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Ksitigarbha Bodhisattva (Chijang Bosal) 地藏菩薩 Gilt bronze 鎏金銅   Goryeo dynasty 高麗(918-1392)  Korea 韓國

Ksitigarbha bodhisattva is one of the four principal bodhisattvas in the East Asian Mahayana tradition. He is known in Korean as Chijang Bosal, which literally means Earth Store Bodhisattva. He is said to have vowed not to attain final enlightenment until all souls have been saved, and the hell realm emptied. His name’s association with the earth, and his vow have led him to be revered for his merciful deliverance of sentient beings from the suffering of hell. He is prayed to to seek forgiveness for deceased relatives for transgressions committed during their lifetimes, and to request that they may have a speedy rebirth. His story is told in the Kṣitigarbha Bodhisattva Pūrvapraṇidhāna Sūtra, first translated from Sanskrit into Chinese in the 7th century during the Tang dynasty.

Ksitigarbha is customarily portrayed, as in this figure, wearing the garments of a Buddhist monk. His uttarasanga, draped over his shoulders, is open at the chest to reveal an elaborate necklace, while the antaravasaka is tied with a sash into a neat bow. A long cowl covering his head is gathered at the back and secured with a band. His right hand is raised with the thumb and middle finger joined in the shuni mudra, a gesture of patience. The left hand holds a jewel, which has the power to grant wishes. He is seated cross-legged in meditation, with jeweled chains at his knees. His eyes are half-closed and an amber urna centers his forehead.
Sculptural representations of Ksitigarbha are more commonly found in Chinese and Japanese art but are extremely rare in Korea; only one other Goryeo-dynasty Korean bronze figure of the bodhisattva is known, a smaller and less ambitious work in a Japanese private collection.

地藏菩薩是東亞大乘傳統中的四大菩薩之一。他在韓語中被稱為Chijang Bosal，字面意思是地藏菩薩。據說他發誓在所有靈魂都得救並且地獄世界清空之前他不會獲得最終的成佛。他的名字用大地命名，他的誓言使他因仁慈地拯救眾生脫離地獄的痛苦而受到尊敬。祈求他為已故親屬在生前所犯的罪行尋求寬恕，並要求他們早日重生。他的故事在公元七世紀唐朝時由梵文翻譯成中文的《地藏菩薩本愿經》中有所記載。
地藏王通常被描繪成穿著佛教僧侶的衣服，如本圖所示。他的九條衣（鬱多羅僧(梵文Uttarasanga的音譯)，用七條布料縫製而成，故又稱七條衣。它是在禮誦、聽講、布薩時穿用的）披在肩上，胸前敞開，露出一條精緻的項鍊，而下衣用腰帶系成整齊的蝴蝶結。一個覆蓋他頭的長罩在後面收集並用帶子固定。他的右手舉起，拇指和中指結成安慰印（以示講解佛法或詮釋佛教教義的姿態，其將拇指和中指相觸），這是一種慈悲的姿態。左手握著一顆寶石，它有實現願望的力量。他盤腿而坐，膝蓋上掛著寶鏈。他的眼睛半閉著，前額雙眉之間有一個琥珀色的慧眼(寶石)。
地藏王的雕塑表現形式在中國和日本藝術中更為常見，但在韓國極為罕見；目前只知道韓國高麗時期的地藏菩薩鎏金銅像只有兩尊，除了這一尊佛像外還有另外一尊被一個日本的私人藏家收藏，是一件尺寸較小、不那麼宏大的作品。

Model of a Horse 馬像 Carved wood 木雕 Han dynasty 漢 (206 BC-220 AD) China 中國

Horses were highly esteemed during the Han dynasty, and models of horses were made to accompany nobles into the afterlife. These mortuary models were made of bronze, pottery, and like this example, wood. Due to the organic nature of wood, which is susceptible to decay over time, large wood figures of horses are relatively rare. The various parts of the horse were carved separately, and assembled using dowels to connect the head to the neck, and the neck, legs and tail, to the torso, which was carved from a single log. In this example, the legs and tail have been lost to the ravages of time.

This example, with its open mouth and powerful neck, would have depicted a Ferghana horse which the Han imported from Central Asia. According to tradition, these horses could fly like the wind and were said to sweat blood.

