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|---|---|---|---|---|---|---|---|---|---|
1,308durom.1995.89
| 1995.89-tt.jpg | data/raw/images/oriental/1995 | cream and brown nephrite jade vessell in the form of a Cong | Brush Pot | 琮式玉笔筒 | nephrite | Ming-Qing dynasty | China |
|
1,308durom.1995.89
| 1995.89-tt.jpg | data/raw/images/oriental/1995 | cream and brown nephrite jade vessell in the form of a Cong | Brush Pot | 琮式玉笔筒 | nephrite | Ming-Qing dynasty | China |
|
1,308durom.1995.89
| 1995.89-tt.jpg | data/raw/images/oriental/1995 | cream and brown nephrite jade vessell in the form of a Cong | Brush Pot | 琮式玉笔筒 | nephrite | Ming-Qing dynasty | China |
|
1,308durom.1995.89
| 1995.89-tt.jpg | data/raw/images/oriental/1995 | cream and brown nephrite jade vessell in the form of a Cong | Brush Pot | 琮式玉笔筒 | nephrite | Ming-Qing dynasty | China |
|
1,308durom.1995.89
| 1995.89-tt.jpg | data/raw/images/oriental/1995 | cream and brown nephrite jade vessell in the form of a Cong | Brush Pot | 琮式玉笔筒 | nephrite | Ming-Qing dynasty | China |
|
1,354durom.2000.26
| 2000.26 ff.jpg | data/raw/images/oriental/2000 | Japanese cloisonne teapot. Small and round in shape with curved handle and spout. The interior of the pot is covered with a layer of green enamel. On the exterior there is a freize around the base of red curls on a green background. Above this the main body of the pot is covered in swirling pattern in red, white, yellow and dark blue on a lighter blue background. Among the swirls on one side are two vases holding flowers, on the other side is a table with a pot sitting on it. Around the neck is a pattern in green. The handle and spout are covered in a pattern of gold curls on a light blue background. The lid is round and missing its top knob. The inner surface is covered in a layer of green enamel. The outer surface has a blue background a swirling pattern in red, white, yellow and dark blue as on the body of the pot. Base of the pothas 'Fuku' makers mark. | teapots | null | metal | Edo Period | Japan (country) |
|
1,354durom.2000.26
| 2000.26 ff.jpg | data/raw/images/oriental/2000 | Japanese cloisonne teapot. Small and round in shape with curved handle and spout. The interior of the pot is covered with a layer of green enamel. On the exterior there is a freize around the base of red curls on a green background. Above this the main body of the pot is covered in swirling pattern in red, white, yellow and dark blue on a lighter blue background. Among the swirls on one side are two vases holding flowers, on the other side is a table with a pot sitting on it. Around the neck is a pattern in green. The handle and spout are covered in a pattern of gold curls on a light blue background. The lid is round and missing its top knob. The inner surface is covered in a layer of green enamel. The outer surface has a blue background a swirling pattern in red, white, yellow and dark blue as on the body of the pot. Base of the pothas 'Fuku' makers mark. | teapots | null | metal | Edo Period | Japan (country) |
|
1,354durom.2000.26
| 2000.26 ff.jpg | data/raw/images/oriental/2000 | Japanese cloisonne teapot. Small and round in shape with curved handle and spout. The interior of the pot is covered with a layer of green enamel. On the exterior there is a freize around the base of red curls on a green background. Above this the main body of the pot is covered in swirling pattern in red, white, yellow and dark blue on a lighter blue background. Among the swirls on one side are two vases holding flowers, on the other side is a table with a pot sitting on it. Around the neck is a pattern in green. The handle and spout are covered in a pattern of gold curls on a light blue background. The lid is round and missing its top knob. The inner surface is covered in a layer of green enamel. The outer surface has a blue background a swirling pattern in red, white, yellow and dark blue as on the body of the pot. Base of the pothas 'Fuku' makers mark. | teapots | null | metal | Edo Period | Japan (country) |
|
1,354durom.2000.26
| 2000.26 ff.jpg | data/raw/images/oriental/2000 | Japanese cloisonne teapot. Small and round in shape with curved handle and spout. The interior of the pot is covered with a layer of green enamel. On the exterior there is a freize around the base of red curls on a green background. Above this the main body of the pot is covered in swirling pattern in red, white, yellow and dark blue on a lighter blue background. Among the swirls on one side are two vases holding flowers, on the other side is a table with a pot sitting on it. Around the neck is a pattern in green. The handle and spout are covered in a pattern of gold curls on a light blue background. The lid is round and missing its top knob. The inner surface is covered in a layer of green enamel. The outer surface has a blue background a swirling pattern in red, white, yellow and dark blue as on the body of the pot. Base of the pothas 'Fuku' makers mark. | teapots | null | metal | Edo Period | Japan (country) |
|
1,354durom.2000.26
| 2000.26 ff.jpg | data/raw/images/oriental/2000 | Japanese cloisonne teapot. Small and round in shape with curved handle and spout. The interior of the pot is covered with a layer of green enamel. On the exterior there is a freize around the base of red curls on a green background. Above this the main body of the pot is covered in swirling pattern in red, white, yellow and dark blue on a lighter blue background. Among the swirls on one side are two vases holding flowers, on the other side is a table with a pot sitting on it. Around the neck is a pattern in green. The handle and spout are covered in a pattern of gold curls on a light blue background. The lid is round and missing its top knob. The inner surface is covered in a layer of green enamel. The outer surface has a blue background a swirling pattern in red, white, yellow and dark blue as on the body of the pot. Base of the pothas 'Fuku' makers mark. | teapots | null | metal | Edo Period | Japan (country) |
|
1,567durom.2014.137
