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durom.1967.4 | 1967.4 bb.jpg | data/raw/images/oriental/1967 | Plaque covered with mother-of-pearl, with picture in 3-D effect, depicting The Last Supper. | reliefs | null | 150wood
| null | Lebanon |
|
durom.1967.4 | 1967.4 bb.jpg | data/raw/images/oriental/1967 | Plaque covered with mother-of-pearl, with picture in 3-D effect, depicting The Last Supper. | reliefs | null | 150wood
| null | Lebanon |
|
durom.1967.4 | 1967.4 bb.jpg | data/raw/images/oriental/1967 | Plaque covered with mother-of-pearl, with picture in 3-D effect, depicting The Last Supper. | reliefs | null | 150wood
| null | Lebanon |
|
durom.1967.4 | 1967.4 bb.jpg | data/raw/images/oriental/1967 | Plaque covered with mother-of-pearl, with picture in 3-D effect, depicting The Last Supper. | reliefs | null | 150wood
| null | Lebanon |
|
durom.1967.4 | 1967.4 bb.jpg | data/raw/images/oriental/1967 | Plaque covered with mother-of-pearl, with picture in 3-D effect, depicting The Last Supper. | reliefs | null | 150wood
| null | Lebanon |
|
durom.1995.85 | 1995.85-tt.jpg | data/raw/images/oriental/1995 | Grey and brown nephrite jade in the shape of a crawling dog with a hole in the mouth. | Pendant | 白玉犬形佩 | 96nephrite
| early Song Dynasty | China |
|
durom.1995.85 | 1995.85-tt.jpg | data/raw/images/oriental/1995 | Grey and brown nephrite jade in the shape of a crawling dog with a hole in the mouth. | Pendant | 白玉犬形佩 | 96nephrite
| early Song Dynasty | China |
|
durom.1995.85 | 1995.85-tt.jpg | data/raw/images/oriental/1995 | Grey and brown nephrite jade in the shape of a crawling dog with a hole in the mouth. | Pendant | 白玉犬形佩 | 96nephrite
| early Song Dynasty | China |
|
durom.1995.85 | 1995.85-tt.jpg | data/raw/images/oriental/1995 | Grey and brown nephrite jade in the shape of a crawling dog with a hole in the mouth. | Pendant | 白玉犬形佩 | 96nephrite
| early Song Dynasty | China |
|
durom.1995.85 | 1995.85-tt.jpg | data/raw/images/oriental/1995 | Grey and brown nephrite jade in the shape of a crawling dog with a hole in the mouth. | Pendant | 白玉犬形佩 | 96nephrite
| early Song Dynasty | China |
|
durma.2006.1.50 | 2006.1.50-tt.jpg | data/raw/images/fulling_mill/2006 | Base sherd of ceramic from a small plate. The sherd includes sections of the foot ring and rim. It is decorated on the inside with a geometric pattern and dots in blue. | sherds | null | 116pottery
| Unknown | null |
|
durma.2006.1.50 | 2006.1.50-tt.jpg | data/raw/images/fulling_mill/2006 | Base sherd of ceramic from a small plate. The sherd includes sections of the foot ring and rim. It is decorated on the inside with a geometric pattern and dots in blue. | sherds | null | 116pottery
| Unknown | null |
|
durma.2006.1.50 | 2006.1.50-tt.jpg | data/raw/images/fulling_mill/2006 | Base sherd of ceramic from a small plate. The sherd includes sections of the foot ring and rim. It is decorated on the inside with a geometric pattern and dots in blue. | sherds | null | 116pottery
| Unknown | null |
|
durma.2006.1.50 | 2006.1.50-tt.jpg | data/raw/images/fulling_mill/2006 | Base sherd of ceramic from a small plate. The sherd includes sections of the foot ring and rim. It is decorated on the inside with a geometric pattern and dots in blue. | sherds | null | 116pottery
| Unknown | null |
|
durma.2006.1.50 | 2006.1.50-tt.jpg | data/raw/images/fulling_mill/2006 | Base sherd of ceramic from a small plate. The sherd includes sections of the foot ring and rim. It is decorated on the inside with a geometric pattern and dots in blue. | sherds | null | 116pottery
| Unknown | null |
|
durom.1960.3137 | 1960.3137-tt.jpg | data/raw/images/oriental/1960 | Green nephrite sword pommel with brown markings; front, carved Whorl circle in the centre, surrounded by Grain pattern (or Sleeping Silk Worm pattern), edge slightly-raised; back, convex with a central knob, four drilled holes through the knob. | pommels | 涡纹玉镡 | 81jade
| Warring States | China |
|
durom.1960.3137 | 1960.3137-tt.jpg | data/raw/images/oriental/1960 | Green nephrite sword pommel with brown markings; front, carved Whorl circle in the centre, surrounded by Grain pattern (or Sleeping Silk Worm pattern), edge slightly-raised; back, convex with a central knob, four drilled holes through the knob. | pommels | 涡纹玉镡 | 81jade
| Warring States | China |
|
durom.1960.3137 | 1960.3137-tt.jpg | data/raw/images/oriental/1960 | Green nephrite sword pommel with brown markings; front, carved Whorl circle in the centre, surrounded by Grain pattern (or Sleeping Silk Worm pattern), edge slightly-raised; back, convex with a central knob, four drilled holes through the knob. | pommels | 涡纹玉镡 | 81jade
| Warring States | China |
|
