1 10 40 https://digasst.lib.hku.hk/files/original/128/20210323_145159.jpg 044d95029028ebb371889aa754ad87cb https://digasst.lib.hku.hk/files/original/128/20210323_144801.jpg b56ec32a8d68e4aa44e260da9baf6454 https://digasst.lib.hku.hk/files/original/128/Foo_Kwan_Yee_Queenie.json d304938bc02cabedeef94ff5eacc74de 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Nanfeng county, Jiangxi, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Southern Song dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1127 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1279 Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Height (cm) 4cm Width (cm) 11.2cm Diameter (cm) 11.2cm Accession Number A unique identifier for an object HKU.C.1981.0853 Description A short physical description of the object with an overview of its historical and social significance The bowl is painted with prunus under the moon, such that the blossom is an iconic symbol of the Southern Song. This may due to the fact that the blossom was flourished in the capital of Southern Song, i.e. HangZhou, and the falling of prunus represents the political instability during the period of time metaphorically. Since Southern Song is a period that prefers the pen to the sword, the composition of this design may be inspired by literati calling on the artistic conception of the beauty of blossoms under the gentle light of a crescent moon. The pairing gives a sense of tranquility. The bowl was made of stoneware coated with white glaze inside. Song dynasty played an important role in the advancement of pottery production, many prestigious pottery kilns thrived and more technically innovative ways were adopted and glazing was a major method to make raw ceramics look mature. The ceramic was fired under high temperature. After that, glazing gave an effect of iridescence under the reflection of light and a smooth texture. While for the outside of the bowl, the texture remains raw at the bottom. This kind of small bowl was usually used for the consumption of alcohol and tea. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bowl Subject The topic of the resource Prunus and Moon Creator An entity primarily responsible for making the resource Foo Kwan Yee https://digasst.lib.hku.hk/files/original/8/0069_1.JPG 10e9e42d84c99db9e32702862bf80baf https://digasst.lib.hku.hk/files/original/8/vase_4.jpg 56c1216dc0aafef691821eb3923a8138 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource hidden https://digasst.lib.hku.hk/files/original/8/vase_5.json df90da33d7f40857cada067330ee1c18 3D Model A 3D rendering of a physical object. Date From a A numeric date or range of dates indicating when an object was made 25 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Lead-glaze Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Mr Ronald Tam Accession Number A unique identifier for an object HKU.C.1953.0069 Description A short physical description of the object with an overview of its historical and social significance One of the most common types of vessels found in Han tombs, this rounded storage jar (hu) would have been used to hold offerings of wine. Lead glazes in shades of green and brown became popular in the Han dynasty as a way to make earthenware non-porous. Glazing also had the effect of imitating the appearance of more expensive bronze vessels, which had been a staple of tomb furnishings since the Shang dynasty (ca. 1600–1046 BCE). The characteristic iridescence of such objects results from their exposure to moisture in damp tombs. Width (cm) 11.7 Height (cm) 12.8 Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Eastern Han dynasty Place of Origin The geographic location where an object was made Henan, China Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 220 Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 25 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Han Vase burial goods ceramics https://digasst.lib.hku.hk/files/original/11/IMG_4786.jpg 339dc021dfcb5960c00057430a29f02c https://digasst.lib.hku.hk/files/original/11/IMG_4781_2.JPG a1b1bf242abe5e52d92fa5f7d0966b6c https://digasst.lib.hku.hk/files/original/11/IMG_9058.JPG 82ccbbabe900fa0fe4c2a49c3980361f 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Warring States Period Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -475 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 21.3 cm Diameter (cm) 24.3 cm (for the belly) Accession Number A unique identifier for an object HKU.B.1955.0173 Description A short physical description of the object with an overview of its historical and social significance Dui is a vessel developed from Gui.