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|---|---|---|---|---|---|---|---|---|---|
durom.2006.25 | 2006.25-bb.jpg | data/raw/images/oriental/2006 | Music CD. The disc is in a clear fronted plastic CD case, with a printed paper insert depicting 7 people in Mongolian dress holding instruments in front of a mountainous landscape. The back of the box has a paper insert printed with a continuation of the landscape and a list of the tracks and running times.The front of the disc is printed in blue with text in black and white. | 218compact discs
| null | aluminum | null | Ulaanbaatar |
|
durom.2006.25 | 2006.25-bb.jpg | data/raw/images/oriental/2006 | Music CD. The disc is in a clear fronted plastic CD case, with a printed paper insert depicting 7 people in Mongolian dress holding instruments in front of a mountainous landscape. The back of the box has a paper insert printed with a continuation of the landscape and a list of the tracks and running times.The front of the disc is printed in blue with text in black and white. | 218compact discs
| null | aluminum | null | Ulaanbaatar |
|
durom.2006.25 | 2006.25-bb.jpg | data/raw/images/oriental/2006 | Music CD. The disc is in a clear fronted plastic CD case, with a printed paper insert depicting 7 people in Mongolian dress holding instruments in front of a mountainous landscape. The back of the box has a paper insert printed with a continuation of the landscape and a list of the tracks and running times.The front of the disc is printed in blue with text in black and white. | 218compact discs
| null | aluminum | null | Ulaanbaatar |
|
durom.2006.25 | 2006.25-bb.jpg | data/raw/images/oriental/2006 | Music CD. The disc is in a clear fronted plastic CD case, with a printed paper insert depicting 7 people in Mongolian dress holding instruments in front of a mountainous landscape. The back of the box has a paper insert printed with a continuation of the landscape and a list of the tracks and running times.The front of the disc is printed in blue with text in black and white. | 218compact discs
| null | aluminum | null | Ulaanbaatar |
|
durom.2006.25 | 2006.25-bb.jpg | data/raw/images/oriental/2006 | Music CD. The disc is in a clear fronted plastic CD case, with a printed paper insert depicting 7 people in Mongolian dress holding instruments in front of a mountainous landscape. The back of the box has a paper insert printed with a continuation of the landscape and a list of the tracks and running times.The front of the disc is printed in blue with text in black and white. | 218compact discs
| null | aluminum | null | Ulaanbaatar |
|
eg3151 | eg3151 ll.jpg | data/raw/images/egyptian/eg | Green pataikos Figure. Dwarf figure, naked, skull cap with suspension loop on back. | 145amulets
| pataikos amulet | faience | null | Egypt |
|
eg3151 | eg3151 ll.jpg | data/raw/images/egyptian/eg | Green pataikos Figure. Dwarf figure, naked, skull cap with suspension loop on back. | 145amulets
| pataikos amulet | faience | null | Egypt |
|
eg3151 | eg3151 ll.jpg | data/raw/images/egyptian/eg | Green pataikos Figure. Dwarf figure, naked, skull cap with suspension loop on back. | 145amulets
| pataikos amulet | faience | null | Egypt |
|
eg3151 | eg3151 ll.jpg | data/raw/images/egyptian/eg | Green pataikos Figure. Dwarf figure, naked, skull cap with suspension loop on back. | 145amulets
| pataikos amulet | faience | null | Egypt |
|
eg3151 | eg3151 ll.jpg | data/raw/images/egyptian/eg | Green pataikos Figure. Dwarf figure, naked, skull cap with suspension loop on back. | 145amulets
| pataikos amulet | faience | null | Egypt |
|
durom.1967.20 | 1967.20.jpg | data/raw/images/oriental/1967 | brocade tapesty in frame, scene depicts two dieties from the Water Margin. On gauze. | 111Screen
| null | gauze | null | China |
|
durom.1967.20 | 1967.20.jpg | data/raw/images/oriental/1967 | brocade tapesty in frame, scene depicts two dieties from the Water Margin. On gauze. | 111Screen
| null | gauze | null | China |
|
durom.1967.20 | 1967.20.jpg | data/raw/images/oriental/1967 | brocade tapesty in frame, scene depicts two dieties from the Water Margin. On gauze. | 111Screen
| null | gauze | null | China |
|
durom.1967.20 | 1967.20.jpg | data/raw/images/oriental/1967 | brocade tapesty in frame, scene depicts two dieties from the Water Margin. On gauze. | 111Screen
| null | gauze | null | China |
|
durom.1967.20 | 1967.20.jpg | data/raw/images/oriental/1967 | brocade tapesty in frame, scene depicts two dieties from the Water Margin. On gauze. | 111Screen
| null | gauze | null | China |
|
durom.2011.3 | 2011.3-d1.jpg | data/raw/images/oriental/2011 | Silver Dirham; period of Yazid II/Hisham; mint of Dimashq (Damascuso) | 216coins
| Dirham | silver | Umayyad Dynasty | Dimashq Mint |
|
durom.2011.3 | 2011.3-d1.jpg | data/raw/images/oriental/2011 | Silver Dirham; period of Yazid II/Hisham; mint of Dimashq (Damascuso) | 216coins
| Dirham | silver | Umayyad Dynasty | Dimashq Mint |
|
durom.2011.3 | 2011.3-d1.jpg | data/raw/images/oriental/2011 | Silver Dirham; period of Yazid II/Hisham; mint of Dimashq (Damascuso) | 216coins
| Dirham | silver | Umayyad Dynasty | Dimashq Mint |
|
durom.2011.3 | 2011.3-d1.jpg | data/raw/images/oriental/2011 | Silver Dirham; period of Yazid II/Hisham; mint of Dimashq (Damascuso) | 216coins
| Dirham | silver | Umayyad Dynasty | Dimashq Mint |
|
durom.2011.3 | 2011.3-d1.jpg | data/raw/images/oriental/2011 | Silver Dirham; period of Yazid II/Hisham; mint of Dimashq (Damascuso) | 216coins
| Dirham | silver | Umayyad Dynasty | Dimashq Mint |
|
durma.2020.1.9 | durma.2020.1.9.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval worked bone needle fragment, made from a large cattle/horse long bone. The bone has been shaped by shaving the surface lengthwise, then working the tip further to obtain a sharp point; the shaving planes are still visible. Without the top part of the object it is impossible to confirm its function, however it is likely that this was a needle. Until the general introduction of buttons, bone needles with un‐pierced heads were commonly used for fastening loose clothing (such as cloaks and tunics). From the Roman period onwards they were also used as hair pins. Needles with pierced heads or eyes were used to thread coarse materials (MacGregor 1985, 113). | 309needles
