lid which has a central knopf. It is decorated with stripes. | 21Box
| null | metal | null | null |
|
durom.1955.lennard8 | 1955.lennard8 d3.jpg | data/raw/images/oriental/1950s | Oblong metal box with lid which has a central knopf. It is decorated with stripes. | 21Box
| null | metal | null | null |
|
durom.1955.lennard8 | 1955.lennard8 d3.jpg | data/raw/images/oriental/1950s | Oblong metal box with lid which has a central knopf. It is decorated with stripes. | 21Box
| null | metal | null | null |
|
durom.1955.lennard8 | 1955.lennard8 d3.jpg | data/raw/images/oriental/1950s | Oblong metal box with lid which has a central knopf. It is decorated with stripes. | 21Box
| null | metal | null | null |
|
durom.1955.lennard8 | 1955.lennard8 d3.jpg | data/raw/images/oriental/1950s | Oblong metal box with lid which has a central knopf. It is decorated with stripes. | 21Box
| null | metal | null | null |
|
durom.1951.49 | 1951.49-tt.jpg | data/raw/images/egyptian/1951 | fired clay funerary cone with two rectangular stamps in the end in raised relief, painted red. They are for the ?[mayor] and wab-priest of amun […]' | 60Funerary Cone
| funerary cone | pottery | null | Egypt |
|
durom.1951.49 | 1951.49-tt.jpg | data/raw/images/egyptian/1951 | fired clay funerary cone with two rectangular stamps in the end in raised relief, painted red. They are for the ?[mayor] and wab-priest of amun […]' | 60Funerary Cone
| funerary cone | pottery | null | Egypt |
|
durom.1951.49 | 1951.49-tt.jpg | data/raw/images/egyptian/1951 | fired clay funerary cone with two rectangular stamps in the end in raised relief, painted red. They are for the ?[mayor] and wab-priest of amun […]' | 60Funerary Cone
| funerary cone | pottery | null | Egypt |
|
durom.1951.49 | 1951.49-tt.jpg | data/raw/images/egyptian/1951 | fired clay funerary cone with two rectangular stamps in the end in raised relief, painted red. They are for the ?[mayor] and wab-priest of amun […]' | 60Funerary Cone
| funerary cone | pottery | null | Egypt |
|
durom.1951.49 | 1951.49-tt.jpg | data/raw/images/egyptian/1951 | fired clay funerary cone with two rectangular stamps in the end in raised relief, painted red. They are for the ?[mayor] and wab-priest of amun […]' | 60Funerary Cone
| funerary cone | pottery | null | Egypt |
|
durom.2015.43 | durom.2015.43-bb.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a mythical creature with two heads (not recognized). The figure is moulded in a very primitive manner. All composition is barely marked as in the ancient pagan idols. It stands on two short wide front legs, elongated body and tail (the shape resembles Russian folk whistle made of clay). It has long neck with small triangle shaped head with eyes and muzzle. The other head has a shorter massive neck attached to the middle of the back. The figure is left unpainted in most of the areas with a geometrical pattern of small holes on the front side (tail, heads, back) and short horizontal stripes in blue and orange. On the figure's base a fragment of white paper sticker is left. | 466toys
| null | clay | 20th century | Russia |
|
durom.2015.43 | durom.2015.43-bb.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a mythical creature with two heads (not recognized). The figure is moulded in a very primitive manner. All composition is barely marked as in the ancient pagan idols. It stands on two short wide front legs, elongated body and tail (the shape resembles Russian folk whistle made of clay). It has long neck with small triangle shaped head with eyes and muzzle. The other head has a shorter massive neck attached to the middle of the back. The figure is left unpainted in most of the areas with a geometrical pattern of small holes on the front side (tail, heads, back) and short horizontal stripes in blue and orange. On the figure's base a fragment of white paper sticker is left. | 466toys
| null | clay | 20th century | Russia |
|
durom.2015.43 | durom.2015.43-bb.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a mythical creature with two heads (not recognized). The figure is moulded in a very primitive manner. All composition is barely marked as in the ancient pagan idols. It stands on two short wide front legs, elongated body and tail (the shape resembles Russian folk whistle made of clay). It has long neck with small triangle shaped head with eyes and muzzle. The other head has a shorter massive neck attached to the middle of the back. The figure is left unpainted in most of the areas with a geometrical pattern of small holes on the front side (tail, heads, back) and short horizontal stripes in blue and orange. On the figure's base a fragment of white paper sticker is left. | 466toys
| null | clay | 20th century | Russia |
|
durom.2015.43 | durom.2015.43-bb.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a mythical creature with two heads (not recognized). The figure is moulded in a very primitive manner. All composition is barely marked as in the ancient pagan idols. It stands on two short wide front legs, elongated body and tail (the shape resembles Russian folk whistle made of clay). It has long neck with small triangle shaped head with eyes and muzzle. The other head has a shorter massive neck attached to the middle of the back. The figure is left unpainted in most of the areas with a geometrical pattern of small holes on the front side (tail, heads, back) and short horizontal stripes in blue and orange. On the figure's base a fragment of white paper sticker is left. | 466toys
| null | clay | 20th century | Russia |
|
durom.2015.43 | durom.2015.43-bb.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a mythical creature with two heads (not recognized). The figure is moulded in a very primitive manner. All composition is barely marked as in the ancient pagan idols. It stands on two short wide front legs, elongated body and tail (the shape resembles Russian folk whistle made of clay). It has long neck with small triangle shaped head with eyes and muzzle. The other head has a shorter massive neck attached to the middle of the back. The figure is left unpainted in most of the areas with a geometrical pattern of small holes on the front side (tail, heads, back) and short horizontal stripes in blue and orange. On the figure's base a fragment of white paper sticker is left. | 466toys