| 2014.137 ll.jpg | data/raw/images/oriental/2014 | Copper alloy gourd shaped vessel with a curved neck that bends almost all the way down to the body. The design on the side is Chinoiserie in style with scenes of traditional Chinese buildings. A group of people are stood on a terrace overlooking a body of water with mountains in the background. In the foreground on the other side of the piece are warriors fighting with at least one sword in their hands, wearing traditional dress. Stood next to the warriors is an old man with a long beard, holding a staff. There is a deer with large antlers next to him and a heron above his head. The rest of the image depicts a natural scene with stylised clouds in the sky. There is a hole drilled into the base which is crudely carved with a white residue inside the hole | vessels | null | copper alloy | null | Peshawar |
|
1,567durom.2014.137
| 2014.137 ll.jpg | data/raw/images/oriental/2014 | Copper alloy gourd shaped vessel with a curved neck that bends almost all the way down to the body. The design on the side is Chinoiserie in style with scenes of traditional Chinese buildings. A group of people are stood on a terrace overlooking a body of water with mountains in the background. In the foreground on the other side of the piece are warriors fighting with at least one sword in their hands, wearing traditional dress. Stood next to the warriors is an old man with a long beard, holding a staff. There is a deer with large antlers next to him and a heron above his head. The rest of the image depicts a natural scene with stylised clouds in the sky. There is a hole drilled into the base which is crudely carved with a white residue inside the hole | vessels | null | copper alloy | null | Peshawar |
|
1,567durom.2014.137
| 2014.137 ll.jpg | data/raw/images/oriental/2014 | Copper alloy gourd shaped vessel with a curved neck that bends almost all the way down to the body. The design on the side is Chinoiserie in style with scenes of traditional Chinese buildings. A group of people are stood on a terrace overlooking a body of water with mountains in the background. In the foreground on the other side of the piece are warriors fighting with at least one sword in their hands, wearing traditional dress. Stood next to the warriors is an old man with a long beard, holding a staff. There is a deer with large antlers next to him and a heron above his head. The rest of the image depicts a natural scene with stylised clouds in the sky. There is a hole drilled into the base which is crudely carved with a white residue inside the hole | vessels | null | copper alloy | null | Peshawar |
|
1,567durom.2014.137
| 2014.137 ll.jpg | data/raw/images/oriental/2014 | Copper alloy gourd shaped vessel with a curved neck that bends almost all the way down to the body. The design on the side is Chinoiserie in style with scenes of traditional Chinese buildings. A group of people are stood on a terrace overlooking a body of water with mountains in the background. In the foreground on the other side of the piece are warriors fighting with at least one sword in their hands, wearing traditional dress. Stood next to the warriors is an old man with a long beard, holding a staff. There is a deer with large antlers next to him and a heron above his head. The rest of the image depicts a natural scene with stylised clouds in the sky. There is a hole drilled into the base which is crudely carved with a white residue inside the hole | vessels | null | copper alloy | null | Peshawar |
|
1,567durom.2014.137
| 2014.137 ll.jpg | data/raw/images/oriental/2014 | Copper alloy gourd shaped vessel with a curved neck that bends almost all the way down to the body. The design on the side is Chinoiserie in style with scenes of traditional Chinese buildings. A group of people are stood on a terrace overlooking a body of water with mountains in the background. In the foreground on the other side of the piece are warriors fighting with at least one sword in their hands, wearing traditional dress. Stood next to the warriors is an old man with a long beard, holding a staff. There is a deer with large antlers next to him and a heron above his head. The rest of the image depicts a natural scene with stylised clouds in the sky. There is a hole drilled into the base which is crudely carved with a white residue inside the hole | vessels | null | copper alloy | null | Peshawar |
|
1,003durom.1970.82
| durom.1970.82-ff1.jpg | data/raw/images/oriental/1970 | red soapstone carving of two figures and an animal, possibly a cat, on top of a black pedestal. one figure is holding a beaded necklace and the other is holding a flower. behind the two figures is a plant. the tip of one plant is in a separate bag. | figures | null | coral | null | China |
|
1,003durom.1970.82
| durom.1970.82-ff1.jpg | data/raw/images/oriental/1970 | red soapstone carving of two figures and an animal, possibly a cat, on top of a black pedestal. one figure is holding a beaded necklace and the other is holding a flower. behind the two figures is a plant. the tip of one plant is in a separate bag. | figures | null | coral | null | China |
|
1,003durom.1970.82
| durom.1970.82-ff1.jpg | data/raw/images/oriental/1970 | red soapstone carving of two figures and an animal, possibly a cat, on top of a black pedestal. one figure is holding a beaded necklace and the other is holding a flower. behind the two figures is a plant. the tip of one plant is in a separate bag. | figures | null | coral | null | China |
|
1,003durom.1970.82
| durom.1970.82-ff1.jpg | data/raw/images/oriental/1970 | red soapstone carving of two figures and an animal, possibly a cat, on top of a black pedestal. one figure is holding a beaded necklace and the other is holding a flower. behind the two figures is a plant. the tip of one plant is in a separate bag. | figures | null | coral | null | China |
|
1,003durom.1970.82
| durom.1970.82-ff1.jpg | data/raw/images/oriental/1970 | red soapstone carving of two figures and an animal, possibly a cat, on top of a black pedestal. one figure is holding a beaded necklace and the other is holding a flower. behind the two figures is a plant. the tip of one plant is in a separate bag. | figures | null | coral | null | China |
|
641durom.1964.392
| durom.1964.392-ll.jpg | data/raw/images/oriental/1964 | Grey stone pestle. | pestles | null | stone | Neolithic Period | Jericho |
|
641durom.1964.392
| durom.1964.392-ll.jpg | data/raw/images/oriental/1964 | Grey stone pestle. | pestles | null | stone | Neolithic Period | Jericho |
|
641durom.1964.392