durom.1960.3137 | 1960.3137-tt.jpg | data/raw/images/oriental/1960 | Green nephrite sword pommel with brown markings; front, carved Whorl circle in the centre, surrounded by Grain pattern (or Sleeping Silk Worm pattern), edge slightly-raised; back, convex with a central knob, four drilled holes through the knob. | pommels | 涡纹玉镡 | 81jade
| Warring States | China |
|
durom.1960.3137 | 1960.3137-tt.jpg | data/raw/images/oriental/1960 | Green nephrite sword pommel with brown markings; front, carved Whorl circle in the centre, surrounded by Grain pattern (or Sleeping Silk Worm pattern), edge slightly-raised; back, convex with a central knob, four drilled holes through the knob. | pommels | 涡纹玉镡 | 81jade
| Warring States | China |
|
durom.1986.d196 | 1986.d196-d2.jpg | data/raw/images/oriental/1986 | Hamidashi in textured black lacquered scabbard, the upper part being in ribbed polished lacquer. The whole sword is mounted with fittings of shakudo nanako having gilt borders and the ground ornamented with tendrils and leaves in shakudo. The menuki are gilded flowers and leaves, the kozuka being copper nanako of waves. The blade is hirazukuri with a shakudo habaki, a suguha hamon signed: Kawai Hisayuki saku and is dated Manen first year 8th month, 1860. | swords | hamidashi | 93metal
| Edo Period | Japan (country) |
|
durom.1986.d196 | 1986.d196-d2.jpg | data/raw/images/oriental/1986 | Hamidashi in textured black lacquered scabbard, the upper part being in ribbed polished lacquer. The whole sword is mounted with fittings of shakudo nanako having gilt borders and the ground ornamented with tendrils and leaves in shakudo. The menuki are gilded flowers and leaves, the kozuka being copper nanako of waves. The blade is hirazukuri with a shakudo habaki, a suguha hamon signed: Kawai Hisayuki saku and is dated Manen first year 8th month, 1860. | swords | hamidashi | 93metal
| Edo Period | Japan (country) |
|
durom.1986.d196 | 1986.d196-d2.jpg | data/raw/images/oriental/1986 | Hamidashi in textured black lacquered scabbard, the upper part being in ribbed polished lacquer. The whole sword is mounted with fittings of shakudo nanako having gilt borders and the ground ornamented with tendrils and leaves in shakudo. The menuki are gilded flowers and leaves, the kozuka being copper nanako of waves. The blade is hirazukuri with a shakudo habaki, a suguha hamon signed: Kawai Hisayuki saku and is dated Manen first year 8th month, 1860. | swords | hamidashi | 93metal
| Edo Period | Japan (country) |
|
durom.1986.d196 | 1986.d196-d2.jpg | data/raw/images/oriental/1986 | Hamidashi in textured black lacquered scabbard, the upper part being in ribbed polished lacquer. The whole sword is mounted with fittings of shakudo nanako having gilt borders and the ground ornamented with tendrils and leaves in shakudo. The menuki are gilded flowers and leaves, the kozuka being copper nanako of waves. The blade is hirazukuri with a shakudo habaki, a suguha hamon signed: Kawai Hisayuki saku and is dated Manen first year 8th month, 1860. | swords | hamidashi | 93metal
| Edo Period | Japan (country) |
|
durom.1986.d196 | 1986.d196-d2.jpg | data/raw/images/oriental/1986 | Hamidashi in textured black lacquered scabbard, the upper part being in ribbed polished lacquer. The whole sword is mounted with fittings of shakudo nanako having gilt borders and the ground ornamented with tendrils and leaves in shakudo. The menuki are gilded flowers and leaves, the kozuka being copper nanako of waves. The blade is hirazukuri with a shakudo habaki, a suguha hamon signed: Kawai Hisayuki saku and is dated Manen first year 8th month, 1860. | swords | hamidashi | 93metal
| Edo Period | Japan (country) |
|
durom.1966.11 | 1966.11-d6.jpg | data/raw/images/oriental/1966 | The teapot is small and rounded, with a flared, hollow handle which sits at a right angle to the spout. The spout itself is fairly short and where it enters the interior of the teapot there is a bowl-shaped sieve formed with ceramic. The lid and body of the teapot are both decorated with a pattern of banana leaves in blue glaze. The lid also has a thin brown border around its edge and a Grecian-style geometric border around the handle. To the side of the handle is a small hole which pierces through to the other side of the lid. | teapots | null | 115porcelain
| null | Japan (country) |
|
durom.1966.11 | 1966.11-d6.jpg | data/raw/images/oriental/1966 | The teapot is small and rounded, with a flared, hollow handle which sits at a right angle to the spout. The spout itself is fairly short and where it enters the interior of the teapot there is a bowl-shaped sieve formed with ceramic. The lid and body of the teapot are both decorated with a pattern of banana leaves in blue glaze. The lid also has a thin brown border around its edge and a Grecian-style geometric border around the handle. To the side of the handle is a small hole which pierces through to the other side of the lid. | teapots | null | 115porcelain
| null | Japan (country) |
