Burial figures statue bamboo flute
This cultural relic is a painted pottery piece called "Statue of a Burial Figure, depicting a musician playing a bamboo flute", created between 618-906 AD. This statue is currently housed in the Minneapolis Museum of Art in the United States. The height of this statue is about 20 centimeters. Painted pottery and white talc were used as materials. This statue was bequeathed to the Minneapolis Museum of Art by Alfred F. Piersbury. This statue represents the top ceramic technology of China from the 7th to the 10th century.
Bronze Lion Incense Burner in Qing Dynasty Temples
The "Bronze Lion Incense Burner in Qing Dynasty Temple" is a pair of 17th century Chinese cultural relics, currently collected at the Minneapolis Museum of Art in the United States. This lion shaped incense burner is a guard lion, and each of these auspicious beasts (Lin) has a unicorn. They are mythical animals endowed with the ability to distinguish between good and evil. These legendary animals appear in pairs and are used to stand on both sides of the imperial throne in the Forbidden City, representing the dignity, virtues, and wisdom of the royal family.
Maitreya Bodhisattva Stele
The Maitreya Bodhisattva Stele is a Chinese cultural relic dating back to 563 AD, currently housed in the Minneapolis Museum of Art in the United States. This cultural relic is made of black limestone and has traces of paint. This exquisitely carved stone tablet, although small in scale, displays a complete image of the same theme as a large Buddha statue. In addition to the Maitreya Buddha statue in the center, the engraved halo, and the bodhisattvas on both sides, there are also flying celestial beings and dragons on the flame shaped backs at the top and bottom. The back of the stone tablet is engraved with a 69 character inscription, listing the names of the donors who commissioned the production of this work and dedicated it in 563.
Western Zhou bronze lamp holder
The "Western Zhou Bronze Man Lamp Holder" is a Chinese cultural relic from the 5th to 4th centuries BC, currently housed in the Minneapolis Museum of Art in the United States. This cultural relic is made of bronze and embedded with metal. This small and exquisite figure statue has outstretched hands, and its curled fingers form a socket that was originally used to insert the pole of an oil lamp. During the Shang and Western Zhou dynasties (1600-771 BC), bronze figures were very rare, but now several bronze figures have been excavated from Zhou tombs in the late Warring States period as lamp sockets.
Qing Dynasty cinnabar lacquer snuff pottery pot
The "Qing Dynasty cinnabar lacquered snuff pottery pot" is a Chinese cultural relic from 1780-1850 AD, currently housed in the Minneapolis Museum of Art in the United States. This cultural relic is made of ceramics and decorated with cinnabar paint on the outside.
Bronze wine vessels for sacrificial offerings in the Shang Dynasty
The "Shang Dynasty Sacrificial Wine Vessel" is a Chinese cultural relic dating back to the 12th to 11th centuries BC, currently housed in the Minneapolis Museum of Art in the United States. This cultural relic is made of bronze. Its dimensions are 27.62 × 12.7 × 11.75 centimeters and it weighs 1.3 kilograms.
Eastern Zhou copper bronze bell
This cultural relic is a copper musical instrument called the "Chinese Bronze Bell", made from the late 6th century BC to the early 5th century BC, and is now collected at the Minneapolis Museum of Art in the United States. The shape of this bell is called "xi", which is one of the two common bell shapes found in tombs of the Eastern Zhou Dynasty. The "Liu" clock has a flat bottom, slightly convex sides, and a decorative hanging device at the top, usually featuring stylized animal images that can emit a single tone. The decoration of this clock is very rich. There are 36 evenly distributed protrusions on the clock body, shaped like coiled snakes. The suspension device is a pair of tigers wrapped around a snake.