| null | bone | Medieval and post-medieval | null |
|
durma.2020.1.9 | durma.2020.1.9.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval worked bone needle fragment, made from a large cattle/horse long bone. The bone has been shaped by shaving the surface lengthwise, then working the tip further to obtain a sharp point; the shaving planes are still visible. Without the top part of the object it is impossible to confirm its function, however it is likely that this was a needle. Until the general introduction of buttons, bone needles with un‐pierced heads were commonly used for fastening loose clothing (such as cloaks and tunics). From the Roman period onwards they were also used as hair pins. Needles with pierced heads or eyes were used to thread coarse materials (MacGregor 1985, 113). | 309needles
| null | bone | Medieval and post-medieval | null |
|
durma.2020.1.9 | durma.2020.1.9.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval worked bone needle fragment, made from a large cattle/horse long bone. The bone has been shaped by shaving the surface lengthwise, then working the tip further to obtain a sharp point; the shaving planes are still visible. Without the top part of the object it is impossible to confirm its function, however it is likely that this was a needle. Until the general introduction of buttons, bone needles with un‐pierced heads were commonly used for fastening loose clothing (such as cloaks and tunics). From the Roman period onwards they were also used as hair pins. Needles with pierced heads or eyes were used to thread coarse materials (MacGregor 1985, 113). | 309needles
| null | bone | Medieval and post-medieval | null |
|
durma.2020.1.9 | durma.2020.1.9.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval worked bone needle fragment, made from a large cattle/horse long bone. The bone has been shaped by shaving the surface lengthwise, then working the tip further to obtain a sharp point; the shaving planes are still visible. Without the top part of the object it is impossible to confirm its function, however it is likely that this was a needle. Until the general introduction of buttons, bone needles with un‐pierced heads were commonly used for fastening loose clothing (such as cloaks and tunics). From the Roman period onwards they were also used as hair pins. Needles with pierced heads or eyes were used to thread coarse materials (MacGregor 1985, 113). | 309needles
| null | bone | Medieval and post-medieval | null |
|
durma.2020.1.9 | durma.2020.1.9.ff.jpg | data/raw/images/fulling_mill/2020 | A medieval worked bone needle fragment, made from a large cattle/horse long bone. The bone has been shaped by shaving the surface lengthwise, then working the tip further to obtain a sharp point; the shaving planes are still visible. Without the top part of the object it is impossible to confirm its function, however it is likely that this was a needle. Until the general introduction of buttons, bone needles with un‐pierced heads were commonly used for fastening loose clothing (such as cloaks and tunics). From the Roman period onwards they were also used as hair pins. Needles with pierced heads or eyes were used to thread coarse materials (MacGregor 1985, 113). | 309needles
| null | bone | Medieval and post-medieval | null |
|
durma.2020.3.118 | durma.2020.3.118-ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy repousse plate brooch dating to the late second or early third century AD, part of the Piercebridge River Collection. The brooch consists of a circular plate with applied repousse disc with stamped decoration. The decoration comprises circumferential beaded rim and a central triskele motif. On the underside of the brooch, there are two perforated semi-circular lugs for securing the pin, a fragment of which is in situ. The catchplate is rectangular. The brooch plate has a diameter of 21mm and is a maximum of 1mm thick. The brooch weighs 3.2g. Mackreth (2011, 155) suggests a date between AD 150 and AD 250 with a distribution spreading through the 'south from east to west...it seems to be absent from the Midlands and the Marches, in fact, it only appears in the north on military sites. This may reflect on the dating: there appears to be none from the Antonine Wall but plenty at South Shields....the distribution aids the limited dating evidence: one should take it that the large number from South Shields belong to the strongly attested Severan occupation.' | 182brooches
| repousse plate brooch | copper alloy | Roman | null |
|
durma.2020.3.118 | durma.2020.3.118-ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy repousse plate brooch dating to the late second or early third century AD, part of the Piercebridge River Collection. The brooch consists of a circular plate with applied repousse disc with stamped decoration. The decoration comprises circumferential beaded rim and a central triskele motif. On the underside of the brooch, there are two perforated semi-circular lugs for securing the pin, a fragment of which is in situ. The catchplate is rectangular. The brooch plate has a diameter of 21mm and is a maximum of 1mm thick. The brooch weighs 3.2g. Mackreth (2011, 155) suggests a date between AD 150 and AD 250 with a distribution spreading through the 'south from east to west...it seems to be absent from the Midlands and the Marches, in fact, it only appears in the north on military sites. This may reflect on the dating: there appears to be none from the Antonine Wall but plenty at South Shields....the distribution aids the limited dating evidence: one should take it that the large number from South Shields belong to the strongly attested Severan occupation.' | 182brooches