|
durom.1966.11 | 1966.11-d6.jpg | data/raw/images/oriental/1966 | The teapot is small and rounded, with a flared, hollow handle which sits at a right angle to the spout. The spout itself is fairly short and where it enters the interior of the teapot there is a bowl-shaped sieve formed with ceramic. The lid and body of the teapot are both decorated with a pattern of banana leaves in blue glaze. The lid also has a thin brown border around its edge and a Grecian-style geometric border around the handle. To the side of the handle is a small hole which pierces through to the other side of the lid. | teapots | null | 115porcelain
| null | Japan (country) |
|
durom.1966.11 | 1966.11-d6.jpg | data/raw/images/oriental/1966 | The teapot is small and rounded, with a flared, hollow handle which sits at a right angle to the spout. The spout itself is fairly short and where it enters the interior of the teapot there is a bowl-shaped sieve formed with ceramic. The lid and body of the teapot are both decorated with a pattern of banana leaves in blue glaze. The lid also has a thin brown border around its edge and a Grecian-style geometric border around the handle. To the side of the handle is a small hole which pierces through to the other side of the lid. | teapots | null | 115porcelain
| null | Japan (country) |
|
durom.1966.11 | 1966.11-d6.jpg | data/raw/images/oriental/1966 | The teapot is small and rounded, with a flared, hollow handle which sits at a right angle to the spout. The spout itself is fairly short and where it enters the interior of the teapot there is a bowl-shaped sieve formed with ceramic. The lid and body of the teapot are both decorated with a pattern of banana leaves in blue glaze. The lid also has a thin brown border around its edge and a Grecian-style geometric border around the handle. To the side of the handle is a small hole which pierces through to the other side of the lid. | teapots | null | 115porcelain
| null | Japan (country) |
|
durma.2020.3.508 | durma.2020.3.508-ff.jpg | data/raw/images/fulling_mill/2020 | A lead-alloy object, probably a pot mend or plug dating to the Roman period, part of the Piercebridge River Assemblage. The object head is flat and sub-circular in shape. On the underside is a larg, oval-section lug. The object measures 6mm in length. The head has a width of 19mm and a thickness of 2.5mm. The lug has a maximum width of 8.5mm. The object weighs 5.1 grams._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/801999 | vessels | null | 87lead alloy
| Roman | null |
|
durma.2020.3.508 | durma.2020.3.508-ff.jpg | data/raw/images/fulling_mill/2020 | A lead-alloy object, probably a pot mend or plug dating to the Roman period, part of the Piercebridge River Assemblage. The object head is flat and sub-circular in shape. On the underside is a larg, oval-section lug. The object measures 6mm in length. The head has a width of 19mm and a thickness of 2.5mm. The lug has a maximum width of 8.5mm. The object weighs 5.1 grams._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/801999 | vessels | null | 87lead alloy
| Roman | null |
|
durma.2020.3.508 | durma.2020.3.508-ff.jpg | data/raw/images/fulling_mill/2020 | A lead-alloy object, probably a pot mend or plug dating to the Roman period, part of the Piercebridge River Assemblage. The object head is flat and sub-circular in shape. On the underside is a larg, oval-section lug. The object measures 6mm in length. The head has a width of 19mm and a thickness of 2.5mm. The lug has a maximum width of 8.5mm. The object weighs 5.1 grams._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/801999 | vessels | null | 87lead alloy
| Roman | null |
|
durma.2020.3.508 | durma.2020.3.508-ff.jpg | data/raw/images/fulling_mill/2020 | A lead-alloy object, probably a pot mend or plug dating to the Roman period, part of the Piercebridge River Assemblage. The object head is flat and sub-circular in shape. On the underside is a larg, oval-section lug. The object measures 6mm in length. The head has a width of 19mm and a thickness of 2.5mm. The lug has a maximum width of 8.5mm. The object weighs 5.1 grams._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/801999 | vessels | null | 87lead alloy
| Roman | null |
|
durma.2020.3.508 | durma.2020.3.508-ff.jpg | data/raw/images/fulling_mill/2020 | A lead-alloy object, probably a pot mend or plug dating to the Roman period, part of the Piercebridge River Assemblage. The object head is flat and sub-circular in shape. On the underside is a larg, oval-section lug. The object measures 6mm in length. The head has a width of 19mm and a thickness of 2.5mm. The lug has a maximum width of 8.5mm. The object weighs 5.1 grams._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/801999 | vessels | null | 87lead alloy
| Roman | null |
|