| null | clay | 20th century | Russia |
|
eg967 | eg967 ff.jpg | data/raw/images/egyptian/eg | It is a Syncretistic kneeling deity. Face of Anubis, tail of Horus, sun disc, crook and flail of Osiris, uraeus on back of sun disc. The subject is kneeling on plinth. Loop at the back of the amulet. | 163amulets
| syncretistic deity amulet | bronze | Late Period | Egypt |
|
eg967 | eg967 ff.jpg | data/raw/images/egyptian/eg | It is a Syncretistic kneeling deity. Face of Anubis, tail of Horus, sun disc, crook and flail of Osiris, uraeus on back of sun disc. The subject is kneeling on plinth. Loop at the back of the amulet. | 163amulets
| syncretistic deity amulet | bronze | Late Period | Egypt |
|
eg967 | eg967 ff.jpg | data/raw/images/egyptian/eg | It is a Syncretistic kneeling deity. Face of Anubis, tail of Horus, sun disc, crook and flail of Osiris, uraeus on back of sun disc. The subject is kneeling on plinth. Loop at the back of the amulet. | 163amulets
| syncretistic deity amulet | bronze | Late Period | Egypt |
|
eg967 | eg967 ff.jpg | data/raw/images/egyptian/eg | It is a Syncretistic kneeling deity. Face of Anubis, tail of Horus, sun disc, crook and flail of Osiris, uraeus on back of sun disc. The subject is kneeling on plinth. Loop at the back of the amulet. | 163amulets
| syncretistic deity amulet | bronze | Late Period | Egypt |
|
eg967 | eg967 ff.jpg | data/raw/images/egyptian/eg | It is a Syncretistic kneeling deity. Face of Anubis, tail of Horus, sun disc, crook and flail of Osiris, uraeus on back of sun disc. The subject is kneeling on plinth. Loop at the back of the amulet. | 163amulets
| syncretistic deity amulet | bronze | Late Period | Egypt |
|
durom.1995.28 | 1995.28-tt.jpg | data/raw/images/oriental/1995 | Water pot or brush washer in a compressed form, covered on the outside with the 'Peach-bloom red (Jiangdou hong/豇豆红)' glaze which is pale red. On the body there are pale green spots at some places. Under the basem a 6-character Kangxi mark. | 153Water Pot
| 康熙款豇豆红釉水丞 | porcelain | Kangxi | Jingdezhen |
|
durom.1995.28 | 1995.28-tt.jpg | data/raw/images/oriental/1995 | Water pot or brush washer in a compressed form, covered on the outside with the 'Peach-bloom red (Jiangdou hong/豇豆红)' glaze which is pale red. On the body there are pale green spots at some places. Under the basem a 6-character Kangxi mark. | 153Water Pot
| 康熙款豇豆红釉水丞 | porcelain | Kangxi | Jingdezhen |
|
durom.1995.28 | 1995.28-tt.jpg | data/raw/images/oriental/1995 | Water pot or brush washer in a compressed form, covered on the outside with the 'Peach-bloom red (Jiangdou hong/豇豆红)' glaze which is pale red. On the body there are pale green spots at some places. Under the basem a 6-character Kangxi mark. | 153Water Pot
| 康熙款豇豆红釉水丞 | porcelain | Kangxi | Jingdezhen |
|
durom.1995.28 | 1995.28-tt.jpg | data/raw/images/oriental/1995 | Water pot or brush washer in a compressed form, covered on the outside with the 'Peach-bloom red (Jiangdou hong/豇豆红)' glaze which is pale red. On the body there are pale green spots at some places. Under the basem a 6-character Kangxi mark. | 153Water Pot
| 康熙款豇豆红釉水丞 | porcelain | Kangxi | Jingdezhen |
|
durom.1995.28 | 1995.28-tt.jpg | data/raw/images/oriental/1995 | Water pot or brush washer in a compressed form, covered on the outside with the 'Peach-bloom red (Jiangdou hong/豇豆红)' glaze which is pale red. On the body there are pale green spots at some places. Under the basem a 6-character Kangxi mark. | 153Water Pot
| 康熙款豇豆红釉水丞 | porcelain | Kangxi | Jingdezhen |
|
durom.1952.1.26 | 1952.1.26-ff.jpg | data/raw/images/oriental/1952 | Standing Buddha figure within a caitya arch. The right arm is held across the chest and the left hand positioned on the left hip. The right forearm and left hand are damaged, as is the left foot. The robe is draped over the left shoulder and the folds are defined by grooved lines. The face of Buddha is quite eroded but an ushnisha is clearly defined and ears are visible. Around the head a halo is carved and within the caitya arch the Buddha is framed by a countersunk undulating geometric design. The damaged caitya arch is decorated with saw tooth enrichment, and on the right the arch terminates at a volute from which a grape pendant hangs below. | 389reliefs
| null | schist | Gandhara Period | Asia, Indian Subcontinent, India, Gandhara |
|
durom.1952.1.26 | 1952.1.26-ff.jpg | data/raw/images/oriental/1952 | Standing Buddha figure within a caitya arch. The right arm is held across the chest and the left hand positioned on the left hip. The right forearm and left hand are damaged, as is the left foot. The robe is draped over the left shoulder and the folds are defined by grooved lines. The face of Buddha is quite eroded but an ushnisha is clearly defined and ears are visible. Around the head a halo is carved and within the caitya arch the Buddha is framed by a countersunk undulating geometric design. The damaged caitya arch is decorated with saw tooth enrichment, and on the right the arch terminates at a volute from which a grape pendant hangs below. | 389reliefs
| null | schist | Gandhara Period | Asia, Indian Subcontinent, India, Gandhara |
|
durom.1952.1.26 | 1952.1.26-ff.jpg | data/raw/images/oriental/1952 | Standing Buddha figure within a caitya arch. The right arm is held across the chest and the left hand positioned on the left hip. The right forearm and left hand are damaged, as is the left foot. The robe is draped over the left shoulder and the folds are defined by grooved lines. The face of Buddha is quite eroded but an ushnisha is clearly defined and ears are visible. Around the head a halo is carved and within the caitya arch the Buddha is framed by a countersunk undulating geometric design. The damaged caitya arch is decorated with saw tooth enrichment, and on the right the arch terminates at a volute from which a grape pendant hangs below. | 389reliefs