漢代崇尚馬匹，並製作馬模型以陪伴貴族進入來世。這些殉葬的物品由青銅、陶器和像這匹木雕馬像一樣的木頭製成。由於木材的有機性質，隨著時間的推移容易腐爛，大型木馬雕像相對罕見。馬的各個部分是分開雕刻的，然後用木釘將頭和脖子連接起來，把脖子、腿和尾巴連接到軀幹上，軀幹是用一根圓木雕刻而成的。在這個例子中，腿和尾巴已經在時間的蹂躪中消失了。

這匹木雕馬像，張開嘴和有力的脖子，描繪了漢人從中亞進口的費爾幹納馬。根據傳統，這些馬可以像風一樣飛行，俗稱汗血寶馬。

Model of Deer 花鹿像 Carved and lacquered wood 彩漆木雕 Han dynasty 漢 (206 BC-220 AD) China 中國

The figure depicts a standing stag with its head raised, and alert eyes scanning the distance for sign of danger. The musculature of the body, its legs and hooves, and the details on its head, are all naturalistically rendered. The large antlers are carved separately and attached to the head. The body is covered in black lacquer with painted details depicting the distinctive markings of the deer’s fur, indicating that it is likely a sika deer, a species native to much of East Asia, but today mostly found only in Japan. This lacquered wood figure is notable for its elegance and rarity. Wood and lacquer being organic, are subject to the ravages of time, and it is rare for such a superb figure to survive in such good condition.

這是一隻站立的雄鹿，它的頭抬起，警覺的眼睛掃視著遠處的危險跡象。身體的肌肉組織、腿和蹄子，以及頭上的細節，都被自然地呈現出來。大鹿角分別雕刻並附在頭部。身體被黑漆覆蓋，細節描繪鹿皮的獨特標記，表明它很可能是梅花鹿，一種原產於東亞大部分地區的物種，但今天主要只在日本發現。這個漆木人物以其優雅和稀有而著稱。木漆為有機物，經受歲月的摧殘，如此高超的人物能保存得如此完好，實屬難得。

Figure of an Attendant 侍俑像 Carved and painted wood 彩繪木雕 Warring States period 戰國 (475-221 BC) China 中國

This slender figure was made to be interred in the tomb of a noble, along with food, furnishings, and models of animals. It would have been expected to attend to the tomb occupant in the afterlife, and was likely a substitute for an actual human sacrifice. The figure is carved from a log of wood with detachable lower arms, and depicted wearing a flaring robe. The relatively large head has schematically modeled features with painted details, and the pierced ears would have held actual earrings.

這個纖細的人像與食物、家具和動物模型一起被安葬在貴族的墳墓中。它本來會在來世照顧墳墓主人，並且很可能代替實際的人祭。該人物由原木雕刻而成，下臂可拆卸，穿著喇叭形長袍。相對較大的頭部具有帶有彩繪細節的示意性建模特徵，而打洞的耳朵將裝有實際的耳環。

Loose-ring Vase 活環瓶   Bronze銅  Ming dynasty 明 (1368-1644)  China 中國

This bronze vase continues the bronze casting tradition of the Song dynasty but the craftsman, instead of copying motifs from the past, has taken motifs from different periods and combined them into something new.

The vase has a squat baluster-shaped body with a tall neck and flared mouth. The shape is likely based on hu vessels pf the Warring States period, but with a longer neck. The leaf lappet motifs are popular on Ming dynasty blue and white porcelains, while the loose rings are found on archaic bronze vessels as handles or cover finials. Most unusual however, is that the craftsman has used the loose rings as a main decorative motif, covering almost the entire neck and body of the vase, to create something new and eye-catching.

這件青銅花瓶延續了宋代的青銅鑄造傳統，但工匠並沒有復製過去的圖案，而是將不同時期的圖案取而代之，並將它們組合成新的東西。

這個花瓶有一個低矮的欄杆狀的身體，高頸和張開的瓶口。它的形狀很可能是基於戰國時期的胡器，但頸部較長。葉垂圖案在明朝青花瓷上很流行，而鬆散的環在古代青銅器上被發現作為手柄或蓋尾。然而最不尋常的是，工匠使用鬆散的圓環戒指作為主要的裝飾主題，幾乎覆蓋了整個花瓶的頸部和身體，創造出新的和引人注目的東西。

Loose-ring Vase 饕餮紋活環瓶  Bronze 銅  Ming dynasty 明 (1368-1644)  China 中國

This squared bronze vase takes its inspiration from archaic gu vessels. A gu is a ritual vessel from the Shang and Zhou dynasties. It was used to drink wine or to offer ritual libations.

