obj_num
stringlengths 3
23
| file
stringlengths 8
69
| image
imagewidth (px) 55
13.9k
| root
stringclasses 102
values | description
stringlengths 3
8.84k
⌀ | object_name
stringclasses 680
values | other_name
stringlengths 1
100
⌀ | label
class label 165
classes | production.period
stringclasses 261
values | production.place
stringclasses 304
values |
|---|---|---|---|---|---|---|---|---|---|
durom.1969.518 | 1969.518-d3.jpg | data/raw/images/oriental/1969 | Koran stand | Stand | null | 161wood
| null | West Asia |
|
durom.1969.518 | 1969.518-d3.jpg | data/raw/images/oriental/1969 | Koran stand | Stand | null | 161wood
| null | West Asia |
|
durom.1969.518 | 1969.518-d3.jpg | data/raw/images/oriental/1969 | Koran stand | Stand | null | 161wood
| null | West Asia |
|
durom.1969.518 | 1969.518-d3.jpg | data/raw/images/oriental/1969 | Koran stand | Stand | null | 161wood
| null | West Asia |
|
durom.1969.518 | 1969.518-d3.jpg | data/raw/images/oriental/1969 | Koran stand | Stand | null | 161wood
| null | West Asia |
|
durom.1971.181 | 1971.181,1921.839-bb.jpg | data/raw/images/egyptian/1971 | [model figure]. Squatting figure in plastered and painted wood with short hair/shaved head, arms by sides, wearing a kilt, with very large hands. Arms are attached by dowels. The figure has large eyes and is fairly crude. The skin is yellow suggesting it is female. It may be a mourning figure from a funerary boat model. | Human Figurine | tomb model (female figure) | 149sycamore
| Middle Kingdom | Egypt |
|
durom.1971.181 | 1971.181,1921.839-bb.jpg | data/raw/images/egyptian/1971 | [model figure]. Squatting figure in plastered and painted wood with short hair/shaved head, arms by sides, wearing a kilt, with very large hands. Arms are attached by dowels. The figure has large eyes and is fairly crude. The skin is yellow suggesting it is female. It may be a mourning figure from a funerary boat model. | Human Figurine | tomb model (female figure) | 149sycamore
| Middle Kingdom | Egypt |
|
durom.1971.181 | 1971.181,1921.839-bb.jpg | data/raw/images/egyptian/1971 | [model figure]. Squatting figure in plastered and painted wood with short hair/shaved head, arms by sides, wearing a kilt, with very large hands. Arms are attached by dowels. The figure has large eyes and is fairly crude. The skin is yellow suggesting it is female. It may be a mourning figure from a funerary boat model. | Human Figurine | tomb model (female figure) | 149sycamore
| Middle Kingdom | Egypt |
|
durom.1971.181 | 1971.181,1921.839-bb.jpg | data/raw/images/egyptian/1971 | [model figure]. Squatting figure in plastered and painted wood with short hair/shaved head, arms by sides, wearing a kilt, with very large hands. Arms are attached by dowels. The figure has large eyes and is fairly crude. The skin is yellow suggesting it is female. It may be a mourning figure from a funerary boat model. | Human Figurine | tomb model (female figure) | 149sycamore
| Middle Kingdom | Egypt |
|
durom.1971.181 | 1971.181,1921.839-bb.jpg | data/raw/images/egyptian/1971 | [model figure]. Squatting figure in plastered and painted wood with short hair/shaved head, arms by sides, wearing a kilt, with very large hands. Arms are attached by dowels. The figure has large eyes and is fairly crude. The skin is yellow suggesting it is female. It may be a mourning figure from a funerary boat model. | Human Figurine | tomb model (female figure) | 149sycamore
| Middle Kingdom | Egypt |
|
durom.1971.35 | 1971.35-ll.jpg | data/raw/images/oriental/1971 | Bronze drum shaped as a shouldered cylinder with an integral tympanum projecting over the sides of the mantle. The base is open, and the metal is very thin for such a large object. There are two pairs of loops or handles (for suspension when played) on each side of the mantle near the top, each wirh a stich design above and below. The mantle is divided vertically into four sections by neat seams, which appear to be decorative rather than functional. One seam below the handles has modelled on it a line of three small elephants facing the base, with three snails (piles of elephant dung?) behind them. On the rim of the tympanum stand four sets of three-dimensional frogs, one in eachof the four quarters. Each set consits of three frogs, one above the other. The tympanum has a twelve-pointed star in the centre, surrounded by 19 concentric circles of geometric patterns. the mantle has bands if small geometric designs (lozenges, stripes, eyes, leaves meanders and 'V's) around the sides. Dimensions. Tympanum, diam. 692mm. extending 17mm, beyond the top of the mantle. Drum H. 539 mm. (including frogs). Condition very good. | drums | dong son drum | 44bronze
| null | Myanmar |
|
durom.1971.35 | 1971.35-ll.jpg | data/raw/images/oriental/1971 | Bronze drum shaped as a shouldered cylinder with an integral tympanum projecting over the sides of the mantle. The base is open, and the metal is very thin for such a large object. There are two pairs of loops or handles (for suspension when played) on each side of the mantle near the top, each wirh a stich design above and below. The mantle is divided vertically into four sections by neat seams, which appear to be decorative rather than functional. One seam below the handles has modelled on it a line of three small elephants facing the base, with three snails (piles of elephant dung?) behind them. On the rim of the tympanum stand four sets of three-dimensional frogs, one in eachof the four quarters. Each set consits of three frogs, one above the other. The tympanum has a twelve-pointed star in the centre, surrounded by 19 concentric circles of geometric patterns. the mantle has bands if small geometric designs (lozenges, stripes, eyes, leaves meanders and 'V's) around the sides. Dimensions. Tympanum, diam. 692mm. extending 17mm, beyond the top of the mantle. Drum H. 539 mm. (including frogs). Condition very good. | drums | dong son drum | 44bronze
| null | Myanmar |
|
durom.1971.35 | 1971.35-ll.jpg | data/raw/images/oriental/1971 | Bronze drum shaped as a shouldered cylinder with an integral tympanum projecting over the sides of the mantle. The base is open, and the metal is very thin for such a large object. There are two pairs of loops or handles (for suspension when played) on each side of the mantle near the top, each wirh a stich design above and below. The mantle is divided vertically into four sections by neat seams, which appear to be decorative rather than functional. One seam below the handles has modelled on it a line of three small elephants facing the base, with three snails (piles of elephant dung?) behind them. On the rim of the tympanum stand four sets of three-dimensional frogs, one in eachof the four quarters. Each set consits of three frogs, one above the other. The tympanum has a twelve-pointed star in the centre, surrounded by 19 concentric circles of geometric patterns. the mantle has bands if small geometric designs (lozenges, stripes, eyes, leaves meanders and 'V's) around the sides. Dimensions. Tympanum, diam. 692mm. extending 17mm, beyond the top of the mantle. Drum H. 539 mm. (including frogs). Condition very good. | drums | dong son drum | 44bronze
| null | Myanmar |
|
