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durom.2014.62 | 2014.62 bb.jpg | data/raw/images/oriental/2014 | North Vietnam communist party badge from the 1970s. This particular badge is for the political party 'Communist Youth Union of Ho Chi Minh City' and is mayed from a metal alloy, with a pin attached to the back to allow it to be attached to clothing. The front of the badge is enamelled and shows an arm with a green sleeve holding a red flag with a bronze star in the centre. The phrase 'Đoàn Thanh niên Cộng sản Hồ Chí Minh' (which translates as Communist Youth Union of Ho Chi Minh City) is written underneath in red writing on a silver background. | 159badges
| null | bronze | 21st century | Vietnam |
|
durom.2014.62 | 2014.62 bb.jpg | data/raw/images/oriental/2014 | North Vietnam communist party badge from the 1970s. This particular badge is for the political party 'Communist Youth Union of Ho Chi Minh City' and is mayed from a metal alloy, with a pin attached to the back to allow it to be attached to clothing. The front of the badge is enamelled and shows an arm with a green sleeve holding a red flag with a bronze star in the centre. The phrase 'Đoàn Thanh niên Cộng sản Hồ Chí Minh' (which translates as Communist Youth Union of Ho Chi Minh City) is written underneath in red writing on a silver background. | 159badges
| null | bronze | 21st century | Vietnam |
|
durom.2014.62 | 2014.62 bb.jpg | data/raw/images/oriental/2014 | North Vietnam communist party badge from the 1970s. This particular badge is for the political party 'Communist Youth Union of Ho Chi Minh City' and is mayed from a metal alloy, with a pin attached to the back to allow it to be attached to clothing. The front of the badge is enamelled and shows an arm with a green sleeve holding a red flag with a bronze star in the centre. The phrase 'Đoàn Thanh niên Cộng sản Hồ Chí Minh' (which translates as Communist Youth Union of Ho Chi Minh City) is written underneath in red writing on a silver background. | 159badges
| null | bronze | 21st century | Vietnam |
|
durom.2014.62 | 2014.62 bb.jpg | data/raw/images/oriental/2014 | North Vietnam communist party badge from the 1970s. This particular badge is for the political party 'Communist Youth Union of Ho Chi Minh City' and is mayed from a metal alloy, with a pin attached to the back to allow it to be attached to clothing. The front of the badge is enamelled and shows an arm with a green sleeve holding a red flag with a bronze star in the centre. The phrase 'Đoàn Thanh niên Cộng sản Hồ Chí Minh' (which translates as Communist Youth Union of Ho Chi Minh City) is written underneath in red writing on a silver background. | 159badges
| null | bronze | 21st century | Vietnam |
|
durom.2014.62 | 2014.62 bb.jpg | data/raw/images/oriental/2014 | North Vietnam communist party badge from the 1970s. This particular badge is for the political party 'Communist Youth Union of Ho Chi Minh City' and is mayed from a metal alloy, with a pin attached to the back to allow it to be attached to clothing. The front of the badge is enamelled and shows an arm with a green sleeve holding a red flag with a bronze star in the centre. The phrase 'Đoàn Thanh niên Cộng sản Hồ Chí Minh' (which translates as Communist Youth Union of Ho Chi Minh City) is written underneath in red writing on a silver background. | 159badges
| null | bronze | 21st century | Vietnam |
|
durom.1962.13.3 | 1962.13.3.jpg | data/raw/images/oriental/1962 | Colour woodblock print, depicting the warrior Oboshi Rikiya Yoshikane, from the series Seichu gishi den (Biographies of Loyal Retainers), by Utagawa Kuniyoshi, Japan, c. 1850 (signed Ichiyusai Kuniyoshi ga) | 138Woodblock Print
| null | paper | Edo Period | Japan (country) |
|
durom.1962.13.3 | 1962.13.3.jpg | data/raw/images/oriental/1962 | Colour woodblock print, depicting the warrior Oboshi Rikiya Yoshikane, from the series Seichu gishi den (Biographies of Loyal Retainers), by Utagawa Kuniyoshi, Japan, c. 1850 (signed Ichiyusai Kuniyoshi ga) | 138Woodblock Print
| null | paper | Edo Period | Japan (country) |
|
durom.1962.13.3 | 1962.13.3.jpg | data/raw/images/oriental/1962 | Colour woodblock print, depicting the warrior Oboshi Rikiya Yoshikane, from the series Seichu gishi den (Biographies of Loyal Retainers), by Utagawa Kuniyoshi, Japan, c. 1850 (signed Ichiyusai Kuniyoshi ga) | 138Woodblock Print
| null | paper | Edo Period | Japan (country) |
|
durom.1962.13.3 | 1962.13.3.jpg | data/raw/images/oriental/1962 | Colour woodblock print, depicting the warrior Oboshi Rikiya Yoshikane, from the series Seichu gishi den (Biographies of Loyal Retainers), by Utagawa Kuniyoshi, Japan, c. 1850 (signed Ichiyusai Kuniyoshi ga) | 138Woodblock Print
| null | paper | Edo Period | Japan (country) |
|
durom.1962.13.3 | 1962.13.3.jpg | data/raw/images/oriental/1962 | Colour woodblock print, depicting the warrior Oboshi Rikiya Yoshikane, from the series Seichu gishi den (Biographies of Loyal Retainers), by Utagawa Kuniyoshi, Japan, c. 1850 (signed Ichiyusai Kuniyoshi ga) | 138Woodblock Print
| null | paper | Edo Period | Japan (country) |
|
durom.1969.207 | 1969.207-uu.jpg | data/raw/images/oriental/1969 | Porcelain bowl, covered on the exterior sides with Jihong glaze, which is brownish tinged where it runs thin under the rim, and is deep where it runs thick around the ring foot. The palm eyes are less obvious under the rim where the red glaze is thin. | 177bowls
| 雍正款霁红釉撇口碗 | porcelain | Yongzheng | Jingdezhen |
|
durom.1969.207 | 1969.207-uu.jpg | data/raw/images/oriental/1969 | Porcelain bowl, covered on the exterior sides with Jihong glaze, which is brownish tinged where it runs thin under the rim, and is deep where it runs thick around the ring foot. The palm eyes are less obvious under the rim where the red glaze is thin. | 177bowls
| 雍正款霁红釉撇口碗 | porcelain | Yongzheng | Jingdezhen |
|
durom.1969.207 | 1969.207-uu.jpg | data/raw/images/oriental/1969 | Porcelain bowl, covered on the exterior sides with Jihong glaze, which is brownish tinged where it runs thin under the rim, and is deep where it runs thick around the ring foot. The palm eyes are less obvious under the rim where the red glaze is thin. | 177bowls
| 雍正款霁红釉撇口碗 | porcelain | Yongzheng | Jingdezhen |
|