During the Qianlong period, a copper gilded incense burner with inlaid gemstones and auspicious beasts was used
This incense burner is made using copper gilding technology and is shaped like a mythical beast. The incense burner has an open mouth, with the neck and back of the beast integrated into one. The animal body is the main body of the incense burner, with the tail curled up and the head looking up. The mouth is open and the teeth are exposed. The details are carved using intaglio and relief techniques, decorated with red, white, green and other colored gemstones. The beast is magnificent and colorful, with a majestic expression. The carving is exquisite, the image is realistic, and it exudes a sense of elegance and wealth. The history of incense burning has a long history in China, and the famous Boshan furnace in the Han Dynasty was designed by people for incense burning. Produced between 1736-1795, it is now housed in the Minneapolis Museum of Art in the United States.
New Ireland Malagan Totem
The Malagan totem from late 19th century New Ireland is decorated with various pigments, including lime, in the form of carved wood. The eyes are made of tiger snail shells, and the hair is made of wooden handles fixed in the head socket. Malagan is a collective term in Northern New Ireland, primarily used for ceremonies commemorating the deceased, as well as for masks and carvings associated with them. This Malagan totem is now housed in the Metropolitan Museum of Art.
Tianma Tomb Golden Crown
The Tianmazhong Golden Crown is a Silla era golden crown, now collected at the Gyeongju National Museum in South Korea. This golden crown was unearthed in 1973 from the Tianma Tomb located in Qingzhou, and was worn on the head of the buried person at the time of excavation. The height of this golden crown is 32.5 centimeters, which is a typical golden crown style in Silla. The front of the golden crown has three "out" shaped vertical ornaments, and the back has two decorations resembling deer antlers.
Qing Dynasty gilded offerings to Buddha
This is a Buddha statue from 1850 AD, currently housed in the Minneapolis Museum of Art in the United States. This Buddha statue sits in the tentacle print on the ground, depicting the scene of Buddha about to awaken under the Bodhi tree. This moment is often described as a powerful battle between good and evil, confusion and insight.
Zhou Dynasty Three legged Cauldron
This cultural relic is a three legged tripod, a bronze vessel, and its ceramic prototype can be traced back to the Peiligang culture of the Neolithic Age. In the early Shang Dynasty (1600-1300 BC), bronze versions of the flat footed tripod began to be cast. Ding is an ancient Chinese cooking or storage vessel, usually with two handles located at the edges, supported by three or four cylindrical legs. The shape of the tripod was almost ubiquitous in early China, including ceramic vessels from the Neolithic period and bronze vessels from the Shang Dynasty, as well as many later imitations of bronze and glazed pottery. This artifact is housed in the Minneapolis Museum of Art.
Cloisonn é vase during the Kangxi reign of the Qing Dynasty
This is a Qing Dynasty cloisonn é vase, now collected at the Minneapolis Museum of Art in the United States. Cloisonn é technology was introduced to China from Byzantium (now Istanbul) between 1200 and 1400 AD, but Chinese craftsmen endowed it with unique Chinese characteristics. During the reigns of Emperor Kangxi (1662-1722) and Emperor Qianlong (1736-95) of the Qing Dynasty, the craft of cloisonn é was perfected and reached its artistic peak. At the bottom of the vase, there is a delicate moire band. Each moire is like Ruyi's head, and there is a narrow lotus curl.
Qing Dynasty cloisonn é cloisonn é enamel lotus pedestal
The Qing Dynasty cloisonn é cloisonn é enamel lotus pedestal is made of copper wire cut into various patterned contours, then filled with enamel glazes of different colors. After firing, polishing and other processes, it finally forms a brightly colored and exquisitely patterned artwork. These paintings often depict Buddhist scriptures, images of saints, or religious symbols, which not only have high artistic value, but also carry profound religious and cultural significance.
Qing Dynasty relief dragon patterned vase
This Chinese cultural relic is a porcelain vase from the Kangxi period of the Qing Dynasty (1662-1722), which is now collected in the Smithsonian Museum.
Gilded Bodhisattva Statues of Qing Dynasty
The artifact is one of a pair of gilded bodhisattva statues from 18th century AD China. It is now housed in the Minneapolis Museum of Art. Although the two statues are mirror images of each other, they do not represent the same bodhisattva; they are Maitreya and Guanyin, respectively. They stand in elegant poses, holding the stems of a lotus flower, probably part of a sculptural trinity that surrounds a larger Buddha.