In this vase, the central section is larger than an archaic gu and has been cast with taotie masks on a ground of squared-spirals called leiwen. The flaring neck is cast with leafy blades above a band of confronting phoenix. The tall foot is decorated with pendant lappets enclosing archaistic motifs. To add interest, each of the sides have been accented with loops suspending loose rings.

這個方形青銅花瓶的靈感來自古代的青銅禮器。觚（gu）是商周時期的飲酒器，它被用來喝酒或提供古代儀式上的盛酒器皿。

在這只花瓶中，中心部分比古代的觚（gu）更大，並被鑄造在一個正方形螺旋地被稱為雷溫的饕餮面具。張開的脖子上鑄有葉片，上面是一束對峙的鳳凰，高高的腳是裝飾與吊墜吊架封閉的古代圖案。為了增加趣味性，每一面都用環形懸掛鬆散的環來強調。

Pouring Vessel 匜  Bronze inlaid with gold and silver 銅嵌金銀  Han dynasty 漢 (206 BC-220 AD)  China 中國

The form of this vessel is purely utilitarian, the only decoration being a band of gold between two silver bands that encircles the rim, which is cast with a wide, flaring spout. A loop is fitted beneath the spout to allow the vessel to be attached or suspended. To the left of the loop there is an inscription to the owner, Lord Xinyang.

這種容器的設計純粹是實用的，是一種形狀像瓢的器具，盛水、酒用。唯一的裝飾是環繞邊緣鑄有一圈寬帶，寬帶由兩個銀帶之間有一圈金帶組成，還有張開的壺嘴。在壺嘴下方安裝了一個環，使容器可以連接或懸掛。在環的左邊有一段銘文，表明這個物品的主人是信陽君。

Gui-form Censer 仿古饕餮紋簋  Bronze  銅 Ming dynasty 明 (1368-1644)  China 中國

This Ming dynasty censer is an homage to Zhou dynasty gui vessels. It builds on the antiquarian tradition of making bronze vessels in archaic styles that had started during the Song dynasty.

The body of this vessel is cast with a large taotie mask on each side, bisected by a raised flange. The pedestal foot is encircled by a band of snakes. All the decoration is cast in relief against a ground of dense squared-spirals called leiwen. Two loop handles with bovine heads and pendant tabs extend from the sides.

這件明代香爐是對周代簋器的致敬，它延續了在宋代開始的製作古風青銅器皿的傳統風格。

這个簋的主體在每側鑄有一個大饕餮面具，由一個凸起的法蘭一分為二，基座腳被一圈蛇環繞。所有的裝飾都是在被稱為雷紋的密集方形螺旋地面上浮雕的，兩個帶有牛頭和吊環的環形提手從側面延伸。

A Pair of Low Back Armchairs 南官帽椅一對 Black lacquer on wood 木加黑漆  17th century 十七世紀  China 中國

Each chair is made with a slightly arched crestrail above a gently curved backsplat carved with a circular medallion. The armrests are supported by a central post, all extending from a frame surrounding the hard wood seat, supported by legs of circular section joined by pairs of stretches at the sides, a single stretcher at the rear, and a foot rest in the front. The front legs are additionally joined by a cusped apron. The slender members of these chairs, with their graceful curves and elegant shape are fine examples of the Ming furniture aesthetic.

Armchairs such as these are called nanguanmaoyi, or southern official’s hat armchairs, because they resemble the style of Southern Official’s hats, where the crestrails continue into the back posts, as opposed to extending beyond them.

每把椅子都是由一個略微拱形的樹冠製成，上面有一個雕刻著圓形大獎章的柔和彎曲的背板。扶手由一根中央柱子支撐，全部從圍繞硬木座椅的框架延伸。兩側由一對伸展物連接的圓形部分的腿支撐，後面有一個擔架，前面有一個腳托。前腿另外由一個尖頭的望板連接。這些椅子是纖細修長的風格代表，其優美的曲線和優雅的形狀是明代家具美學的典範。

此類扶手椅被稱為南官帽椅，或稱南官帽扶手椅，因為它們與南官帽的樣式相似，帽簷一直延伸到後柱，而不是延伸到帽簷之外。

Four-poster Canopy Bed 四柱架子床 Chicken Wing Wood 鷄翅木  Late 17th century 十七世紀晚期  China 中國

The rectangular woven mat bed is enclosed on three sides by humpbacked solid panels slotted into the bed frame, which is supported on a narrow waist and cusped apron continuing to gently-curved legs with scrolled ruyi-form feet. Four narrow vertical posts extend upwards from the corners of the bed frame joined by humpback stretchers and supporting the openwork lattice canopy top.