durom.1971.35 | 1971.35-ll.jpg | data/raw/images/oriental/1971 | Bronze drum shaped as a shouldered cylinder with an integral tympanum projecting over the sides of the mantle. The base is open, and the metal is very thin for such a large object. There are two pairs of loops or handles (for suspension when played) on each side of the mantle near the top, each wirh a stich design above and below. The mantle is divided vertically into four sections by neat seams, which appear to be decorative rather than functional. One seam below the handles has modelled on it a line of three small elephants facing the base, with three snails (piles of elephant dung?) behind them. On the rim of the tympanum stand four sets of three-dimensional frogs, one in eachof the four quarters. Each set consits of three frogs, one above the other. The tympanum has a twelve-pointed star in the centre, surrounded by 19 concentric circles of geometric patterns. the mantle has bands if small geometric designs (lozenges, stripes, eyes, leaves meanders and 'V's) around the sides. Dimensions. Tympanum, diam. 692mm. extending 17mm, beyond the top of the mantle. Drum H. 539 mm. (including frogs). Condition very good. | drums | dong son drum | 44bronze
| null | Myanmar |
|
durom.1971.35 | 1971.35-ll.jpg | data/raw/images/oriental/1971 | Bronze drum shaped as a shouldered cylinder with an integral tympanum projecting over the sides of the mantle. The base is open, and the metal is very thin for such a large object. There are two pairs of loops or handles (for suspension when played) on each side of the mantle near the top, each wirh a stich design above and below. The mantle is divided vertically into four sections by neat seams, which appear to be decorative rather than functional. One seam below the handles has modelled on it a line of three small elephants facing the base, with three snails (piles of elephant dung?) behind them. On the rim of the tympanum stand four sets of three-dimensional frogs, one in eachof the four quarters. Each set consits of three frogs, one above the other. The tympanum has a twelve-pointed star in the centre, surrounded by 19 concentric circles of geometric patterns. the mantle has bands if small geometric designs (lozenges, stripes, eyes, leaves meanders and 'V's) around the sides. Dimensions. Tympanum, diam. 692mm. extending 17mm, beyond the top of the mantle. Drum H. 539 mm. (including frogs). Condition very good. | drums | dong son drum | 44bronze
| null | Myanmar |
|
durom.2001.32.43 | 2001.32.43-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.43 | 2001.32.43-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.43 | 2001.32.43-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.43 | 2001.32.43-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.43 | 2001.32.43-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.139.52 | 2001.139.52 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows two orange and white fishes in the centre of the card with a large yellow flower painted underneath it and yellow and white petals coming out of the border | playing cards | ganjifa | 4Colour on Paper
| null | India |
|
durom.2001.139.52 | 2001.139.52 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows two orange and white fishes in the centre of the card with a large yellow flower painted underneath it and yellow and white petals coming out of the border | playing cards | ganjifa | 4Colour on Paper
| null | India |
|
durom.2001.139.52 | 2001.139.52 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows two orange and white fishes in the centre of the card with a large yellow flower painted underneath it and yellow and white petals coming out of the border | playing cards | ganjifa | 4Colour on Paper
| null | India |
|
durom.2001.139.52 | 2001.139.52 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows two orange and white fishes in the centre of the card with a large yellow flower painted underneath it and yellow and white petals coming out of the border | playing cards | ganjifa | 4Colour on Paper
| null | India |
|
durom.2001.139.52 | 2001.139.52 ff.jpg | data/raw/images/oriental/2001 | One of a set of Indian mughal Ganjifa cards in a wooden container. This set is a Dashavatara Ganjifa, which shows the avatars of Vishnu with their distinctive vahanas or symbols being used in their individual sets. This card shows two orange and white fishes in the centre of the card with a large yellow flower painted underneath it and yellow and white petals coming out of the border | playing cards | ganjifa | 4Colour on Paper
| null | India |
|
durom.2001.32.76 | 2001.32.76-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.76 | 2001.32.76-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.76 | 2001.32.76-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.76 | 2001.32.76-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.2001.32.76 | 2001.32.76-uu.jpg | data/raw/images/oriental/2001 | One of a set of Ganjifa cards. The cards are circular and there are 120 in all. The cards are painted in the same colours as the box. These are divided up into different colours with different animals/ objects headed by two cards within each group of different deities and a warrior on horseback. Yellow represents mice, orange represents turtles, pale yellow represents a bow and arrow, green represents dogs, brown represents a circle pattern, grey represents shells, red represents fish, light brown represents an axe, black represents a sword and olive represents a crown. | cards | ganjifa | 4Colour on Paper
| Modern Period | India |
|
durom.1972.38 | 1972.38 d2.jpg | data/raw/images/oriental/1972 | Comprised of beads carved with characters, interspersed with nut or burr shaped beads every five beads along. A hollow, red bead is attached, from which a braided string holds a translucent blue pendant. | rosaries | null | 161wood
| Qing | China |
|
durom.1972.38 | 1972.38 d2.jpg | data/raw/images/oriental/1972 | Comprised of beads carved with characters, interspersed with nut or burr shaped beads every five beads along. A hollow, red bead is attached, from which a braided string holds a translucent blue pendant. | rosaries | null | 161wood
| Qing | China |
|
durom.1972.38 | 1972.38 d2.jpg | data/raw/images/oriental/1972 | Comprised of beads carved with characters, interspersed with nut or burr shaped beads every five beads along. A hollow, red bead is attached, from which a braided string holds a translucent blue pendant. | rosaries | null | 161wood
| Qing | China |
|
durom.1972.38 | 1972.38 d2.jpg | data/raw/images/oriental/1972 | Comprised of beads carved with characters, interspersed with nut or burr shaped beads every five beads along. A hollow, red bead is attached, from which a braided string holds a translucent blue pendant. | rosaries | null | 161wood
| Qing | China |
|
durom.1972.38 | 1972.38 d2.jpg | data/raw/images/oriental/1972 | Comprised of beads carved with characters, interspersed with nut or burr shaped beads every five beads along. A hollow, red bead is attached, from which a braided string holds a translucent blue pendant. | rosaries | null | 161wood
| Qing | China |
|
durom.1960.2118 | 1960.2118.jpg | data/raw/images/oriental/1960 | Jade axe, for ceremonial purpose. | axes: woodworking tools | 玉钺 | 102nephrite
| Neolithic Period | Shandong Province |
|
durom.1960.2118 | 1960.2118.jpg | data/raw/images/oriental/1960 | Jade axe, for ceremonial purpose. | axes: woodworking tools | 玉钺 | 102nephrite
| Neolithic Period | Shandong Province |
|
durom.1960.2118 | 1960.2118.jpg | data/raw/images/oriental/1960 | Jade axe, for ceremonial purpose. | axes: woodworking tools | 玉钺 | 102nephrite
| Neolithic Period | Shandong Province |
|
durom.1960.2118 | 1960.2118.jpg | data/raw/images/oriental/1960 | Jade axe, for ceremonial purpose. | axes: woodworking tools | 玉钺 | 102nephrite
| Neolithic Period | Shandong Province |
|
durom.1960.2118 | 1960.2118.jpg | data/raw/images/oriental/1960 | Jade axe, for ceremonial purpose. | axes: woodworking tools | 玉钺 | 102nephrite