[1] In the Spring and Autumn Period to the Warring States Period, Dui was originally used in ritual events to hold food and a symbol of social ranking. It is a combination of a bowl that holds rice and a covering lid. [2] This vessel illustrates a typical Dui design that started in the late Spring and Autumn Period.[3] It is a sphere sliced open in the middle, creating two parts similar in shape, demonstrating advanced craftsmanship at that time. Both the bowl and the lid have two ring ear handles and three ring legs. So, the lid can stand alone and used as a bowl too.[4] The bowl has a shoulder, straight neck and smaller diameter mouth, while the mouth of the lid is larger (子母口).[5] Therefore, the lid can be placed upon the bowl without disrupting its smooth appearance. Rings of grooves parallel to the ground (瓦紋),[6] one of the simplest decorative elements for bronze vessels, is used to decorate the vessel's surface. This may be due to Dui started to be used as daily food vessels during the Warring States Period, less focus on the aesthetics.[7] The area surrounding the rings ears are flat and lower than the ridges of the grooves. Also, some ridges near the rings are distorted, proving that the ring ears and the grooves were made separately. However, Dui started to decline in the Qin and Han dynasty due to difficulties in production and lack of practicality. Dui was then replaced by other iron-made vessels and earthenware. [8][9] [1] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [2] 谷朝旭, & 张懋镕. (2016). 中国古代青铜器整理与研究. 青铜敦卷 (Di yi ban.; 第一版. ed.). 北京: 科学出版社. [3] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [4] Asian Art Museum of San Francisco. Avery Brundage Collection & Lefebvre d'Argencé, René Yvon (1977). Bronze vessels of ancient China in the Avery Brundage Collection. San Francisco The Museum [5] 李建伟., 牛瑞红., & 牛瑞红. (2000). 中国青铜器图录 (Di 1 ban.; 第1版. ed.). 北京: 中国商业出版社 : 新华书店经销. [6] 林巳奈夫, 廣濑薰雄, & 郭永秉. (2019). 殷周時代靑銅器纹饰之研究 (Di 1 ban.; 第1版. ed., 殷周靑銅器綜覽 ; 2). 上海: 上海古籍出版社. [7] 馬承源. (2002). 中國靑銅器硏究 (Di 1 ban.; 第1版. ed.). 上海: 上海古籍出版社. [8] 陳佩芬., 吳鎮烽, 熊傳薪., 馬承源, & 熊傳薪. (2003). 中國靑銅器 (Xiu ding ben.; 修訂本. ed., 文物博物館系列敎材). 上海: 上海古籍出版社. [9] Li, H. (1980). The wonder of Chinese bronzes. Beijing: Foreign Languages Press. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Food Vessel (Dui) Contributor An entity responsible for making contributions to the resource Lo Sum Yin Silviane Chinese grains ritual https://digasst.lib.hku.hk/files/original/18/IMG_3326.JPG 86b3b8424a4163283375c49928e63ddf https://digasst.lib.hku.hk/files/original/18/IMG_3285.JPG d2f31ffd67cf5561c99b70287e959f79 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Shaanxi, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Zhou Dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1046 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 256 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 14.0 Width (cm) 0.3 Length (cm) 25.2 Accession Number A unique identifier for an object HKU.B.1953.0018 Description A short physical description of the object with an overview of its historical and social significance This plain halberd head is decorated with crude patterns— simple and smooth lines at the pointed end which suggests that it might be mould-made instead of handcrafted. Holes are pierced on its body for attachment to wood or bamboo handles. Despite lacking in decoration, the surface is glazed with metal, probably tin, which was popularly used in Eastern Zhou bronze weapon production. Compared to those heavily decorated objects in the Shang dynasty, bronze products in the Zhou dynasty are mostly austere with simplistic designs which reveal a change in fashion trend and a shift in common idea to “less is more” (in Chinese pusu). Abundant bronze weapons in multiple sizes and shapes, including this kind of halberd head, were commonly excavated together with kilns in production sites located at Qishan, Shaanxi (formerly known as Zhouyuan), and Xian, Shaanxi (formerly named Fenghao) which revealed the mass production scale and maturation of the bronze industry in the Zhou dynasty. Over 180 pieces of bronze objects, including vessels and weapons like this, were also uncovered in a tomb at Sanmenxia, Henan. Accompanying the dead underground, bronze weapons served as protection in the afterlife and gave ancient Chinese a sense of security. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Halberd head bronze weapons burial goods https://digasst.lib.hku.hk/files/original/25/_.jpg 56d74f9e9cf87d4729d11ec024edcdc1 3D Model A 3D rendering of a physical object. Description A short physical description of the object with an overview of its historical and social significance This ear cup was found to be existed in the 475-221BCE such that has a rough and rusty inner surface while the outside is smoother and consists of some patterns. The first one is composed with two isosceles triangle pointing opposite direction decorating around the edge of the cup. The second one locates at the lower part of the cup which looks like the face of an animals such that also decorating around the cup. Not only the body of the cup was decorated, but also the handle was made with certain kind of patterns. This object is made of bronze which, was the hardest material in The Bronze Age, is a kind of alloy consisting copper and usually tin (Helmenstine, 2019). Besides, the antioxidizing properties made them durable under air exposure due to the formation of copper oxide which protects the interior material from further oxidation (Helmenstine, 2019). This results in a frequently usage of bronze in the Warring States period and the utensil remains intact until now. The overall shape of the cup is more likely to be rough. One noticeable feature is that the edge of the cup becomes thinner in the middle. This implies that this cup was made to be functional instead of entertaining. Reference list: Anne Marie Helmenstine, P. (2019, June 21). What are the composition and properties of bronze? Retrieved March 23, 2021, from https://www.thoughtco.com/bronze-composition-and-properties-603730 Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Warring States Period Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -475 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 6.5cm Length (cm) 13.5cm Diameter (cm) Inner circle diameter: 12.5cm Outer circle diameter: 13.1cm Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Mr. Tam Bing Yiu Accession Number A unique identifier for an object HKU.B.2009.1813 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BRONZE EAR CUP https://digasst.lib.hku.hk/files/original/28/IMG_4703.jpg d53dcbce41e023521d64d5e0c7f2e6ec https://digasst.lib.hku.hk/files/original/28/IMG_4704.jpg bacc1ea7d8ea69b25559e8471bf58385 https://digasst.lib.hku.hk/files/original/28/model_[21].json 37ac4b845df5520fa9cafd85223a0160 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Warring States Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -480 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 0.3 Diameter (cm) 19 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution J.Keswick Accession Number A unique identifier for an object HKU.B.1955.0154 Description A short physical description of the object with an overview of its historical and social significance On the decoration side of the mirror, it is engraved with mythic animals such as phoneixes, and dragons by using red pigment. These animals were used as fine patterns by specialists for bronze bianhu and other wares in the Warring states. There is a triple-fluted knob on this side. Triple-fluted knob was a popular design of knob in Warring States. As the mirror is in circular shape, this pierced knob was created for a cord or string to pass, which can let the owner to hold it. On this side, there are two features that shows this mirror is from late Warring States. One is the small-intricate patterns on mirror. This design means the use of mirrors change from only for special purpose to daily use. This shows the mirror is from late Warring State as this change happened in the late Warring States. Another feature is the design of rims. Outer rim is in circular shape while inner rim is in concave shape, and the innerest rim is in circular shape again. This type of design further prove this mirror is made in the late Warring State. On the other side of the mirror, it was grinded by flat grinding stones. Random reflection caused by uneven surface was avoided. Therefore, it was shiny enough for self adornment. However, bronze was corroded by oxygen with the increase of time. Therefore, the situation of bronze is no longer shiny and strong. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bronze mirror: Painted dragons and phoenixes Subject The topic of the resource Bronze mirror: Painted dragons and phoenixes Date A point or period of time associated with an event in the lifecycle of the resource From 480-221 BC https://digasst.lib.hku.hk/files/original/33/Top1.jpeg f2a97acdff97867f511edc6eccc4e271 https://digasst.lib.hku.hk/files/original/33/Top2.jpeg 3958b0d48f6e9694fac3cb6247e67ea0 https://digasst.lib.hku.hk/files/original/33/Front.jpeg 150c019aa74d08a547527a47f012a09d https://digasst.lib.hku.hk/files/original/33/Back.jpeg 9cdd541bca4034854cf724f5dac10c6d https://digasst.lib.hku.hk/files/original/33/Side.jpeg 3204dc9f0017b3d665185bed563c14c1 https://digasst.lib.hku.hk/files/original/33/Details1.jpeg 1b6229da1020883ee5769fba537978ca https://digasst.lib.hku.hk/files/original/33/Details2.jpeg 5d5a297cf92db70eb623ab202001d735 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Huai, Henan, China Karlgren, B., & Wirgin, J. (1969). Chinese Bronzes The Natanael Wessen Collection. The Museum of Far Eastern Antiquities. Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Warring States Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -475 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Height (cm) 3.7 Width (cm) 2.7 Length (cm) 19.7 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution N/A Accession Number A unique identifier for an object HKU.B.1954.0099 Description A short physical description of the object with an overview of its historical and social significance This belt hook has a shape of a pipa. Along its body, the ‘cross’ pattern still exists and the hook is decorated with turquoise and an inlay of gold, showing that there were excellent production techniques. On the lower half of the body, 2 small circular gold pieces are embedded, revealing that materials used in belt hooks were means to show the level of people’s social status. A back stud is situated at the back of the hook and people would insert it into a hole of the belt. The head of the hook is curled upwards, people would then insert it into another hole of the belt and fasten their clothes along the waist. Belt hook was also useful in other situations, for example, when people want to hold swords or objects like jade ornaments. Later, people used belt buckles instead of belt hooks. It has been found that in the 4th century B.C.E., nomads living in the northern and northwestern areas were probably the first people who brought the concepts of belt hooks. Nomads tried to invade the southern and southeastern areas by breaching the ‘Great Wall’ and they rode on horses in wars normally. Therefore, nomads needed to wear trousers fasten with belt hook and the idea of belt hooks was transferred. However, belt hooks have been found in tombs dating back from the Warring States Period to the Qin dynasty (221–206 B.C.), so people suspected belt hooks might be originated from the Huaxia people too. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Belt Hook Contributor An entity responsible for making contributions to the resource Ip Pak Yin accessories culture multifunctional social status war https://digasst.lib.hku.hk/files/original/37/DSC_2777.JPG 5b4f5c45f1a0d9cc7ff996e59da05d54 https://digasst.lib.hku.hk/files/original/37/janice.json a0ef6b459baaebf7a75201715ea9107d 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Ji’an County, Ji'an City, West-central Jiangxi province China Artist/Maker The name of the artist, maker, or workshop that made the object Jizhou kilns Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Southern Song dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1127 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 1279 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 4.8 cm Diameter (cm) 11.5 cm Accession Number A unique identifier for an object HKU.C.1954.0087 Description A short physical description of the object with an overview of its historical and social significance The Jizhou kilns which were established in the 10th century and active until the late Yuan dynasty (1279 –1368) in Ji’an county were prominent for visionary designs and novel techniques. During production, paper–cut plum blossom and phoenix patterns were placed by potters on an original layer of black glaze of the bowls and painted the whole bowl with brown glaze inside. After the destruction of paper cuts during firing, the designs in black were left on the inside of the bowls. Phoenix, ‘Fenghuang’ in Chinese, is a mythological bird which symbolized the harmony of Yin and Yang and the beginning of a new era. According to the Classic of Mountains and Seas, manifold body parts of Fenghuang represent different unique meanings. The head represents virtue (德), back for propriety (禮), chest represents mercy (仁), and abdomen means credibility(信) and the wings mean duty (義). Fenghuang appeared before the death of the Yellow Emperor, who