| durom.1964.392-ll.jpg | data/raw/images/oriental/1964 | Grey stone pestle. | pestles | null | stone | Neolithic Period | Jericho |
|
641durom.1964.392
| durom.1964.392-ll.jpg | data/raw/images/oriental/1964 | Grey stone pestle. | pestles | null | stone | Neolithic Period | Jericho |
|
641durom.1964.392
| durom.1964.392-ll.jpg | data/raw/images/oriental/1964 | Grey stone pestle. | pestles | null | stone | Neolithic Period | Jericho |
|
1,834eg2173
| eg2173-tt.jpg | data/raw/images/egyptian/eg | tall narrow vase or phial with narrow flat foot, high shouldered body, narrow neck and flaring rim. red slip. | vases | glass phial | pottery | Roman Period | Egypt |
|
1,834eg2173
| eg2173-tt.jpg | data/raw/images/egyptian/eg | tall narrow vase or phial with narrow flat foot, high shouldered body, narrow neck and flaring rim. red slip. | vases | glass phial | pottery | Roman Period | Egypt |
|
1,834eg2173
| eg2173-tt.jpg | data/raw/images/egyptian/eg | tall narrow vase or phial with narrow flat foot, high shouldered body, narrow neck and flaring rim. red slip. | vases | glass phial | pottery | Roman Period | Egypt |
|
1,834eg2173
| eg2173-tt.jpg | data/raw/images/egyptian/eg | tall narrow vase or phial with narrow flat foot, high shouldered body, narrow neck and flaring rim. red slip. | vases | glass phial | pottery | Roman Period | Egypt |
|
1,834eg2173
| eg2173-tt.jpg | data/raw/images/egyptian/eg | tall narrow vase or phial with narrow flat foot, high shouldered body, narrow neck and flaring rim. red slip. | vases | glass phial | pottery | Roman Period | Egypt |
|
1,787eg1605
| eg1605-d8.jpg | data/raw/images/egyptian/eg | Isis holding Infant Harpocrates. Seated on her lap. She wears crown of ureaus and sun disc. He has sidelock. Quite detailed for size. Seated on throne | Human Figurine | isis and horus figurine | stone | Late Period | Egypt |
|
1,787eg1605
| eg1605-d8.jpg | data/raw/images/egyptian/eg | Isis holding Infant Harpocrates. Seated on her lap. She wears crown of ureaus and sun disc. He has sidelock. Quite detailed for size. Seated on throne | Human Figurine | isis and horus figurine | stone | Late Period | Egypt |
|
1,787eg1605
| eg1605-d8.jpg | data/raw/images/egyptian/eg | Isis holding Infant Harpocrates. Seated on her lap. She wears crown of ureaus and sun disc. He has sidelock. Quite detailed for size. Seated on throne | Human Figurine | isis and horus figurine | stone | Late Period | Egypt |
|
1,787eg1605
| eg1605-d8.jpg | data/raw/images/egyptian/eg | Isis holding Infant Harpocrates. Seated on her lap. She wears crown of ureaus and sun disc. He has sidelock. Quite detailed for size. Seated on throne | Human Figurine | isis and horus figurine | stone | Late Period | Egypt |
|
1,787eg1605
| eg1605-d8.jpg | data/raw/images/egyptian/eg | Isis holding Infant Harpocrates. Seated on her lap. She wears crown of ureaus and sun disc. He has sidelock. Quite detailed for size. Seated on throne | Human Figurine | isis and horus figurine | stone | Late Period | Egypt |
|
1,590durom.2014.348
| 2014.348 d12.jpg | data/raw/images/oriental/2014 | Sculptural art piece consisting of three white porcelain moon jars [see notes] arranged on top of a black unglazed, roughly circular base. In three pieces: DUROM.2014.348 the main piece consisting of the moon jars, DUROM.2014.348.2 is the small broken additional piece of black clay base, DUROM.2014.348.3 is the black clay base that was originally attached to DUROM.2014.348._x000D__x000D_
_x000D__x000D_
The moon jars were attached to the top of the base with glaze and did not move as separate pieces. The jars are now no longer attached to the base with glaze. The base has its own record at: DUROM.2014.348.3. _x000D__x000D_
_x000D__x000D_
The jars themselves are arranged as two resting on the base and one on top of these. They all have an irregular appearance which is the result of the pressure from each other and the firing process. The insides of the two lower moon jars have been glazed with a white glaze, as have the outer base rims of these two. The larger of the two lower moon jars has experienced a large crack during firing; this has been filled with a gold leaf/adhesive lacquer mixture hand painted into the crack on the exterior of the moon jar. The crack and the damage to the structure of the moon jar are more apparent on the inside where there is an almost circular crack which corresponds to the outer mark. The gold leaf lacquer runs from the top of the jar where the lower one meets the upper jar and curves downwards to a point where it connects with the other lower moon jar. The uppermost jar also has gold leaf adhesive lacquer on the underside of the base; this is a curved, thick line of gold and is visible on the inside of the base of this moon jar as well. Next to the gold lacquer on the upper moon jar is the artist's signature engraved into the clay before firing._x000D__x000D_
_x000D__x000D_
The upper moon jar has largely retained its shape. This moon jar has been glazed on the inside and outside. There is a section of the glaze near the rim of the moon jar on the same side where the gold lacquer mark is on the lower moon jar where the glaze has turned an off-white, creamy colour. The flat surface of the rim of this moon jar has been left unglazed._x000D__x000D_
_x000D__x000D_
On all three of the moon jars the join line around the central circumference where the top and bottom hemispheres of the jar would have been joined is clearly visible. This reveals the traditional methods used to create this piece. In the inside of the larger, lower jar and also on the black base of the moon jar, there is a fine layer of small particles of porcelain and the black, fired clay._x000D__x000D_
| sculpture | Moon Jar | porcelain | Republic of Korea (period) | South Korea |
|
1,590durom.2014.348
| 2014.348 d12.jpg | data/raw/images/oriental/2014 | Sculptural art piece consisting of three white porcelain moon jars [see notes] arranged on top of a black unglazed, roughly circular base. In three pieces: DUROM.2014.348 the main piece consisting of the moon jars, DUROM.2014.348.2 is the small broken additional piece of black clay base, DUROM.2014.348.3 is the black clay base that was originally attached to DUROM.2014.348._x000D__x000D_
_x000D__x000D_