Four-poster canopy bed, were common during the Ming period. They were typically draped with fabric curtains around the outside of the frame that were appropriate to the season. The fabric not only provided insulation during the colder months and a barrier against insects during the warmer months, but also allowed for privacy by creating a room within a room. When not in use, the curtains were tied back with knotted tassels or hooks.

The Chinese name Jichimu, literally meaning 'chicken-wing wood', is a name used to describe the wood grain patterns that are visible when the wood is tangentially cut, as the patterns were thought to resemble chicken feathers.

長方形編織墊子床三面圍合，由弓形實心板縫入床架，床架由窄腰和尖裙板支撐，並繼續向下延伸以柔和曲線彎曲的床腿和捲曲的如意形床腳支撐。四個精密的垂直柱子從床架的角落向上延伸，由座頭擔架連接，支撐著開放式格子頂棚。

四柱天篷床，在明代很常見。它們通常在框架的外面掛著適合這個季節的織物窗簾。這種織物不僅在寒冷的月份提供了保溫，在溫暖的月份提供了防止昆蟲的屏障，而且還通過這種構造使在同一房間裡也能實現隱私。不用的時候，窗簾用流蘇或鉤子系在後面。

這種木材在中國被稱為“雞翅木”，這個名字是用來描述當切木材時可以看到的木紋圖案，因為這些圖案被認為類似於雞毛。

Archaic Bronze Ritual Tripod Vessel and Cover.jpg

Archaic Bronze Ritual Tripod Vessel and Cover 饕餮活環耳三犧蓋  Bronze 青銅  Warring States period 戰國 (475-221 BC) China 中國

Vessels supported on legs were used for cooking, storage, and for making ritual offerings to gods and ancestors. The earliest of these vessels, called ding, were made of clay, and date to the Neolithic period. The best known ding however, are the bronze examples from the Shang and Zhou dynasties. During the Zhou period, changes to social and religious practices deemphasized the ritual uses of ding, and their function shifted from solely religious to more secular. The Zhou elites used the ding to announce status, and included them in their burials as a display of status to the living and the spirits in the afterlife. The higher the number of ding buried in the grave, the higher the status of the deceased, with emperors being buried with a maximum of nine.

This example has a compressed spherical body. The rounded sides are cast with opposing taotie handles suspending loose rings, while the sides of the body and cover are decorated with two concentric rope-twist bands. The fitted dome cover is cast with three evenly-spaced recumbent beasts surrounding the loop finial fitted with a loose ring.

這個用腿支撐起來的容器用於烹飪、儲存和向神及祖先祭祀。最早時期的這類器皿叫做鼎。鼎是用粘土製成的，可以追溯到新石器時代。然而，最著名的鼎是商代和周代的青銅鼎。在周朝時期，社會和宗教實踐的變化不再強調鼎的儀式用途，其功能也從宗教轉向了世俗。周朝的精英階級用鼎來表明地位，並在他們的葬禮上使用鼎來向生者和來生的靈魂展示地位。墓中埋鼎的數量越多則說明地位不高，皇帝埋葬鼎的數量最多為9個。

這個容器是一個壓縮的球形物體。圓形的外邊是鑄造而成，兩邊對立位置的饕餮手柄懸掛著兩個鬆散的圓環，而身體和蓋的兩邊裝飾著兩個同心繩捻帶。圓頂的蓋正中間有一個鬆散的圓環，周邊坐落著三個均勻間距的平臥神獸。

Money Tree 搖錢樹  Cast bronze 青銅  Eastern Han dynasty 東漢 (25–220 AD)  China 中國

Money trees were made to be interred in the graves of the wealthy, so that the deceased could continue to enjoy everlasting wealth in the afterlife. Such money trees were especially popular in central Sichuan province. The crown of the tree features various deities, mythical creatures and phoenixes. Below the crown are five tiers of branches. Two additional large phoenixes perch at the ends of the branches in the top tier. The branches of the tiers not only bear circular coins with square holes in the center, many of which have wavy lines extending from the edges, likely representing rays of light, but the top two tiers also include animals, such as goats, wolves, deer and monkeys with humans engaged in a hunt, while the lower tiers include other human figures engaged in ritual or dance. Dragons in profile appear between the tiers. The scenes portrayed on the branches likely represent deities whose blessings are sought to protect the deceased on their journey to the afterlife, as well as scenes that the deceased would have encountered in daily life while alive. The tree is supported in a ceramic base made in the shape of a ram seated on a base decorated with human figures carrying tribute molded in relief on the sides.