| Neolithic Period | Shandong Province |
|
durom.1992.89 | 1992.89.jpg | data/raw/images/oriental/1992 | Pottery model of four sheep lying in a bowl shaped pen enclosure. Pottery with green lead glaze. | Tomb Model | 绿釉羊圈 | 122pottery
| Han dynasty | China |
|
durom.1992.89 | 1992.89.jpg | data/raw/images/oriental/1992 | Pottery model of four sheep lying in a bowl shaped pen enclosure. Pottery with green lead glaze. | Tomb Model | 绿釉羊圈 | 122pottery
| Han dynasty | China |
|
durom.1992.89 | 1992.89.jpg | data/raw/images/oriental/1992 | Pottery model of four sheep lying in a bowl shaped pen enclosure. Pottery with green lead glaze. | Tomb Model | 绿釉羊圈 | 122pottery
| Han dynasty | China |
|
durom.1992.89 | 1992.89.jpg | data/raw/images/oriental/1992 | Pottery model of four sheep lying in a bowl shaped pen enclosure. Pottery with green lead glaze. | Tomb Model | 绿釉羊圈 | 122pottery
| Han dynasty | China |
|
durom.1992.89 | 1992.89.jpg | data/raw/images/oriental/1992 | Pottery model of four sheep lying in a bowl shaped pen enclosure. Pottery with green lead glaze. | Tomb Model | 绿釉羊圈 | 122pottery
| Han dynasty | China |
|
durom.1960.3458 | 1960.3458-d5.jpg | data/raw/images/oriental/1960 | Snuff bottle made with yellow nephrite jade, decorated with sculpted 12 zodiac animals, stopper and spoon missing. The snuff bottle is in a flattened shape. One side, snake, tiger, dragon, ox, rabbit and mouse; the other, horse, monkey, chicken, pig, dog and goat. The jade is brownish yellow over all, with pale olive-yellow on one side. | snuff bottles | 黄玉雕十二生肖鼻烟壶 | 85jade
| Qing | China |
|
durom.1960.3458 | 1960.3458-d5.jpg | data/raw/images/oriental/1960 | Snuff bottle made with yellow nephrite jade, decorated with sculpted 12 zodiac animals, stopper and spoon missing. The snuff bottle is in a flattened shape. One side, snake, tiger, dragon, ox, rabbit and mouse; the other, horse, monkey, chicken, pig, dog and goat. The jade is brownish yellow over all, with pale olive-yellow on one side. | snuff bottles | 黄玉雕十二生肖鼻烟壶 | 85jade
| Qing | China |
|
durom.1960.3458 | 1960.3458-d5.jpg | data/raw/images/oriental/1960 | Snuff bottle made with yellow nephrite jade, decorated with sculpted 12 zodiac animals, stopper and spoon missing. The snuff bottle is in a flattened shape. One side, snake, tiger, dragon, ox, rabbit and mouse; the other, horse, monkey, chicken, pig, dog and goat. The jade is brownish yellow over all, with pale olive-yellow on one side. | snuff bottles | 黄玉雕十二生肖鼻烟壶 | 85jade
| Qing | China |
|
durom.1960.3458 | 1960.3458-d5.jpg | data/raw/images/oriental/1960 | Snuff bottle made with yellow nephrite jade, decorated with sculpted 12 zodiac animals, stopper and spoon missing. The snuff bottle is in a flattened shape. One side, snake, tiger, dragon, ox, rabbit and mouse; the other, horse, monkey, chicken, pig, dog and goat. The jade is brownish yellow over all, with pale olive-yellow on one side. | snuff bottles | 黄玉雕十二生肖鼻烟壶 | 85jade
| Qing | China |
|
durom.1960.3458 | 1960.3458-d5.jpg | data/raw/images/oriental/1960 | Snuff bottle made with yellow nephrite jade, decorated with sculpted 12 zodiac animals, stopper and spoon missing. The snuff bottle is in a flattened shape. One side, snake, tiger, dragon, ox, rabbit and mouse; the other, horse, monkey, chicken, pig, dog and goat. The jade is brownish yellow over all, with pale olive-yellow on one side. | snuff bottles | 黄玉雕十二生肖鼻烟壶 | 85jade
| Qing | China |
|
durma.2020.3.72 | durma.2020.3.72.ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy Knee brooch dating to the late second to the early third century AD, part of the Piercebridge River Assemblage. The head is a flat, semi-circular plate, decorated with marginal diagonal notches. On the reverse, there are two semi-circular perforated lugs holding an axis bar and the sprung pin. The pin is intact. The bow is arched, faceted, hollow and approximately D shaped in section; it expands to a flat, triangular foot which is marginally grooved. The catchplate extends the full length of the foot and is rectangular in shape. The brooch measures 38mm in length; the head has a width of 19mm and the foot has a width of 14mm. The brooch weighs 7.2g. Bayley and Butcher classify this as a Type 171 and note that it is more common in Britain and rare or missing on continental sites. It occurs on military sites including South Shields, but also on southern civilian sites. The only dated examples come from a drain at the the legionary fortress of Caerleon dating to AD 160-230 and from the Jewry Wall site at Leicester dating to about AD 220 (Bayley and Butcher 2004, 179-180). | brooches | Knee brooch | 98metal
| Roman | null |
|
durma.2020.3.72 | durma.2020.3.72.ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy Knee brooch dating to the late second to the early third century AD, part of the Piercebridge River Assemblage. The head is a flat, semi-circular plate, decorated with marginal diagonal notches. On the reverse, there are two semi-circular perforated lugs holding an axis bar and the sprung pin. The pin is intact. The bow is arched, faceted, hollow and approximately D shaped in section; it expands to a flat, triangular foot which is marginally grooved. The catchplate extends the full length of the foot and is rectangular in shape. The brooch measures 38mm in length; the head has a width of 19mm and the foot has a width of 14mm. The brooch weighs 7.2g. Bayley and Butcher classify this as a Type 171 and note that it is more common in Britain and rare or missing on continental sites. It occurs on military sites including South Shields, but also on southern civilian sites. The only dated examples come from a drain at the the legionary fortress of Caerleon dating to AD 160-230 and from the Jewry Wall site at Leicester dating to about AD 220 (Bayley and Butcher 2004, 179-180). | brooches | Knee brooch | 98metal
| Roman | null |
|
durma.2020.3.72 | durma.2020.3.72.ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy Knee brooch dating to the late second to the early third century AD, part of the Piercebridge River Assemblage. The head is a flat, semi-circular plate, decorated with marginal diagonal notches. On the reverse, there are two semi-circular perforated lugs holding an axis bar and the sprung pin. The pin is intact. The bow is arched, faceted, hollow and approximately D shaped in section; it expands to a flat, triangular foot which is marginally grooved. The catchplate extends the full length of the foot and is rectangular in shape. The brooch measures 38mm in length; the head has a width of 19mm and the foot has a width of 14mm. The brooch weighs 7.2g. Bayley and Butcher classify this as a Type 171 and note that it is more common in Britain and rare or missing on continental sites. It occurs on military sites including South Shields, but also on southern civilian sites. The only dated examples come from a drain at the the legionary fortress of Caerleon dating to AD 160-230 and from the Jewry Wall site at Leicester dating to about AD 220 (Bayley and Butcher 2004, 179-180). | brooches | Knee brooch | 98metal
| Roman | null |
|
