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Street sellers and pedlars in- and outside ZHENGYANG MEN (or QIANMEN), the central south gate in the upper city of Peking. The city gate is closed; many sellers: outside the gate, right, a musician accompanying himself on a QIN, standing on a low stool, s
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View of an oasis in a rocky desert west of Turfan, on the other side of the gully the ruins of the ancient city of Jiaohe.
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Popular print showing ritual in Buddhist monastery: monks kneeling at tables in front of altar with Buddha statue, making music and reading sutras. In front a group of four monks making music. Among the musical instruments are drums, bells, flute, cymbals
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Close-up of bamboo writing slips, six in all, with characters in ZHANGCAO (running script).
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Taoist master in ceremonial robe decorated with a cloud and bird motif. He is seated, his feet on a wooden footstool, and holding a RUYI sceptre. Behind him on a wall an inscription in ancient characters.
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Litograph: scholar seated on a KANG seat. Humble servants (?) bringing him a book. DIANSHIZHAI HUABAO. Shanghai, 1884 or later. Vol. II, 5/ 33.
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Complicated sum. Sequence: worked out to zero in ten phases, 2nd phase.
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Section of Joan Nieuhof's account of the Dutch embassy to the Qing court in 1655-57: "¿vermaarden Zee-rover Koxinga, zich geduurig op Zee en 't Ryk in alarm houden) noch oorlogh voert, EN WY DEZEN MONARCH MET ONZE SCHEPEN, in 't verjagen van dezen Zee-rov
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Catchword: "'Hoppo' Superintendant of Chinese Maritime Customs". White lettering on blue background.
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Catchword: "xingshu XINGSHU cursive script". White lettering on a blue background.
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Close-up of page of Ming edition, showing Ming-type characters: square and neat, JIANGTIZI. GUANG BAIJIANG ZHUAN XU, 1643, 1a
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Indus script: steatite seal (rhinoceros) and impression.
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Painting: a group of Buddhist female deities. SHUILU painting, used during the ritual performed on behalf of the souls on sea and on land. The main figure is wearing long flowing robes, holding her hands in adoration. Behind her a group of five attendants
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Stones with Central-Indian (Ghandhari) ordination inscription in Kharosthi-script, found at Luoyang, ca. 1925, reconstructed: fragments put together, probably the side of a well.
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Interior view of "guest hall" in the house of a well-to-do family, showing rows of chairs with spittoons. On the wall facing south, calligraphy scroll, couplet scrolls and portraits.
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Grey earthenware vessel, type DOU, with round holes in the foot. Made on a potter's wheel, polished.
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View of Duiyun Jicui qiao, the long marble bridge leading north to the island (Qionghua dao) on which the white bottle-shaped stupa of the Yong'an Si at Beihai park, Peking.
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Wall painting from a ruined monastery at Ming-oi, detail: a kneeling monk offering flowers to a Buddha figure descending from the clouds (not visible here).
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Print of one of the oxherding pictures, made to explain the different degrees of understanding Chan (Zen) philosophy. Eighth stage: ox and man have both vanished (= ox and man are both illusion). Legend reads: SHUANG MIN (both vanished)
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Painting, detail: the vertical side strips on the left bordering the Paradise of Sakyamuni, representing scenes from the story of the deer mother. Close-up of an adorned canopy and part of architectural structures, with to the left the deer mother shown w
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Fragment of embroidered silk, decorated with flower-like patterns grouped in circles, linked with chains. Dunhuang.
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The backside of a middle-class house on the canal. A woman doing laundry by pounding; laundry hanging on a bamboo rack. In the doorway a woman and child. The house is provided with sliding doors; note the curtain in the doorway. "Palace Version" of QINGMI
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Painting: portrait of Lady Zhu (ZHU FUREN). She is wearing a red robe with mandarin square of the civil 8th rank, depicting the oriole bird. Headgear decorated with strings of pearls and other precious stones.
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Map: "CENTRES OF PRINTING AND PUBLISHING: YUAN: PRIVATE". Indicated by name are the largest centres: Pingyang and Jianyang.
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