durom.1969.54 | 1969.54-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl with lobed rim, decorated with combed patterns of floral design and covered with greenish tinged translucent glaze, Qingbai ware. | bowls | 青白篦划花草纹花瓣口碗 | 115porcelain
| Song | Jingdezhen |
|
durom.1969.54 | 1969.54-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl with lobed rim, decorated with combed patterns of floral design and covered with greenish tinged translucent glaze, Qingbai ware. | bowls | 青白篦划花草纹花瓣口碗 | 115porcelain
| Song | Jingdezhen |
|
durom.1969.54 | 1969.54-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl with lobed rim, decorated with combed patterns of floral design and covered with greenish tinged translucent glaze, Qingbai ware. | bowls | 青白篦划花草纹花瓣口碗 | 115porcelain
| Song | Jingdezhen |
|
durom.1969.54 | 1969.54-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl with lobed rim, decorated with combed patterns of floral design and covered with greenish tinged translucent glaze, Qingbai ware. | bowls | 青白篦划花草纹花瓣口碗 | 115porcelain
| Song | Jingdezhen |
|
durom.1969.54 | 1969.54-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl with lobed rim, decorated with combed patterns of floral design and covered with greenish tinged translucent glaze, Qingbai ware. | bowls | 青白篦划花草纹花瓣口碗 | 115porcelain
| Song | Jingdezhen |
|
durom.2017.47 | 2017.47 d1.jpg | data/raw/images/castle/2017 | This boulder depicts a Luohan resting in a cave with a joyful smile on his face. He is a spiritual practitioner who has achieved certain high stages of attainment. In Chinese Buddhist temples, Luohan are an important subject for statues, usually in groups of 16, 18 or 500. Pine trees and mountains are engraved on the frame and the back of the boulder, which stands for noble and elegant spirit._x000D__x000D_
It was believed that Luohan were able to use their magical powers to remain alive indefinitely and so preserve the Buddha's teachings, even in times of trouble. Each Luohan has his experience of attainment and they were often shown with strongly characterised faces, as if they were particular recognisable individuals. | boulder | 白玉罗汉山子 | 81jade
| Qing | China |
|
durom.2017.47 | 2017.47 d1.jpg | data/raw/images/castle/2017 | This boulder depicts a Luohan resting in a cave with a joyful smile on his face. He is a spiritual practitioner who has achieved certain high stages of attainment. In Chinese Buddhist temples, Luohan are an important subject for statues, usually in groups of 16, 18 or 500. Pine trees and mountains are engraved on the frame and the back of the boulder, which stands for noble and elegant spirit._x000D__x000D_
It was believed that Luohan were able to use their magical powers to remain alive indefinitely and so preserve the Buddha's teachings, even in times of trouble. Each Luohan has his experience of attainment and they were often shown with strongly characterised faces, as if they were particular recognisable individuals. | boulder | 白玉罗汉山子 | 81jade
| Qing | China |
|
durom.2017.47 | 2017.47 d1.jpg | data/raw/images/castle/2017 | This boulder depicts a Luohan resting in a cave with a joyful smile on his face. He is a spiritual practitioner who has achieved certain high stages of attainment. In Chinese Buddhist temples, Luohan are an important subject for statues, usually in groups of 16, 18 or 500. Pine trees and mountains are engraved on the frame and the back of the boulder, which stands for noble and elegant spirit._x000D__x000D_
It was believed that Luohan were able to use their magical powers to remain alive indefinitely and so preserve the Buddha's teachings, even in times of trouble. Each Luohan has his experience of attainment and they were often shown with strongly characterised faces, as if they were particular recognisable individuals. | boulder | 白玉罗汉山子 | 81jade
| Qing | China |
|
durom.2017.47 | 2017.47 d1.jpg | data/raw/images/castle/2017 | This boulder depicts a Luohan resting in a cave with a joyful smile on his face. He is a spiritual practitioner who has achieved certain high stages of attainment. In Chinese Buddhist temples, Luohan are an important subject for statues, usually in groups of 16, 18 or 500. Pine trees and mountains are engraved on the frame and the back of the boulder, which stands for noble and elegant spirit._x000D__x000D_
It was believed that Luohan were able to use their magical powers to remain alive indefinitely and so preserve the Buddha's teachings, even in times of trouble. Each Luohan has his experience of attainment and they were often shown with strongly characterised faces, as if they were particular recognisable individuals. | boulder | 白玉罗汉山子 | 81jade
| Qing | China |
|