Late merchant bronze three-legged jue wine vessel
Jue is a vessel used in ancient China to serve warm wine in ancestor worship rituals. It is ovoid and supported by three spreading triangular legs, with a long curved beak on one side and a balanced handle on the other. Many examples have one or two ring handles on the sides and two column protrusions on the top, which may be used to enable people to lift the vessel with a belt. They are usually gorgeously decorated and have gluttonous decorations.
Shang Dynasty Bronze Gong Wine Ware
It's a ritual used to hold wine. It was mainly made during the reign of King Wu and King Zhao in the late Shang Dynasty (1300-1046 BC), and during the early Western Zhou Dynasty (1046-977 BC). Found in Anyang, this deep, boat-shaped wine-tipper demonstrates almost perfect craftsmanship. On the lower part of the handle and side are carved Taotie masks.
Western Zhou tripod
This relic is a tripod, a bronze vessel, and its ceramic prototype can be traced back to the Neolithic Peiligang culture. In the early Shang Dynasty (1600-1300 BC), bronze versions of the Pingzu Ding were cast. Ding is an ancient Chinese cooking or storage vessel, usually with two handles at the edge, supported by three or four columnar legs. The shape of the tripod is almost ubiquitous in China's early eras, including Neolithic ceramic vessels and Shang dynasty bronze vessels, as well as many later bronze and glazed pottery imitations. This artifact is in the collection of the Minneapolis Museum of Art.
King Kong Lex Hum
The door gods are known in Japan as the Kongers, and their role is to protect the temple and Buddhism. Door gods (Niō) usually appear in pairs, with one mouth open and one mouth closed. Those who open their mouths are called A, and those who close their mouths are called Hum. Corresponds to the second generals of Chinese Buddhism. These two names stand for the first and last syllables in Sanskrit, symbolizing the beginning and end of all things. The pair of statues are now in the collection of the Cleveland Museum of Art.
King Kong, Hercules
The door gods are known in Japan as the Kongers, and their role is to protect the temple and Buddhism. Door gods (Niō) usually appear in pairs, with one mouth open and one mouth closed. Those who open their mouths are called A, and those who close their mouths are called Hum. Corresponds to the second generals of Chinese Buddhism. These two names stand for the first and last syllables in Sanskrit, symbolizing the beginning and end of all things. The pair of statues are now in the collection of the Cleveland Museum of Art.
Dancing King Kong Hai Mother
This is a small stone tablet called "Dancing King Kong Hai Mother", created in Nepal from 1000 to 1100 AD. The overall size of the statue is 9.6 x 5.3cm. The statue is now in the collection of the Cleveland Museum of Art. King Kong Hai Mother, also known as King Kong Yoga Mother, is one of the Buddhist King Kong (Tantra) statues and belongs to the system of empty mothers. The Ming concubine of Shengle King Kong and Great Compassion Red Guanyin originated in India from the 8th to the 12th centuries. The mother-to-mother revered by the four major sects is mainly used to make the spirit of the treasure bottle and the concept of self-determination.
Juniper Foal Dog Right
The pair of foals are artifacts from the Kamakura period (1185-1333) in Japan. They are made of Japanese cypress wood with lacquer, gold leaf and color. The height of this foal is 45.7cm. Colts are usually placed at the entrance to the shrine to ward off evil. The colt on the right has an open mouth, while the colt on the left has a closed mouth. These characteristics are related to the opening and closing of the two door gods who protect Buddhist temples. Collected at the Cleveland Museum of Art.
Juniper Foal Dog Left
The pair of foals are artifacts from the Kamakura period (1185-1333) in Japan. They are made of Japanese cypress wood with lacquer, gold leaf and color. The height of this foal is 42.5cm. Colts are usually placed at the entrance to the shrine to ward off evil. The colt on the right has an open mouth, while the colt on the left has a closed mouth. These characteristics are related to the opening and closing of the two door gods who protect Buddhist temples. Collected at the Cleveland Museum of Art.
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