Sanxingdui Bronze Head
This is a bronze human head (or bronze mask) in Sanxingdui, one of the representative cultural relics of ancient Chinese Shu culture. The No. 2 sacrificial pit unearthed in 1986 at the Sanxingdui site in Guanghan, Sichuan, belongs to the late Shang Dynasty (about 3200 years ago). These bronze human heads have unique shapes, such as exaggerated apricot eyes, wide mouths and large ears. Some are even painted with black eyebrows and vermilion lips. Scholars speculate that they may have been used in religious or sacrificial ceremonies, representing gods or ancestors, and may have been mounted on wooden supports or totem poles, or even clothed in clothing.
Painted pottery female figurines of the Tang Dynasty
This is a Chinese Tang Dynasty painted pottery female figurines (or ladies figurines). It was made in China during the Tang Dynasty (618-907) and was one of the funerary objects (Ming ware) in the burial culture of that time. The terracotta figures are dressed in wide-sleeved gowns with cross-necked collars, their hands close to their chests, their hair in a high bun (similar to the popular "high bun" or "fallen horse bun" at the time), and their faces are plump and round. This plump shape is the embodiment of the aesthetic ideal represented by Yang Guifei in the prosperous Tang Dynasty. They usually appear in groups and are placed in the ear chambers or corridors of noble tombs, symbolizing the maids, kabuki or attendants of the tomb owner.
Ancient Chinese Buddhist Statues
This is an ancient Chinese Buddhist statue, carved from sandstone or other stone, with obvious signs of age and weathered. According to its carving style, the character's clothing (especially the way the folds are depicted) and the layout of the inscriptions, this statue tablet was probably made from the late Northern Dynasty to the Sui Dynasty (about the 6th century AD). The stele is arched with a shrine carved above it. In the center of the niche is a legged Buddha (probably Sakyamuni Buddha or Maitreya Buddha), and on each side is a threatening bodhisattva or disciple statue.
Ancient Chinese bronze square statue
This is an ancient Chinese bronze square statue, a bronze ritual vessel used for wine or sacrifice. The utensils were square, mouth open, neck long, circle foot high, the overall shape dignified and elegant. The body is decorated with mysterious animal patterns such as gluttonous patterns, banana leaf patterns and Kuilong patterns. These decorations are usually symmetrically distributed with the center of the leaf edge, with a majestic and mysterious artistic style. Zun was one of the important bronze ritual vessels in the Shang and Western Zhou dynasties. In ancient times, this type of bronze was a symbol of aristocratic status and power, used to worship ancestors and important rituals.
Oracle Tortoise Shell
This is a piece of tortoise shell (the tortoise's belly armor) engraved with oracle bones. Oracle bone inscriptions are the earliest ancient characters with a relatively complete system that have been discovered in China. They mainly refer to characters engraved on tortoise shells or animal bones. They prevailed in the late Shang Dynasty (about 14th century BC to 11th century BC). In ancient times, the royal family and nobles of the Shang Dynasty used tortoise shells and ox shoulder blades to make divination, predict good or bad luck or inquire about important matters (such as weather, war, harvest, sacrifice, etc.). During divination, the sorcerer would drill holes in the back of the tortoise's shell, then burn it with fire, judge the good or bad according to the cracks (called "omens") generated on the front, and engrave the divination content or result on the oracle bone.
Ancient Chinese Bronze-Xizun
This is an ancient Chinese bronze animal shaped utensils, the specific name is usually Xizun, is a kind of bronze ritual vessel used for wine or sacrifice. This artifact combines a variety of animal features (such as tiger head, Buffalo hoof, etc.), belonging to the mythical Swiss beast. The surface of the body has exquisite decorative patterns, and inlaid with turquoise as eyes and decoration. During the Shang and Zhou dynasties in China, bronzes were used in important sacrificial rites as symbols of power and status. This animal-shaped ritual was very rare and precious at the time. Many similar animal-shaped bronzes, such as tiger statue and rhinoceros statue, have been found in ancient tombs and sites in Hubei, Shanxi and other places in China.
sheep-shaped pottery kettle
It is an antique artifact dating from the late Bronze Age to the Iron Age (c. 1350-800 BC), found mainly in western Iran (such as the Amrash or Malik cultural regions) and Mesopotamia. This unique animal-shaped pottery is likely to be used for ritual or religious purposes, such as drinking or pouring sacrificial drinks. The liquid is poured from the opening at the top and out through the drain at the mouth of the sheep. In ancient Near Eastern mythology, sheep were often associated with fertility, power, and auspiciousness, and the item may have had significant symbolic or status value in the societies of the time.