發財樹被埋在富人的墳墓裡，讓死者在來世可以繼續享受永恆的財富。這種搖錢樹在四川中部特別受歡迎。樹冠上有各種神靈、神話生物和鳳凰。冠下有五層樹枝，另外兩隻大鳳凰棲息在頂層樹枝的末端。兩層的枝杈不僅有圓形硬幣，而且硬幣中間有方孔，許多硬幣的邊緣有波浪線延伸，这很可能代表光線。最上面的兩層還包括動物，如山羊、狼、鹿猴子和人類一起狩獵，而比較低的樹幹上包括其他從事儀式或舞蹈的人物。側面的龍出現在樹幹上樹枝之間，樹枝上描繪的場景可能代表了在死者前往來世的旅程中尋求祝福保護死者的神靈，以及死者在生前日常生活中會遇到的場景。這棵樹被支撐在一個以公羊形狀製成的陶瓷底座上，底座上裝飾著人物，兩側飾有浮雕。

Figure of Guangong 關公坐像  Gilt bronze 鎏金銅  Qing dynasty 清 (1644-1911)  China 中國

Guangong (Lord Guan) is an honorific title for the deified historical figure Guanyu who served as a general during the end of the Han Dynasty, becoming an important figure during the Three Kingdoms Period, serving under Liu Bei. Guanyu’s life and accomplishments are immortalized in the historical drama The Romance of the Three Kingdoms.

Guanyu is worshiped in Chinese folk religion as a god of war and martial arts, where he is referred to as Guandi (Emperor Guan) or Guangong (Lord Guan). He is also part of the Taoist pantheon, where he is referred to as Guan Sheng Di Jun (Holy Emperor Lord Guan), a protective deity tasked with slaying demons. He is also venerated in the Buddhist pantheon as the bodhisattva Sangharama (Qielan Pusa), the protector of temples and the dharma.

關公是對關羽神化的尊稱，關羽是漢末大將,是侍奉劉備的三國時期重要人物。關羽的生平事蹟在歷史劇《三國演義》中不朽。

關羽在中國民間信仰中被尊為武神和武神，被稱為關帝或關公。他也是道教萬神殿的一員，被稱為關聖帝君，是一位負責斬妖除魔的保護神。他在佛教萬神殿中也被尊為僧伽羅摩菩薩，是寺廟和佛法的保護者。

Buddhist Stele 佛碑 Carved stone 石雕 Sui dynasty 隋 (581-618 AD) China 中國

This stele is carved in the outline of a lotus petal to form a large mandorla, that backs three figures carved in high relief. The central figure depicts the bodhisattva Maitreya, who as the future Buddha, will descend to earth from Tushita heaven, to restore Buddhist teachings once the teachings of Gautama Buddha have completely disappeared from this earth. Maitreya’s full face has delicately carved features with half-closed eyes and a gentle smile. He wears a crown in the shape of a lotus blossom and is seated with legs crossed at the ankles on a throne in the form of two lions. This seated pose is characteristic of Maitreya, and is useful in identifying him, while the lions are symbols of strength and protection. The left hand is held downwards in a gesture of charity that denotes the compassionate granting of wishes. The right hand is damaged. Maitreya is flanked by two standing monks, with shaved heads and hands clasped in front of their bodies. These monks are arhats, who are disciples of the Buddha and often serve as attendant figures to Buddhas and bodhisattvas.

