Pair of weights in the shape of recumbent leopard - MIHO MUSEUM

Tomb Figure: Horse - MIHO MUSEUM

Vessels

错银卧牛青铜镇，长10厘米，高5厘米，于1956年在安徽寿县出土，战国时期文物，现收藏于中国国家博物馆。 《楚辞九歌》有“白玉兮为镇”的词句，但考古发现中极少见到玉质的镇，质地以铜为多，其工艺有銮金或错金…

A different style of ritual art developed in the state of Chu in South China. In addition to bronze vessels, lacquered wood artifacts expanded the repertory of ritual implements. This extraordinary sculpture was probably a drum stand for supporting a suspended drum in ritual ceremonies. It is unique among other excavated drum stands of the Chu, which typically show two birds standing on tigers. The theme of the bird stepping on the serpent was common in the Chu visual culture. Yet the slender proportions and seemingly flimsy structure of this particular set raise the question of whether it was utilitarian or mostly served symbolic functions in the tomb. The birds' and serpents' bodies have designs painted in red lacquer and yellow pigment against the black lacquer. Scientific analyses confirm the additional use of a blue or green pigment that has been discolored over time.

Tomb figure of a female attendant (1999-69)

Horned Divine Figure - MIHO MUSEUM

One of the earliest forms of Chinese writing is preserved in the simple inscriptions on bronze vessels from the late Shang period. Integrally cast into the bronzes — as opposed to being incised into the vessel after the metal had hardened — these marks were usually placed on the interior wall or floor of a vessel; the lids of covered vessels had matching marks on their undersides. Shang inscriptions tend to be highly pictographic, with many resembling birds, weapons, or humanoid figures. The inscriptions are not always translatable into modern Chinese characters, but most are identifiable as the names of either the aristocratic owners who commissioned the vessels, or the ancestors to whom they were dedicated. During the succeeding Zhou dynasty, written characters became more standardized and bronze inscriptions lengthened, often commemorating an event in which the person commissioning the bronze was involved. Bronze inscriptions were thus akin to historical texts worthy of preservation and study.

Pair of tigers China China, Western Zhou period

中国青铜器上的装饰。 又称“蛇纹”。 青铜器纹饰之一，龙形巨首有两角，双目圆睁，身似蛇形，有鳞纹，蟠曲如球状，空间填以兽、鸟和鱼纹等。 又称“拐子纹”，起源于草龙纹，实质是龙纹的一种…

即蒲席的纹样，由三种不同方向的平行线交叉组织，用浅而宽的横线或斜线把玉器表面分割成近乎蜂房排列的六角形纹样，此样纹流行于汉代，宋明之间也有少量制作。 蚕纹是传统装饰纹样的一种，是中国古代青铜器上的装…

#花舞大唐春# 鸳鸯莲瓣纹金碗 高5.5口径13.5厘米 重391克 @陕西历史博物馆 藏，藏品号：七—275 共出土两件，纹饰、造型均相同，是目前已知唐代金银器中最富丽华美的器物之一。金碗为锤揲成型，通体纹饰錾刻而成，...

中国传统纹样素材·宝相花 宝相花是中国传统装饰纹样之一，随着佛教的传入而流行开来。经过多次的发展和加工提炼，在隋唐时期已经非常盛行，甚至有“大唐之花”的别称。常出现在壁画、丝织物、瓷器等文物上。其构成主要以牡丹、莲花为主体，中间会搭配其他大小和形状各异的花叶。——内容源自：纹藏中国

官窑青釉圆洗，宋，高6.4厘米，口径22.5厘米，足径19厘米。 　　洗敞口，器身近直，洗里坦平，圈足矮宽，底部边沿露胎无釉。造型端庄典雅。通体施青釉，釉呈粉青色，纯净莹澈。釉面上，金丝般的开片纵横交织，片纹间又闪现出条条冰裂纹，优美和谐。 　　这件宋代官窑圆洗是宋时宫廷御用器，在造型、工艺及装饰技巧方面都十分考究，尤以釉色及片纹突出。在釉层较薄的器口或未被釉层遮盖的器底部分，形成“紫口铁足”，使器物愈显古朴庄重。 　　清代乾隆皇帝尤为喜爱，曾为此洗拟诗一首，由皇家玉作匠师以楷书镌刻于洗之外底。诗曰： 　　修内遗来六百年， 喜他脆器尚完全。 　　况非髻垦不入市， 却足清真可设筵...

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