durom.1969.207 | 1969.207-uu.jpg | data/raw/images/oriental/1969 | Porcelain bowl, covered on the exterior sides with Jihong glaze, which is brownish tinged where it runs thin under the rim, and is deep where it runs thick around the ring foot. The palm eyes are less obvious under the rim where the red glaze is thin. | 177bowls
| 雍正款霁红釉撇口碗 | porcelain | Yongzheng | Jingdezhen |
|
durom.1969.207 | 1969.207-uu.jpg | data/raw/images/oriental/1969 | Porcelain bowl, covered on the exterior sides with Jihong glaze, which is brownish tinged where it runs thin under the rim, and is deep where it runs thick around the ring foot. The palm eyes are less obvious under the rim where the red glaze is thin. | 177bowls
| 雍正款霁红釉撇口碗 | porcelain | Yongzheng | Jingdezhen |
|
durom.2013.42 | 2013.42-d2.jpg | data/raw/images/oriental/2013 | A six panel folding screen with silk embroidery on a silk panel, which is then backed onto a cotton background with a wooden frame around the edge of each panel and metal corners. The scene depicted is that of a lake with varying shades of blue dye representing the water, pink and yellow lily blossoms with multiple lily pads and reeds poking out from the water. On the third panel from the left are two ducks swimming next to each other. The drake is depicted with a white underbelly, brown and orange feathers, orange beak and black eye. The female is in the foreground with pink feathers around the neck, orange plumage near to the tail end of the bird, white body, black head and orange beak. On the far left panel there are three columns of Korean text embroidered in a navy blue thread, with a smaller column of text on the left and the central and right columns being longer. The reverse of the panels are plain | 111Screen
| null | silk | Republic of Korea (period) | South Korea |
|
durom.2013.42 | 2013.42-d2.jpg | data/raw/images/oriental/2013 | A six panel folding screen with silk embroidery on a silk panel, which is then backed onto a cotton background with a wooden frame around the edge of each panel and metal corners. The scene depicted is that of a lake with varying shades of blue dye representing the water, pink and yellow lily blossoms with multiple lily pads and reeds poking out from the water. On the third panel from the left are two ducks swimming next to each other. The drake is depicted with a white underbelly, brown and orange feathers, orange beak and black eye. The female is in the foreground with pink feathers around the neck, orange plumage near to the tail end of the bird, white body, black head and orange beak. On the far left panel there are three columns of Korean text embroidered in a navy blue thread, with a smaller column of text on the left and the central and right columns being longer. The reverse of the panels are plain | 111Screen
| null | silk | Republic of Korea (period) | South Korea |
|
durom.2013.42 | 2013.42-d2.jpg | data/raw/images/oriental/2013 | A six panel folding screen with silk embroidery on a silk panel, which is then backed onto a cotton background with a wooden frame around the edge of each panel and metal corners. The scene depicted is that of a lake with varying shades of blue dye representing the water, pink and yellow lily blossoms with multiple lily pads and reeds poking out from the water. On the third panel from the left are two ducks swimming next to each other. The drake is depicted with a white underbelly, brown and orange feathers, orange beak and black eye. The female is in the foreground with pink feathers around the neck, orange plumage near to the tail end of the bird, white body, black head and orange beak. On the far left panel there are three columns of Korean text embroidered in a navy blue thread, with a smaller column of text on the left and the central and right columns being longer. The reverse of the panels are plain | 111Screen
| null | silk | Republic of Korea (period) | South Korea |
|
durom.2013.42 | 2013.42-d2.jpg | data/raw/images/oriental/2013 | A six panel folding screen with silk embroidery on a silk panel, which is then backed onto a cotton background with a wooden frame around the edge of each panel and metal corners. The scene depicted is that of a lake with varying shades of blue dye representing the water, pink and yellow lily blossoms with multiple lily pads and reeds poking out from the water. On the third panel from the left are two ducks swimming next to each other. The drake is depicted with a white underbelly, brown and orange feathers, orange beak and black eye. The female is in the foreground with pink feathers around the neck, orange plumage near to the tail end of the bird, white body, black head and orange beak. On the far left panel there are three columns of Korean text embroidered in a navy blue thread, with a smaller column of text on the left and the central and right columns being longer. The reverse of the panels are plain | 111Screen
| null | silk | Republic of Korea (period) | South Korea |
|
durom.2013.42 | 2013.42-d2.jpg | data/raw/images/oriental/2013 | A six panel folding screen with silk embroidery on a silk panel, which is then backed onto a cotton background with a wooden frame around the edge of each panel and metal corners. The scene depicted is that of a lake with varying shades of blue dye representing the water, pink and yellow lily blossoms with multiple lily pads and reeds poking out from the water. On the third panel from the left are two ducks swimming next to each other. The drake is depicted with a white underbelly, brown and orange feathers, orange beak and black eye. The female is in the foreground with pink feathers around the neck, orange plumage near to the tail end of the bird, white body, black head and orange beak. On the far left panel there are three columns of Korean text embroidered in a navy blue thread, with a smaller column of text on the left and the central and right columns being longer. The reverse of the panels are plain | 111Screen
| null | silk | Republic of Korea (period) | South Korea |
|
durom.1983.21 | 1983.21-d1.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | 177bowls
| null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
durom.1983.21 | 1983.21-d1.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | 177bowls
| null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
durom.1983.21 | 1983.21-d1.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | 177bowls
| null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
durom.1983.21 | 1983.21-d1.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | 177bowls