此碑刻蓮花花瓣的輪廓，形成一個大曼陀羅，背靠三個浮雕人物。中央人物描繪的是未來佛陀彌勒菩薩，他將在釋迦牟尼的教義完全消失後，從兜率天降臨人間，以恢復佛教教義。彌勒全臉五官精雕細琢，眼睛半閉，笑容溫和。他頭戴蓮花形冠冕，雙腿交叉盤坐在兩獅形寶座上。這種坐姿是彌勒的特徵，有助於辨認他，而獅子則是力量和保護的象徵。左手向下以表示慈悲的願望的慈善手勢。右手受損。彌勒的兩側是兩名站立的僧侶，他們剃光頭，雙手合十。這些比丘是阿羅漢，是佛陀的弟子，經常作為佛菩薩的侍從。

Stele of Goddess Durga 杜爾迦女神像  Stone石雕  Pala dynasty 帕拉王朝 (750-1161)  India 印度

The warrior goddess Durga is often depicted atop a tiger or lion, with multiple arms each carrying a weapon. In the current example, she is depicted with four arms, carved in deep relief, standing in a triumphant pose atop the back of a beheaded buffalo. She grabs the hair of Mahishasura the buffalo demon, as he emerges from the neck of his slayed anthropomorphic form. The trident held in one of Durga’s four arms is lodged in the back of the buffalo, while her tiger grips the buffalo’s rump in its jaws. In the goddess’ other hands, she holds a sword and shield. The background of the pointed, blade-form stele is carved with other deities and foliage. The asymmetrical pose of the figure gives the sculpture a sense of action, capturing the moment the goddess slays the demon.

戰士女神杜爾迦通常被描繪在一隻老虎或獅子的頭頂上，每隻手臂都攜帶著武器。在目前的這個神像中，她被描繪成用深浮雕雕刻的四條手臂，以勝利的姿勢站在一頭被斬首的水牛背上。她抓住了水牛惡魔馬赫紹拉的頭髮，因為他從他被殺死的擬人化的身體的脖子裡出來了。杜爾加的一隻手拿著三叉戟，它卡在野牛的背部，而她的老虎則用嘴咬住野牛的臀部。女神的另一隻手握著劍和盾。葉片狀的尖尖的石碑背景上雕刻著其他的神和樹葉。雕像不對稱的設計給了雕塑一種動作感，捕捉到了女神殺死惡魔的瞬間。

Helmet 獸面紋頭盔  Bronze 銅  Shang dynasty 商 (c. 1200 BC)  China 中國

This remarkable dome-shaped helmet is cast to the front with a fearsome-looking zoomorphic face. The face has a pair of large, bulging eyes flaking a nose with prominent, curled alar creases. Above the eyes are a pair of large motifs suggesting horns, and to the sides are a pair of curled ears. The helmet has a prominent ridge down the center that leads upwards towards a hollow tube, which would have held some sort of feathered crest or tassel. The face on the mask closely resembles the taotie motif found on many Shang ritual bronzes.
This example closely resembles a similar helmet unearthed from a burial mound in Dayangzhou, Xingan country, Jiangxi province in 1989 and currently in the collection of the Jiangxi Provincial Museum. While dating to the Shang period, the Dayangzhou tomb is too far south to have been considered part of Shang territory. It is uncertain if such helmets were worn in battle, only used in ceremonies or for burial. What is certain however, is that the owner of such a helmet, would have been of high social status, as most helmets of the period lack such ornamentation and are plain, functional domes.

這個引人注目的圓頂頭前面鑄有一個可怕的獸形臉。這張臉有一雙凸出的大眼睛，鼻子上有突出的、捲曲的鼻翼摺痕。眼睛上方有一對較大的圖案，讓人聯想到角，兩側是一對捲曲的耳朵。頭盔的頂端正中間有一個向上凸起中空的管子，裡面可能用來裝某種羽毛頂或流蘇。頭盔上的臉很像很多商朝儀式青銅器上的饕餮圖案。
這個頭盔與1989年在江西省新干大洋洲出土的一個類似的頭盔非常相似，目前收藏於江西省博物館。雖然可以追溯到商朝，但大洋洲墓太過南方，不被認為是商朝領土的一部分。目前尚不清楚這種頭盔是在戰鬥中佩戴的，還是只在儀式或埋葬時使用的。但可以肯定的是，這種頭盔的主人一定是社會地位很高的人，因為那個時期的大多數頭盔都沒有這種裝飾，而是普通的功能性圓頂。

Chinese puzzle balls 中國益智球 Ivory 象牙 Late 19th century 19世紀晚期 Canton, China 廣州，中國

Made for the export market, Chinese puzzle balls are ornate decorative items that consist of several concentric spheres, each of which rotates freely, carved from the same piece of material. The number of layers can vary, but the pieces shown here have approximately twenty. Although the inner balls can be fairly easily arranged so the holes align, the name “puzzle ball” is derived from those who were “puzzled” or perplexed with how such objects were created.