| null | schist | Gandhara Period | Asia, Indian Subcontinent, India, Gandhara |
|
durom.1952.1.26 | 1952.1.26-ff.jpg | data/raw/images/oriental/1952 | Standing Buddha figure within a caitya arch. The right arm is held across the chest and the left hand positioned on the left hip. The right forearm and left hand are damaged, as is the left foot. The robe is draped over the left shoulder and the folds are defined by grooved lines. The face of Buddha is quite eroded but an ushnisha is clearly defined and ears are visible. Around the head a halo is carved and within the caitya arch the Buddha is framed by a countersunk undulating geometric design. The damaged caitya arch is decorated with saw tooth enrichment, and on the right the arch terminates at a volute from which a grape pendant hangs below. | 389reliefs
| null | schist | Gandhara Period | Asia, Indian Subcontinent, India, Gandhara |
|
durom.1952.1.26 | 1952.1.26-ff.jpg | data/raw/images/oriental/1952 | Standing Buddha figure within a caitya arch. The right arm is held across the chest and the left hand positioned on the left hip. The right forearm and left hand are damaged, as is the left foot. The robe is draped over the left shoulder and the folds are defined by grooved lines. The face of Buddha is quite eroded but an ushnisha is clearly defined and ears are visible. Around the head a halo is carved and within the caitya arch the Buddha is framed by a countersunk undulating geometric design. The damaged caitya arch is decorated with saw tooth enrichment, and on the right the arch terminates at a volute from which a grape pendant hangs below. | 389reliefs
| null | schist | Gandhara Period | Asia, Indian Subcontinent, India, Gandhara |
|
durom.2001.139.59 | 2001.139.59 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows nine orange, yellow and white fishes in the centre of the card with a single yellow dot painted underneath the fishes near to the border | 367playing cards
| ganjifa | Colour on Paper | null | India |
|
durom.2001.139.59 | 2001.139.59 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows nine orange, yellow and white fishes in the centre of the card with a single yellow dot painted underneath the fishes near to the border | 367playing cards
| ganjifa | Colour on Paper | null | India |
|
durom.2001.139.59 | 2001.139.59 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows nine orange, yellow and white fishes in the centre of the card with a single yellow dot painted underneath the fishes near to the border | 367playing cards
| ganjifa | Colour on Paper | null | India |
|
durom.2001.139.59 | 2001.139.59 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows nine orange, yellow and white fishes in the centre of the card with a single yellow dot painted underneath the fishes near to the border | 367playing cards
| ganjifa | Colour on Paper | null | India |
|
durom.2001.139.59 | 2001.139.59 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows nine orange, yellow and white fishes in the centre of the card with a single yellow dot painted underneath the fishes near to the border | 367playing cards
| ganjifa | Colour on Paper | null | India |
|
durom.1969.417 | 1969.417 d3.jpg | data/raw/images/oriental/1969 | Porcelain cylinder, decorated with overglaze enamels in Five-colours style with green as the dominant colour (also known as famille verte by its French name) of floral and landscape design. Inside, around the rim, a band of decorations with four Opening sections, each painted with an object in the Hundred Antiquities; the ground outside the Opening sections is painted with alternating waterlilies and pomegranate flowers. Inside the well, a tree of peonies enclosed in double rings. Exterior, around the rim, a decorative border with eight Opening sections each painted with one of the Hundred Antiquities; the ground outside the opening sections is painted with trellis pattern. Under the border there is the main section which consists of eight plaques; four of which are alternating images of mountain and water landscape; the other four are painted with different flower patterns, including plum blossom, pomegranate, and orchid. Around the ring foot, a band of key fret pattern. Under the base there is a Lingzhi fungus mark in underglaze blue enamel. | 196bowls
| 五彩什锦花卉纹缸 | porcelain | Kangxi | China |
|
durom.1969.417 | 1969.417 d3.jpg | data/raw/images/oriental/1969 | Porcelain cylinder, decorated with overglaze enamels in Five-colours style with green as the dominant colour (also known as famille verte by its French name) of floral and landscape design. Inside, around the rim, a band of decorations with four Opening sections, each painted with an object in the Hundred Antiquities; the ground outside the Opening sections is painted with alternating waterlilies and pomegranate flowers. Inside the well, a tree of peonies enclosed in double rings. Exterior, around the rim, a decorative border with eight Opening sections each painted with one of the Hundred Antiquities; the ground outside the opening sections is painted with trellis pattern. Under the border there is the main section which consists of eight plaques; four of which are alternating images of mountain and water landscape; the other four are painted with different flower patterns, including plum blossom, pomegranate, and orchid. Around the ring foot, a band of key fret pattern. Under the base there is a Lingzhi fungus mark in underglaze blue enamel. | 196bowls
| 五彩什锦花卉纹缸 | porcelain | Kangxi | China |
|