durom.2017.47 | 2017.47 d1.jpg | data/raw/images/castle/2017 | This boulder depicts a Luohan resting in a cave with a joyful smile on his face. He is a spiritual practitioner who has achieved certain high stages of attainment. In Chinese Buddhist temples, Luohan are an important subject for statues, usually in groups of 16, 18 or 500. Pine trees and mountains are engraved on the frame and the back of the boulder, which stands for noble and elegant spirit._x000D__x000D_
It was believed that Luohan were able to use their magical powers to remain alive indefinitely and so preserve the Buddha's teachings, even in times of trouble. Each Luohan has his experience of attainment and they were often shown with strongly characterised faces, as if they were particular recognisable individuals. | boulder | 白玉罗汉山子 | 81jade
| Qing | China |
|
durom.1969.110 | 1969.110-uu.jpg | data/raw/images/oriental/1969 | Small stoneware bowl, covered with buff celadon glaze, Longquan ware. | bowls | 龙泉窑粉青釉小碗 | 137stoneware
| Song | Longquan |
|
durom.1969.110 | 1969.110-uu.jpg | data/raw/images/oriental/1969 | Small stoneware bowl, covered with buff celadon glaze, Longquan ware. | bowls | 龙泉窑粉青釉小碗 | 137stoneware
| Song | Longquan |
|
durom.1969.110 | 1969.110-uu.jpg | data/raw/images/oriental/1969 | Small stoneware bowl, covered with buff celadon glaze, Longquan ware. | bowls | 龙泉窑粉青釉小碗 | 137stoneware
| Song | Longquan |
|
durom.1969.110 | 1969.110-uu.jpg | data/raw/images/oriental/1969 | Small stoneware bowl, covered with buff celadon glaze, Longquan ware. | bowls | 龙泉窑粉青釉小碗 | 137stoneware
| Song | Longquan |
|
durom.1969.110 | 1969.110-uu.jpg | data/raw/images/oriental/1969 | Small stoneware bowl, covered with buff celadon glaze, Longquan ware. | bowls | 龙泉窑粉青釉小碗 | 137stoneware
| Song | Longquan |
|
durma.2014.1.208 | 2014.1.208.jpg | data/raw/images/fulling_mill/2014 | null | bottles | null | 71glass
| 19th century | null |
|
durma.2014.1.208 | 2014.1.208.jpg | data/raw/images/fulling_mill/2014 | null | bottles | null | 71glass
| 19th century | null |
|
durma.2014.1.208 | 2014.1.208.jpg | data/raw/images/fulling_mill/2014 | null | bottles | null | 71glass
| 19th century | null |
|
durma.2014.1.208 | 2014.1.208.jpg | data/raw/images/fulling_mill/2014 | null | bottles | null | 71glass
| 19th century | null |
|
durma.2014.1.208 | 2014.1.208.jpg | data/raw/images/fulling_mill/2014 | null | bottles | null | 71glass
| 19th century | null |
|
durom.2000.13 | 2000.13-ff.jpg | data/raw/images/oriental/2000 | central figure of Amitabha, seated, Dhyani mudra holding Patra. At top left hand corner is Akshobhya (Mi-Bskyod-Ra) in Bhumisparsa mudra and holding a dorje in left hand. Below him is the Green Tara, Amitayus and Manjusri (Jam-Pal-Dbyangs) consecutively. Next to Manjusri is the 4-armed Avalokitesvara (Spyan-Ras-Gzios Phyag-Bzhi-Pa) (Chenrezig Chagzhipa). Top centre is unclear, as figure is damaged. Probably Vairocana (Rnam-Par Snang-Mdzab), with Bodhisattva ornaments. This is the celestial or Longs-sku form of the Dhyani Budhha. At top right corner is the white Bodhisattva, left hand holding Ghanta or bell. In this position and with this attribute probably Vajrasattva, a form of the Primordial Buddha. Right hand would have held a Dorje. Below him is the White Tara, Sitatara. At bottom right corner is Vajrapani (Phyag-Rdor Sems-Pahi Cha-Lugs Can). Original cover and hanging tabs still attached, with brass and wooden poles attached on the top and bottom. | Thangka | thangka | 130silk
| null | Tibet Autonomous Region (China) |
|
durom.2000.13 | 2000.13-ff.jpg | data/raw/images/oriental/2000 | central figure of Amitabha, seated, Dhyani mudra holding Patra. At top left hand corner is Akshobhya (Mi-Bskyod-Ra) in Bhumisparsa mudra and holding a dorje in left hand. Below him is the Green Tara, Amitayus and Manjusri (Jam-Pal-Dbyangs) consecutively. Next to Manjusri is the 4-armed Avalokitesvara (Spyan-Ras-Gzios Phyag-Bzhi-Pa) (Chenrezig Chagzhipa). Top centre is unclear, as figure is damaged. Probably Vairocana (Rnam-Par Snang-Mdzab), with Bodhisattva ornaments. This is the celestial or Longs-sku form of the Dhyani Budhha. At top right corner is the white Bodhisattva, left hand holding Ghanta or bell. In this position and with this attribute probably Vajrasattva, a form of the Primordial Buddha. Right hand would have held a Dorje. Below him is the White Tara, Sitatara. At bottom right corner is Vajrapani (Phyag-Rdor Sems-Pahi Cha-Lugs Can). Original cover and hanging tabs still attached, with brass and wooden poles attached on the top and bottom. | Thangka | thangka | 130silk
| null | Tibet Autonomous Region (China) |
|