durma.2020.3.72 | durma.2020.3.72.ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy Knee brooch dating to the late second to the early third century AD, part of the Piercebridge River Assemblage. The head is a flat, semi-circular plate, decorated with marginal diagonal notches. On the reverse, there are two semi-circular perforated lugs holding an axis bar and the sprung pin. The pin is intact. The bow is arched, faceted, hollow and approximately D shaped in section; it expands to a flat, triangular foot which is marginally grooved. The catchplate extends the full length of the foot and is rectangular in shape. The brooch measures 38mm in length; the head has a width of 19mm and the foot has a width of 14mm. The brooch weighs 7.2g. Bayley and Butcher classify this as a Type 171 and note that it is more common in Britain and rare or missing on continental sites. It occurs on military sites including South Shields, but also on southern civilian sites. The only dated examples come from a drain at the the legionary fortress of Caerleon dating to AD 160-230 and from the Jewry Wall site at Leicester dating to about AD 220 (Bayley and Butcher 2004, 179-180). | brooches | Knee brooch | 98metal
| Roman | null |
|
durma.2020.3.72 | durma.2020.3.72.ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy Knee brooch dating to the late second to the early third century AD, part of the Piercebridge River Assemblage. The head is a flat, semi-circular plate, decorated with marginal diagonal notches. On the reverse, there are two semi-circular perforated lugs holding an axis bar and the sprung pin. The pin is intact. The bow is arched, faceted, hollow and approximately D shaped in section; it expands to a flat, triangular foot which is marginally grooved. The catchplate extends the full length of the foot and is rectangular in shape. The brooch measures 38mm in length; the head has a width of 19mm and the foot has a width of 14mm. The brooch weighs 7.2g. Bayley and Butcher classify this as a Type 171 and note that it is more common in Britain and rare or missing on continental sites. It occurs on military sites including South Shields, but also on southern civilian sites. The only dated examples come from a drain at the the legionary fortress of Caerleon dating to AD 160-230 and from the Jewry Wall site at Leicester dating to about AD 220 (Bayley and Butcher 2004, 179-180). | brooches | Knee brooch | 98metal
| Roman | null |
|
durom.1968.40 | 1968.40 d2.jpg | data/raw/images/oriental/1968 | Porcelain bowl, decorated with underglaze cobalt blue of the Three Friends motif. Inside, a Lingzhi fungus pattern at the well; outside, the Three Friends (pine tree, bamboo, and plum blossom). Under the base, a Pair of Fish pattern (which is one of the Eight Precious Things) enclosed with double rings. | bowls | 青花岁寒三友图碗 | 121porcelain
| Kangxi | China |
|
durom.1968.40 | 1968.40 d2.jpg | data/raw/images/oriental/1968 | Porcelain bowl, decorated with underglaze cobalt blue of the Three Friends motif. Inside, a Lingzhi fungus pattern at the well; outside, the Three Friends (pine tree, bamboo, and plum blossom). Under the base, a Pair of Fish pattern (which is one of the Eight Precious Things) enclosed with double rings. | bowls | 青花岁寒三友图碗 | 121porcelain
| Kangxi | China |
|
durom.1968.40 | 1968.40 d2.jpg | data/raw/images/oriental/1968 | Porcelain bowl, decorated with underglaze cobalt blue of the Three Friends motif. Inside, a Lingzhi fungus pattern at the well; outside, the Three Friends (pine tree, bamboo, and plum blossom). Under the base, a Pair of Fish pattern (which is one of the Eight Precious Things) enclosed with double rings. | bowls | 青花岁寒三友图碗 | 121porcelain
| Kangxi | China |
|
durom.1968.40 | 1968.40 d2.jpg | data/raw/images/oriental/1968 | Porcelain bowl, decorated with underglaze cobalt blue of the Three Friends motif. Inside, a Lingzhi fungus pattern at the well; outside, the Three Friends (pine tree, bamboo, and plum blossom). Under the base, a Pair of Fish pattern (which is one of the Eight Precious Things) enclosed with double rings. | bowls | 青花岁寒三友图碗 | 121porcelain
| Kangxi | China |
|
durom.1968.40 | 1968.40 d2.jpg | data/raw/images/oriental/1968 | Porcelain bowl, decorated with underglaze cobalt blue of the Three Friends motif. Inside, a Lingzhi fungus pattern at the well; outside, the Three Friends (pine tree, bamboo, and plum blossom). Under the base, a Pair of Fish pattern (which is one of the Eight Precious Things) enclosed with double rings. | bowls | 青花岁寒三友图碗 | 121porcelain
| Kangxi | China |
|
durma.2020.3.2391 | durma.2020.3.2391.ff.jpg | data/raw/images/fulling_mill/2020 | A lead object, possibly a weight of uncertain date. The object has a flat base with a central circular perforation measuring 5mm in diameter. The upper face of the object is slightly domed in an irregular manner. The diameter of the object is 24mm, it has a maximum thickness of 6mm and the perforation measures 3mm in diameter. It weighs 21.52g._x000D__x000D_
_x000D__x000D_
If a weight, the object could be classified as a Tyrell (2015) Type A1: a disc-shaped weight with a central circular perforation. Although resembling a spindle whorl, the diameter of the perforation is not big enough to accommodate a spindle effectively. At Elm's Farm, Weybridge, three weights of this type were found in contexts dated to the first or second century AD (Tyrell 2015) suggesting that this type was in use in the early Roman period. | whorls | null | 91lead
| Roman | null |
|
durma.2020.3.2391 | durma.2020.3.2391.ff.jpg | data/raw/images/fulling_mill/2020 | A lead object, possibly a weight of uncertain date. The object has a flat base with a central circular perforation measuring 5mm in diameter. The upper face of the object is slightly domed in an irregular manner. The diameter of the object is 24mm, it has a maximum thickness of 6mm and the perforation measures 3mm in diameter. It weighs 21.52g._x000D__x000D_
_x000D__x000D_
If a weight, the object could be classified as a Tyrell (2015) Type A1: a disc-shaped weight with a central circular perforation. Although resembling a spindle whorl, the diameter of the perforation is not big enough to accommodate a spindle effectively. At Elm's Farm, Weybridge, three weights of this type were found in contexts dated to the first or second century AD (Tyrell 2015) suggesting that this type was in use in the early Roman period. | whorls | null | 91lead
| Roman | null |
|
durma.2020.3.2391 | durma.2020.3.2391.ff.jpg | data/raw/images/fulling_mill/2020 | A lead object, possibly a weight of uncertain date. The object has a flat base with a central circular perforation measuring 5mm in diameter. The upper face of the object is slightly domed in an irregular manner. The diameter of the object is 24mm, it has a maximum thickness of 6mm and the perforation measures 3mm in diameter. It weighs 21.52g._x000D__x000D_
_x000D__x000D_
If a weight, the object could be classified as a Tyrell (2015) Type A1: a disc-shaped weight with a central circular perforation. Although resembling a spindle whorl, the diameter of the perforation is not big enough to accommodate a spindle effectively. At Elm's Farm, Weybridge, three weights of this type were found in contexts dated to the first or second century AD (Tyrell 2015) suggesting that this type was in use in the early Roman period. | whorls | null | 91lead
| Roman | null |
|
durma.2020.3.2391 | durma.2020.3.2391.ff.jpg | data/raw/images/fulling_mill/2020 | A lead object, possibly a weight of uncertain date. The object has a flat base with a central circular perforation measuring 5mm in diameter. The upper face of the object is slightly domed in an irregular manner. The diameter of the object is 24mm, it has a maximum thickness of 6mm and the perforation measures 3mm in diameter. It weighs 21.52g._x000D__x000D_
_x000D__x000D_