was a heavily praised and worshipped governor of China at around 27 century BCE due to his extraordinary achievements in civilization, social and political progress. Plum blossoms are one of the ‘Three Friends of Winter’ with pine and bamboo as they resemble perseverance and resilience in Confucianism due to withstanding of extreme coldness. Plum blossoms especially symbolize integrity and purity because they blossom most vividly in the frosting season. Therefore, they are the ones which represent winter among the ‘Flowers of the Four Seasons’. Furthermore, they are one of the ‘Four Gentlemen’ among flowers in Chinese literature. It is believed that the potters intentionally add plum blossoms patterns to set off the virtue of Fenghuang. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bowl bowl china Ji'an phoenix plum blossom pottery https://digasst.lib.hku.hk/files/original/40/IMG_3265.jpg 2bd5505267403da8e192a13c33b9eb88 https://digasst.lib.hku.hk/files/original/40/IMG_3261.jpg d10982e54ba2dded9b72854a5364ea09 https://digasst.lib.hku.hk/files/original/40/IMG_3108.JPG e0c8cf14de93f4ea85d5c1d22c04a32d 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Warring States Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -475 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE -221 Materials What an object is made of, including any later additions (mounts, frames, etc.) Bronze Width (cm) 3.4 Length (cm) 55.3 Accession Number A unique identifier for an object HKU.B.1954.0098 Description A short physical description of the object with an overview of its historical and social significance This is a sword coming from the Warring States period of China. The body of this sword has no decorative pattern, and the design is simple and primitive. Its length suggests that it might be a sword from the middle of the Warring States period because the length of the early Warring States period is usually 20 to 30 cm, and the length of the late period is generally more than 70 cm. During the Warring States period, the length of swords became longer and longer, and people generally thought that the longer the swords, the better attacking power, the more practical use. This sword has no typical sword head, which is an ornament inlaid on the sword stem. It usually indicates the hierarchical status of the owner. As time goes by, this bronze sword has been oxidized to turquoise. The part "Ge" also began to loosen from the sword body. However, the overall preservation of this sword is relatively good, which might be due to the well-use of copper sulphides as anti-corrosion coatings on this sword. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bronze Sword https://digasst.lib.hku.hk/files/original/49/IMG_6975_[1].jpg 51e7adcd269a4328caa07c59bc190f01 https://digasst.lib.hku.hk/files/original/49/IMG_7191.jpg 6f5fadc62fd2a6f8d86046724ce080e0 https://digasst.lib.hku.hk/files/original/49/IMG_7576.jpg 546896713b2b47b626dd98ad66b41b4b 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Henan province, Huangdao and Lushan, China Artist/Maker The name of the artist, maker, or workshop that made the object Tang Dynasty ceramic makers Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 CE Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 CE Materials What an object is made of, including any later additions (mounts, frames, etc.) Stoneware Lead-glaze Height (cm) 35.4 cm Width (cm) 32.2 cm Depth (cm) 33.4 cm Length (cm) 32.2 CM Diameter (cm) 32.2 CM Accession Number A unique identifier for an object HKU.C.1965.0295 Description A short physical description of the object with an overview of its historical and social significance Ceramics with black glazes were first made in Zhejiang province during the Eastern Han dynasty. Several kilns in Henan province, especially in Huangdao and Lushan, produced examples of contrasting splashes of glaze in colors such as cream and white during the Tang dynasty. This jar is one of the example too. After the initial glazing, the splashes were added by pouring them into cups that were held sideways or upside down so that they would trail around the body. The jar is mainly for storing things such as food and wine. Also, from the design of the jar, there are white glazes but not just only the stone jar which showed that Tang Dynasty was overall prosperous that even stonewares can include different kinds of extra designs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tang Dynasty's Jar Contributor An entity responsible for making contributions to the resource Tsang Ka Yue Jeffrey