中國益智球是專供海外市場的裝飾性多層同心球，它的每一層都可以自由旋轉，每一層均由同一塊材料雕刻而得。益智球的同心球層數不盡相同，您現在看到的這件有大概二十層之多。儘管讓所有同心球洞排列一致并非難事，但是人們見到此類物品時還是會對其製作方式感到困惑（puzzled)，因此這些同心球被稱為“puzzle ball”。

Civil Rank Badges (Mandarin Squares) 文官徽章（方補） Silk and metallic embroidery 絲綢和金屬刺繡 Qing Dynasty 清 (18th to 19th century) China 中國

Top: Golden pheasant, second rank, with images of the Eight Auspicious Buddhist emblems

Middle: Crane, first rank.
The crane facing left indicates this was a badge for the wife of a civil official. When seated next to her husband, the birds on their badges would face each other.

Bottom: Egret, sixth rank, with symbols of the Eight Taoist Immortals

上：錦雞，二品文官。帶有佛教八吉祥的圖案

中：鶴，一品文官。朝左的鶴表明這是文官夫人的徽章。當坐在她丈夫旁邊時，他們徽章上的鳥會面對面。

下：鷺鷥，六品文官。帶有道教八仙的符號

按大清會典規定，清代文官用“飛禽”圖案、武官用“走獸”圖案綴於補服前後。具體規定如下：文官一品為鶴，二品為錦雞，三品為孔雀，四品為雁，五品為白鷳，六品為鷺鷥，七品為鸂鶒，八品為鵪鶉，九品為練雀；武官一品為麒麟，二品為獅，三品為豹，四品為虎，五品為熊，六品為彪，七品為犀，八品為犀，九品為海馬。

Wine Vessel (Hu) with chain handle 鏈柄酒器（壺） Cast bronze 鑄青銅 Western Han Dynasty 西漢(206 BC – 9 AD) China 中國

The vessel of elegant proportions, with a compressed globular body resting on a high splayed foot. The vessel is mostly undecorated, save for a pair of taotie (monster) masks with loose ring handles, and bands of raised ridges that circumscribe the body. A close-fitting lid surmounts the squat neck and wide, everted mouth. The most notable feature of this vessel is the attached chain and handle that secures the lid to the vessel. The handle formed as a pair of dragon heads.

容器比例優雅，壓縮的球形主體擱在高張開的腳上。這件器物大部分沒有裝飾，除了一對帶有鬆散環狀手柄的饕餮面具，以及環繞身體的凸起的脊帶。緊貼的蓋子覆蓋在深蹲的頸部和寬闊的外翻壺口上。該容器最顯著的特點是連接的鏈條和手柄，可將蓋子固定到容器上，手柄則是一對龍頭。

Cabbage and Insect Group 捲心菜和昆蟲 Carved and polychromed bone 彩骨雕 Republic Period 民國時期(1911 – 1949) China 中國

This carving is remarkable not only for its size and vivid colors, but because of the wonderful insects, vegetable, and flowers that surround it. In Chinese culture, the cabbage is a symbol of wealth. A pair of crickets that grace the cabbage as a symbol of luck and prosperity, while a single praying mantis symbolizes bravery. A spray of white chrysanthemum blossoms represent longevity. The chestnut is a symbol of abundance, while the radish symbolizes good fortune.

這件雕刻品不僅因其尺寸和鮮豔的色彩而引人注目，還因為它周圍環繞著美妙的昆蟲、植物和花朵。在中國文化中，白菜（百財）是財富的象徵。一對蟋蟀為捲心菜增光添彩，象徵著幸運和繁榮，而一隻螳螂則像徵著勇敢；一朵白菊花代表長壽；栗子是富足的象徵，而蘿蔔則像徵著好運。

Pair of Compound Cabinets 一對雙層櫃 Softwood軟木製 Qing Dynasty清 (1644-1911) China 中國

Compound cabinets consist of an upper and lower set of cabinets and are often used in pairs, as shown here. However, very few complete sets of compound cabinets have survived together into modern times. They are popular in the north of China, where colder climates dictated a necessity for extra storage space to stow away furs.
Each section consists of two-leaf doors, which are separated by central removable stiles, all fixed with copper faceplates, metal pins, and pulls. Along the bottom edge are relief-carvings of two dragons surrounding a longevity character.