| null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
durom.1983.21 | 1983.21-d1.jpg | data/raw/images/oriental/1983 | Persian calligraphic bowl, enamel with 'Minai' work. Rounded sides decorated in red, green and blue on white ground, with two opposed equestrian figures separated by a tree with birds at the base and a Kufic inscription round the rim inside. It has calligraphic decoration on the outside as well. | 177bowls
| null | ceramic | Seljuq-Ilkhan Dynasty | Iran |
|
eg1824 | eg1824-n2120-ff.jpg | data/raw/images/egyptian/eg | tiny blue-green faience amulet in the shape of a seated cat with a suspension loop behind the body | 145amulets
| cat amulet | faience | 3rd Intermediate Period | Egypt |
|
eg1824 | eg1824-n2120-ff.jpg | data/raw/images/egyptian/eg | tiny blue-green faience amulet in the shape of a seated cat with a suspension loop behind the body | 145amulets
| cat amulet | faience | 3rd Intermediate Period | Egypt |
|
eg1824 | eg1824-n2120-ff.jpg | data/raw/images/egyptian/eg | tiny blue-green faience amulet in the shape of a seated cat with a suspension loop behind the body | 145amulets
| cat amulet | faience | 3rd Intermediate Period | Egypt |
|
eg1824 | eg1824-n2120-ff.jpg | data/raw/images/egyptian/eg | tiny blue-green faience amulet in the shape of a seated cat with a suspension loop behind the body | 145amulets
| cat amulet | faience | 3rd Intermediate Period | Egypt |
|
eg1824 | eg1824-n2120-ff.jpg | data/raw/images/egyptian/eg | tiny blue-green faience amulet in the shape of a seated cat with a suspension loop behind the body | 145amulets
| cat amulet | faience | 3rd Intermediate Period | Egypt |
|
durom.2014.445.2 | 2014.445.2 bb.jpg | data/raw/images/oriental/2014 | Vietnamese banknote in the denomination of 2000 dong, which has been printed in green, brown, red, pink and blue ink. On the front of the note is the image of the former North Vietnamese President Ho Chi Minh. He is represented face on looking at the viewer with a smile on his face, long beard going beyond his chin, greying/white hair and bushy eyebrows with a buttoned up white shirt. Above him is the legend written in Vietnamese of 'Cộng hòa Xã hội chủ nghĩa Việt Nam', which translates as the Socialist Republic of Vietnam. In the upper right and lower left of the note is the denomination of the note. Underneath Ho Chi Minh is the legend written in Vietnamese 'Hai Nghìn Đồng' which translates to Two Thousand Dong. To the left of him is the serial number of the note with the state emblem of Vietnam next to it. On the reverse is an image of four workers in a factory working at a mechanised loom. They are all wearing dark dungarees, white short sleeved top and scarves or hats on their heads. There are scroll like designs around the edge of the note. The denomination in numerical form and in Vietnamese is in the upper right, bottom centre and lower left corner. The title at the top of the note reads 'Ngân hàng Nhà nước Việt Nam' which translates to the State Bank of Vietnam. | 317paper money
| 2000 dong | paper | null | Vietnam |
|
durom.2014.445.2 | 2014.445.2 bb.jpg | data/raw/images/oriental/2014 | Vietnamese banknote in the denomination of 2000 dong, which has been printed in green, brown, red, pink and blue ink. On the front of the note is the image of the former North Vietnamese President Ho Chi Minh. He is represented face on looking at the viewer with a smile on his face, long beard going beyond his chin, greying/white hair and bushy eyebrows with a buttoned up white shirt. Above him is the legend written in Vietnamese of 'Cộng hòa Xã hội chủ nghĩa Việt Nam', which translates as the Socialist Republic of Vietnam. In the upper right and lower left of the note is the denomination of the note. Underneath Ho Chi Minh is the legend written in Vietnamese 'Hai Nghìn Đồng' which translates to Two Thousand Dong. To the left of him is the serial number of the note with the state emblem of Vietnam next to it. On the reverse is an image of four workers in a factory working at a mechanised loom. They are all wearing dark dungarees, white short sleeved top and scarves or hats on their heads. There are scroll like designs around the edge of the note. The denomination in numerical form and in Vietnamese is in the upper right, bottom centre and lower left corner. The title at the top of the note reads 'Ngân hàng Nhà nước Việt Nam' which translates to the State Bank of Vietnam. | 317paper money
| 2000 dong | paper | null | Vietnam |
|
durom.2014.445.2 | 2014.445.2 bb.jpg | data/raw/images/oriental/2014 | Vietnamese banknote in the denomination of 2000 dong, which has been printed in green, brown, red, pink and blue ink. On the front of the note is the image of the former North Vietnamese President Ho Chi Minh. He is represented face on looking at the viewer with a smile on his face, long beard going beyond his chin, greying/white hair and bushy eyebrows with a buttoned up white shirt. Above him is the legend written in Vietnamese of 'Cộng hòa Xã hội chủ nghĩa Việt Nam', which translates as the Socialist Republic of Vietnam. In the upper right and lower left of the note is the denomination of the note. Underneath Ho Chi Minh is the legend written in Vietnamese 'Hai Nghìn Đồng' which translates to Two Thousand Dong. To the left of him is the serial number of the note with the state emblem of Vietnam next to it. On the reverse is an image of four workers in a factory working at a mechanised loom. They are all wearing dark dungarees, white short sleeved top and scarves or hats on their heads. There are scroll like designs around the edge of the note. The denomination in numerical form and in Vietnamese is in the upper right, bottom centre and lower left corner. The title at the top of the note reads 'Ngân hàng Nhà nước Việt Nam' which translates to the State Bank of Vietnam. | 317paper money
| 2000 dong | paper | null | Vietnam |
|