The moon jars were attached to the top of the base with glaze and did not move as separate pieces. The jars are now no longer attached to the base with glaze. The base has its own record at: DUROM.2014.348.3. _x000D__x000D_
_x000D__x000D_
The jars themselves are arranged as two resting on the base and one on top of these. They all have an irregular appearance which is the result of the pressure from each other and the firing process. The insides of the two lower moon jars have been glazed with a white glaze, as have the outer base rims of these two. The larger of the two lower moon jars has experienced a large crack during firing; this has been filled with a gold leaf/adhesive lacquer mixture hand painted into the crack on the exterior of the moon jar. The crack and the damage to the structure of the moon jar are more apparent on the inside where there is an almost circular crack which corresponds to the outer mark. The gold leaf lacquer runs from the top of the jar where the lower one meets the upper jar and curves downwards to a point where it connects with the other lower moon jar. The uppermost jar also has gold leaf adhesive lacquer on the underside of the base; this is a curved, thick line of gold and is visible on the inside of the base of this moon jar as well. Next to the gold lacquer on the upper moon jar is the artist's signature engraved into the clay before firing._x000D__x000D_
_x000D__x000D_
The upper moon jar has largely retained its shape. This moon jar has been glazed on the inside and outside. There is a section of the glaze near the rim of the moon jar on the same side where the gold lacquer mark is on the lower moon jar where the glaze has turned an off-white, creamy colour. The flat surface of the rim of this moon jar has been left unglazed._x000D__x000D_
_x000D__x000D_
On all three of the moon jars the join line around the central circumference where the top and bottom hemispheres of the jar would have been joined is clearly visible. This reveals the traditional methods used to create this piece. In the inside of the larger, lower jar and also on the black base of the moon jar, there is a fine layer of small particles of porcelain and the black, fired clay._x000D__x000D_
| sculpture | Moon Jar | porcelain | Republic of Korea (period) | South Korea |
|
1,590durom.2014.348
| 2014.348 d12.jpg | data/raw/images/oriental/2014 | Sculptural art piece consisting of three white porcelain moon jars [see notes] arranged on top of a black unglazed, roughly circular base. In three pieces: DUROM.2014.348 the main piece consisting of the moon jars, DUROM.2014.348.2 is the small broken additional piece of black clay base, DUROM.2014.348.3 is the black clay base that was originally attached to DUROM.2014.348._x000D__x000D_
_x000D__x000D_
The moon jars were attached to the top of the base with glaze and did not move as separate pieces. The jars are now no longer attached to the base with glaze. The base has its own record at: DUROM.2014.348.3. _x000D__x000D_
_x000D__x000D_
The jars themselves are arranged as two resting on the base and one on top of these. They all have an irregular appearance which is the result of the pressure from each other and the firing process. The insides of the two lower moon jars have been glazed with a white glaze, as have the outer base rims of these two. The larger of the two lower moon jars has experienced a large crack during firing; this has been filled with a gold leaf/adhesive lacquer mixture hand painted into the crack on the exterior of the moon jar. The crack and the damage to the structure of the moon jar are more apparent on the inside where there is an almost circular crack which corresponds to the outer mark. The gold leaf lacquer runs from the top of the jar where the lower one meets the upper jar and curves downwards to a point where it connects with the other lower moon jar. The uppermost jar also has gold leaf adhesive lacquer on the underside of the base; this is a curved, thick line of gold and is visible on the inside of the base of this moon jar as well. Next to the gold lacquer on the upper moon jar is the artist's signature engraved into the clay before firing._x000D__x000D_
_x000D__x000D_
The upper moon jar has largely retained its shape. This moon jar has been glazed on the inside and outside. There is a section of the glaze near the rim of the moon jar on the same side where the gold lacquer mark is on the lower moon jar where the glaze has turned an off-white, creamy colour. The flat surface of the rim of this moon jar has been left unglazed._x000D__x000D_
_x000D__x000D_
On all three of the moon jars the join line around the central circumference where the top and bottom hemispheres of the jar would have been joined is clearly visible. This reveals the traditional methods used to create this piece. In the inside of the larger, lower jar and also on the black base of the moon jar, there is a fine layer of small particles of porcelain and the black, fired clay._x000D__x000D_
| sculpture | Moon Jar | porcelain | Republic of Korea (period) | South Korea |
|
1,590durom.2014.348
| 2014.348 d12.jpg | data/raw/images/oriental/2014 | Sculptural art piece consisting of three white porcelain moon jars [see notes] arranged on top of a black unglazed, roughly circular base. In three pieces: DUROM.2014.348 the main piece consisting of the moon jars, DUROM.2014.348.2 is the small broken additional piece of black clay base, DUROM.2014.348.3 is the black clay base that was originally attached to DUROM.2014.348._x000D__x000D_
_x000D__x000D_
The moon jars were attached to the top of the base with glaze and did not move as separate pieces. The jars are now no longer attached to the base with glaze. The base has its own record at: DUROM.2014.348.3. _x000D__x000D_
_x000D__x000D_
