https://digasst.lib.hku.hk/files/original/139/IMG_0002.JPG 6198051b28e1086810a1d1bd714047f0 https://digasst.lib.hku.hk/files/original/139/IMG_0084.JPG 5a75787055e1c20bd1c9255285f4be0c https://digasst.lib.hku.hk/files/original/139/IMG_9997.JPG 8bc5c79e5da026fcfcd286ddcc84c7ce https://digasst.lib.hku.hk/files/original/139/IMG_9977.JPG cdb51b38dd9c6f2fe121782f15912b7e https://digasst.lib.hku.hk/files/original/139/IMG_0270.JPG 4262998ed2559c5ea9e6e0d3de4057d9 3D Model A 3D rendering of a physical object. Place of Origin The geographic location where an object was made Gong Xian, Henan Province, China Culture/Period A broad historical period, archaeological culture, or artistic movement in which an object was made Tang Dynasty Date From Enter the lower end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 618 Date To Enter the upper end of the date range, only enter a number without any label and use negative for BCE. For example: enter '220' for 220 CE or '-220' for 220 BCE 907 Materials What an object is made of, including any later additions (mounts, frames, etc.) Earthenware Height (cm) 7 Width (cm) 6 Length (cm) 14.4 Credit Line The name of the individual or institution that donated the object to the museum, the source of a purchase, or the name of a loaning individual or institution Gift of Mr Matsushige Hirota Accession Number A unique identifier for an object HKU.C.1961.0433 no.74 Description A short physical description of the object with an overview of its historical and social significance The elbow rest is modeled as a crouching rabbit with asymmetrical rounded eyes and surmounted by a flat oval top decorated with a hand-drawn asymmetrical flower, glazed with green, brown and cream white. These colors were produced by sancai glaze which was widely used for burial figures namely vessels and figurines in the Tang Dynasty. Thus, elbow rest is not only solely used for literati to stabilize the hand during painting and writing calligraphy but also satisfying the needs of the deceased as burial goods (Valenstein, 1988). Appeasing the deceased is important in China as many people believe in animism in which a spirit survives after one’s death and reacts differently according to the treatment towards them (Brown, 2020). Moreover, filial piety requires continuous caring for the ancestors by the alive (Brown, 2020). Therefore, people put burial goods into the tombs to serve and accompany them in the afterlife. Apart from providing service to the deceased, it can reveal the power and status of the dead by the sizes, types and qualities of the figures (Valenstein, 1988). For example, female servants, horses and ox would commonly be found in the tomb of wealthy merchants in the Tang Dynasty (Yung-Ch’Uan, 1990). Inhuman burial ceremonies that had been popular during the Shang Dynasty (1751-1111 BCE) were gradually replaced by larger-scale clay objects such as chimeras and guardian gods in the Tang Dynasty (Yung-Ch’Uan, 1990). Reference: Brown, N. (2020, January 1). Religion – Perspectives: An Open Introduction to Cultural Anthropology, 2nd Edition. Pressbooks. https://perspectives.pressbooks.com/chapter/religion/ Valenstein, S. G. (1988). A Handbook of Chinese Ceramics (Revised & Enlarged ed.). Metropolitan Museum of Art. Yung-Ch’Uan, H. (1990). The Tri-color Pottery of T’ang Dynasty: The Colorful Art in the Middle Ages of China. National Museum of History.