durom.2014.445.2 | 2014.445.2 bb.jpg | data/raw/images/oriental/2014 | Vietnamese banknote in the denomination of 2000 dong, which has been printed in green, brown, red, pink and blue ink. On the front of the note is the image of the former North Vietnamese President Ho Chi Minh. He is represented face on looking at the viewer with a smile on his face, long beard going beyond his chin, greying/white hair and bushy eyebrows with a buttoned up white shirt. Above him is the legend written in Vietnamese of 'Cộng hòa Xã hội chủ nghĩa Việt Nam', which translates as the Socialist Republic of Vietnam. In the upper right and lower left of the note is the denomination of the note. Underneath Ho Chi Minh is the legend written in Vietnamese 'Hai Nghìn Đồng' which translates to Two Thousand Dong. To the left of him is the serial number of the note with the state emblem of Vietnam next to it. On the reverse is an image of four workers in a factory working at a mechanised loom. They are all wearing dark dungarees, white short sleeved top and scarves or hats on their heads. There are scroll like designs around the edge of the note. The denomination in numerical form and in Vietnamese is in the upper right, bottom centre and lower left corner. The title at the top of the note reads 'Ngân hàng Nhà nước Việt Nam' which translates to the State Bank of Vietnam. | 317paper money
| 2000 dong | paper | null | Vietnam |
|
durom.2014.445.2 | 2014.445.2 bb.jpg | data/raw/images/oriental/2014 | Vietnamese banknote in the denomination of 2000 dong, which has been printed in green, brown, red, pink and blue ink. On the front of the note is the image of the former North Vietnamese President Ho Chi Minh. He is represented face on looking at the viewer with a smile on his face, long beard going beyond his chin, greying/white hair and bushy eyebrows with a buttoned up white shirt. Above him is the legend written in Vietnamese of 'Cộng hòa Xã hội chủ nghĩa Việt Nam', which translates as the Socialist Republic of Vietnam. In the upper right and lower left of the note is the denomination of the note. Underneath Ho Chi Minh is the legend written in Vietnamese 'Hai Nghìn Đồng' which translates to Two Thousand Dong. To the left of him is the serial number of the note with the state emblem of Vietnam next to it. On the reverse is an image of four workers in a factory working at a mechanised loom. They are all wearing dark dungarees, white short sleeved top and scarves or hats on their heads. There are scroll like designs around the edge of the note. The denomination in numerical form and in Vietnamese is in the upper right, bottom centre and lower left corner. The title at the top of the note reads 'Ngân hàng Nhà nước Việt Nam' which translates to the State Bank of Vietnam. | 317paper money
| 2000 dong | paper | null | Vietnam |
|
durom.2013.70.16 | 2013.70.16-bb.jpg | data/raw/images/oriental/2013 | Playing card. Ace of Clubs. On the face of the card is an image of a building in North Korea. Reverse of the card shows 10 images relating to North Korea, including Pyongyang, the friendship arch, statue of Kim Il Sung, and an image of Kim Jong Un. | 330playing cards
| null | cards | null | China |
|
durom.2013.70.16 | 2013.70.16-bb.jpg | data/raw/images/oriental/2013 | Playing card. Ace of Clubs. On the face of the card is an image of a building in North Korea. Reverse of the card shows 10 images relating to North Korea, including Pyongyang, the friendship arch, statue of Kim Il Sung, and an image of Kim Jong Un. | 330playing cards
| null | cards | null | China |
|
durom.2013.70.16 | 2013.70.16-bb.jpg | data/raw/images/oriental/2013 | Playing card. Ace of Clubs. On the face of the card is an image of a building in North Korea. Reverse of the card shows 10 images relating to North Korea, including Pyongyang, the friendship arch, statue of Kim Il Sung, and an image of Kim Jong Un. | 330playing cards
| null | cards | null | China |
|
durom.2013.70.16 | 2013.70.16-bb.jpg | data/raw/images/oriental/2013 | Playing card. Ace of Clubs. On the face of the card is an image of a building in North Korea. Reverse of the card shows 10 images relating to North Korea, including Pyongyang, the friendship arch, statue of Kim Il Sung, and an image of Kim Jong Un. | 330playing cards
| null | cards | null | China |
|
durom.2013.70.16 | 2013.70.16-bb.jpg | data/raw/images/oriental/2013 | Playing card. Ace of Clubs. On the face of the card is an image of a building in North Korea. Reverse of the card shows 10 images relating to North Korea, including Pyongyang, the friendship arch, statue of Kim Il Sung, and an image of Kim Jong Un. | 330playing cards
| null | cards | null | China |
|
durom.1963.46 | 1963.46.-bb.jpg | data/raw/images/oriental/1963 | Fragment of sculpture, with upper body and head of a figure. | 245figures
| null | sandstone | Medieval, Gandhara Period | Asia, Indian subcontinent, India, North, Gandhara |
|
durom.1963.46 | 1963.46.-bb.jpg | data/raw/images/oriental/1963 | Fragment of sculpture, with upper body and head of a figure. | 245figures
| null | sandstone | Medieval, Gandhara Period | Asia, Indian subcontinent, India, North, Gandhara |
|
durom.1963.46 | 1963.46.-bb.jpg | data/raw/images/oriental/1963 | Fragment of sculpture, with upper body and head of a figure. | 245figures
| null | sandstone | Medieval, Gandhara Period | Asia, Indian subcontinent, India, North, Gandhara |
|
durom.1963.46 | 1963.46.-bb.jpg | data/raw/images/oriental/1963 | Fragment of sculpture, with upper body and head of a figure. | 245figures
| null | sandstone | Medieval, Gandhara Period | Asia, Indian subcontinent, India, North, Gandhara |
|
durom.1963.46 | 1963.46.-bb.jpg | data/raw/images/oriental/1963 | Fragment of sculpture, with upper body and head of a figure. | 245figures
| null | sandstone | Medieval, Gandhara Period | Asia, Indian subcontinent, India, North, Gandhara |
|
durom.1960.1859 | 1960.1859.jpg | data/raw/images/oriental/1960 | Coral snuff bottle, carved into the shape of two monkeys sitting on a gourd-shape object with peach branches. The monkeys are wearing hats and playing with peaches. | 385snuff bottles
| 珊瑚猴戏纹鼻烟壶 | coral | Qing | China |
|
durom.1960.1859 | 1960.1859.jpg | data/raw/images/oriental/1960 | Coral snuff bottle, carved into the shape of two monkeys sitting on a gourd-shape object with peach branches. The monkeys are wearing hats and playing with peaches. | 385snuff bottles
| 珊瑚猴戏纹鼻烟壶 | coral | Qing | China |
|
durom.1960.1859 | 1960.1859.jpg | data/raw/images/oriental/1960 | Coral snuff bottle, carved into the shape of two monkeys sitting on a gourd-shape object with peach branches. The monkeys are wearing hats and playing with peaches. | 385snuff bottles
| 珊瑚猴戏纹鼻烟壶 | coral | Qing | China |
|
durom.1960.1859 | 1960.1859.jpg | data/raw/images/oriental/1960 | Coral snuff bottle, carved into the shape of two monkeys sitting on a gourd-shape object with peach branches. The monkeys are wearing hats and playing with peaches. | 385snuff bottles
