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Gilt clock embedded in the cloisonné enamel basin-shaped vase with artificial flowers and butterflies. Tribute gift from the customs of Guangdong and the governor of Guangdong and Guangxi provinces.
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The upper part of the city wall of Anxi, Gansu; the fort of the wall is buried under the shifting sand.
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Remains of a beacon tower in the desert near Urumchi.
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Detail of damaged page of Ming edition, carefully restored: hole in lower left corner is patched, lines in this section redrawn. WULUN SHU, 1447, pref. 2a.
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Lithograph: a supreme act of filial piety (XIAO): a son cutting out his liver to give his ailing father to eat. His father is seen through a window, lying in his sickbed. In another section of the house a servant attending the stove, on which a clay pot w
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Painting: "One Hundred Horses" BAIMA TU, detail: landscape with horses wading through a river, led by two horsemen.
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Main hall of the temple of the God of Wealth (CAISHEN MIAO), Tengyue, Yunnan. Note the large trompe-l'oeil painting with linear perspective suspended in the gateway.
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Coloured blockprint, mounted as a hanging scroll, depicting an ox standing on a hill in the foreground, in the background mountains, a lake, people. Long inscription on the print and the scroll. The blockprint is made after a European (probably Dutch) exa
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Popular print or NIANHUA: the Eighteen Buddhas and Gods of Heaven, Earth, and the Three Teachings. 154 gods, of which the upper row constists of Buddhas and Bodhisattvas; the second, third and fourth row of Taoist deities; and the fifth and sixth rows of
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Three-tiered platform in front of QIANDIAN, the main hall of Taimiao, the "Imperial Ancestral Temple", Peking, seen from below the terrace. The Ming and Qing emperors performed the ceremony of worshiping the SHENWEI "soul tablets" of their ancestors.
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Second version of Matteo Ricci's map of the world, names given in Chinese script. In Feng Yingjing, YUELING GUANGYI, ca. 1602, ch. 1, p. 60.
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Close-up of Imperial Charter, printed in red ink, giving honorific title to the Jesuit missionary Adam Schall von Bell S.J. (1591-1666).
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Wealthy Sunit women attending a temple festival, wearing festival costume, heavily decorated head-dresses and necklaces with pieces of silver and precious stones.
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Painting: fourteenth section of the story of Lady Wenji, detail: The Return Journey Begins. Lady Wenji travelling in a closed camel cart through a hilly landscape, escorted by nomadic horsemen and followed by horsemen carrying banners. Note the nomads are
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Painting: the Kangxi emperor inspecting the dikes along the Yellow River. Detail of a court painting KANGXI NANXUN TU, "The emperor Kangxi's tour to the South", scroll 4.
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Casket of wood, covered in brown lacquer with incised and painted decorations of landscapes and vases of flowers.
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A screen mould, made of thin bamboo slivers fixed in a frame, used for dipping the pulp in papermaking.
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A store of coffins with bodies of deceased relatives kept above ground (sometimes even for years), until date and place of funeral have been decided by geomancers.
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Streets, lanes and courtyards inside Dongzhi men, the northern gate in the east wall of the upper city, on a very detailed map of Peking of the Qianlong period. City gate with square barbican, perspective.
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Two pages of the Tripitaka in 80,000 printing blocks, printed in Korea in the 13th century.
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Jesuit blockprint in Chinese style depicting the Ascension of Christ. Illustration in J. da Rocha. NIANZHU GUICHENG. ca. 1620. After copper engraving in H. Nadal. ADNOTATIONES ET MEDITATIONES IN EVANGELIA. Antwerp, 1595.
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Watercolour: distant view of the walled city of "Ucienjen" Wucheng xian (Shandong), on the Wei-river. 18-19th century copy of the original watercolour by Joan Nieuhof, member of the Dutch embassy to the Qing court in 1655-57. [N62]
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Book illustration depicting Nurhaci receiving the honorary title of "Khan" from Enggeder, a Khalkha Mongol chieftain of the Borgigit-clan. Nurhaci is seated on a platform on a folding chair covered with a tiger skin, flanked by armed guards. Below the pav
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Facing pages of traditional Chinese book, printed in four colours. The main text is in black ink, the annotations and commentaries in yellow, blue and vermillion. Printed from four blocks. Liu Yiqing (S. Song), Liu Xiaobiao (Liang, annot.), Wang Shimao (M
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