durom.1969.417 | 1969.417 d3.jpg | data/raw/images/oriental/1969 | Porcelain cylinder, decorated with overglaze enamels in Five-colours style with green as the dominant colour (also known as famille verte by its French name) of floral and landscape design. Inside, around the rim, a band of decorations with four Opening sections, each painted with an object in the Hundred Antiquities; the ground outside the Opening sections is painted with alternating waterlilies and pomegranate flowers. Inside the well, a tree of peonies enclosed in double rings. Exterior, around the rim, a decorative border with eight Opening sections each painted with one of the Hundred Antiquities; the ground outside the opening sections is painted with trellis pattern. Under the border there is the main section which consists of eight plaques; four of which are alternating images of mountain and water landscape; the other four are painted with different flower patterns, including plum blossom, pomegranate, and orchid. Around the ring foot, a band of key fret pattern. Under the base there is a Lingzhi fungus mark in underglaze blue enamel. | 196bowls
| 五彩什锦花卉纹缸 | porcelain | Kangxi | China |
|
durom.1969.417 | 1969.417 d3.jpg | data/raw/images/oriental/1969 | Porcelain cylinder, decorated with overglaze enamels in Five-colours style with green as the dominant colour (also known as famille verte by its French name) of floral and landscape design. Inside, around the rim, a band of decorations with four Opening sections, each painted with an object in the Hundred Antiquities; the ground outside the Opening sections is painted with alternating waterlilies and pomegranate flowers. Inside the well, a tree of peonies enclosed in double rings. Exterior, around the rim, a decorative border with eight Opening sections each painted with one of the Hundred Antiquities; the ground outside the opening sections is painted with trellis pattern. Under the border there is the main section which consists of eight plaques; four of which are alternating images of mountain and water landscape; the other four are painted with different flower patterns, including plum blossom, pomegranate, and orchid. Around the ring foot, a band of key fret pattern. Under the base there is a Lingzhi fungus mark in underglaze blue enamel. | 196bowls
| 五彩什锦花卉纹缸 | porcelain | Kangxi | China |
|
durom.1969.417 | 1969.417 d3.jpg | data/raw/images/oriental/1969 | Porcelain cylinder, decorated with overglaze enamels in Five-colours style with green as the dominant colour (also known as famille verte by its French name) of floral and landscape design. Inside, around the rim, a band of decorations with four Opening sections, each painted with an object in the Hundred Antiquities; the ground outside the Opening sections is painted with alternating waterlilies and pomegranate flowers. Inside the well, a tree of peonies enclosed in double rings. Exterior, around the rim, a decorative border with eight Opening sections each painted with one of the Hundred Antiquities; the ground outside the opening sections is painted with trellis pattern. Under the border there is the main section which consists of eight plaques; four of which are alternating images of mountain and water landscape; the other four are painted with different flower patterns, including plum blossom, pomegranate, and orchid. Around the ring foot, a band of key fret pattern. Under the base there is a Lingzhi fungus mark in underglaze blue enamel. | 196bowls
| 五彩什锦花卉纹缸 | porcelain | Kangxi | China |
|
durom.1974.99 | 1974.99.jpg | data/raw/images/oriental/1974 | Tantric painting of the 'Om' symbol in a mandala drawn in red and yellow with increasingly large circles surrounding the central Om symbol. Indian text written in the segments, within the symbol and in the corner of the print | 249diagrams
| null | paper | null | India |
|
durom.1974.99 | 1974.99.jpg | data/raw/images/oriental/1974 | Tantric painting of the 'Om' symbol in a mandala drawn in red and yellow with increasingly large circles surrounding the central Om symbol. Indian text written in the segments, within the symbol and in the corner of the print | 249diagrams
| null | paper | null | India |
|
durom.1974.99 | 1974.99.jpg | data/raw/images/oriental/1974 | Tantric painting of the 'Om' symbol in a mandala drawn in red and yellow with increasingly large circles surrounding the central Om symbol. Indian text written in the segments, within the symbol and in the corner of the print | 249diagrams
| null | paper | null | India |
|
durom.1974.99 | 1974.99.jpg | data/raw/images/oriental/1974 | Tantric painting of the 'Om' symbol in a mandala drawn in red and yellow with increasingly large circles surrounding the central Om symbol. Indian text written in the segments, within the symbol and in the corner of the print | 249diagrams
| null | paper | null | India |
|
durom.1974.99 | 1974.99.jpg | data/raw/images/oriental/1974 | Tantric painting of the 'Om' symbol in a mandala drawn in red and yellow with increasingly large circles surrounding the central Om symbol. Indian text written in the segments, within the symbol and in the corner of the print | 249diagrams
| null | paper | null | India |
|
durom.1977.105.137 | 1977.105.137.jpg | data/raw/images/oriental/1977 | Lantern slide showing a Japanese girl wearing Kimono and holding chrysanthemums. The Japanese maples and chrysanthemum motif of Kimono represents the season autumn. | 134Slide
| null | glass | Meiji Period | Japan (country) |
|
durom.1977.105.137 | 1977.105.137.jpg | data/raw/images/oriental/1977 | Lantern slide showing a Japanese girl wearing Kimono and holding chrysanthemums. The Japanese maples and chrysanthemum motif of Kimono represents the season autumn. | 134Slide
| null | glass | Meiji Period | Japan (country) |
|
durom.1977.105.137 | 1977.105.137.jpg | data/raw/images/oriental/1977 | Lantern slide showing a Japanese girl wearing Kimono and holding chrysanthemums. The Japanese maples and chrysanthemum motif of Kimono represents the season autumn. | 134Slide
| null | glass | Meiji Period | Japan (country) |
|