| repousse plate brooch | copper alloy | Roman | null |
|
durma.2020.3.118 | durma.2020.3.118-ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy repousse plate brooch dating to the late second or early third century AD, part of the Piercebridge River Collection. The brooch consists of a circular plate with applied repousse disc with stamped decoration. The decoration comprises circumferential beaded rim and a central triskele motif. On the underside of the brooch, there are two perforated semi-circular lugs for securing the pin, a fragment of which is in situ. The catchplate is rectangular. The brooch plate has a diameter of 21mm and is a maximum of 1mm thick. The brooch weighs 3.2g. Mackreth (2011, 155) suggests a date between AD 150 and AD 250 with a distribution spreading through the 'south from east to west...it seems to be absent from the Midlands and the Marches, in fact, it only appears in the north on military sites. This may reflect on the dating: there appears to be none from the Antonine Wall but plenty at South Shields....the distribution aids the limited dating evidence: one should take it that the large number from South Shields belong to the strongly attested Severan occupation.' | 182brooches
| repousse plate brooch | copper alloy | Roman | null |
|
durma.2020.3.118 | durma.2020.3.118-ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy repousse plate brooch dating to the late second or early third century AD, part of the Piercebridge River Collection. The brooch consists of a circular plate with applied repousse disc with stamped decoration. The decoration comprises circumferential beaded rim and a central triskele motif. On the underside of the brooch, there are two perforated semi-circular lugs for securing the pin, a fragment of which is in situ. The catchplate is rectangular. The brooch plate has a diameter of 21mm and is a maximum of 1mm thick. The brooch weighs 3.2g. Mackreth (2011, 155) suggests a date between AD 150 and AD 250 with a distribution spreading through the 'south from east to west...it seems to be absent from the Midlands and the Marches, in fact, it only appears in the north on military sites. This may reflect on the dating: there appears to be none from the Antonine Wall but plenty at South Shields....the distribution aids the limited dating evidence: one should take it that the large number from South Shields belong to the strongly attested Severan occupation.' | 182brooches
| repousse plate brooch | copper alloy | Roman | null |
|
durma.2020.3.118 | durma.2020.3.118-ff.jpg | data/raw/images/fulling_mill/2020 | A Roman copper-alloy repousse plate brooch dating to the late second or early third century AD, part of the Piercebridge River Collection. The brooch consists of a circular plate with applied repousse disc with stamped decoration. The decoration comprises circumferential beaded rim and a central triskele motif. On the underside of the brooch, there are two perforated semi-circular lugs for securing the pin, a fragment of which is in situ. The catchplate is rectangular. The brooch plate has a diameter of 21mm and is a maximum of 1mm thick. The brooch weighs 3.2g. Mackreth (2011, 155) suggests a date between AD 150 and AD 250 with a distribution spreading through the 'south from east to west...it seems to be absent from the Midlands and the Marches, in fact, it only appears in the north on military sites. This may reflect on the dating: there appears to be none from the Antonine Wall but plenty at South Shields....the distribution aids the limited dating evidence: one should take it that the large number from South Shields belong to the strongly attested Severan occupation.' | 182brooches
| repousse plate brooch | copper alloy | Roman | null |
|
durom.1968.163 | 1968.163-rr.jpg | data/raw/images/oriental/1968 | Copper-based flower-pot in octangle shape, filled in and painted with enamel colours of figurine design, Painted Falang Enamel ware. The folded rim is painted with peach design on the surface and classic scrolls on the sides. The body, four large panels: one painted with a man and a woman walking towards a bridge in a mountain landscape; one painted with a man fishing by a pine tree and a boy attendant carrying a fish basket aside; one painted with a bearded old man and a boy sitting under a pine tree; the last one painted with a lady sitting by a large peony branch and a boy sitting in front of her, holding a vase. The large panels are topped with a bat. Between the large panels there are small panels decorated with flowers including plum blossom, bamboo, peach, peony, lotus and promegrante. All the panels are decorated with lotus panels at the base. The pot stands on four feet which are decorated with fret on the outside. The ridges of the pot are bound with copper. | 337pots
| 铜胎画珐琅人物故事图八方盆 | metal | Qing | China |
|
durom.1968.163 | 1968.163-rr.jpg | data/raw/images/oriental/1968 | Copper-based flower-pot in octangle shape, filled in and painted with enamel colours of figurine design, Painted Falang Enamel ware. The folded rim is painted with peach design on the surface and classic scrolls on the sides. The body, four large panels: one painted with a man and a woman walking towards a bridge in a mountain landscape; one painted with a man fishing by a pine tree and a boy attendant carrying a fish basket aside; one painted with a bearded old man and a boy sitting under a pine tree; the last one painted with a lady sitting by a large peony branch and a boy sitting in front of her, holding a vase. The large panels are topped with a bat. Between the large panels there are small panels decorated with flowers including plum blossom, bamboo, peach, peony, lotus and promegrante. All the panels are decorated with lotus panels at the base. The pot stands on four feet which are decorated with fret on the outside. The ridges of the pot are bound with copper. | 337pots