| 珊瑚猴戏纹鼻烟壶 | coral | Qing | China |
|
durom.1960.1859 | 1960.1859.jpg | data/raw/images/oriental/1960 | Coral snuff bottle, carved into the shape of two monkeys sitting on a gourd-shape object with peach branches. The monkeys are wearing hats and playing with peaches. | 385snuff bottles
| 珊瑚猴戏纹鼻烟壶 | coral | Qing | China |
|
durom.1960.3541 | 1960.3541-uu.jpg | data/raw/images/oriental/1960 | Soapstone carving of a man and a woman smoking opium in bed. The couple are lying sideways on either end of a long pillow. Between them there is a tray with several jars and a lamp. The woman is resting on her left arm, and her right hand is holding an opium pipe attached with an ornament. The man is lighting opium through the lamp. There are traces of paint over the woman’s hair and near the man’s left foot. | 245figures
| 滑石雕瘾君子像 | soapstone | null | China |
|
durom.1960.3541 | 1960.3541-uu.jpg | data/raw/images/oriental/1960 | Soapstone carving of a man and a woman smoking opium in bed. The couple are lying sideways on either end of a long pillow. Between them there is a tray with several jars and a lamp. The woman is resting on her left arm, and her right hand is holding an opium pipe attached with an ornament. The man is lighting opium through the lamp. There are traces of paint over the woman’s hair and near the man’s left foot. | 245figures
| 滑石雕瘾君子像 | soapstone | null | China |
|
durom.1960.3541 | 1960.3541-uu.jpg | data/raw/images/oriental/1960 | Soapstone carving of a man and a woman smoking opium in bed. The couple are lying sideways on either end of a long pillow. Between them there is a tray with several jars and a lamp. The woman is resting on her left arm, and her right hand is holding an opium pipe attached with an ornament. The man is lighting opium through the lamp. There are traces of paint over the woman’s hair and near the man’s left foot. | 245figures
| 滑石雕瘾君子像 | soapstone | null | China |
|
durom.1960.3541 | 1960.3541-uu.jpg | data/raw/images/oriental/1960 | Soapstone carving of a man and a woman smoking opium in bed. The couple are lying sideways on either end of a long pillow. Between them there is a tray with several jars and a lamp. The woman is resting on her left arm, and her right hand is holding an opium pipe attached with an ornament. The man is lighting opium through the lamp. There are traces of paint over the woman’s hair and near the man’s left foot. | 245figures
| 滑石雕瘾君子像 | soapstone | null | China |
|
durom.1960.3541 | 1960.3541-uu.jpg | data/raw/images/oriental/1960 | Soapstone carving of a man and a woman smoking opium in bed. The couple are lying sideways on either end of a long pillow. Between them there is a tray with several jars and a lamp. The woman is resting on her left arm, and her right hand is holding an opium pipe attached with an ornament. The man is lighting opium through the lamp. There are traces of paint over the woman’s hair and near the man’s left foot. | 245figures
| 滑石雕瘾君子像 | soapstone | null | China |
|
durom.1976.196 | 1976.196-uu.jpg | data/raw/images/oriental/1976 | Carved ivory netsuke depicting Fukusuke. The figure has a large head in relation to the size of the body, with a bald head and broad smile. There are broad shoulders to his dress and he holds a fan open in front of him with his right hand at the base of the fan and left hand holding one of the top corners. There is an inscription on the fan. There are two holes in the back of the carving to allow the netsuke to be attached to a cord. | 310netsukes
| netsuke | ivory | Edo Period | Japan (country) |
|
durom.1976.196 | 1976.196-uu.jpg | data/raw/images/oriental/1976 | Carved ivory netsuke depicting Fukusuke. The figure has a large head in relation to the size of the body, with a bald head and broad smile. There are broad shoulders to his dress and he holds a fan open in front of him with his right hand at the base of the fan and left hand holding one of the top corners. There is an inscription on the fan. There are two holes in the back of the carving to allow the netsuke to be attached to a cord. | 310netsukes
| netsuke | ivory | Edo Period | Japan (country) |
|
durom.1976.196 | 1976.196-uu.jpg | data/raw/images/oriental/1976 | Carved ivory netsuke depicting Fukusuke. The figure has a large head in relation to the size of the body, with a bald head and broad smile. There are broad shoulders to his dress and he holds a fan open in front of him with his right hand at the base of the fan and left hand holding one of the top corners. There is an inscription on the fan. There are two holes in the back of the carving to allow the netsuke to be attached to a cord. | 310netsukes
| netsuke | ivory | Edo Period | Japan (country) |
|
durom.1976.196 | 1976.196-uu.jpg | data/raw/images/oriental/1976 | Carved ivory netsuke depicting Fukusuke. The figure has a large head in relation to the size of the body, with a bald head and broad smile. There are broad shoulders to his dress and he holds a fan open in front of him with his right hand at the base of the fan and left hand holding one of the top corners. There is an inscription on the fan. There are two holes in the back of the carving to allow the netsuke to be attached to a cord. | 310netsukes
| netsuke | ivory | Edo Period | Japan (country) |
|
durom.1976.196 | 1976.196-uu.jpg | data/raw/images/oriental/1976 | Carved ivory netsuke depicting Fukusuke. The figure has a large head in relation to the size of the body, with a bald head and broad smile. There are broad shoulders to his dress and he holds a fan open in front of him with his right hand at the base of the fan and left hand holding one of the top corners. There is an inscription on the fan. There are two holes in the back of the carving to allow the netsuke to be attached to a cord. | 310netsukes
| netsuke | ivory | Edo Period | Japan (country) |
|
durom.2001.139.140 | 2001.139.140 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 six gold handled daggers | 330playing cards
| ganjifa | paper | null | India |
|
durom.2001.139.140 | 2001.139.140 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 six gold handled daggers | 330playing cards
| ganjifa | paper | null | India |
|
durom.2001.139.140 | 2001.139.140 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 six gold handled daggers | 330playing cards
| ganjifa | paper | null | India |
|