durom.1977.105.137 | 1977.105.137.jpg | data/raw/images/oriental/1977 | Lantern slide showing a Japanese girl wearing Kimono and holding chrysanthemums. The Japanese maples and chrysanthemum motif of Kimono represents the season autumn. | 134Slide
| null | glass | Meiji Period | Japan (country) |
|
durom.1977.105.137 | 1977.105.137.jpg | data/raw/images/oriental/1977 | Lantern slide showing a Japanese girl wearing Kimono and holding chrysanthemums. The Japanese maples and chrysanthemum motif of Kimono represents the season autumn. | 134Slide
| null | glass | Meiji Period | Japan (country) |
|
durom.1960.2092 | 1960.2092-bb.jpg | data/raw/images/oriental/1960 | Green jade carving in the form of a shoe, probably a brush tray?. | 24Brush Tray
| 青玉鞋 | jade | null | China |
|
durom.1960.2092 | 1960.2092-bb.jpg | data/raw/images/oriental/1960 | Green jade carving in the form of a shoe, probably a brush tray?. | 24Brush Tray
| 青玉鞋 | jade | null | China |
|
durom.1960.2092 | 1960.2092-bb.jpg | data/raw/images/oriental/1960 | Green jade carving in the form of a shoe, probably a brush tray?. | 24Brush Tray
| 青玉鞋 | jade | null | China |
|
durom.1960.2092 | 1960.2092-bb.jpg | data/raw/images/oriental/1960 | Green jade carving in the form of a shoe, probably a brush tray?. | 24Brush Tray
| 青玉鞋 | jade | null | China |
|
durom.1960.2092 | 1960.2092-bb.jpg | data/raw/images/oriental/1960 | Green jade carving in the form of a shoe, probably a brush tray?. | 24Brush Tray
| 青玉鞋 | jade | null | China |
|
eg4404 | eg4404.2-uu.jpg | data/raw/images/egyptian/eg | spherical pot in polished grey stone with small foot, long neck and flat lip. The shoulder is inlaid with a ring of black stone | 76Kohl Pot
| kohl pot | limestone | 18th Dynasty | Egypt |
|
eg4404 | eg4404.2-uu.jpg | data/raw/images/egyptian/eg | spherical pot in polished grey stone with small foot, long neck and flat lip. The shoulder is inlaid with a ring of black stone | 76Kohl Pot
| kohl pot | limestone | 18th Dynasty | Egypt |
|
eg4404 | eg4404.2-uu.jpg | data/raw/images/egyptian/eg | spherical pot in polished grey stone with small foot, long neck and flat lip. The shoulder is inlaid with a ring of black stone | 76Kohl Pot
| kohl pot | limestone | 18th Dynasty | Egypt |
|
eg4404 | eg4404.2-uu.jpg | data/raw/images/egyptian/eg | spherical pot in polished grey stone with small foot, long neck and flat lip. The shoulder is inlaid with a ring of black stone | 76Kohl Pot
| kohl pot | limestone | 18th Dynasty | Egypt |
|
eg4404 | eg4404.2-uu.jpg | data/raw/images/egyptian/eg | spherical pot in polished grey stone with small foot, long neck and flat lip. The shoulder is inlaid with a ring of black stone | 76Kohl Pot
| kohl pot | limestone | 18th Dynasty | Egypt |
|
durom.2013.95.47 | 2013.95.47-bb.jpg | data/raw/images/oriental/2013 | Playing card. 10 of Diamonds. 10 of diamonds, with 10 diamonds depicted, the accents coloured in blue. The reverse of the card has a central monochrome drawing of all four of the band members with the 2NE1 logo in the middle, this is surrounded by a black and white border which is comprised of a trellis pattern with all four suits depicted. | 367playing cards
| null | cards | Republic of Korea (period) | South Korea |
|
durom.2013.95.47 | 2013.95.47-bb.jpg | data/raw/images/oriental/2013 | Playing card. 10 of Diamonds. 10 of diamonds, with 10 diamonds depicted, the accents coloured in blue. The reverse of the card has a central monochrome drawing of all four of the band members with the 2NE1 logo in the middle, this is surrounded by a black and white border which is comprised of a trellis pattern with all four suits depicted. | 367playing cards
| null | cards | Republic of Korea (period) | South Korea |
|
durom.2013.95.47 | 2013.95.47-bb.jpg | data/raw/images/oriental/2013 | Playing card. 10 of Diamonds. 10 of diamonds, with 10 diamonds depicted, the accents coloured in blue. The reverse of the card has a central monochrome drawing of all four of the band members with the 2NE1 logo in the middle, this is surrounded by a black and white border which is comprised of a trellis pattern with all four suits depicted. | 367playing cards
| null | cards | Republic of Korea (period) | South Korea |
|
durom.2013.95.47 | 2013.95.47-bb.jpg | data/raw/images/oriental/2013 | Playing card. 10 of Diamonds. 10 of diamonds, with 10 diamonds depicted, the accents coloured in blue. The reverse of the card has a central monochrome drawing of all four of the band members with the 2NE1 logo in the middle, this is surrounded by a black and white border which is comprised of a trellis pattern with all four suits depicted. | 367playing cards
| null | cards | Republic of Korea (period) | South Korea |
|
durom.2013.95.47 | 2013.95.47-bb.jpg | data/raw/images/oriental/2013 | Playing card. 10 of Diamonds. 10 of diamonds, with 10 diamonds depicted, the accents coloured in blue. The reverse of the card has a central monochrome drawing of all four of the band members with the 2NE1 logo in the middle, this is surrounded by a black and white border which is comprised of a trellis pattern with all four suits depicted. | 367playing cards
| null | cards | Republic of Korea (period) | South Korea |
|
durom.1971.34.5 | 1971.34.5-ff.jpg | data/raw/images/oriental/1971 | One of a set of nine panels of varying length, with upper and lower plain borders, each 9cm in width. The panels came from a balcony of either a Burmese royal temple or monastery. Depicts popular stories. The stories are the Vidhura Pandita Jataka, the Ramayana and the U-Tain Zat. | 389reliefs
| null | null | null | Myanmar |
|
durom.1971.34.5 | 1971.34.5-ff.jpg | data/raw/images/oriental/1971 | One of a set of nine panels of varying length, with upper and lower plain borders, each 9cm in width. The panels came from a balcony of either a Burmese royal temple or monastery. Depicts popular stories. The stories are the Vidhura Pandita Jataka, the Ramayana and the U-Tain Zat. | 389reliefs
| null | null | null | Myanmar |
|