| 铜胎画珐琅人物故事图八方盆 | metal | Qing | China |
|
durom.1968.163 | 1968.163-rr.jpg | data/raw/images/oriental/1968 | Copper-based flower-pot in octangle shape, filled in and painted with enamel colours of figurine design, Painted Falang Enamel ware. The folded rim is painted with peach design on the surface and classic scrolls on the sides. The body, four large panels: one painted with a man and a woman walking towards a bridge in a mountain landscape; one painted with a man fishing by a pine tree and a boy attendant carrying a fish basket aside; one painted with a bearded old man and a boy sitting under a pine tree; the last one painted with a lady sitting by a large peony branch and a boy sitting in front of her, holding a vase. The large panels are topped with a bat. Between the large panels there are small panels decorated with flowers including plum blossom, bamboo, peach, peony, lotus and promegrante. All the panels are decorated with lotus panels at the base. The pot stands on four feet which are decorated with fret on the outside. The ridges of the pot are bound with copper. | 337pots
| 铜胎画珐琅人物故事图八方盆 | metal | Qing | China |
|
durom.1968.163 | 1968.163-rr.jpg | data/raw/images/oriental/1968 | Copper-based flower-pot in octangle shape, filled in and painted with enamel colours of figurine design, Painted Falang Enamel ware. The folded rim is painted with peach design on the surface and classic scrolls on the sides. The body, four large panels: one painted with a man and a woman walking towards a bridge in a mountain landscape; one painted with a man fishing by a pine tree and a boy attendant carrying a fish basket aside; one painted with a bearded old man and a boy sitting under a pine tree; the last one painted with a lady sitting by a large peony branch and a boy sitting in front of her, holding a vase. The large panels are topped with a bat. Between the large panels there are small panels decorated with flowers including plum blossom, bamboo, peach, peony, lotus and promegrante. All the panels are decorated with lotus panels at the base. The pot stands on four feet which are decorated with fret on the outside. The ridges of the pot are bound with copper. | 337pots
| 铜胎画珐琅人物故事图八方盆 | metal | Qing | China |
|
durom.1968.163 | 1968.163-rr.jpg | data/raw/images/oriental/1968 | Copper-based flower-pot in octangle shape, filled in and painted with enamel colours of figurine design, Painted Falang Enamel ware. The folded rim is painted with peach design on the surface and classic scrolls on the sides. The body, four large panels: one painted with a man and a woman walking towards a bridge in a mountain landscape; one painted with a man fishing by a pine tree and a boy attendant carrying a fish basket aside; one painted with a bearded old man and a boy sitting under a pine tree; the last one painted with a lady sitting by a large peony branch and a boy sitting in front of her, holding a vase. The large panels are topped with a bat. Between the large panels there are small panels decorated with flowers including plum blossom, bamboo, peach, peony, lotus and promegrante. All the panels are decorated with lotus panels at the base. The pot stands on four feet which are decorated with fret on the outside. The ridges of the pot are bound with copper. | 337pots
| 铜胎画珐琅人物故事图八方盆 | metal | Qing | China |
|
durom.1977.97.38 | durom.1977.97.38-ss.jpg | data/raw/images/oriental/1977 | Pith painting depicting a woman (not a man) performing acrobatics. The woman wears pink jackets with a blue belt tied around the waist and green trousers. Wearing trousers and big feet indicates that the woman is a labour worker. She is balancing a plate with flowers on. Made for export. | 98Pith Painting
| 通草画 | Watercolour on Rice Paper | Qing | Guangzhou |
|
durom.1977.97.38 | durom.1977.97.38-ss.jpg | data/raw/images/oriental/1977 | Pith painting depicting a woman (not a man) performing acrobatics. The woman wears pink jackets with a blue belt tied around the waist and green trousers. Wearing trousers and big feet indicates that the woman is a labour worker. She is balancing a plate with flowers on. Made for export. | 98Pith Painting
| 通草画 | Watercolour on Rice Paper | Qing | Guangzhou |
|
durom.1977.97.38 | durom.1977.97.38-ss.jpg | data/raw/images/oriental/1977 | Pith painting depicting a woman (not a man) performing acrobatics. The woman wears pink jackets with a blue belt tied around the waist and green trousers. Wearing trousers and big feet indicates that the woman is a labour worker. She is balancing a plate with flowers on. Made for export. | 98Pith Painting
| 通草画 | Watercolour on Rice Paper | Qing | Guangzhou |
|
durom.1977.97.38 | durom.1977.97.38-ss.jpg | data/raw/images/oriental/1977 | Pith painting depicting a woman (not a man) performing acrobatics. The woman wears pink jackets with a blue belt tied around the waist and green trousers. Wearing trousers and big feet indicates that the woman is a labour worker. She is balancing a plate with flowers on. Made for export. | 98Pith Painting
| 通草画 | Watercolour on Rice Paper | Qing | Guangzhou |
|
durom.1977.97.38 | durom.1977.97.38-ss.jpg | data/raw/images/oriental/1977 | Pith painting depicting a woman (not a man) performing acrobatics. The woman wears pink jackets with a blue belt tied around the waist and green trousers. Wearing trousers and big feet indicates that the woman is a labour worker. She is balancing a plate with flowers on. Made for export. | 98Pith Painting
| 通草画 | Watercolour on Rice Paper | Qing | Guangzhou |
|
durma.2020.3.1335 | durma.2020.3.1335.ff.jpg | data/raw/images/fulling_mill/2020 | A copper-alloy Roman radiate of an uncertain ruler dating to the period AD 260 to 275 (Reece period 13), part of the Piercebridge River Assemblage. Obverse radiate head facing right, legend illegible. Reverse figure left, legend illegible. Mint unclear._x000D__x000D_
_x000D__x000D_