The jars themselves are arranged as two resting on the base and one on top of these. They all have an irregular appearance which is the result of the pressure from each other and the firing process. The insides of the two lower moon jars have been glazed with a white glaze, as have the outer base rims of these two. The larger of the two lower moon jars has experienced a large crack during firing; this has been filled with a gold leaf/adhesive lacquer mixture hand painted into the crack on the exterior of the moon jar. The crack and the damage to the structure of the moon jar are more apparent on the inside where there is an almost circular crack which corresponds to the outer mark. The gold leaf lacquer runs from the top of the jar where the lower one meets the upper jar and curves downwards to a point where it connects with the other lower moon jar. The uppermost jar also has gold leaf adhesive lacquer on the underside of the base; this is a curved, thick line of gold and is visible on the inside of the base of this moon jar as well. Next to the gold lacquer on the upper moon jar is the artist's signature engraved into the clay before firing._x000D__x000D_
_x000D__x000D_
The upper moon jar has largely retained its shape. This moon jar has been glazed on the inside and outside. There is a section of the glaze near the rim of the moon jar on the same side where the gold lacquer mark is on the lower moon jar where the glaze has turned an off-white, creamy colour. The flat surface of the rim of this moon jar has been left unglazed._x000D__x000D_
_x000D__x000D_
On all three of the moon jars the join line around the central circumference where the top and bottom hemispheres of the jar would have been joined is clearly visible. This reveals the traditional methods used to create this piece. In the inside of the larger, lower jar and also on the black base of the moon jar, there is a fine layer of small particles of porcelain and the black, fired clay._x000D__x000D_
| sculpture | Moon Jar | porcelain | Republic of Korea (period) | South Korea |
|
1,590durom.2014.348
| 2014.348 d12.jpg | data/raw/images/oriental/2014 | Sculptural art piece consisting of three white porcelain moon jars [see notes] arranged on top of a black unglazed, roughly circular base. In three pieces: DUROM.2014.348 the main piece consisting of the moon jars, DUROM.2014.348.2 is the small broken additional piece of black clay base, DUROM.2014.348.3 is the black clay base that was originally attached to DUROM.2014.348._x000D__x000D_
_x000D__x000D_
The moon jars were attached to the top of the base with glaze and did not move as separate pieces. The jars are now no longer attached to the base with glaze. The base has its own record at: DUROM.2014.348.3. _x000D__x000D_
_x000D__x000D_
The jars themselves are arranged as two resting on the base and one on top of these. They all have an irregular appearance which is the result of the pressure from each other and the firing process. The insides of the two lower moon jars have been glazed with a white glaze, as have the outer base rims of these two. The larger of the two lower moon jars has experienced a large crack during firing; this has been filled with a gold leaf/adhesive lacquer mixture hand painted into the crack on the exterior of the moon jar. The crack and the damage to the structure of the moon jar are more apparent on the inside where there is an almost circular crack which corresponds to the outer mark. The gold leaf lacquer runs from the top of the jar where the lower one meets the upper jar and curves downwards to a point where it connects with the other lower moon jar. The uppermost jar also has gold leaf adhesive lacquer on the underside of the base; this is a curved, thick line of gold and is visible on the inside of the base of this moon jar as well. Next to the gold lacquer on the upper moon jar is the artist's signature engraved into the clay before firing._x000D__x000D_
_x000D__x000D_
The upper moon jar has largely retained its shape. This moon jar has been glazed on the inside and outside. There is a section of the glaze near the rim of the moon jar on the same side where the gold lacquer mark is on the lower moon jar where the glaze has turned an off-white, creamy colour. The flat surface of the rim of this moon jar has been left unglazed._x000D__x000D_
_x000D__x000D_
On all three of the moon jars the join line around the central circumference where the top and bottom hemispheres of the jar would have been joined is clearly visible. This reveals the traditional methods used to create this piece. In the inside of the larger, lower jar and also on the black base of the moon jar, there is a fine layer of small particles of porcelain and the black, fired clay._x000D__x000D_
| sculpture | Moon Jar | porcelain | Republic of Korea (period) | South Korea |
|
717durom.1964.9
| 1964.9.02-ff.jpg | data/raw/images/oriental/1964 | Miniature album of 22 devotional pictures of Shri Nathji, a form of the Hindu god Krishna, with inscriptions of Devanagari script. | albums | null | Opaque Watercolour on Paper | null | Rajasthan State |
|
717durom.1964.9
| 1964.9.02-ff.jpg | data/raw/images/oriental/1964 | Miniature album of 22 devotional pictures of Shri Nathji, a form of the Hindu god Krishna, with inscriptions of Devanagari script. | albums | null | Opaque Watercolour on Paper | null | Rajasthan State |
|
717durom.1964.9
| 1964.9.02-ff.jpg | data/raw/images/oriental/1964 | Miniature album of 22 devotional pictures of Shri Nathji, a form of the Hindu god Krishna, with inscriptions of Devanagari script. | albums | null | Opaque Watercolour on Paper | null | Rajasthan State |
|
717durom.1964.9
| 1964.9.02-ff.jpg | data/raw/images/oriental/1964 | Miniature album of 22 devotional pictures of Shri Nathji, a form of the Hindu god Krishna, with inscriptions of Devanagari script. | albums | null | Opaque Watercolour on Paper | null | Rajasthan State |
|
717durom.1964.9
| 1964.9.02-ff.jpg | data/raw/images/oriental/1964 | Miniature album of 22 devotional pictures of Shri Nathji, a form of the Hindu god Krishna, with inscriptions of Devanagari script. | albums | null | Opaque Watercolour on Paper | null | Rajasthan State |
|
592durom.1964.18
| 1964.18.d1.jpg | data/raw/images/oriental/1964 | figure of the seated Buddha. | figures | null | silver | null | Myanmar |
|
592durom.1964.18
| 1964.18.d1.jpg | data/raw/images/oriental/1964 | figure of the seated Buddha. | figures | null | silver | null | Myanmar |
|
592durom.1964.18
| 1964.18.d1.jpg | data/raw/images/oriental/1964 | figure of the seated Buddha. | figures | null | silver | null | Myanmar |
|
592durom.1964.18
| 1964.18.d1.jpg | data/raw/images/oriental/1964 | figure of the seated Buddha. | figures | null | silver | null | Myanmar |
|
592durom.1964.18