durom.1971.34.5 | 1971.34.5-ff.jpg | data/raw/images/oriental/1971 | One of a set of nine panels of varying length, with upper and lower plain borders, each 9cm in width. The panels came from a balcony of either a Burmese royal temple or monastery. Depicts popular stories. The stories are the Vidhura Pandita Jataka, the Ramayana and the U-Tain Zat. | 389reliefs
| null | null | null | Myanmar |
|
durom.1971.34.5 | 1971.34.5-ff.jpg | data/raw/images/oriental/1971 | One of a set of nine panels of varying length, with upper and lower plain borders, each 9cm in width. The panels came from a balcony of either a Burmese royal temple or monastery. Depicts popular stories. The stories are the Vidhura Pandita Jataka, the Ramayana and the U-Tain Zat. | 389reliefs
| null | null | null | Myanmar |
|
durom.1971.34.5 | 1971.34.5-ff.jpg | data/raw/images/oriental/1971 | One of a set of nine panels of varying length, with upper and lower plain borders, each 9cm in width. The panels came from a balcony of either a Burmese royal temple or monastery. Depicts popular stories. The stories are the Vidhura Pandita Jataka, the Ramayana and the U-Tain Zat. | 389reliefs
| null | null | null | Myanmar |
|
durom.1960.1481 | durom.1960.1481-tt.jpg | data/raw/images/oriental/1960 | Amber carving of a reclining figure | 270figures
| null | amber | null | China |
|
durom.1960.1481 | durom.1960.1481-tt.jpg | data/raw/images/oriental/1960 | Amber carving of a reclining figure | 270figures
| null | amber | null | China |
|
durom.1960.1481 | durom.1960.1481-tt.jpg | data/raw/images/oriental/1960 | Amber carving of a reclining figure | 270figures
| null | amber | null | China |
|
durom.1960.1481 | durom.1960.1481-tt.jpg | data/raw/images/oriental/1960 | Amber carving of a reclining figure | 270figures
| null | amber | null | China |
|
durom.1960.1481 | durom.1960.1481-tt.jpg | data/raw/images/oriental/1960 | Amber carving of a reclining figure | 270figures
| null | amber | null | China |
|
durom.1973.22c | durom.1973.22c.14-ff.jpg | data/raw/images/oriental/1973 | Japanese concertina album of woodblock prints | 160albums
| nishikie | Japanese paper | Meiji Period | Tokyo |
|
durom.1973.22c | durom.1973.22c.14-ff.jpg | data/raw/images/oriental/1973 | Japanese concertina album of woodblock prints | 160albums
| nishikie | Japanese paper | Meiji Period | Tokyo |
|
durom.1973.22c | durom.1973.22c.14-ff.jpg | data/raw/images/oriental/1973 | Japanese concertina album of woodblock prints | 160albums
| nishikie | Japanese paper | Meiji Period | Tokyo |
|
durom.1973.22c | durom.1973.22c.14-ff.jpg | data/raw/images/oriental/1973 | Japanese concertina album of woodblock prints | 160albums
| nishikie | Japanese paper | Meiji Period | Tokyo |
|
durom.1973.22c | durom.1973.22c.14-ff.jpg | data/raw/images/oriental/1973 | Japanese concertina album of woodblock prints | 160albums
| nishikie | Japanese paper | Meiji Period | Tokyo |
|
durom.2015.39 | durom.2015.39-rr.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a horse. The figure is moulded in proportional manner. The horse figure stands on four widely spread (especially in the back) long legs. It has a long neck and broad long tail. The toy is painted in grey with white dot pattern of circles possibly imitating dapple grey coat colour of horse. The horsehair on a crest and tail are painted in white. The harness bands on the head are also white. The inside of the muzzle is painted in red. The ears had been snapped off (especially left ear)._x000D__x000D_
This clay toy could be probably classified as Kargopol toy. Kargopol toy (Russian: Каргопольская игрушка). Kargopol toys are moulded painted clay figures of people and animals. This is one of the old Russian folk handicrafts, which is common in and around the town of Kargopol in Arkhangelsk Oblast, North Russia. According to historical sources seasonal pottery of red clay in the villages around Kargopolsk developed around late 19th/beginning 20th century. Craftsmen were making toys out of the clay remnants. | 466toys
| null | clay | 21st century | Russia |
|
durom.2015.39 | durom.2015.39-rr.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a horse. The figure is moulded in proportional manner. The horse figure stands on four widely spread (especially in the back) long legs. It has a long neck and broad long tail. The toy is painted in grey with white dot pattern of circles possibly imitating dapple grey coat colour of horse. The horsehair on a crest and tail are painted in white. The harness bands on the head are also white. The inside of the muzzle is painted in red. The ears had been snapped off (especially left ear)._x000D__x000D_
This clay toy could be probably classified as Kargopol toy. Kargopol toy (Russian: Каргопольская игрушка). Kargopol toys are moulded painted clay figures of people and animals. This is one of the old Russian folk handicrafts, which is common in and around the town of Kargopol in Arkhangelsk Oblast, North Russia. According to historical sources seasonal pottery of red clay in the villages around Kargopolsk developed around late 19th/beginning 20th century. Craftsmen were making toys out of the clay remnants. | 466toys
| null | clay | 21st century | Russia |
|
durom.2015.39 | durom.2015.39-rr.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a horse. The figure is moulded in proportional manner. The horse figure stands on four widely spread (especially in the back) long legs. It has a long neck and broad long tail. The toy is painted in grey with white dot pattern of circles possibly imitating dapple grey coat colour of horse. The horsehair on a crest and tail are painted in white. The harness bands on the head are also white. The inside of the muzzle is painted in red. The ears had been snapped off (especially left ear)._x000D__x000D_