If a weight, the object could be classified as a Tyrell (2015) Type A1: a disc-shaped weight with a central circular perforation. Although resembling a spindle whorl, the diameter of the perforation is not big enough to accommodate a spindle effectively. At Elm's Farm, Weybridge, three weights of this type were found in contexts dated to the first or second century AD (Tyrell 2015) suggesting that this type was in use in the early Roman period. | whorls | null | 91lead
| Roman | null |
|
durma.2020.3.2391 | durma.2020.3.2391.ff.jpg | data/raw/images/fulling_mill/2020 | A lead object, possibly a weight of uncertain date. The object has a flat base with a central circular perforation measuring 5mm in diameter. The upper face of the object is slightly domed in an irregular manner. The diameter of the object is 24mm, it has a maximum thickness of 6mm and the perforation measures 3mm in diameter. It weighs 21.52g._x000D__x000D_
_x000D__x000D_
If a weight, the object could be classified as a Tyrell (2015) Type A1: a disc-shaped weight with a central circular perforation. Although resembling a spindle whorl, the diameter of the perforation is not big enough to accommodate a spindle effectively. At Elm's Farm, Weybridge, three weights of this type were found in contexts dated to the first or second century AD (Tyrell 2015) suggesting that this type was in use in the early Roman period. | whorls | null | 91lead
| Roman | null |
|
durom.1969.377 | 1969.377 uu.jpg | data/raw/images/oriental/1969 | Heavily-potted porcelain vase, decorated with overglaze polychrome enamels in famille rose style of dragon design, partly gilt. The vase has five lobed body, long neck, and the head and mouth in the shape of a lotus with four layers of petals, all painted in beautiful pinkish-red enamel. The neck and the body of the vase are grounded with thick yellow enamel. The neck is painted with chrysanthemum and gardenia. Each of the five lobed mouths is decorated with a band of Ruyi lappets (or Cloud Collar) around the rim, and the mouths are gilt. The main body, painted with two four-claw Mang dragon amongst gardenias and chrysanthemums. Around the base, a border of lotus. The base is glazed and the foot is unglazed. | vases | 粉彩穿花龙纹五孔莲瓣口瓶 | 121porcelain
| Qing | Jingdezhen |
|
durom.1969.377 | 1969.377 uu.jpg | data/raw/images/oriental/1969 | Heavily-potted porcelain vase, decorated with overglaze polychrome enamels in famille rose style of dragon design, partly gilt. The vase has five lobed body, long neck, and the head and mouth in the shape of a lotus with four layers of petals, all painted in beautiful pinkish-red enamel. The neck and the body of the vase are grounded with thick yellow enamel. The neck is painted with chrysanthemum and gardenia. Each of the five lobed mouths is decorated with a band of Ruyi lappets (or Cloud Collar) around the rim, and the mouths are gilt. The main body, painted with two four-claw Mang dragon amongst gardenias and chrysanthemums. Around the base, a border of lotus. The base is glazed and the foot is unglazed. | vases | 粉彩穿花龙纹五孔莲瓣口瓶 | 121porcelain
| Qing | Jingdezhen |
|
durom.1969.377 | 1969.377 uu.jpg | data/raw/images/oriental/1969 | Heavily-potted porcelain vase, decorated with overglaze polychrome enamels in famille rose style of dragon design, partly gilt. The vase has five lobed body, long neck, and the head and mouth in the shape of a lotus with four layers of petals, all painted in beautiful pinkish-red enamel. The neck and the body of the vase are grounded with thick yellow enamel. The neck is painted with chrysanthemum and gardenia. Each of the five lobed mouths is decorated with a band of Ruyi lappets (or Cloud Collar) around the rim, and the mouths are gilt. The main body, painted with two four-claw Mang dragon amongst gardenias and chrysanthemums. Around the base, a border of lotus. The base is glazed and the foot is unglazed. | vases | 粉彩穿花龙纹五孔莲瓣口瓶 | 121porcelain
| Qing | Jingdezhen |
|
durom.1969.377 | 1969.377 uu.jpg | data/raw/images/oriental/1969 | Heavily-potted porcelain vase, decorated with overglaze polychrome enamels in famille rose style of dragon design, partly gilt. The vase has five lobed body, long neck, and the head and mouth in the shape of a lotus with four layers of petals, all painted in beautiful pinkish-red enamel. The neck and the body of the vase are grounded with thick yellow enamel. The neck is painted with chrysanthemum and gardenia. Each of the five lobed mouths is decorated with a band of Ruyi lappets (or Cloud Collar) around the rim, and the mouths are gilt. The main body, painted with two four-claw Mang dragon amongst gardenias and chrysanthemums. Around the base, a border of lotus. The base is glazed and the foot is unglazed. | vases | 粉彩穿花龙纹五孔莲瓣口瓶 | 121porcelain
| Qing | Jingdezhen |
|
durom.1969.377 | 1969.377 uu.jpg | data/raw/images/oriental/1969 | Heavily-potted porcelain vase, decorated with overglaze polychrome enamels in famille rose style of dragon design, partly gilt. The vase has five lobed body, long neck, and the head and mouth in the shape of a lotus with four layers of petals, all painted in beautiful pinkish-red enamel. The neck and the body of the vase are grounded with thick yellow enamel. The neck is painted with chrysanthemum and gardenia. Each of the five lobed mouths is decorated with a band of Ruyi lappets (or Cloud Collar) around the rim, and the mouths are gilt. The main body, painted with two four-claw Mang dragon amongst gardenias and chrysanthemums. Around the base, a border of lotus. The base is glazed and the foot is unglazed. | vases | 粉彩穿花龙纹五孔莲瓣口瓶 | 121porcelain
| Qing | Jingdezhen |
|
durom.1960.3645 | 1960.3645-tt.jpg | data/raw/images/oriental/1960 | Green nephrite disc in the shape of Yuan, with brown markings; decorated with carved Cloud pattern or Sleeping Silk Worm pattern. | Disc | 青玉卧蚕纹瑗 | 85jade
| Warring States | China |
|
durom.1960.3645 | 1960.3645-tt.jpg | data/raw/images/oriental/1960 | Green nephrite disc in the shape of Yuan, with brown markings; decorated with carved Cloud pattern or Sleeping Silk Worm pattern. | Disc | 青玉卧蚕纹瑗 | 85jade
| Warring States | China |
|
durom.1960.3645 | 1960.3645-tt.jpg | data/raw/images/oriental/1960 | Green nephrite disc in the shape of Yuan, with brown markings; decorated with carved Cloud pattern or Sleeping Silk Worm pattern. | Disc | 青玉卧蚕纹瑗 | 85jade
| Warring States | China |
|
durom.1960.3645 | 1960.3645-tt.jpg | data/raw/images/oriental/1960 | Green nephrite disc in the shape of Yuan, with brown markings; decorated with carved Cloud pattern or Sleeping Silk Worm pattern. | Disc | 青玉卧蚕纹瑗 | 85jade
| Warring States | China |
|
durom.1960.3645 | 1960.3645-tt.jpg | data/raw/images/oriental/1960 | Green nephrite disc in the shape of Yuan, with brown markings; decorated with carved Cloud pattern or Sleeping Silk Worm pattern. | Disc | 青玉卧蚕纹瑗 | 85jade
| Warring States | China |
|
durom.1969.359 | 1969.359.jpg | data/raw/images/oriental/1969 | Pottery figure of Song Zi Niang Niang (Maiden Who Brings Child) holding a child in her arm, covered with buff yellow glaze, decorated with underglaze black and overglaze brown and green enamels. | figures | 米白釉彩绘送子娘娘像 | 146stoneware
| Qing | China |
|
durom.1969.359 | 1969.359.jpg | data/raw/images/oriental/1969 | Pottery figure of Song Zi Niang Niang (Maiden Who Brings Child) holding a child in her arm, covered with buff yellow glaze, decorated with underglaze black and overglaze brown and green enamels. | figures | 米白釉彩绘送子娘娘像 | 146stoneware
| Qing | China |
|
durom.1969.359 | 1969.359.jpg | data/raw/images/oriental/1969 | Pottery figure of Song Zi Niang Niang (Maiden Who Brings Child) holding a child in her arm, covered with buff yellow glaze, decorated with underglaze black and overglaze brown and green enamels. | figures | 米白釉彩绘送子娘娘像 | 146stoneware