Pre-Columbian terracotta figures
This item is a terracotta figurine of pre-Columbian West Mexico, commonly known as Pretty Lady or Michoacan style figurines. It originated in the Michoacán region of present-day western Mexico and dates back to the Late Preclassical period, between about 550 BC and 100 BC. These terracotta figures are mostly female figures, often with exaggerated feminine features as their main manifestations, such as plump breasts, possibly reflecting a cult of fertility and motherhood.
sheep-shaped pottery wine jug
It is a sheep-shaped pottery antique artifact dating from the Late Bronze Age to the Iron Age (c. 1350 BC to 800 BC), found mainly in western Iran (such as the Amrash or Malik cultural areas) and Mesopotamia. This unique animal-shaped pottery is likely to be used for ritual or religious purposes, such as drinking or pouring sacrificial drinks. The liquid is poured from the opening at the top and out through the drain at the mouth of the sheep. In ancient Near Eastern mythology, sheep were often associated with fertility, power, and auspiciousness, and the item may have had significant symbolic or status value in the societies of the time.
Ancient Egyptian Sun Ship Model
This is an ancient Egyptian ship model, often called the ghost ship or the sun ship model. This type of wooden model is an important funerary object of the ancient Egyptian Middle Kingdom period (about 2000-1760 BC) tombs. The ancient Egyptians believed that these models could work in the afterlife, helping the deceased navigate the Nile in the afterlife. The ship symbolizes the pilgrimage to Abados (the center of faith of the god Osiris of the Underworld), a journey necessary for resurrection and eternal life. Some of the models represent the holy ship that the sun god Ra takes to help the deceased join Ra's daily journey through the sky and the underworld.
Ancient Egyptian Ibis (mummy)
This is an ancient Egyptian crested ibis, and such artifacts were very common in ancient Egypt, especially in the late ancient Egypt (c. 664-332 BC) and the Ptolemaic period. The ibis is the symbol of the ancient Egyptian god of wisdom, writing and the moon, Toth. The body (torso) is usually made of wood, and the head, neck and legs are usually cast in bronze and then inserted into the wooden torso. The torso section is often hollow and may contain embalmed ibis mummies.
Ancient pottery vessels
The container is irregular cup-shaped, with a narrow bottom and a wide top, with a ring-shaped handle on one side and a groove or "mouth" on the other side for pouring liquid. This shape is common in ancient and modern handmade pottery and is used to hold liquids such as water, milk, sauce or tea.
Sitting Statues of Sakyamuni Buddha with Copper and Gold
This is a bronze gilt statue of Sakyamuni Buddha, with a typical Tibetan Buddhist art style. According to its gesture (seal), this Buddha statue can be identified as the master Sakyamuni Buddha. Statues are usually cast in copper or bronze and gilded on the surface. This movable gold and bronze Buddha statues were very popular in the Han and Tibetan areas of China and lasted until the Ming and Qing dynasties. The statue has a plump face, a serene look, regular screw hair, a right shoulder cassock, smooth clothing lines, and a double-layer lotus throne with a waist. This style combines the characteristics of statues in India, Nepal and the Central Plains, forming a unique Tibetan Buddhist art school.
Buddha Head Statue of Sakyamuni, Founder of Buddhism
The statue depicts the head of Buddha Sakyamuni, the founder of Buddhism, with a meditative look, closed eyes, a bun on the top of the head (called "Ushnisha", symbolizing wisdom) and a spiral bun (called "snail hair").
Wood Carving of Buddha Head
This is a statue of the Buddha's head, depicting the head of Buddha Sakyamuni, the founder of Buddhism, with a meditative look, closed eyes, a bun on the top of the head (called "Ushnisha", symbolizing wisdom) and a spiral bun (called "snail hair"). The statue presents a wood-like carved texture and brown tone distressed effect, with a strong Zen or Southeast Asian Balinese style, designed to create a peaceful and peaceful atmosphere.