This clay toy could be probably classified as Kargopol toy. Kargopol toy (Russian: Каргопольская игрушка). Kargopol toys are moulded painted clay figures of people and animals. This is one of the old Russian folk handicrafts, which is common in and around the town of Kargopol in Arkhangelsk Oblast, North Russia. According to historical sources seasonal pottery of red clay in the villages around Kargopolsk developed around late 19th/beginning 20th century. Craftsmen were making toys out of the clay remnants. | 466toys
| null | clay | 21st century | Russia |
|
durom.2015.39 | durom.2015.39-rr.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a horse. The figure is moulded in proportional manner. The horse figure stands on four widely spread (especially in the back) long legs. It has a long neck and broad long tail. The toy is painted in grey with white dot pattern of circles possibly imitating dapple grey coat colour of horse. The horsehair on a crest and tail are painted in white. The harness bands on the head are also white. The inside of the muzzle is painted in red. The ears had been snapped off (especially left ear)._x000D__x000D_
This clay toy could be probably classified as Kargopol toy. Kargopol toy (Russian: Каргопольская игрушка). Kargopol toys are moulded painted clay figures of people and animals. This is one of the old Russian folk handicrafts, which is common in and around the town of Kargopol in Arkhangelsk Oblast, North Russia. According to historical sources seasonal pottery of red clay in the villages around Kargopolsk developed around late 19th/beginning 20th century. Craftsmen were making toys out of the clay remnants. | 466toys
| null | clay | 21st century | Russia |
|
durom.2015.39 | durom.2015.39-rr.jpg | data/raw/images/oriental/2015 | Clay toy. This example of Russian folk handicraft of moulded painted clay figures depicts a horse. The figure is moulded in proportional manner. The horse figure stands on four widely spread (especially in the back) long legs. It has a long neck and broad long tail. The toy is painted in grey with white dot pattern of circles possibly imitating dapple grey coat colour of horse. The horsehair on a crest and tail are painted in white. The harness bands on the head are also white. The inside of the muzzle is painted in red. The ears had been snapped off (especially left ear)._x000D__x000D_
This clay toy could be probably classified as Kargopol toy. Kargopol toy (Russian: Каргопольская игрушка). Kargopol toys are moulded painted clay figures of people and animals. This is one of the old Russian folk handicrafts, which is common in and around the town of Kargopol in Arkhangelsk Oblast, North Russia. According to historical sources seasonal pottery of red clay in the villages around Kargopolsk developed around late 19th/beginning 20th century. Craftsmen were making toys out of the clay remnants. | 466toys
| null | clay | 21st century | Russia |
|
durom.1960.3947 | 1960.3947-ff.jpg | data/raw/images/oriental/1960 | horse, recumbernt, decorated with cloissonne enamel | 270figures
| null | bronze | null | China |
|
durom.1960.3947 | 1960.3947-ff.jpg | data/raw/images/oriental/1960 | horse, recumbernt, decorated with cloissonne enamel | 270figures
| null | bronze | null | China |
|
durom.1960.3947 | 1960.3947-ff.jpg | data/raw/images/oriental/1960 | horse, recumbernt, decorated with cloissonne enamel | 270figures
| null | bronze | null | China |
|
durom.1960.3947 | 1960.3947-ff.jpg | data/raw/images/oriental/1960 | horse, recumbernt, decorated with cloissonne enamel | 270figures
| null | bronze | null | China |
|
durom.1960.3947 | 1960.3947-ff.jpg | data/raw/images/oriental/1960 | horse, recumbernt, decorated with cloissonne enamel | 270figures
| null | bronze | null | China |
|
durom.1974.139 | 1974.139.jpg | data/raw/images/oriental/1974 | Japanese, not Chinese. | 2Album Painting
| null | paper | Edo Period | Japan (country) |
|
durom.1974.139 | 1974.139.jpg | data/raw/images/oriental/1974 | Japanese, not Chinese. | 2Album Painting
| null | paper | Edo Period | Japan (country) |
|
durom.1974.139 | 1974.139.jpg | data/raw/images/oriental/1974 | Japanese, not Chinese. | 2Album Painting
| null | paper | Edo Period | Japan (country) |
|
durom.1974.139 | 1974.139.jpg | data/raw/images/oriental/1974 | Japanese, not Chinese. | 2Album Painting
| null | paper | Edo Period | Japan (country) |
|
durom.1974.139 | 1974.139.jpg | data/raw/images/oriental/1974 | Japanese, not Chinese. | 2Album Painting
| null | paper | Edo Period | Japan (country) |
|
duruc.2017.137.2 | duruc.2017.137.2ff.jpg | data/raw/images/castle/2017 | A 19th century pencil and watercolour on paper by the artist and writer Cuthbert Bede, this was the pen name of the Rev. Edward Bradley. The watercolour depicts the Galilee Chapel of Durham Cathedral in the 1840s and is signed and dated to 1846, looking through the nave to the organ screen. The ceiling is depicted in wood and the four arches are depicted on either side with tall disproportionate pillars, and the full five aisles are visible in the image. It appears that Bradley has distorted the proportions of the arches, but he includes the tomb of the Venerable Bede and a verger holding his pole of office. The red pigment here has faded to a pinkish hue, which suggests that the other tints have faded entirely. _x000D__x000D_
_x000D__x000D_
Note attached describes how the watercolour was acquired with a handwritten title. _x000D__x000D_
_x000D__x000D_
Edward Bradley was an English clergyman and novelist, who was educated at University College, Durham University (1845). He graduated B.A. in 1848, and took his licentiateship of theology in 1849. From his time at the University he took his pen name Cuthbert M. Bede, B.A. His most popular book was The Adventures of Mr. Verdant Green, on the experiences of an Oxford undergraduate. Bradley drew his own illustrations as well as writing the text, and contributed to magazines such as Punch as well as producing other books. | 425sketches
| null | paper | 19th century | null |
|