| Qing | China |
|
durom.1969.359 | 1969.359.jpg | data/raw/images/oriental/1969 | Pottery figure of Song Zi Niang Niang (Maiden Who Brings Child) holding a child in her arm, covered with buff yellow glaze, decorated with underglaze black and overglaze brown and green enamels. | figures | 米白釉彩绘送子娘娘像 | 146stoneware
| Qing | China |
|
durom.1969.359 | 1969.359.jpg | data/raw/images/oriental/1969 | Pottery figure of Song Zi Niang Niang (Maiden Who Brings Child) holding a child in her arm, covered with buff yellow glaze, decorated with underglaze black and overglaze brown and green enamels. | figures | 米白釉彩绘送子娘娘像 | 146stoneware
| Qing | China |
|
durom.1960.4e.15 | 1960.4e.15.jpg | data/raw/images/oriental/1960 | One of an extensive collection of slides and glass plates. Black and white glass plate with an image of a two female figures standing at the base of a windmill. | Slide | null | 75glass
| null | England |
|
durom.1960.4e.15 | 1960.4e.15.jpg | data/raw/images/oriental/1960 | One of an extensive collection of slides and glass plates. Black and white glass plate with an image of a two female figures standing at the base of a windmill. | Slide | null | 75glass
| null | England |
|
durom.1960.4e.15 | 1960.4e.15.jpg | data/raw/images/oriental/1960 | One of an extensive collection of slides and glass plates. Black and white glass plate with an image of a two female figures standing at the base of a windmill. | Slide | null | 75glass
| null | England |
|
durom.1960.4e.15 | 1960.4e.15.jpg | data/raw/images/oriental/1960 | One of an extensive collection of slides and glass plates. Black and white glass plate with an image of a two female figures standing at the base of a windmill. | Slide | null | 75glass
| null | England |
|
durom.1960.4e.15 | 1960.4e.15.jpg | data/raw/images/oriental/1960 | One of an extensive collection of slides and glass plates. Black and white glass plate with an image of a two female figures standing at the base of a windmill. | Slide | null | 75glass
| null | England |
|
durom.2014.493 | 2014.493.jpg | data/raw/images/oriental/2014 | Silk fragment that has been embroidered and painted on the surface and then backed onto card. It is possible that this piece may be a section from a Chinese screen panel. The design depicts two women in traditional Chinese dress consisting of a blue and pink tunic over a long white skirt and a gold sash or belt around the waist. There is a small child stood in between the two women with a shaved head, apart from a small section at the side of the head. The child is wearing a pink tunic with embroidered yellow flowers on it, white trousers and red shoes. The two women have elaborately decorated hair with a pearl hair decoration at the side of the head. The lady in the foreground has a rigid fan in one hand that she is holding above her head and is bending down to touch the child on the arm. The second lady is stood behind a column and is peering out to look at the woman and child. Around the border of this scene are a series of embroidered flowers and foliage. | paintings | null | 136silk
| null | China |
|
durom.2014.493 | 2014.493.jpg | data/raw/images/oriental/2014 | Silk fragment that has been embroidered and painted on the surface and then backed onto card. It is possible that this piece may be a section from a Chinese screen panel. The design depicts two women in traditional Chinese dress consisting of a blue and pink tunic over a long white skirt and a gold sash or belt around the waist. There is a small child stood in between the two women with a shaved head, apart from a small section at the side of the head. The child is wearing a pink tunic with embroidered yellow flowers on it, white trousers and red shoes. The two women have elaborately decorated hair with a pearl hair decoration at the side of the head. The lady in the foreground has a rigid fan in one hand that she is holding above her head and is bending down to touch the child on the arm. The second lady is stood behind a column and is peering out to look at the woman and child. Around the border of this scene are a series of embroidered flowers and foliage. | paintings | null | 136silk
| null | China |
|
durom.2014.493 | 2014.493.jpg | data/raw/images/oriental/2014 | Silk fragment that has been embroidered and painted on the surface and then backed onto card. It is possible that this piece may be a section from a Chinese screen panel. The design depicts two women in traditional Chinese dress consisting of a blue and pink tunic over a long white skirt and a gold sash or belt around the waist. There is a small child stood in between the two women with a shaved head, apart from a small section at the side of the head. The child is wearing a pink tunic with embroidered yellow flowers on it, white trousers and red shoes. The two women have elaborately decorated hair with a pearl hair decoration at the side of the head. The lady in the foreground has a rigid fan in one hand that she is holding above her head and is bending down to touch the child on the arm. The second lady is stood behind a column and is peering out to look at the woman and child. Around the border of this scene are a series of embroidered flowers and foliage. | paintings | null | 136silk
| null | China |
|
durom.2014.493 | 2014.493.jpg | data/raw/images/oriental/2014 | Silk fragment that has been embroidered and painted on the surface and then backed onto card. It is possible that this piece may be a section from a Chinese screen panel. The design depicts two women in traditional Chinese dress consisting of a blue and pink tunic over a long white skirt and a gold sash or belt around the waist. There is a small child stood in between the two women with a shaved head, apart from a small section at the side of the head. The child is wearing a pink tunic with embroidered yellow flowers on it, white trousers and red shoes. The two women have elaborately decorated hair with a pearl hair decoration at the side of the head. The lady in the foreground has a rigid fan in one hand that she is holding above her head and is bending down to touch the child on the arm. The second lady is stood behind a column and is peering out to look at the woman and child. Around the border of this scene are a series of embroidered flowers and foliage. | paintings | null | 136silk
| null | China |
|
durom.2014.493 | 2014.493.jpg | data/raw/images/oriental/2014 | Silk fragment that has been embroidered and painted on the surface and then backed onto card. It is possible that this piece may be a section from a Chinese screen panel. The design depicts two women in traditional Chinese dress consisting of a blue and pink tunic over a long white skirt and a gold sash or belt around the waist. There is a small child stood in between the two women with a shaved head, apart from a small section at the side of the head. The child is wearing a pink tunic with embroidered yellow flowers on it, white trousers and red shoes. The two women have elaborately decorated hair with a pearl hair decoration at the side of the head. The lady in the foreground has a rigid fan in one hand that she is holding above her head and is bending down to touch the child on the arm. The second lady is stood behind a column and is peering out to look at the woman and child. Around the border of this scene are a series of embroidered flowers and foliage. | paintings | null | 136silk
| null | China |
|