Portable Antiquities Scheme Record-https://finds.org.uk/database/artefacts/record/id/517313_x000D__x000D_
| 216coins
| null | metal | Roman | null |
|
durma.2020.3.1335 | durma.2020.3.1335.ff.jpg | data/raw/images/fulling_mill/2020 | A copper-alloy Roman radiate of an uncertain ruler dating to the period AD 260 to 275 (Reece period 13), part of the Piercebridge River Assemblage. Obverse radiate head facing right, legend illegible. Reverse figure left, legend illegible. Mint unclear._x000D__x000D_
_x000D__x000D_
Portable Antiquities Scheme Record-https://finds.org.uk/database/artefacts/record/id/517313_x000D__x000D_
| 216coins
| null | metal | Roman | null |
|
durma.2020.3.1335 | durma.2020.3.1335.ff.jpg | data/raw/images/fulling_mill/2020 | A copper-alloy Roman radiate of an uncertain ruler dating to the period AD 260 to 275 (Reece period 13), part of the Piercebridge River Assemblage. Obverse radiate head facing right, legend illegible. Reverse figure left, legend illegible. Mint unclear._x000D__x000D_
_x000D__x000D_
Portable Antiquities Scheme Record-https://finds.org.uk/database/artefacts/record/id/517313_x000D__x000D_
| 216coins
| null | metal | Roman | null |
|
durma.2020.3.1335 | durma.2020.3.1335.ff.jpg | data/raw/images/fulling_mill/2020 | A copper-alloy Roman radiate of an uncertain ruler dating to the period AD 260 to 275 (Reece period 13), part of the Piercebridge River Assemblage. Obverse radiate head facing right, legend illegible. Reverse figure left, legend illegible. Mint unclear._x000D__x000D_
_x000D__x000D_
Portable Antiquities Scheme Record-https://finds.org.uk/database/artefacts/record/id/517313_x000D__x000D_
| 216coins
| null | metal | Roman | null |
|
durma.2020.3.1335 | durma.2020.3.1335.ff.jpg | data/raw/images/fulling_mill/2020 | A copper-alloy Roman radiate of an uncertain ruler dating to the period AD 260 to 275 (Reece period 13), part of the Piercebridge River Assemblage. Obverse radiate head facing right, legend illegible. Reverse figure left, legend illegible. Mint unclear._x000D__x000D_
_x000D__x000D_
Portable Antiquities Scheme Record-https://finds.org.uk/database/artefacts/record/id/517313_x000D__x000D_
| 216coins
| null | metal | Roman | null |
|
durom.1969.333 | 1969.333-d5.jpg | data/raw/images/oriental/1969 | unglazed grey earthernware model of a pigsty. Rectangular with L-shaped roffed shed and a walled courtyard, model standing on a flat base. Roofed section has 2 large doors leading outside and one mushroom-shaped feeding hole at floor level. The wall decorated with incised design to imitate the carpentry technique of the walls built of wood, the ridged roof carved to simulate lines of roof tiles. Traces of red pigment on roof. | 133Tomb Model
| 灰陶舍 | earthenware | Han dynasty | Henan Province |
|
durom.1969.333 | 1969.333-d5.jpg | data/raw/images/oriental/1969 | unglazed grey earthernware model of a pigsty. Rectangular with L-shaped roffed shed and a walled courtyard, model standing on a flat base. Roofed section has 2 large doors leading outside and one mushroom-shaped feeding hole at floor level. The wall decorated with incised design to imitate the carpentry technique of the walls built of wood, the ridged roof carved to simulate lines of roof tiles. Traces of red pigment on roof. | 133Tomb Model
| 灰陶舍 | earthenware | Han dynasty | Henan Province |
|
durom.1969.333 | 1969.333-d5.jpg | data/raw/images/oriental/1969 | unglazed grey earthernware model of a pigsty. Rectangular with L-shaped roffed shed and a walled courtyard, model standing on a flat base. Roofed section has 2 large doors leading outside and one mushroom-shaped feeding hole at floor level. The wall decorated with incised design to imitate the carpentry technique of the walls built of wood, the ridged roof carved to simulate lines of roof tiles. Traces of red pigment on roof. | 133Tomb Model
| 灰陶舍 | earthenware | Han dynasty | Henan Province |
|
durom.1969.333 | 1969.333-d5.jpg | data/raw/images/oriental/1969 | unglazed grey earthernware model of a pigsty. Rectangular with L-shaped roffed shed and a walled courtyard, model standing on a flat base. Roofed section has 2 large doors leading outside and one mushroom-shaped feeding hole at floor level. The wall decorated with incised design to imitate the carpentry technique of the walls built of wood, the ridged roof carved to simulate lines of roof tiles. Traces of red pigment on roof. | 133Tomb Model
| 灰陶舍 | earthenware | Han dynasty | Henan Province |
|
durom.1969.333 | 1969.333-d5.jpg | data/raw/images/oriental/1969 | unglazed grey earthernware model of a pigsty. Rectangular with L-shaped roffed shed and a walled courtyard, model standing on a flat base. Roofed section has 2 large doors leading outside and one mushroom-shaped feeding hole at floor level. The wall decorated with incised design to imitate the carpentry technique of the walls built of wood, the ridged roof carved to simulate lines of roof tiles. Traces of red pigment on roof. | 133Tomb Model
| 灰陶舍 | earthenware | Han dynasty | Henan Province |
|
durom.2000.8 | 2000.8 ll.jpg | data/raw/images/oriental/2000 | side chair, with high back, apron and supports. The back is carved with iris flowers and leaves, with circular solid seat and cushion in gold and pastel colours. | 201chairs
| null | hardwood | Edo Period | Japan (country) |
|
durom.2000.8 | 2000.8 ll.jpg | data/raw/images/oriental/2000 | side chair, with high back, apron and supports. The back is carved with iris flowers and leaves, with circular solid seat and cushion in gold and pastel colours. | 201chairs
| null | hardwood | Edo Period | Japan (country) |
|
durom.2000.8 | 2000.8 ll.jpg | data/raw/images/oriental/2000 | side chair, with high back, apron and supports. The back is carved with iris flowers and leaves, with circular solid seat and cushion in gold and pastel colours. | 201chairs
| null | hardwood | Edo Period | Japan (country) |
|