durom.2001.139.140 | 2001.139.140 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 six gold handled daggers | 330playing cards
| ganjifa | paper | null | India |
|
durom.2001.139.140 | 2001.139.140 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 six gold handled daggers | 330playing cards
| ganjifa | paper | null | India |
|
durma.2020.1.13.1 | durma.2020.1.13.1.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval ash wood bowl. The bowl is sufficiently well‐preserved to determine that it was produced by lathe turning, though its full profile did not survive. Wooden bowls and platters were in common use over a very long period for food preparation and serving, ash often being the wood of choice, as it wears smoothly and does not easily splinter (Edlin 1973, 27). Preservation requires a waterlogged, anaerobic environment, as was found during excavations. Numerous lathe‐turned bowls, both fragmentary and complete, have been recovered from excavations in Britain, with medieval examples in ash wood found on sites from London (Egan 2010, 199) to Carlisle (Howard‐Davis, 2009, 810). | 177bowls
| null | wood | Medieval and post-medieval | null |
|
durma.2020.1.13.1 | durma.2020.1.13.1.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval ash wood bowl. The bowl is sufficiently well‐preserved to determine that it was produced by lathe turning, though its full profile did not survive. Wooden bowls and platters were in common use over a very long period for food preparation and serving, ash often being the wood of choice, as it wears smoothly and does not easily splinter (Edlin 1973, 27). Preservation requires a waterlogged, anaerobic environment, as was found during excavations. Numerous lathe‐turned bowls, both fragmentary and complete, have been recovered from excavations in Britain, with medieval examples in ash wood found on sites from London (Egan 2010, 199) to Carlisle (Howard‐Davis, 2009, 810). | 177bowls
| null | wood | Medieval and post-medieval | null |
|
durma.2020.1.13.1 | durma.2020.1.13.1.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval ash wood bowl. The bowl is sufficiently well‐preserved to determine that it was produced by lathe turning, though its full profile did not survive. Wooden bowls and platters were in common use over a very long period for food preparation and serving, ash often being the wood of choice, as it wears smoothly and does not easily splinter (Edlin 1973, 27). Preservation requires a waterlogged, anaerobic environment, as was found during excavations. Numerous lathe‐turned bowls, both fragmentary and complete, have been recovered from excavations in Britain, with medieval examples in ash wood found on sites from London (Egan 2010, 199) to Carlisle (Howard‐Davis, 2009, 810). | 177bowls
| null | wood | Medieval and post-medieval | null |
|
durma.2020.1.13.1 | durma.2020.1.13.1.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval ash wood bowl. The bowl is sufficiently well‐preserved to determine that it was produced by lathe turning, though its full profile did not survive. Wooden bowls and platters were in common use over a very long period for food preparation and serving, ash often being the wood of choice, as it wears smoothly and does not easily splinter (Edlin 1973, 27). Preservation requires a waterlogged, anaerobic environment, as was found during excavations. Numerous lathe‐turned bowls, both fragmentary and complete, have been recovered from excavations in Britain, with medieval examples in ash wood found on sites from London (Egan 2010, 199) to Carlisle (Howard‐Davis, 2009, 810). | 177bowls
| null | wood | Medieval and post-medieval | null |
|
durma.2020.1.13.1 | durma.2020.1.13.1.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval ash wood bowl. The bowl is sufficiently well‐preserved to determine that it was produced by lathe turning, though its full profile did not survive. Wooden bowls and platters were in common use over a very long period for food preparation and serving, ash often being the wood of choice, as it wears smoothly and does not easily splinter (Edlin 1973, 27). Preservation requires a waterlogged, anaerobic environment, as was found during excavations. Numerous lathe‐turned bowls, both fragmentary and complete, have been recovered from excavations in Britain, with medieval examples in ash wood found on sites from London (Egan 2010, 199) to Carlisle (Howard‐Davis, 2009, 810). | 177bowls
| null | wood | Medieval and post-medieval | null |
|
durom.1960.2238 | durom.1960.2238-uu.jpg | data/raw/images/oriental/1960 | round, mottled glass bowl. | 177bowls
| null | glass | Qing | China |
|
durom.1960.2238 | durom.1960.2238-uu.jpg | data/raw/images/oriental/1960 | round, mottled glass bowl. | 177bowls
| null | glass | Qing | China |
|
durom.1960.2238 | durom.1960.2238-uu.jpg | data/raw/images/oriental/1960 | round, mottled glass bowl. | 177bowls
| null | glass | Qing | China |
|
durom.1960.2238 | durom.1960.2238-uu.jpg | data/raw/images/oriental/1960 | round, mottled glass bowl. | 177bowls
| null | glass | Qing | China |
|
durom.1960.2238 | durom.1960.2238-uu.jpg | data/raw/images/oriental/1960 | round, mottled glass bowl. | 177bowls
| null | glass | Qing | China |
|
durom.1969.573 | 1969.573.2.jpg | data/raw/images/oriental/1969 | The scroll can also be a reference to Daode jing (道德经, or Tao Te Ching by Wade Giles system) which is a Chinese Classic text said to be written by Laozi on his way to the west, see [Iconography]. The figure is hollow and the Laozi figure can be detached from the buffalo. | 245figures
| 青铜老子骑牛像 | bronze | Kangxi | China |
|
durom.1969.573 | 1969.573.2.jpg | data/raw/images/oriental/1969 | The scroll can also be a reference to Daode jing (道德经, or Tao Te Ching by Wade Giles system) which is a Chinese Classic text said to be written by Laozi on his way to the west, see [Iconography]. The figure is hollow and the Laozi figure can be detached from the buffalo. | 245figures
| 青铜老子骑牛像 | bronze | Kangxi | China |
|
durom.1969.573 | 1969.573.2.jpg | data/raw/images/oriental/1969 | The scroll can also be a reference to Daode jing (道德经, or Tao Te Ching by Wade Giles system) which is a Chinese Classic text said to be written by Laozi on his way to the west, see [Iconography]. The figure is hollow and the Laozi figure can be detached from the buffalo. | 245figures
| 青铜老子骑牛像 | bronze | Kangxi | China |
|