durom.1956.yetts40.17 | 1956.yetts40.17a.jpg | data/raw/images/oriental/1950s | Slightly left of centre of the picture is a circular building with a tripple-roof, conical at the top and surmounted by a ball. It stands on a circular platform made up of triple marble terraces surrounded by marble balustrading, interrupted by steps which lead to the top. Overgrowth covers the foreground. To the right of the steps immediately below the building stand two figures. At the top and bottom of the steps to the right can be seen two pairs of tripod bronze incense-burners. Tiantan (the Altar of Heaven, is situated in the old Chinese City, approximately 3 miles south of the Imperial City at the end of and to the east of Qianmen. It was built in 1420 by the Ming Emperor Yongle when the court removed from Nanjing to Peking and was where both Ming and Qing emperors came to worship heaven and pray for good harvests. It was restored in 1539 and again in 1751. The site is constructed on a north-south axis. During Thomson's visit the Altar of Heaven complex covered the same area of ground as it did under the Ming - a double-walled enclosure, th outer wall measuring 1,860 by 1,750 yards, approximately three-and-a-half miles in circumference. Between the outer and inner walls was an area once covered by cypress trees (largely cut down during the Republic) and with two buildings for musicians and sacrificial animals. Within the inner wall are two separate sections: to the south the marble Altar of Heaven or Round Mound (see nos. 31&32), leading northwards to the Imperial Vault of Heaven (Huangqiongyu), which in turn leads to the Hall of Annual Prayers. The Hall of Annual Prayers (Qiniandian), seen in the photograph was where the emperor came at the beginning of spring to pray for a propitious year and good harvest. Thomson photographed the Hall which was restored and retiled in blue (under the Ming they were blue, yellow and green), in 1751by Qianlong. It was struck by lightning and burned down in 1889. The new Hall was completed in 1896. The original building was constructed of nanmu wood from Sichuan province and consisted of an upper roof supported by four large pillars 63 feet high (representing the twelve months and the twelve divisions of the day). In the centre of the floor ws a round marble slab with a dragon and phoenix pattern under a caisson ceiling painted with dragons. The new building closely copied the original, although supposedly constructd of Oregon pine from America. It stands 99 feet high, 85 feet across and is covered with dark blue tiles, which relfected the colour of the vessels and dress used during the ceremony. Qiniandian stands on a triple-stepped terrace of white marble reached by eight stairways. Text on photograph in copper-plate handwriting on the mount: " The Temple of Heaven, Peking." Title: Qiniandian (The Hall of Annual Prayers), at the Altar of Heaven. | photographs | null | 109paper
| null | China |
|
durom.1956.yetts40.17 | 1956.yetts40.17a.jpg | data/raw/images/oriental/1950s | Slightly left of centre of the picture is a circular building with a tripple-roof, conical at the top and surmounted by a ball. It stands on a circular platform made up of triple marble terraces surrounded by marble balustrading, interrupted by steps which lead to the top. Overgrowth covers the foreground. To the right of the steps immediately below the building stand two figures. At the top and bottom of the steps to the right can be seen two pairs of tripod bronze incense-burners. Tiantan (the Altar of Heaven, is situated in the old Chinese City, approximately 3 miles south of the Imperial City at the end of and to the east of Qianmen. It was built in 1420 by the Ming Emperor Yongle when the court removed from Nanjing to Peking and was where both Ming and Qing emperors came to worship heaven and pray for good harvests. It was restored in 1539 and again in 1751. The site is constructed on a north-south axis. During Thomson's visit the Altar of Heaven complex covered the same area of ground as it did under the Ming - a double-walled enclosure, th outer wall measuring 1,860 by 1,750 yards, approximately three-and-a-half miles in circumference. Between the outer and inner walls was an area once covered by cypress trees (largely cut down during the Republic) and with two buildings for musicians and sacrificial animals. Within the inner wall are two separate sections: to the south the marble Altar of Heaven or Round Mound (see nos. 31&32), leading northwards to the Imperial Vault of Heaven (Huangqiongyu), which in turn leads to the Hall of Annual Prayers. The Hall of Annual Prayers (Qiniandian), seen in the photograph was where the emperor came at the beginning of spring to pray for a propitious year and good harvest. Thomson photographed the Hall which was restored and retiled in blue (under the Ming they were blue, yellow and green), in 1751by Qianlong. It was struck by lightning and burned down in 1889. The new Hall was completed in 1896. The original building was constructed of nanmu wood from Sichuan province and consisted of an upper roof supported by four large pillars 63 feet high (representing the twelve months and the twelve divisions of the day). In the centre of the floor ws a round marble slab with a dragon and phoenix pattern under a caisson ceiling painted with dragons. The new building closely copied the original, although supposedly constructd of Oregon pine from America. It stands 99 feet high, 85 feet across and is covered with dark blue tiles, which relfected the colour of the vessels and dress used during the ceremony. Qiniandian stands on a triple-stepped terrace of white marble reached by eight stairways. Text on photograph in copper-plate handwriting on the mount: " The Temple of Heaven, Peking." Title: Qiniandian (The Hall of Annual Prayers), at the Altar of Heaven. | photographs | null | 109paper
| null | China |
|
durom.1956.yetts40.17 | 1956.yetts40.17a.jpg | data/raw/images/oriental/1950s | Slightly left of centre of the picture is a circular building with a tripple-roof, conical at the top and surmounted by a ball. It stands on a circular platform made up of triple marble terraces surrounded by marble balustrading, interrupted by steps which lead to the top. Overgrowth covers the foreground. To the right of the steps immediately below the building stand two figures. At the top and bottom of the steps to the right can be seen two pairs of tripod bronze incense-burners. Tiantan (the Altar of Heaven, is situated in the old Chinese City, approximately 3 miles south of the Imperial City at the end of and to the east of Qianmen. It was built in 1420 by the Ming Emperor Yongle when the court removed from Nanjing to Peking and was where both Ming and Qing emperors came to worship heaven and pray for good harvests. It was restored in 1539 and again in 1751. The site is constructed on a north-south axis. During Thomson's visit the Altar of Heaven complex covered the same area of ground as it did under the Ming - a double-walled enclosure, th outer wall measuring 1,860 by 1,750 yards, approximately three-and-a-half miles in circumference. Between the outer and inner walls was an area once covered by cypress trees (largely cut down during the Republic) and with two buildings for musicians and sacrificial animals. Within the inner wall are two separate sections: to the south the marble Altar of Heaven or Round Mound (see nos. 31&32), leading northwards to the Imperial Vault of Heaven (Huangqiongyu), which in turn leads to the Hall of Annual Prayers. The Hall of Annual Prayers (Qiniandian), seen in the photograph was where the emperor came at the beginning of spring to pray for a propitious year and good harvest. Thomson photographed the Hall which was restored and retiled in blue (under the Ming they were blue, yellow and green), in 1751by Qianlong. It was struck by lightning and burned down in 1889. The new Hall was completed in 1896. The original building was constructed of nanmu wood from Sichuan province and consisted of an upper roof supported by four large pillars 63 feet high (representing the twelve months and the twelve divisions of the day). In the centre of the floor ws a round marble slab with a dragon and phoenix pattern under a caisson ceiling painted with dragons. The new building closely copied the original, although supposedly constructd of Oregon pine from America. It stands 99 feet high, 85 feet across and is covered with dark blue tiles, which relfected the colour of the vessels and dress used during the ceremony. Qiniandian stands on a triple-stepped terrace of white marble reached by eight stairways. Text on photograph in copper-plate handwriting on the mount: " The Temple of Heaven, Peking." Title: Qiniandian (The Hall of Annual Prayers), at the Altar of Heaven. | photographs | null | 109paper