durom.2000.8 | 2000.8 ll.jpg | data/raw/images/oriental/2000 | side chair, with high back, apron and supports. The back is carved with iris flowers and leaves, with circular solid seat and cushion in gold and pastel colours. | 201chairs
| null | hardwood | Edo Period | Japan (country) |
|
durom.2000.8 | 2000.8 ll.jpg | data/raw/images/oriental/2000 | side chair, with high back, apron and supports. The back is carved with iris flowers and leaves, with circular solid seat and cushion in gold and pastel colours. | 201chairs
| null | hardwood | Edo Period | Japan (country) |
|
durom.1962.114 | 1962.114-d26.jpg | data/raw/images/oriental/1962 | Handscroll painting depicting the Taishokan tale, ink, colours and gold on paper, seal of Fujiwara Yukinaga, 19th century? | 368scrolls
| emakimono | Japanese paper | Momoyama Period | Japan (country) |
|
durom.1962.114 | 1962.114-d26.jpg | data/raw/images/oriental/1962 | Handscroll painting depicting the Taishokan tale, ink, colours and gold on paper, seal of Fujiwara Yukinaga, 19th century? | 368scrolls
| emakimono | Japanese paper | Momoyama Period | Japan (country) |
|
durom.1962.114 | 1962.114-d26.jpg | data/raw/images/oriental/1962 | Handscroll painting depicting the Taishokan tale, ink, colours and gold on paper, seal of Fujiwara Yukinaga, 19th century? | 368scrolls
| emakimono | Japanese paper | Momoyama Period | Japan (country) |
|
durom.1962.114 | 1962.114-d26.jpg | data/raw/images/oriental/1962 | Handscroll painting depicting the Taishokan tale, ink, colours and gold on paper, seal of Fujiwara Yukinaga, 19th century? | 368scrolls
| emakimono | Japanese paper | Momoyama Period | Japan (country) |
|
durom.1962.114 | 1962.114-d26.jpg | data/raw/images/oriental/1962 | Handscroll painting depicting the Taishokan tale, ink, colours and gold on paper, seal of Fujiwara Yukinaga, 19th century? | 368scrolls
| emakimono | Japanese paper | Momoyama Period | Japan (country) |
|
durom.1964.537 | durom.1964.537-ff.jpg | data/raw/images/oriental/1964 | Jug, restored from fragments, reddish colour, with one handle (reconstructed). | 285jugs
| null | pottery | Early Bronze Age III | Jericho |
|
durom.1964.537 | durom.1964.537-ff.jpg | data/raw/images/oriental/1964 | Jug, restored from fragments, reddish colour, with one handle (reconstructed). | 285jugs
| null | pottery | Early Bronze Age III | Jericho |
|
durom.1964.537 | durom.1964.537-ff.jpg | data/raw/images/oriental/1964 | Jug, restored from fragments, reddish colour, with one handle (reconstructed). | 285jugs
| null | pottery | Early Bronze Age III | Jericho |
|
durom.1964.537 | durom.1964.537-ff.jpg | data/raw/images/oriental/1964 | Jug, restored from fragments, reddish colour, with one handle (reconstructed). | 285jugs
| null | pottery | Early Bronze Age III | Jericho |
|
durom.1964.537 | durom.1964.537-ff.jpg | data/raw/images/oriental/1964 | Jug, restored from fragments, reddish colour, with one handle (reconstructed). | 285jugs
| null | pottery | Early Bronze Age III | Jericho |
|
eg2239 | eg2239.d4.jpg | data/raw/images/egyptian/eg | small jar with flat base and oviform body, no neck, recurved flat lip, and two small lug handles. Looks like an imitation of a stone vessel. White ware. | 282jars
| jar | pottery | null | Egypt |
|
eg2239 | eg2239.d4.jpg | data/raw/images/egyptian/eg | small jar with flat base and oviform body, no neck, recurved flat lip, and two small lug handles. Looks like an imitation of a stone vessel. White ware. | 282jars
| jar | pottery | null | Egypt |
|
eg2239 | eg2239.d4.jpg | data/raw/images/egyptian/eg | small jar with flat base and oviform body, no neck, recurved flat lip, and two small lug handles. Looks like an imitation of a stone vessel. White ware. | 282jars
| jar | pottery | null | Egypt |
|
eg2239 | eg2239.d4.jpg | data/raw/images/egyptian/eg | small jar with flat base and oviform body, no neck, recurved flat lip, and two small lug handles. Looks like an imitation of a stone vessel. White ware. | 282jars
| jar | pottery | null | Egypt |
|
eg2239 | eg2239.d4.jpg | data/raw/images/egyptian/eg | small jar with flat base and oviform body, no neck, recurved flat lip, and two small lug handles. Looks like an imitation of a stone vessel. White ware. | 282jars
| jar | pottery | null | Egypt |
|
durma.2014.1.211 | durma.2014.1.211-d1.jpg | data/raw/images/fulling_mill/2014 | 21 sherds are probably half oyster shells - they all have some mother-of-peral inside. Most have some depth but a few are almost flat and their sizes vary as does their completeness. The exteriors vary in colour from sandy to stone-colour to almost white. Some have barnacles on the exterior of the shell. Some have ridges, a few are slightly frilly, and some have marks more like contours._x000D__x000D_
1 complete oyster with both shells firmly fixed together_x000D__x000D_
6 cockle shells - brown but some are encrusted_x000D__x000D_
3 small oyster flakes | 375shell
| null | shell | 18th century | null |
|
durma.2014.1.211 | durma.2014.1.211-d1.jpg | data/raw/images/fulling_mill/2014 | 21 sherds are probably half oyster shells - they all have some mother-of-peral inside. Most have some depth but a few are almost flat and their sizes vary as does their completeness. The exteriors vary in colour from sandy to stone-colour to almost white. Some have barnacles on the exterior of the shell. Some have ridges, a few are slightly frilly, and some have marks more like contours._x000D__x000D_
1 complete oyster with both shells firmly fixed together_x000D__x000D_
6 cockle shells - brown but some are encrusted_x000D__x000D_
3 small oyster flakes | 375shell
| null | shell | 18th century | null |
|
durma.2014.1.211 | durma.2014.1.211-d1.jpg | data/raw/images/fulling_mill/2014 | 21 sherds are probably half oyster shells - they all have some mother-of-peral inside. Most have some depth but a few are almost flat and their sizes vary as does their completeness. The exteriors vary in colour from sandy to stone-colour to almost white. Some have barnacles on the exterior of the shell. Some have ridges, a few are slightly frilly, and some have marks more like contours._x000D__x000D_