| 1964.18.d1.jpg | data/raw/images/oriental/1964 | figure of the seated Buddha. | figures | null | silver | null | Myanmar |
|
903durom.1969.399
| durom.1969.399_d4.jpg | data/raw/images/oriental/1969 | Stoneware lantern in the shape of a summerhouse, covered with blue-green glaze, Longquan ware. | lanterns | 龙泉窑青釉凉亭式灯罩 | celadon | Yuan dynasty | Zhejiang Province |
|
903durom.1969.399
| durom.1969.399_d4.jpg | data/raw/images/oriental/1969 | Stoneware lantern in the shape of a summerhouse, covered with blue-green glaze, Longquan ware. | lanterns | 龙泉窑青釉凉亭式灯罩 | celadon | Yuan dynasty | Zhejiang Province |
|
903durom.1969.399
| durom.1969.399_d4.jpg | data/raw/images/oriental/1969 | Stoneware lantern in the shape of a summerhouse, covered with blue-green glaze, Longquan ware. | lanterns | 龙泉窑青釉凉亭式灯罩 | celadon | Yuan dynasty | Zhejiang Province |
|
903durom.1969.399
| durom.1969.399_d4.jpg | data/raw/images/oriental/1969 | Stoneware lantern in the shape of a summerhouse, covered with blue-green glaze, Longquan ware. | lanterns | 龙泉窑青釉凉亭式灯罩 | celadon | Yuan dynasty | Zhejiang Province |
|
903durom.1969.399
| durom.1969.399_d4.jpg | data/raw/images/oriental/1969 | Stoneware lantern in the shape of a summerhouse, covered with blue-green glaze, Longquan ware. | lanterns | 龙泉窑青釉凉亭式灯罩 | celadon | Yuan dynasty | Zhejiang Province |
|
1,705durom.75
| 75 ll.jpg | data/raw/images/oriental/0000 | Wooden female fertility deity called 'Song Zi Niang Niang' who is depicted holding a baby in her p. right arm, She wears a gold tunic with a raised spiral pattern down the front and cream undertunic on the lower half. The back of the tunic is red and the collar is black. Her hair is tied into a knot at the back of the head and the baby is wrapped in a painted red blanket. The plinth is painted red at the front and left plain at the back | figures | null | wood | null | China |
|
1,705durom.75
| 75 ll.jpg | data/raw/images/oriental/0000 | Wooden female fertility deity called 'Song Zi Niang Niang' who is depicted holding a baby in her p. right arm, She wears a gold tunic with a raised spiral pattern down the front and cream undertunic on the lower half. The back of the tunic is red and the collar is black. Her hair is tied into a knot at the back of the head and the baby is wrapped in a painted red blanket. The plinth is painted red at the front and left plain at the back | figures | null | wood | null | China |
|
1,705durom.75
| 75 ll.jpg | data/raw/images/oriental/0000 | Wooden female fertility deity called 'Song Zi Niang Niang' who is depicted holding a baby in her p. right arm, She wears a gold tunic with a raised spiral pattern down the front and cream undertunic on the lower half. The back of the tunic is red and the collar is black. Her hair is tied into a knot at the back of the head and the baby is wrapped in a painted red blanket. The plinth is painted red at the front and left plain at the back | figures | null | wood | null | China |
|
1,705durom.75
| 75 ll.jpg | data/raw/images/oriental/0000 | Wooden female fertility deity called 'Song Zi Niang Niang' who is depicted holding a baby in her p. right arm, She wears a gold tunic with a raised spiral pattern down the front and cream undertunic on the lower half. The back of the tunic is red and the collar is black. Her hair is tied into a knot at the back of the head and the baby is wrapped in a painted red blanket. The plinth is painted red at the front and left plain at the back | figures | null | wood | null | China |
|
1,705durom.75
| 75 ll.jpg | data/raw/images/oriental/0000 | Wooden female fertility deity called 'Song Zi Niang Niang' who is depicted holding a baby in her p. right arm, She wears a gold tunic with a raised spiral pattern down the front and cream undertunic on the lower half. The back of the tunic is red and the collar is black. Her hair is tied into a knot at the back of the head and the baby is wrapped in a painted red blanket. The plinth is painted red at the front and left plain at the back | figures | null | wood | null | China |
|
1,103durom.1976.197
| 1976.197-q2.jpg | data/raw/images/oriental/1976 | fine seal-shape netsuke carved with a dragon resting from waves. | netsukes | netsuke | wood | null | Japan (country) |
|
1,103durom.1976.197
| 1976.197-q2.jpg | data/raw/images/oriental/1976 | fine seal-shape netsuke carved with a dragon resting from waves. | netsukes | netsuke | wood | null | Japan (country) |
|
1,103durom.1976.197
| 1976.197-q2.jpg | data/raw/images/oriental/1976 | fine seal-shape netsuke carved with a dragon resting from waves. | netsukes | netsuke | wood | null | Japan (country) |
|
1,103durom.1976.197
| 1976.197-q2.jpg | data/raw/images/oriental/1976 | fine seal-shape netsuke carved with a dragon resting from waves. | netsukes | netsuke | wood | null | Japan (country) |
|
1,103durom.1976.197
| 1976.197-q2.jpg | data/raw/images/oriental/1976 | fine seal-shape netsuke carved with a dragon resting from waves. | netsukes | netsuke | wood | null | Japan (country) |
|
65DUROM.1969.226.c
| durom.1969.226.a-d3.jpg | data/raw/images/oriental/1969 | null | null | null | null | null | null |
|
65DUROM.1969.226.c
| durom.1969.226.a-d3.jpg | data/raw/images/oriental/1969 | null | null | null | null | null | null |
|
65DUROM.1969.226.c
| durom.1969.226.a-d3.jpg | data/raw/images/oriental/1969 | null | null | null | null | null | null |
|
65DUROM.1969.226.c
| durom.1969.226.a-d3.jpg | data/raw/images/oriental/1969 | null | null | null | null | null | null |
|
65DUROM.1969.226.c
| durom.1969.226.a-d3.jpg | data/raw/images/oriental/1969 | null | null | null | null | null | null |
|
1,048durom.1973.36
| 1973.36.a-ll.jpg | data/raw/images/oriental/1973 | 8 Indian clay figures, 7 men and 1 woman, perhaps illustrating occupations. | figures | null | clay | null | India |
|
1,048durom.1973.36
| 1973.36.a-ll.jpg | data/raw/images/oriental/1973 | 8 Indian clay figures, 7 men and 1 woman, perhaps illustrating occupations. | figures | null | clay | null | India |
|
1,048durom.1973.36
| 1973.36.a-ll.jpg | data/raw/images/oriental/1973 | 8 Indian clay figures, 7 men and 1 woman, perhaps illustrating occupations. | figures | null | clay | null | India |
|
1,048durom.1973.36
| 1973.36.a-ll.jpg | data/raw/images/oriental/1973 | 8 Indian clay figures, 7 men and 1 woman, perhaps illustrating occupations. | figures | null | clay | null | India |