duruc.2017.137.2 | duruc.2017.137.2ff.jpg | data/raw/images/castle/2017 | A 19th century pencil and watercolour on paper by the artist and writer Cuthbert Bede, this was the pen name of the Rev. Edward Bradley. The watercolour depicts the Galilee Chapel of Durham Cathedral in the 1840s and is signed and dated to 1846, looking through the nave to the organ screen. The ceiling is depicted in wood and the four arches are depicted on either side with tall disproportionate pillars, and the full five aisles are visible in the image. It appears that Bradley has distorted the proportions of the arches, but he includes the tomb of the Venerable Bede and a verger holding his pole of office. The red pigment here has faded to a pinkish hue, which suggests that the other tints have faded entirely. _x000D__x000D_
_x000D__x000D_
Note attached describes how the watercolour was acquired with a handwritten title. _x000D__x000D_
_x000D__x000D_
Edward Bradley was an English clergyman and novelist, who was educated at University College, Durham University (1845). He graduated B.A. in 1848, and took his licentiateship of theology in 1849. From his time at the University he took his pen name Cuthbert M. Bede, B.A. His most popular book was The Adventures of Mr. Verdant Green, on the experiences of an Oxford undergraduate. Bradley drew his own illustrations as well as writing the text, and contributed to magazines such as Punch as well as producing other books. | 425sketches
| null | paper | 19th century | null |
|
duruc.2017.137.2 | duruc.2017.137.2ff.jpg | data/raw/images/castle/2017 | A 19th century pencil and watercolour on paper by the artist and writer Cuthbert Bede, this was the pen name of the Rev. Edward Bradley. The watercolour depicts the Galilee Chapel of Durham Cathedral in the 1840s and is signed and dated to 1846, looking through the nave to the organ screen. The ceiling is depicted in wood and the four arches are depicted on either side with tall disproportionate pillars, and the full five aisles are visible in the image. It appears that Bradley has distorted the proportions of the arches, but he includes the tomb of the Venerable Bede and a verger holding his pole of office. The red pigment here has faded to a pinkish hue, which suggests that the other tints have faded entirely. _x000D__x000D_
_x000D__x000D_
Note attached describes how the watercolour was acquired with a handwritten title. _x000D__x000D_
_x000D__x000D_
Edward Bradley was an English clergyman and novelist, who was educated at University College, Durham University (1845). He graduated B.A. in 1848, and took his licentiateship of theology in 1849. From his time at the University he took his pen name Cuthbert M. Bede, B.A. His most popular book was The Adventures of Mr. Verdant Green, on the experiences of an Oxford undergraduate. Bradley drew his own illustrations as well as writing the text, and contributed to magazines such as Punch as well as producing other books. | 425sketches
| null | paper | 19th century | null |
|
duruc.2017.137.2 | duruc.2017.137.2ff.jpg | data/raw/images/castle/2017 | A 19th century pencil and watercolour on paper by the artist and writer Cuthbert Bede, this was the pen name of the Rev. Edward Bradley. The watercolour depicts the Galilee Chapel of Durham Cathedral in the 1840s and is signed and dated to 1846, looking through the nave to the organ screen. The ceiling is depicted in wood and the four arches are depicted on either side with tall disproportionate pillars, and the full five aisles are visible in the image. It appears that Bradley has distorted the proportions of the arches, but he includes the tomb of the Venerable Bede and a verger holding his pole of office. The red pigment here has faded to a pinkish hue, which suggests that the other tints have faded entirely. _x000D__x000D_
_x000D__x000D_
Note attached describes how the watercolour was acquired with a handwritten title. _x000D__x000D_
_x000D__x000D_
Edward Bradley was an English clergyman and novelist, who was educated at University College, Durham University (1845). He graduated B.A. in 1848, and took his licentiateship of theology in 1849. From his time at the University he took his pen name Cuthbert M. Bede, B.A. His most popular book was The Adventures of Mr. Verdant Green, on the experiences of an Oxford undergraduate. Bradley drew his own illustrations as well as writing the text, and contributed to magazines such as Punch as well as producing other books. | 425sketches
| null | paper | 19th century | null |
|
duruc.2017.137.2 | duruc.2017.137.2ff.jpg | data/raw/images/castle/2017 | A 19th century pencil and watercolour on paper by the artist and writer Cuthbert Bede, this was the pen name of the Rev. Edward Bradley. The watercolour depicts the Galilee Chapel of Durham Cathedral in the 1840s and is signed and dated to 1846, looking through the nave to the organ screen. The ceiling is depicted in wood and the four arches are depicted on either side with tall disproportionate pillars, and the full five aisles are visible in the image. It appears that Bradley has distorted the proportions of the arches, but he includes the tomb of the Venerable Bede and a verger holding his pole of office. The red pigment here has faded to a pinkish hue, which suggests that the other tints have faded entirely. _x000D__x000D_
_x000D__x000D_
Note attached describes how the watercolour was acquired with a handwritten title. _x000D__x000D_
_x000D__x000D_
Edward Bradley was an English clergyman and novelist, who was educated at University College, Durham University (1845). He graduated B.A. in 1848, and took his licentiateship of theology in 1849. From his time at the University he took his pen name Cuthbert M. Bede, B.A. His most popular book was The Adventures of Mr. Verdant Green, on the experiences of an Oxford undergraduate. Bradley drew his own illustrations as well as writing the text, and contributed to magazines such as Punch as well as producing other books. | 425sketches
| null | paper | 19th century | null |