1 complete oyster with both shells firmly fixed together_x000D__x000D_
6 cockle shells - brown but some are encrusted_x000D__x000D_
3 small oyster flakes | 375shell
| null | shell | 18th century | null |
|
durma.2014.1.211 | durma.2014.1.211-d1.jpg | data/raw/images/fulling_mill/2014 | 21 sherds are probably half oyster shells - they all have some mother-of-peral inside. Most have some depth but a few are almost flat and their sizes vary as does their completeness. The exteriors vary in colour from sandy to stone-colour to almost white. Some have barnacles on the exterior of the shell. Some have ridges, a few are slightly frilly, and some have marks more like contours._x000D__x000D_
1 complete oyster with both shells firmly fixed together_x000D__x000D_
6 cockle shells - brown but some are encrusted_x000D__x000D_
3 small oyster flakes | 375shell
| null | shell | 18th century | null |
|
durma.2014.1.211 | durma.2014.1.211-d1.jpg | data/raw/images/fulling_mill/2014 | 21 sherds are probably half oyster shells - they all have some mother-of-peral inside. Most have some depth but a few are almost flat and their sizes vary as does their completeness. The exteriors vary in colour from sandy to stone-colour to almost white. Some have barnacles on the exterior of the shell. Some have ridges, a few are slightly frilly, and some have marks more like contours._x000D__x000D_
1 complete oyster with both shells firmly fixed together_x000D__x000D_
6 cockle shells - brown but some are encrusted_x000D__x000D_
3 small oyster flakes | 375shell
| null | shell | 18th century | null |
|
durom.1999.19 | 1999.19-d2.jpg | data/raw/images/oriental/1999 | main figure probably Palden Lhamo or Vajrapani form of Garuda in Alidha asara, holds Vajra or Dorje in right hand, grasps a serpent which he chews in his right. Although this form usually is winged and beaked, the heavy emphasis on serpents which are trampled underfoot points towards garuda. Another possibility is that this is a Bon tradition thangka and that this is the Khyung, one of the sacred animals of the pre-Buddhist religion. This might account for the unusual form. 2 white garudas/khyungs and on eblue appear above the arms and the head of the mian figure. Bottom left, naked form wrathful protector rides on bear? Holds staff in right hand and skull cup in left. Body is covered with eyes. Middle tantric form of five sense offerings in skull cup-tongue (taste), eyes (sight), ears (hearing), heart and blood (touch and smell?). Cover still attached to the front | 131Thangka
| thangka | cotton | null | Tibet Autonomous Region (China) |
|
durom.1999.19 | 1999.19-d2.jpg | data/raw/images/oriental/1999 | main figure probably Palden Lhamo or Vajrapani form of Garuda in Alidha asara, holds Vajra or Dorje in right hand, grasps a serpent which he chews in his right. Although this form usually is winged and beaked, the heavy emphasis on serpents which are trampled underfoot points towards garuda. Another possibility is that this is a Bon tradition thangka and that this is the Khyung, one of the sacred animals of the pre-Buddhist religion. This might account for the unusual form. 2 white garudas/khyungs and on eblue appear above the arms and the head of the mian figure. Bottom left, naked form wrathful protector rides on bear? Holds staff in right hand and skull cup in left. Body is covered with eyes. Middle tantric form of five sense offerings in skull cup-tongue (taste), eyes (sight), ears (hearing), heart and blood (touch and smell?). Cover still attached to the front | 131Thangka
| thangka | cotton | null | Tibet Autonomous Region (China) |
|
durom.1999.19 | 1999.19-d2.jpg | data/raw/images/oriental/1999 | main figure probably Palden Lhamo or Vajrapani form of Garuda in Alidha asara, holds Vajra or Dorje in right hand, grasps a serpent which he chews in his right. Although this form usually is winged and beaked, the heavy emphasis on serpents which are trampled underfoot points towards garuda. Another possibility is that this is a Bon tradition thangka and that this is the Khyung, one of the sacred animals of the pre-Buddhist religion. This might account for the unusual form. 2 white garudas/khyungs and on eblue appear above the arms and the head of the mian figure. Bottom left, naked form wrathful protector rides on bear? Holds staff in right hand and skull cup in left. Body is covered with eyes. Middle tantric form of five sense offerings in skull cup-tongue (taste), eyes (sight), ears (hearing), heart and blood (touch and smell?). Cover still attached to the front | 131Thangka
| thangka | cotton | null | Tibet Autonomous Region (China) |
|
durom.1999.19 | 1999.19-d2.jpg | data/raw/images/oriental/1999 | main figure probably Palden Lhamo or Vajrapani form of Garuda in Alidha asara, holds Vajra or Dorje in right hand, grasps a serpent which he chews in his right. Although this form usually is winged and beaked, the heavy emphasis on serpents which are trampled underfoot points towards garuda. Another possibility is that this is a Bon tradition thangka and that this is the Khyung, one of the sacred animals of the pre-Buddhist religion. This might account for the unusual form. 2 white garudas/khyungs and on eblue appear above the arms and the head of the mian figure. Bottom left, naked form wrathful protector rides on bear? Holds staff in right hand and skull cup in left. Body is covered with eyes. Middle tantric form of five sense offerings in skull cup-tongue (taste), eyes (sight), ears (hearing), heart and blood (touch and smell?). Cover still attached to the front | 131Thangka
| thangka | cotton | null | Tibet Autonomous Region (China) |
|