合櫃是由上下兩部分櫥櫃組成，通常成對使用。然而，很少有完整的複合櫃套組在現代保存完好。它們在中国北方很受欢迎，那里的寒冷气候需要额外的存储空间来存放皮毛。每个部分都由两扇门组成，由可拆卸的中央立柱分开，全部固定在铜面板、金属销和拉手上。沿底部边缘是两条龙围绕一个“寿”字的浮雕雕刻。

Long Table 長條桌 Mixwood混木製 Qing Dynasty清 (1644-1911) China 中國

This long, recessed-leg table boasts its fair share of decorative components, from everted spiral flanges to sculpted spandrels detailing back to back dragons. In addition, inset ornamental panels in between the legs further showcase dragon motifs in openwork carving with geometric elements atop. The table is supported by horizontal cross stretchers at the bottom that double as the feet.

Chinese scholars may have used this as a study table for examining scrolls and antique collections.

這張長形的凹腿桌具有許多裝飾性元素，從外翻螺旋邊緣到細節描繪的背靠背龍鑲嵌環帶。此外，在腿之間嵌入裝飾面板，進一步展示了幾何元素上方的開放式雕刻龍紋。該桌子由底部的水平交叉撐架支撐，同時也兼作腳部。

中國的學者可能會將其用作書房桌，用於閱讀卷軸和古董收藏。

Side Table 條案 Hardwood 硬木製 Qing Dynasty清 (1644-1911) China 中國

The top of this long side table (tiao ‘an) consists of two floating panels contained in an ice plate frame and bracketed by everted flanges. It stands on recessed legs, supported by cloud-shaped aprons & spandrels beaded to the edge and pairs of thick, rectangular upper-side stretchers connecting legs of raised rectangular section. Although this hardwood table has been repaired over the years, signs of its frequent use are still obvious in the ink marks blotting the surface.

These types of long, thin tables were often placed against a wall for use as an altar or side table, although they could also be placed in the middle of the room for more practical usage, such as a surface for painting or reading sutras.

張長型的條案（tiao 'an）的桌面由兩個浮動的面板組成，被一個冰盤框架包含，並由外翻的凸緣支撐。它站在一對凹陷的腿上，由形狀為雲朵的台裙和裝飾到邊緣的斗拱支撐，並由厚實的矩形上框支撐相連接。雖然這張硬木桌子經過多年修補，但墨跡仍然顯示其經常使用的痕跡。

這些長而窄的桌子通常放置在牆邊作為供桌或側桌使用，但也可以放置在房間中央以進行更實際的用途，例如用作繪畫或閱讀經文。

Pair of Chairs 一对椅子 Softwood軟木製 Qing Dynasty清 (1644-1911) China 中國

These two softwood chairs of identical nature boast a rectangular top rail rounded at the corners. The simplicity of the chairs’ design emphasizes the beauty of the wood grain in the S-curved back splat connecting the top rail to the seat. The curved side-posts of the arms are thin in the upper part and thicker in the lower part, and the armrests themselves end in scrolled hand-grips. Under the seat is a humpbacked stretcher connected to the seat framework by two short vertical braces. Pairs of round stretchers stabilize the legs on either side of the chairs, with a single round stretcher running along the back and a footrest in the front.

這兩把相同的軟木椅子，擁有矩形頂欄，圓角處呈圓弧形。椅背的S形曲面連接頂欄和座椅，椅子的簡潔設計凸顯出木紋的美感。椅臂的曲線側柱在上半部分較細，在下半部分較粗，扶手本身則以捲曲的手柄結束。座位下方是一個隆起的支架，由兩個短垂直支撐框架與座椅相連。兩側的圓形支架穩定椅腿，椅背有一個圓形支架，前面有一個腳踏板。

Square Pedestal Table 方座桌 Mixwood混木製 Qing Dynasty清 (1644-1911) China 中國

This square pedestal table (chaji) has an ice-plate-edged table board with a high, indented waist and four legs of rectangular section. Under the waist, step-like aprons have been decorated with floral motifs. Between the legs, straight base stretchers support an ice-ray patterned lattice-work, named so for its “broken ice” appearance.

這張方形茶几（chaji）具有帶有冰盤邊緣的桌面，高高的凹腰和四條矩形截面的腿。在腰部下方，台裙上有花卉圖案。在腿之間，直形底座托架支撐著一種名為冰射線圖案的格子，因其「破冰」外觀而得名。