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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.
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
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.
Casket of wood, covered in brown lacquer with incised and painted decorations of landscapes and vases of flowers.
A screen mould, made of thin bamboo slivers fixed in a frame, used for dipping the pulp in papermaking.
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.
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.
Two pages of the Tripitaka in 80,000 printing blocks, printed in Korea in the 13th century.
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.
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]
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
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
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
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.
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
Close-up of bamboo writing slips, six in all, with characters in ZHANGCAO (running script).
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.
Litograph: scholar seated on a KANG seat. Humble servants (?) bringing him a book. DIANSHIZHAI HUABAO. Shanghai, 1884 or later. Vol. II, 5/ 33.
Complicated sum. Sequence: worked out to zero in ten phases, 2nd phase.
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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