| null | China |
|
durom.1956.yetts40.17 | 1956.yetts40.17a.jpg | data/raw/images/oriental/1950s | Slightly left of centre of the picture is a circular building with a tripple-roof, conical at the top and surmounted by a ball. It stands on a circular platform made up of triple marble terraces surrounded by marble balustrading, interrupted by steps which lead to the top. Overgrowth covers the foreground. To the right of the steps immediately below the building stand two figures. At the top and bottom of the steps to the right can be seen two pairs of tripod bronze incense-burners. Tiantan (the Altar of Heaven, is situated in the old Chinese City, approximately 3 miles south of the Imperial City at the end of and to the east of Qianmen. It was built in 1420 by the Ming Emperor Yongle when the court removed from Nanjing to Peking and was where both Ming and Qing emperors came to worship heaven and pray for good harvests. It was restored in 1539 and again in 1751. The site is constructed on a north-south axis. During Thomson's visit the Altar of Heaven complex covered the same area of ground as it did under the Ming - a double-walled enclosure, th outer wall measuring 1,860 by 1,750 yards, approximately three-and-a-half miles in circumference. Between the outer and inner walls was an area once covered by cypress trees (largely cut down during the Republic) and with two buildings for musicians and sacrificial animals. Within the inner wall are two separate sections: to the south the marble Altar of Heaven or Round Mound (see nos. 31&32), leading northwards to the Imperial Vault of Heaven (Huangqiongyu), which in turn leads to the Hall of Annual Prayers. The Hall of Annual Prayers (Qiniandian), seen in the photograph was where the emperor came at the beginning of spring to pray for a propitious year and good harvest. Thomson photographed the Hall which was restored and retiled in blue (under the Ming they were blue, yellow and green), in 1751by Qianlong. It was struck by lightning and burned down in 1889. The new Hall was completed in 1896. The original building was constructed of nanmu wood from Sichuan province and consisted of an upper roof supported by four large pillars 63 feet high (representing the twelve months and the twelve divisions of the day). In the centre of the floor ws a round marble slab with a dragon and phoenix pattern under a caisson ceiling painted with dragons. The new building closely copied the original, although supposedly constructd of Oregon pine from America. It stands 99 feet high, 85 feet across and is covered with dark blue tiles, which relfected the colour of the vessels and dress used during the ceremony. Qiniandian stands on a triple-stepped terrace of white marble reached by eight stairways. Text on photograph in copper-plate handwriting on the mount: " The Temple of Heaven, Peking." Title: Qiniandian (The Hall of Annual Prayers), at the Altar of Heaven. | photographs | null | 109paper
| null | China |
|
durom.1956.yetts40.17 | 1956.yetts40.17a.jpg | data/raw/images/oriental/1950s | Slightly left of centre of the picture is a circular building with a tripple-roof, conical at the top and surmounted by a ball. It stands on a circular platform made up of triple marble terraces surrounded by marble balustrading, interrupted by steps which lead to the top. Overgrowth covers the foreground. To the right of the steps immediately below the building stand two figures. At the top and bottom of the steps to the right can be seen two pairs of tripod bronze incense-burners. Tiantan (the Altar of Heaven, is situated in the old Chinese City, approximately 3 miles south of the Imperial City at the end of and to the east of Qianmen. It was built in 1420 by the Ming Emperor Yongle when the court removed from Nanjing to Peking and was where both Ming and Qing emperors came to worship heaven and pray for good harvests. It was restored in 1539 and again in 1751. The site is constructed on a north-south axis. During Thomson's visit the Altar of Heaven complex covered the same area of ground as it did under the Ming - a double-walled enclosure, th outer wall measuring 1,860 by 1,750 yards, approximately three-and-a-half miles in circumference. Between the outer and inner walls was an area once covered by cypress trees (largely cut down during the Republic) and with two buildings for musicians and sacrificial animals. Within the inner wall are two separate sections: to the south the marble Altar of Heaven or Round Mound (see nos. 31&32), leading northwards to the Imperial Vault of Heaven (Huangqiongyu), which in turn leads to the Hall of Annual Prayers. The Hall of Annual Prayers (Qiniandian), seen in the photograph was where the emperor came at the beginning of spring to pray for a propitious year and good harvest. Thomson photographed the Hall which was restored and retiled in blue (under the Ming they were blue, yellow and green), in 1751by Qianlong. It was struck by lightning and burned down in 1889. The new Hall was completed in 1896. The original building was constructed of nanmu wood from Sichuan province and consisted of an upper roof supported by four large pillars 63 feet high (representing the twelve months and the twelve divisions of the day). In the centre of the floor ws a round marble slab with a dragon and phoenix pattern under a caisson ceiling painted with dragons. The new building closely copied the original, although supposedly constructd of Oregon pine from America. It stands 99 feet high, 85 feet across and is covered with dark blue tiles, which relfected the colour of the vessels and dress used during the ceremony. Qiniandian stands on a triple-stepped terrace of white marble reached by eight stairways. Text on photograph in copper-plate handwriting on the mount: " The Temple of Heaven, Peking." Title: Qiniandian (The Hall of Annual Prayers), at the Altar of Heaven. | photographs | null | 109paper
| null | China |
|
durom.2012.9 | 2012.9-tt.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 | 53ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-tt.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 | 53ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-tt.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 | 53ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-tt.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 | 53ceramic
| Heisei Period | Japan (country) |
|
durom.2012.9 | 2012.9-tt.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 | 53ceramic
| Heisei Period | Japan (country) |