|
1,048durom.1973.36
| 1973.36.a-ll.jpg | data/raw/images/oriental/1973 | 8 Indian clay figures, 7 men and 1 woman, perhaps illustrating occupations. | figures | null | clay | null | India |
|
1,602durom.2014.477
| durom.2014.477-uu.jpg | data/raw/images/oriental/2014 | Wirework brass floral spray from China. This piece would be placed within the hair to create an elaborate head piece that would quiver with the wearer's movements. There is a central stem that is bent in the centre at a right angle to give the appearance of a branch. There are wirework attachments going off at all angles with small brass flowers attached in various states of blooming, with the closed ones nearer to the top of the spray. There is a blue butterfly near to the base of the piece that is decorated with blue thread upon a brass base to provide it with colour. Some of the branches are fragile | hair ornaments | spray | brass | null | China |
|
1,602durom.2014.477
| durom.2014.477-uu.jpg | data/raw/images/oriental/2014 | Wirework brass floral spray from China. This piece would be placed within the hair to create an elaborate head piece that would quiver with the wearer's movements. There is a central stem that is bent in the centre at a right angle to give the appearance of a branch. There are wirework attachments going off at all angles with small brass flowers attached in various states of blooming, with the closed ones nearer to the top of the spray. There is a blue butterfly near to the base of the piece that is decorated with blue thread upon a brass base to provide it with colour. Some of the branches are fragile | hair ornaments | spray | brass | null | China |
|
1,602durom.2014.477
| durom.2014.477-uu.jpg | data/raw/images/oriental/2014 | Wirework brass floral spray from China. This piece would be placed within the hair to create an elaborate head piece that would quiver with the wearer's movements. There is a central stem that is bent in the centre at a right angle to give the appearance of a branch. There are wirework attachments going off at all angles with small brass flowers attached in various states of blooming, with the closed ones nearer to the top of the spray. There is a blue butterfly near to the base of the piece that is decorated with blue thread upon a brass base to provide it with colour. Some of the branches are fragile | hair ornaments | spray | brass | null | China |
|
1,602durom.2014.477
| durom.2014.477-uu.jpg | data/raw/images/oriental/2014 | Wirework brass floral spray from China. This piece would be placed within the hair to create an elaborate head piece that would quiver with the wearer's movements. There is a central stem that is bent in the centre at a right angle to give the appearance of a branch. There are wirework attachments going off at all angles with small brass flowers attached in various states of blooming, with the closed ones nearer to the top of the spray. There is a blue butterfly near to the base of the piece that is decorated with blue thread upon a brass base to provide it with colour. Some of the branches are fragile | hair ornaments | spray | brass | null | China |
|
1,602durom.2014.477
| durom.2014.477-uu.jpg | data/raw/images/oriental/2014 | Wirework brass floral spray from China. This piece would be placed within the hair to create an elaborate head piece that would quiver with the wearer's movements. There is a central stem that is bent in the centre at a right angle to give the appearance of a branch. There are wirework attachments going off at all angles with small brass flowers attached in various states of blooming, with the closed ones nearer to the top of the spray. There is a blue butterfly near to the base of the piece that is decorated with blue thread upon a brass base to provide it with colour. Some of the branches are fragile | hair ornaments | spray | brass | null | China |
|
2,098eg881
| eg881 n767-bb.jpg | data/raw/images/egyptian/eg | pale green faince new year flask: circular flask with convex sides, pale green, moulded with incised decoration, the central band having a double billet, inscriptions to the shoulders on each side, wishes of a happy new year to the owner to be granted by ptah and sekhmet. The neck decorated with rows of drop beads and lotus flowers with radiating pattern | flasks | new year flask | faience | 26th Dynasty | Egypt |
|
2,098eg881
| eg881 n767-bb.jpg | data/raw/images/egyptian/eg | pale green faince new year flask: circular flask with convex sides, pale green, moulded with incised decoration, the central band having a double billet, inscriptions to the shoulders on each side, wishes of a happy new year to the owner to be granted by ptah and sekhmet. The neck decorated with rows of drop beads and lotus flowers with radiating pattern | flasks | new year flask | faience | 26th Dynasty | Egypt |
|
2,098eg881
| eg881 n767-bb.jpg | data/raw/images/egyptian/eg | pale green faince new year flask: circular flask with convex sides, pale green, moulded with incised decoration, the central band having a double billet, inscriptions to the shoulders on each side, wishes of a happy new year to the owner to be granted by ptah and sekhmet. The neck decorated with rows of drop beads and lotus flowers with radiating pattern | flasks | new year flask | faience | 26th Dynasty | Egypt |
|
2,098eg881
| eg881 n767-bb.jpg | data/raw/images/egyptian/eg | pale green faince new year flask: circular flask with convex sides, pale green, moulded with incised decoration, the central band having a double billet, inscriptions to the shoulders on each side, wishes of a happy new year to the owner to be granted by ptah and sekhmet. The neck decorated with rows of drop beads and lotus flowers with radiating pattern | flasks | new year flask | faience | 26th Dynasty | Egypt |
|
2,098eg881
| eg881 n767-bb.jpg | data/raw/images/egyptian/eg | pale green faince new year flask: circular flask with convex sides, pale green, moulded with incised decoration, the central band having a double billet, inscriptions to the shoulders on each side, wishes of a happy new year to the owner to be granted by ptah and sekhmet. The neck decorated with rows of drop beads and lotus flowers with radiating pattern | flasks | new year flask | faience | 26th Dynasty | Egypt |