durom.1969.573 | 1969.573.2.jpg | data/raw/images/oriental/1969 | The scroll can also be a reference to Daode jing (道德经, or Tao Te Ching by Wade Giles system) which is a Chinese Classic text said to be written by Laozi on his way to the west, see [Iconography]. The figure is hollow and the Laozi figure can be detached from the buffalo. | 245figures
| 青铜老子骑牛像 | bronze | Kangxi | China |
|
durom.1969.573 | 1969.573.2.jpg | data/raw/images/oriental/1969 | The scroll can also be a reference to Daode jing (道德经, or Tao Te Ching by Wade Giles system) which is a Chinese Classic text said to be written by Laozi on his way to the west, see [Iconography]. The figure is hollow and the Laozi figure can be detached from the buffalo. | 245figures
| 青铜老子骑牛像 | bronze | Kangxi | China |
|
eg5712 | eg5712-d2.jpg | data/raw/images/egyptian/eg | steatite amulet in the shape of a stylised face | 145amulets
| face amulet | Steatite/Soap Stone | null | Egypt |
|
eg5712 | eg5712-d2.jpg | data/raw/images/egyptian/eg | steatite amulet in the shape of a stylised face | 145amulets
| face amulet | Steatite/Soap Stone | null | Egypt |
|
eg5712 | eg5712-d2.jpg | data/raw/images/egyptian/eg | steatite amulet in the shape of a stylised face | 145amulets
| face amulet | Steatite/Soap Stone | null | Egypt |
|
eg5712 | eg5712-d2.jpg | data/raw/images/egyptian/eg | steatite amulet in the shape of a stylised face | 145amulets
| face amulet | Steatite/Soap Stone | null | Egypt |
|
eg5712 | eg5712-d2.jpg | data/raw/images/egyptian/eg | steatite amulet in the shape of a stylised face | 145amulets
| face amulet | Steatite/Soap Stone | null | Egypt |
|
durma.2020.3.729 | durma.2020.3.729.1-bb.jpg | data/raw/images/fulling_mill/2020 | An incomplete copper-alloy scabbard chape of 'Novaesium' type dating from the mid-second to mid-third century AD, part of the Piercebridge River Assemblage. The chape is pelta-shaped, hollow and decorated with two openwork ovals. One of the faces of the chape is damaged and at the breaks, the metal is distorted suggesting the damage was inflicted with some force. The chape has a length of 37mm, a width of 41mm and a thickness of 10mm. The chape weighs 25.2 grams.A similar peltiform chape with a break in the same place was found during the excavations at Prysg Field, Caerleon (Chapman 2005, 14, Bb01) while other parallels from Roman Britain can be found at South Shields (Allason-Jones and Miket 1984, 160, no. 3.401) and Richborough (Wilson 1968, 93, nos. 91-2). For Continental parallels see for example Cat. No. 112 from Niederbieber (Oldenstein 1976, 243 and Taf. 19; Mus. Bonn. Inv. Nr E1007) and for a discussion of the type and its distribution, see Miks, C. (2007) Studien zur romischen Schwertbewaffnung in der Kaiserzeit, Kolner Studien zur Archaologie der Romischen Provinzen, Band 8, 335-338, who notes that they are widespread throughout Britain, Germany, Raetia and Dacia with outlying finds in North Africa and Syria. He notes a particular concentration of the type along the Danube and in Dacia (Miks 2007, 337)._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/108875 | 363scabbards
| null | copper alloy | Roman | null |
|
durma.2020.3.729 | durma.2020.3.729.1-bb.jpg | data/raw/images/fulling_mill/2020 | An incomplete copper-alloy scabbard chape of 'Novaesium' type dating from the mid-second to mid-third century AD, part of the Piercebridge River Assemblage. The chape is pelta-shaped, hollow and decorated with two openwork ovals. One of the faces of the chape is damaged and at the breaks, the metal is distorted suggesting the damage was inflicted with some force. The chape has a length of 37mm, a width of 41mm and a thickness of 10mm. The chape weighs 25.2 grams.A similar peltiform chape with a break in the same place was found during the excavations at Prysg Field, Caerleon (Chapman 2005, 14, Bb01) while other parallels from Roman Britain can be found at South Shields (Allason-Jones and Miket 1984, 160, no. 3.401) and Richborough (Wilson 1968, 93, nos. 91-2). For Continental parallels see for example Cat. No. 112 from Niederbieber (Oldenstein 1976, 243 and Taf. 19; Mus. Bonn. Inv. Nr E1007) and for a discussion of the type and its distribution, see Miks, C. (2007) Studien zur romischen Schwertbewaffnung in der Kaiserzeit, Kolner Studien zur Archaologie der Romischen Provinzen, Band 8, 335-338, who notes that they are widespread throughout Britain, Germany, Raetia and Dacia with outlying finds in North Africa and Syria. He notes a particular concentration of the type along the Danube and in Dacia (Miks 2007, 337)._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/108875 | 363scabbards
| null | copper alloy | Roman | null |
|
durma.2020.3.729 | durma.2020.3.729.1-bb.jpg | data/raw/images/fulling_mill/2020 | An incomplete copper-alloy scabbard chape of 'Novaesium' type dating from the mid-second to mid-third century AD, part of the Piercebridge River Assemblage. The chape is pelta-shaped, hollow and decorated with two openwork ovals. One of the faces of the chape is damaged and at the breaks, the metal is distorted suggesting the damage was inflicted with some force. The chape has a length of 37mm, a width of 41mm and a thickness of 10mm. The chape weighs 25.2 grams.A similar peltiform chape with a break in the same place was found during the excavations at Prysg Field, Caerleon (Chapman 2005, 14, Bb01) while other parallels from Roman Britain can be found at South Shields (Allason-Jones and Miket 1984, 160, no. 3.401) and Richborough (Wilson 1968, 93, nos. 91-2). For Continental parallels see for example Cat. No. 112 from Niederbieber (Oldenstein 1976, 243 and Taf. 19; Mus. Bonn. Inv. Nr E1007) and for a discussion of the type and its distribution, see Miks, C. (2007) Studien zur romischen Schwertbewaffnung in der Kaiserzeit, Kolner Studien zur Archaologie der Romischen Provinzen, Band 8, 335-338, who notes that they are widespread throughout Britain, Germany, Raetia and Dacia with outlying finds in North Africa and Syria. He notes a particular concentration of the type along the Danube and in Dacia (Miks 2007, 337)._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/108875 | 363scabbards
| null | copper alloy | Roman | null |
|