durom.2000.13 | 2000.13-ff.jpg | data/raw/images/oriental/2000 | central figure of Amitabha, seated, Dhyani mudra holding Patra. At top left hand corner is Akshobhya (Mi-Bskyod-Ra) in Bhumisparsa mudra and holding a dorje in left hand. Below him is the Green Tara, Amitayus and Manjusri (Jam-Pal-Dbyangs) consecutively. Next to Manjusri is the 4-armed Avalokitesvara (Spyan-Ras-Gzios Phyag-Bzhi-Pa) (Chenrezig Chagzhipa). Top centre is unclear, as figure is damaged. Probably Vairocana (Rnam-Par Snang-Mdzab), with Bodhisattva ornaments. This is the celestial or Longs-sku form of the Dhyani Budhha. At top right corner is the white Bodhisattva, left hand holding Ghanta or bell. In this position and with this attribute probably Vajrasattva, a form of the Primordial Buddha. Right hand would have held a Dorje. Below him is the White Tara, Sitatara. At bottom right corner is Vajrapani (Phyag-Rdor Sems-Pahi Cha-Lugs Can). Original cover and hanging tabs still attached, with brass and wooden poles attached on the top and bottom. | Thangka | thangka | 130silk
| null | Tibet Autonomous Region (China) |
|
durom.2000.13 | 2000.13-ff.jpg | data/raw/images/oriental/2000 | central figure of Amitabha, seated, Dhyani mudra holding Patra. At top left hand corner is Akshobhya (Mi-Bskyod-Ra) in Bhumisparsa mudra and holding a dorje in left hand. Below him is the Green Tara, Amitayus and Manjusri (Jam-Pal-Dbyangs) consecutively. Next to Manjusri is the 4-armed Avalokitesvara (Spyan-Ras-Gzios Phyag-Bzhi-Pa) (Chenrezig Chagzhipa). Top centre is unclear, as figure is damaged. Probably Vairocana (Rnam-Par Snang-Mdzab), with Bodhisattva ornaments. This is the celestial or Longs-sku form of the Dhyani Budhha. At top right corner is the white Bodhisattva, left hand holding Ghanta or bell. In this position and with this attribute probably Vajrasattva, a form of the Primordial Buddha. Right hand would have held a Dorje. Below him is the White Tara, Sitatara. At bottom right corner is Vajrapani (Phyag-Rdor Sems-Pahi Cha-Lugs Can). Original cover and hanging tabs still attached, with brass and wooden poles attached on the top and bottom. | Thangka | thangka | 130silk
| null | Tibet Autonomous Region (China) |
|
durom.2000.13 | 2000.13-ff.jpg | data/raw/images/oriental/2000 | central figure of Amitabha, seated, Dhyani mudra holding Patra. At top left hand corner is Akshobhya (Mi-Bskyod-Ra) in Bhumisparsa mudra and holding a dorje in left hand. Below him is the Green Tara, Amitayus and Manjusri (Jam-Pal-Dbyangs) consecutively. Next to Manjusri is the 4-armed Avalokitesvara (Spyan-Ras-Gzios Phyag-Bzhi-Pa) (Chenrezig Chagzhipa). Top centre is unclear, as figure is damaged. Probably Vairocana (Rnam-Par Snang-Mdzab), with Bodhisattva ornaments. This is the celestial or Longs-sku form of the Dhyani Budhha. At top right corner is the white Bodhisattva, left hand holding Ghanta or bell. In this position and with this attribute probably Vajrasattva, a form of the Primordial Buddha. Right hand would have held a Dorje. Below him is the White Tara, Sitatara. At bottom right corner is Vajrapani (Phyag-Rdor Sems-Pahi Cha-Lugs Can). Original cover and hanging tabs still attached, with brass and wooden poles attached on the top and bottom. | Thangka | thangka | 130silk
| null | Tibet Autonomous Region (China) |
|
durom.1973.47 | 1973.47.108.jpg | data/raw/images/oriental/1973 | Bound volume of photographs of Japan, cover page and first page missing. Black and white photographs on numbered pages interleaved with pages with Japanese characters in red. | photograph albums | null | 103paper
| Edo Period | Japan (country) |
|
durom.1973.47 | 1973.47.108.jpg | data/raw/images/oriental/1973 | Bound volume of photographs of Japan, cover page and first page missing. Black and white photographs on numbered pages interleaved with pages with Japanese characters in red. | photograph albums | null | 103paper
| Edo Period | Japan (country) |
|
durom.1973.47 | 1973.47.108.jpg | data/raw/images/oriental/1973 | Bound volume of photographs of Japan, cover page and first page missing. Black and white photographs on numbered pages interleaved with pages with Japanese characters in red. | photograph albums | null | 103paper
| Edo Period | Japan (country) |
|
durom.1973.47 | 1973.47.108.jpg | data/raw/images/oriental/1973 | Bound volume of photographs of Japan, cover page and first page missing. Black and white photographs on numbered pages interleaved with pages with Japanese characters in red. | photograph albums | null | 103paper
| Edo Period | Japan (country) |
|
durom.1973.47 | 1973.47.108.jpg | data/raw/images/oriental/1973 | Bound volume of photographs of Japan, cover page and first page missing. Black and white photographs on numbered pages interleaved with pages with Japanese characters in red. | photograph albums | null | 103paper
| Edo Period | Japan (country) |
|
durom.2012.9 | 2012.9-d12.jpg | data/raw/images/oriental/2012 | Madara-kin shino ware tea ceremony bowl. Irregular circular bowl with thick walls and a shallow circular foot. The outside wall has an impressed design on the side, possibly a representation of a Japanese character, or the markers mark. The bowl is covered outside and inside with a metallic orange glaze with a pearlescent sheen and dark silvery patches. The outside base and foot are unglazed, showing pale brown shading to orange body. On the base is a small repeat of the design on the side, a single horizontal stroke with three small vertical strokes rising from it._x000D__x000D_