durom.1999.19 | 1999.19-d2.jpg | data/raw/images/oriental/1999 | main figure probably Palden Lhamo or Vajrapani form of Garuda in Alidha asara, holds Vajra or Dorje in right hand, grasps a serpent which he chews in his right. Although this form usually is winged and beaked, the heavy emphasis on serpents which are trampled underfoot points towards garuda. Another possibility is that this is a Bon tradition thangka and that this is the Khyung, one of the sacred animals of the pre-Buddhist religion. This might account for the unusual form. 2 white garudas/khyungs and on eblue appear above the arms and the head of the mian figure. Bottom left, naked form wrathful protector rides on bear? Holds staff in right hand and skull cup in left. Body is covered with eyes. Middle tantric form of five sense offerings in skull cup-tongue (taste), eyes (sight), ears (hearing), heart and blood (touch and smell?). Cover still attached to the front | 131Thangka
| thangka | cotton | null | Tibet Autonomous Region (China) |
|
durom.1969.181 | durom.1969.181-h2.jpg | data/raw/images/oriental/1969 | Porcelain dish in petal shape, decorated with underglaze green, yellow and aubergine pigmentsl in Plain Three-colour style on a white ground. The dish is part of a set of "Zanpan" (Chinese: 攒盘), meaning a set of dishes designed to be assemble into a bigger shape. | 228dishes
| 素三彩人物攒盘 | porcelain | Kangxi | Jingdezhen |
|
durom.1969.181 | durom.1969.181-h2.jpg | data/raw/images/oriental/1969 | Porcelain dish in petal shape, decorated with underglaze green, yellow and aubergine pigmentsl in Plain Three-colour style on a white ground. The dish is part of a set of "Zanpan" (Chinese: 攒盘), meaning a set of dishes designed to be assemble into a bigger shape. | 228dishes
| 素三彩人物攒盘 | porcelain | Kangxi | Jingdezhen |
|
durom.1969.181 | durom.1969.181-h2.jpg | data/raw/images/oriental/1969 | Porcelain dish in petal shape, decorated with underglaze green, yellow and aubergine pigmentsl in Plain Three-colour style on a white ground. The dish is part of a set of "Zanpan" (Chinese: 攒盘), meaning a set of dishes designed to be assemble into a bigger shape. | 228dishes
| 素三彩人物攒盘 | porcelain | Kangxi | Jingdezhen |
|
durom.1969.181 | durom.1969.181-h2.jpg | data/raw/images/oriental/1969 | Porcelain dish in petal shape, decorated with underglaze green, yellow and aubergine pigmentsl in Plain Three-colour style on a white ground. The dish is part of a set of "Zanpan" (Chinese: 攒盘), meaning a set of dishes designed to be assemble into a bigger shape. | 228dishes
| 素三彩人物攒盘 | porcelain | Kangxi | Jingdezhen |
|
durom.1969.181 | durom.1969.181-h2.jpg | data/raw/images/oriental/1969 | Porcelain dish in petal shape, decorated with underglaze green, yellow and aubergine pigmentsl in Plain Three-colour style on a white ground. The dish is part of a set of "Zanpan" (Chinese: 攒盘), meaning a set of dishes designed to be assemble into a bigger shape. | 228dishes
| 素三彩人物攒盘 | porcelain | Kangxi | Jingdezhen |
|
durom.2001.126.1 | 2001.126.1 d4.jpg | data/raw/images/oriental/2001 | Two brass three-sided boxes fitting together to create a closed box. Containing one six-sided dice. Confiscated by the Malayan Police in 1952. | 101Poh Kam
| null | brass | null | China |
|
durom.2001.126.1 | 2001.126.1 d4.jpg | data/raw/images/oriental/2001 | Two brass three-sided boxes fitting together to create a closed box. Containing one six-sided dice. Confiscated by the Malayan Police in 1952. | 101Poh Kam
| null | brass | null | China |
|
durom.2001.126.1 | 2001.126.1 d4.jpg | data/raw/images/oriental/2001 | Two brass three-sided boxes fitting together to create a closed box. Containing one six-sided dice. Confiscated by the Malayan Police in 1952. | 101Poh Kam
| null | brass | null | China |
|
durom.2001.126.1 | 2001.126.1 d4.jpg | data/raw/images/oriental/2001 | Two brass three-sided boxes fitting together to create a closed box. Containing one six-sided dice. Confiscated by the Malayan Police in 1952. | 101Poh Kam
| null | brass | null | China |
|
durom.2001.126.1 | 2001.126.1 d4.jpg | data/raw/images/oriental/2001 | Two brass three-sided boxes fitting together to create a closed box. Containing one six-sided dice. Confiscated by the Malayan Police in 1952. | 101Poh Kam
| null | brass | null | China |
|
durom.1979.35 | 1979.35.1 d1.jpg | data/raw/images/oriental/1979 | Pair of silver pierced work betal nut boxes. | 19Box
| chimbul | silver | null | Malaysia |
|
durom.1979.35 | 1979.35.1 d1.jpg | data/raw/images/oriental/1979 | Pair of silver pierced work betal nut boxes. | 19Box
| chimbul | silver | null | Malaysia |
|
durom.1979.35 | 1979.35.1 d1.jpg | data/raw/images/oriental/1979 | Pair of silver pierced work betal nut boxes. | 19Box
| chimbul | silver | null | Malaysia |
|
durom.1979.35 | 1979.35.1 d1.jpg | data/raw/images/oriental/1979 | Pair of silver pierced work betal nut boxes. | 19Box
| chimbul | silver | null | Malaysia |
|
durom.1979.35 | 1979.35.1 d1.jpg | data/raw/images/oriental/1979 | Pair of silver pierced work betal nut boxes. | 19Box
| chimbul | silver | null | Malaysia |
|
durom.1969.214 | 1969.214-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl decorated with the graviata technique (Chinese: 轧道, pinyin:Yadao). | 177bowls
| 乾隆款轧道绿地粉彩梅花纹撇口碗 | porcelain | Qianlong | South China |
|
durom.1969.214 | 1969.214-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl decorated with the graviata technique (Chinese: 轧道, pinyin:Yadao). | 177bowls
| 乾隆款轧道绿地粉彩梅花纹撇口碗 | porcelain | Qianlong | South China |
|
durom.1969.214 | 1969.214-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl decorated with the graviata technique (Chinese: 轧道, pinyin:Yadao). | 177bowls
| 乾隆款轧道绿地粉彩梅花纹撇口碗 | porcelain | Qianlong | South China |
|
durom.1969.214 | 1969.214-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl decorated with the graviata technique (Chinese: 轧道, pinyin:Yadao). | 177bowls
| 乾隆款轧道绿地粉彩梅花纹撇口碗 | porcelain | Qianlong | South China |
|
durom.1969.214 | 1969.214-tt.jpg | data/raw/images/oriental/1969 | Porcelain bowl decorated with the graviata technique (Chinese: 轧道, pinyin:Yadao). | 177bowls
| 乾隆款轧道绿地粉彩梅花纹撇口碗 | porcelain | Qianlong | South China |