durma.2020.3.729 | durma.2020.3.729.1-bb.jpg | data/raw/images/fulling_mill/2020 | An incomplete copper-alloy scabbard chape of 'Novaesium' type dating from the mid-second to mid-third century AD, part of the Piercebridge River Assemblage. The chape is pelta-shaped, hollow and decorated with two openwork ovals. One of the faces of the chape is damaged and at the breaks, the metal is distorted suggesting the damage was inflicted with some force. The chape has a length of 37mm, a width of 41mm and a thickness of 10mm. The chape weighs 25.2 grams.A similar peltiform chape with a break in the same place was found during the excavations at Prysg Field, Caerleon (Chapman 2005, 14, Bb01) while other parallels from Roman Britain can be found at South Shields (Allason-Jones and Miket 1984, 160, no. 3.401) and Richborough (Wilson 1968, 93, nos. 91-2). For Continental parallels see for example Cat. No. 112 from Niederbieber (Oldenstein 1976, 243 and Taf. 19; Mus. Bonn. Inv. Nr E1007) and for a discussion of the type and its distribution, see Miks, C. (2007) Studien zur romischen Schwertbewaffnung in der Kaiserzeit, Kolner Studien zur Archaologie der Romischen Provinzen, Band 8, 335-338, who notes that they are widespread throughout Britain, Germany, Raetia and Dacia with outlying finds in North Africa and Syria. He notes a particular concentration of the type along the Danube and in Dacia (Miks 2007, 337)._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/108875 | 363scabbards
| null | copper alloy | Roman | null |
|
durma.2020.3.729 | durma.2020.3.729.1-bb.jpg | data/raw/images/fulling_mill/2020 | An incomplete copper-alloy scabbard chape of 'Novaesium' type dating from the mid-second to mid-third century AD, part of the Piercebridge River Assemblage. The chape is pelta-shaped, hollow and decorated with two openwork ovals. One of the faces of the chape is damaged and at the breaks, the metal is distorted suggesting the damage was inflicted with some force. The chape has a length of 37mm, a width of 41mm and a thickness of 10mm. The chape weighs 25.2 grams.A similar peltiform chape with a break in the same place was found during the excavations at Prysg Field, Caerleon (Chapman 2005, 14, Bb01) while other parallels from Roman Britain can be found at South Shields (Allason-Jones and Miket 1984, 160, no. 3.401) and Richborough (Wilson 1968, 93, nos. 91-2). For Continental parallels see for example Cat. No. 112 from Niederbieber (Oldenstein 1976, 243 and Taf. 19; Mus. Bonn. Inv. Nr E1007) and for a discussion of the type and its distribution, see Miks, C. (2007) Studien zur romischen Schwertbewaffnung in der Kaiserzeit, Kolner Studien zur Archaologie der Romischen Provinzen, Band 8, 335-338, who notes that they are widespread throughout Britain, Germany, Raetia and Dacia with outlying finds in North Africa and Syria. He notes a particular concentration of the type along the Danube and in Dacia (Miks 2007, 337)._x000D__x000D_
_x000D__x000D_
Portable Antiquities Database: https://finds.org.uk/database/artefacts/record/id/108875 | 363scabbards
| null | copper alloy | Roman | null |
|
durom.1968.129.5 | 1968.129.5.jpg | data/raw/images/oriental/1968 | From a Photo album containing many photographs of Japanese scenes. Black and white image. Large pine tree in foreground, behind which is a beach with a male figure, and behind him the ocean. | 142albums
| null | photographic paper | Edo Period | Japan (country) |
|
durom.1968.129.5 | 1968.129.5.jpg | data/raw/images/oriental/1968 | From a Photo album containing many photographs of Japanese scenes. Black and white image. Large pine tree in foreground, behind which is a beach with a male figure, and behind him the ocean. | 142albums
| null | photographic paper | Edo Period | Japan (country) |
|
durom.1968.129.5 | 1968.129.5.jpg | data/raw/images/oriental/1968 | From a Photo album containing many photographs of Japanese scenes. Black and white image. Large pine tree in foreground, behind which is a beach with a male figure, and behind him the ocean. | 142albums
| null | photographic paper | Edo Period | Japan (country) |
|
durom.1968.129.5 | 1968.129.5.jpg | data/raw/images/oriental/1968 | From a Photo album containing many photographs of Japanese scenes. Black and white image. Large pine tree in foreground, behind which is a beach with a male figure, and behind him the ocean. | 142albums
| null | photographic paper | Edo Period | Japan (country) |
|
durom.1968.129.5 | 1968.129.5.jpg | data/raw/images/oriental/1968 | From a Photo album containing many photographs of Japanese scenes. Black and white image. Large pine tree in foreground, behind which is a beach with a male figure, and behind him the ocean. | 142albums
| null | photographic paper | Edo Period | Japan (country) |
|
durom.1971.103 | durom.1971.103-ff.jpg | data/raw/images/egyptian/1971 | situla with tapered base and handle loops, no handle. designs in relief with details engraved. bottom frieze is rays (?), above which is a frieze of triangles, then two people and an unidentifiable pattern - possibly of gods or ancestral kings | 381situlae
| situla | bronze | Late Period | Egypt |
|
durom.1971.103 | durom.1971.103-ff.jpg | data/raw/images/egyptian/1971 | situla with tapered base and handle loops, no handle. designs in relief with details engraved. bottom frieze is rays (?), above which is a frieze of triangles, then two people and an unidentifiable pattern - possibly of gods or ancestral kings | 381situlae
| situla | bronze | Late Period | Egypt |
|
durom.1971.103 | durom.1971.103-ff.jpg | data/raw/images/egyptian/1971 | situla with tapered base and handle loops, no handle. designs in relief with details engraved. bottom frieze is rays (?), above which is a frieze of triangles, then two people and an unidentifiable pattern - possibly of gods or ancestral kings | 381situlae
| situla | bronze | Late Period | Egypt |
|
durom.1971.103 | durom.1971.103-ff.jpg | data/raw/images/egyptian/1971 | situla with tapered base and handle loops, no handle. designs in relief with details engraved. bottom frieze is rays (?), above which is a frieze of triangles, then two people and an unidentifiable pattern - possibly of gods or ancestral kings | 381situlae
| situla | bronze | Late Period | Egypt |
|
durom.1971.103 | durom.1971.103-ff.jpg | data/raw/images/egyptian/1971 | situla with tapered base and handle loops, no handle. designs in relief with details engraved. bottom frieze is rays (?), above which is a frieze of triangles, then two people and an unidentifiable pattern - possibly of gods or ancestral kings | 381situlae
| situla | bronze | Late Period | Egypt |