|
939durom.1969.544
| 1969.544 tt.jpg | data/raw/images/oriental/1969 | Islamic footed metal bowl. The outside is decorated with floral designs and figures. | bowls | null | metal | 19th century | Tibet Autonomous Region (China) |
|
939durom.1969.544
| 1969.544 tt.jpg | data/raw/images/oriental/1969 | Islamic footed metal bowl. The outside is decorated with floral designs and figures. | bowls | null | metal | 19th century | Tibet Autonomous Region (China) |
|
939durom.1969.544
| 1969.544 tt.jpg | data/raw/images/oriental/1969 | Islamic footed metal bowl. The outside is decorated with floral designs and figures. | bowls | null | metal | 19th century | Tibet Autonomous Region (China) |
|
939durom.1969.544
| 1969.544 tt.jpg | data/raw/images/oriental/1969 | Islamic footed metal bowl. The outside is decorated with floral designs and figures. | bowls | null | metal | 19th century | Tibet Autonomous Region (China) |
|
939durom.1969.544
| 1969.544 tt.jpg | data/raw/images/oriental/1969 | Islamic footed metal bowl. The outside is decorated with floral designs and figures. | bowls | null | metal | 19th century | Tibet Autonomous Region (China) |
|
1,942eg4009
| eg4009-ll.jpg | data/raw/images/egyptian/eg | Statue of the Vizier Idi with opening of the mouth equipment. The statue is carved from alabaster and set into the base which is carved from a block of limestone with gypsum finish. The vessels and other equipment for the opening of the mouth ceremony are carved from the limestone base or from alabaster or quartz crystal and set into the base. Idi is shown standing with his hands by his side and left foot forward. The statue is believed to be part of a group which date from the First Intermediate Period rather than the time of Idi's death and relate to his veneration as a local hero or saint in the Abydos region at that time. | statuettes | pss-kf model set | stone | 1st Intermediate Period | Egypt |
|
1,942eg4009
| eg4009-ll.jpg | data/raw/images/egyptian/eg | Statue of the Vizier Idi with opening of the mouth equipment. The statue is carved from alabaster and set into the base which is carved from a block of limestone with gypsum finish. The vessels and other equipment for the opening of the mouth ceremony are carved from the limestone base or from alabaster or quartz crystal and set into the base. Idi is shown standing with his hands by his side and left foot forward. The statue is believed to be part of a group which date from the First Intermediate Period rather than the time of Idi's death and relate to his veneration as a local hero or saint in the Abydos region at that time. | statuettes | pss-kf model set | stone | 1st Intermediate Period | Egypt |
|
1,942eg4009
| eg4009-ll.jpg | data/raw/images/egyptian/eg | Statue of the Vizier Idi with opening of the mouth equipment. The statue is carved from alabaster and set into the base which is carved from a block of limestone with gypsum finish. The vessels and other equipment for the opening of the mouth ceremony are carved from the limestone base or from alabaster or quartz crystal and set into the base. Idi is shown standing with his hands by his side and left foot forward. The statue is believed to be part of a group which date from the First Intermediate Period rather than the time of Idi's death and relate to his veneration as a local hero or saint in the Abydos region at that time. | statuettes | pss-kf model set | stone | 1st Intermediate Period | Egypt |
|
1,942eg4009
| eg4009-ll.jpg | data/raw/images/egyptian/eg | Statue of the Vizier Idi with opening of the mouth equipment. The statue is carved from alabaster and set into the base which is carved from a block of limestone with gypsum finish. The vessels and other equipment for the opening of the mouth ceremony are carved from the limestone base or from alabaster or quartz crystal and set into the base. Idi is shown standing with his hands by his side and left foot forward. The statue is believed to be part of a group which date from the First Intermediate Period rather than the time of Idi's death and relate to his veneration as a local hero or saint in the Abydos region at that time. | statuettes | pss-kf model set | stone | 1st Intermediate Period | Egypt |
|
1,942eg4009
| eg4009-ll.jpg | data/raw/images/egyptian/eg | Statue of the Vizier Idi with opening of the mouth equipment. The statue is carved from alabaster and set into the base which is carved from a block of limestone with gypsum finish. The vessels and other equipment for the opening of the mouth ceremony are carved from the limestone base or from alabaster or quartz crystal and set into the base. Idi is shown standing with his hands by his side and left foot forward. The statue is believed to be part of a group which date from the First Intermediate Period rather than the time of Idi's death and relate to his veneration as a local hero or saint in the Abydos region at that time. | statuettes | pss-kf model set | stone | 1st Intermediate Period | Egypt |
|
736durom.1965.64
| 1965.64 d5.jpg | data/raw/images/oriental/1965 | Circular brass pot with lid. Swirl pattern in centre of lid. Mostly brass but rims of both lid and body are copper. | Box | tszmpa | brass | null | Tibet Autonomous Region (China) |
|
736durom.1965.64
| 1965.64 d5.jpg | data/raw/images/oriental/1965 | Circular brass pot with lid. Swirl pattern in centre of lid. Mostly brass but rims of both lid and body are copper. | Box | tszmpa | brass | null | Tibet Autonomous Region (China) |
|
736durom.1965.64
| 1965.64 d5.jpg | data/raw/images/oriental/1965 | Circular brass pot with lid. Swirl pattern in centre of lid. Mostly brass but rims of both lid and body are copper. | Box | tszmpa | brass | null | Tibet Autonomous Region (China) |
|
736durom.1965.64
| 1965.64 d5.jpg | data/raw/images/oriental/1965 | Circular brass pot with lid. Swirl pattern in centre of lid. Mostly brass but rims of both lid and body are copper. | Box | tszmpa | brass | null | Tibet Autonomous Region (China) |
|
736durom.1965.64
| 1965.64 d5.jpg | data/raw/images/oriental/1965 | Circular brass pot with lid. Swirl pattern in centre of lid. Mostly brass but rims of both lid and body are copper. | Box | tszmpa | brass | null | Tibet Autonomous Region (China) |
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