Accompanying the bowl are a hemmed square of dark purple ribbed satin, a larger oblong unhemmed piece of woven orange textile with a seal stamped in red ink in one corner, and a wooden presentation box. The dark purple fabric is in a small square box of white card with a circular hole cut out of the centre of the base. The lid is printed in green with 4 lines of white circular family crests (mon) and a line of black Japanese characters._x000D__x000D_
The unvarnished plain wooden box has a removable unhinged lid with three lines of Japanese characters in black ink, one with a seal in red ink below. This seal is the same as the one on the orange textile. The base of the box is also plain unvarnished wood but it has slits in the bottom edges through which is threaded a woven ribbon in with a central band on yellow gold colour bordered by thin black and white stripes at right angles to the central band. The ends of the ribbon are bound with white thread into tassels and the ribbon is tied into a bow._x000D__x000D_
Also with the bowl was a white envelope containing a small folded piece of white paper printed in Japanese in black ink, two long thin postcards showing colour montages of tea bowls and folded leaflet in Japanese with images of ceramics and of what may be the 2000 cranes studio. | tea bowls | null | 52ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-d12.jpg | data/raw/images/oriental/2012 | Madara-kin shino ware tea ceremony bowl. Irregular circular bowl with thick walls and a shallow circular foot. The outside wall has an impressed design on the side, possibly a representation of a Japanese character, or the markers mark. The bowl is covered outside and inside with a metallic orange glaze with a pearlescent sheen and dark silvery patches. The outside base and foot are unglazed, showing pale brown shading to orange body. On the base is a small repeat of the design on the side, a single horizontal stroke with three small vertical strokes rising from it._x000D__x000D_
Accompanying the bowl are a hemmed square of dark purple ribbed satin, a larger oblong unhemmed piece of woven orange textile with a seal stamped in red ink in one corner, and a wooden presentation box. The dark purple fabric is in a small square box of white card with a circular hole cut out of the centre of the base. The lid is printed in green with 4 lines of white circular family crests (mon) and a line of black Japanese characters._x000D__x000D_
The unvarnished plain wooden box has a removable unhinged lid with three lines of Japanese characters in black ink, one with a seal in red ink below. This seal is the same as the one on the orange textile. The base of the box is also plain unvarnished wood but it has slits in the bottom edges through which is threaded a woven ribbon in with a central band on yellow gold colour bordered by thin black and white stripes at right angles to the central band. The ends of the ribbon are bound with white thread into tassels and the ribbon is tied into a bow._x000D__x000D_
Also with the bowl was a white envelope containing a small folded piece of white paper printed in Japanese in black ink, two long thin postcards showing colour montages of tea bowls and folded leaflet in Japanese with images of ceramics and of what may be the 2000 cranes studio. | tea bowls | null | 52ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-d12.jpg | data/raw/images/oriental/2012 | Madara-kin shino ware tea ceremony bowl. Irregular circular bowl with thick walls and a shallow circular foot. The outside wall has an impressed design on the side, possibly a representation of a Japanese character, or the markers mark. The bowl is covered outside and inside with a metallic orange glaze with a pearlescent sheen and dark silvery patches. The outside base and foot are unglazed, showing pale brown shading to orange body. On the base is a small repeat of the design on the side, a single horizontal stroke with three small vertical strokes rising from it._x000D__x000D_
Accompanying the bowl are a hemmed square of dark purple ribbed satin, a larger oblong unhemmed piece of woven orange textile with a seal stamped in red ink in one corner, and a wooden presentation box. The dark purple fabric is in a small square box of white card with a circular hole cut out of the centre of the base. The lid is printed in green with 4 lines of white circular family crests (mon) and a line of black Japanese characters._x000D__x000D_