Liao Dynasty (916-1125 AD) Three-color glazed pottery lion-shaped pillow
This is a Liao Dynasty (916-1125 AD) three-color glazed pottery lion-shaped pillow, in ancient China is called "porcelain pillow" head support or pillow. On hot summer nights, ceramic pillows can provide a cool sleeping surface. They are also often used as ornaments or funerary objects, which are considered to have a protective effect and can drive away evil spirits. The pillow seat is made up of three lions-two formidable adults and a playful cub. The lion symbolizes protection and power in Chinese culture. It is glazed using the "three-color" technique, and the glaze color is mainly green, and is dotted with yellow/tan and white. This style was very popular in the Liao Dynasty.
ceramic bowl
This is a ceramic bowl dating back to the second half of the 14th century. In 1990, it was discovered during archaeological research in the church of Tergovishtgertoglu. The bowl is high and slightly thickened at the edge, straight-walled, and annular at the bottom. The bowl body is coated with graphite inside and outside. Color: green, maroon, yellow. The center of the bowl is decorated with a geometric motif, the Star of David. The arms of the star pattern are decorated with floral patterns. Dimensions: height 8.3cm, diameter 17cm.
Japanese Immovable Stone Statues of King Ming
This is a Japanese stone statue of the immovable King of the Ming Dynasty, also known as Azhero, an important protector of the Dharma in Buddhism. The immovable Ming king is the head of the five Ming kings of the tantric sect and the angry embodiment of the great sun Tathagata. The flame in the background of the statue symbolizes the fire of wisdom that can purify all evils and obstacles. The Lord in the middle holds a sword of wisdom on the right, symbolizing the cutting off of troubles and indiscerning; on the left, he holds a silk rope, which is used to bind enemies or prevent believers from straying from the right path. The Japanese character "Sashansho" on the base may refer to the specific Buddhist group or organization that enshrines this stone statue.
Wood Carving of Guanyin Bodhisattva
This is a wooden statue of Guanyin Bodhisattva, depicting Guanyin Bodhisattva (Sanskrit: Avalokite), which symbolizes great compassion in Buddhism and is a widely respected enlightened person. The statue assumes a "sitting at ease" position, with its right arm on its bent right knee. This particular sitting posture is often considered a typical image of the ancient Chinese "Water Moon Guanyin. Such large wood-carved Buddha statues were very common during the Song and Yuan dynasties (960-1368) in China, and were famous for their delicate carvings and vivid images. The statue wears fine jewelry.
Horse Stepping on Feiyan (Bronze Running Horse)
"Horse stepping on a flying swallow" is a national treasure and a symbol of Chinese tourism. The original is a bronze ware from the Eastern Han Dynasty unearthed in the Leitai Han Tomb in Wuwei, Gansu, China in 1969. It is now collected in the Gansu Provincial Museum. It is one of the most important cultural relics in China and is known as China's "national treasure". It shows the image of a high-head, four-hoofed, high-speed galloping horse with its right back hoof on the back of a flying bird (usually considered a swallow or dragon bird). This work represents the highest achievement of Chinese sculpture art and copper casting process during the Eastern Han Dynasty. Its balanced center of gravity and smooth lines show a high artistic level.
The figure statue of Jiaozhi pottery: the image of "Jin Lu" in "Jia Guan Jin Lu"
"Jin Lu" and "Jiaguan" belong to the same group of auspicious character works, which turn various prayers, wishes and expectations for life and the state of the Han society into a typical image. From the structural proportions, character expressions and body movements, Ye Wang shows his realistic skills. This work is a large-scale outdoor creation, which requires superb skills and full pottery burning experience to complete. In this group of works, you can see Ye Wang's proficient craftsmanship.
Ksitigarbha King Bodhisattva Statues
The King Bodhisattva (Kṣitigarbha Bodhisattva) is one of the four major Bodhisattvas of Chinese Buddhism. It is famous for its "great wish" ("hell is not empty, vows not to become a Buddha"), and is mainly responsible for saving all living beings in hell.
Ksitigarbha Bodhisattva
Ksitigarbha Bodhisattva is one of the four Bodhisattvas in Mahayana Buddhism. He is famous for his "great wish". His famous oath is "hell is not empty, and he will not become a Buddha". He is mainly responsible for saving six sentient beings, especially those suffering in hell, in the Buddha-free world after the Nirvana of Shakyamuni Buddha and before the birth of Maitreya Buddha. Ksitigarbha Bodhisattva usually appears in the image of a monk. This is the difference between him and other major Bodhisattvas (such as Guanyin, Manjusri, and Samurian) in the appearance of heaven and man (wearing wreaths and crowns).
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