The unvarnished plain wooden box has a removable unhinged lid with three lines of Japanese characters in black ink, one with a seal in red ink below. This seal is the same as the one on the orange textile. The base of the box is also plain unvarnished wood but it has slits in the bottom edges through which is threaded a woven ribbon in with a central band on yellow gold colour bordered by thin black and white stripes at right angles to the central band. The ends of the ribbon are bound with white thread into tassels and the ribbon is tied into a bow._x000D__x000D_
Also with the bowl was a white envelope containing a small folded piece of white paper printed in Japanese in black ink, two long thin postcards showing colour montages of tea bowls and folded leaflet in Japanese with images of ceramics and of what may be the 2000 cranes studio. | tea bowls | null | 52ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-d12.jpg | data/raw/images/oriental/2012 | Madara-kin shino ware tea ceremony bowl. Irregular circular bowl with thick walls and a shallow circular foot. The outside wall has an impressed design on the side, possibly a representation of a Japanese character, or the markers mark. The bowl is covered outside and inside with a metallic orange glaze with a pearlescent sheen and dark silvery patches. The outside base and foot are unglazed, showing pale brown shading to orange body. On the base is a small repeat of the design on the side, a single horizontal stroke with three small vertical strokes rising from it._x000D__x000D_
Accompanying the bowl are a hemmed square of dark purple ribbed satin, a larger oblong unhemmed piece of woven orange textile with a seal stamped in red ink in one corner, and a wooden presentation box. The dark purple fabric is in a small square box of white card with a circular hole cut out of the centre of the base. The lid is printed in green with 4 lines of white circular family crests (mon) and a line of black Japanese characters._x000D__x000D_
The unvarnished plain wooden box has a removable unhinged lid with three lines of Japanese characters in black ink, one with a seal in red ink below. This seal is the same as the one on the orange textile. The base of the box is also plain unvarnished wood but it has slits in the bottom edges through which is threaded a woven ribbon in with a central band on yellow gold colour bordered by thin black and white stripes at right angles to the central band. The ends of the ribbon are bound with white thread into tassels and the ribbon is tied into a bow._x000D__x000D_
Also with the bowl was a white envelope containing a small folded piece of white paper printed in Japanese in black ink, two long thin postcards showing colour montages of tea bowls and folded leaflet in Japanese with images of ceramics and of what may be the 2000 cranes studio. | tea bowls | null | 52ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-d12.jpg | data/raw/images/oriental/2012 | Madara-kin shino ware tea ceremony bowl. Irregular circular bowl with thick walls and a shallow circular foot. The outside wall has an impressed design on the side, possibly a representation of a Japanese character, or the markers mark. The bowl is covered outside and inside with a metallic orange glaze with a pearlescent sheen and dark silvery patches. The outside base and foot are unglazed, showing pale brown shading to orange body. On the base is a small repeat of the design on the side, a single horizontal stroke with three small vertical strokes rising from it._x000D__x000D_
Accompanying the bowl are a hemmed square of dark purple ribbed satin, a larger oblong unhemmed piece of woven orange textile with a seal stamped in red ink in one corner, and a wooden presentation box. The dark purple fabric is in a small square box of white card with a circular hole cut out of the centre of the base. The lid is printed in green with 4 lines of white circular family crests (mon) and a line of black Japanese characters._x000D__x000D_
The unvarnished plain wooden box has a removable unhinged lid with three lines of Japanese characters in black ink, one with a seal in red ink below. This seal is the same as the one on the orange textile. The base of the box is also plain unvarnished wood but it has slits in the bottom edges through which is threaded a woven ribbon in with a central band on yellow gold colour bordered by thin black and white stripes at right angles to the central band. The ends of the ribbon are bound with white thread into tassels and the ribbon is tied into a bow._x000D__x000D_
Also with the bowl was a white envelope containing a small folded piece of white paper printed in Japanese in black ink, two long thin postcards showing colour montages of tea bowls and folded leaflet in Japanese with images of ceramics and of what may be the 2000 cranes studio. | tea bowls | null | 52ceramic
| Heisei Period | Japan (country) |