The statue, belongs to Kenshka-I dynasty, is measuring two feet high and 16 inches wide.

In the collection of the Palace Museum, a white ceramic statuette of Bodhidharma is distinguished by a broad forehead, long ears, and curly beard. He is standing on the sea, his left foot exposed, and the hem of his gown blowing in the wind. His perceptive eyes are gazing into the distance, while one hand is cupped in the other before his chest, with a dignified air. The lustrous white glaze is no hype.

The jar has a convex lid with a pearl-like top, two mouths, straight neck, round shoulder, deep belly which is convex to the bottom and a round base. The shape is smooth and defined. The entire body of the jar is engraved with curdled vines, flying birds, walking animals, riders on horses and roe patterns. The patterns are complex and beautiful, making it a masterpiece of the Tang Dynasty.

Caliber: 6.5cm, height: 10.5cm

Museum collection

This sculpted stone was found in a Palmyrean temple located at a distance of 58 km to the north-west of Palmyra. It represents the two pagan deities Al-Lat, Shamash, while the third figure is a worshipper. The goddess Al-Lat is represented in her war dress carrying a spear and a shield, a helmet on her head, and the head of Medusa is on her chest. In the middle, we find the god of sun Shamash carrying a torch in his left hand and raising his right hand in blessing, while his head is surrounded with a halo.

There are various forms of Arabic calligraphy. At its beginning, the Arabic calligraphy can be broadly categorized into two forms. The first is geometrical and angular, and the second is curved and flowing. From these two calligraphic methods emerged various styles. The Kufic script, the oldest and most venerable of the geometric calligraphies, can be executed with flowered edges or with geometrical knots, for example. While the cursive scripts include Thuluth, Raqaa and al-Nasekh etc.

This small bottle or vase was produced in the Jizhou (吉州) kilns located Ji'an city, Jiangxi Province, China. The Jizhou kilns began developing in the late Tang Dynasty before flourishing in the Northern and Southern Song Dynasties, and then declining in the late Yuan Dynasty. The form of this vase resembles a beaker, with a long, slender neck and a low, squat body. The footring is attached separately. The front and back of the vessel are decorated with twin peony designs, one inside a flower-shaped outline, and the other inside a wave design.

The vase has a round mouth, curved edge, long neck, wide shoulder, full stomach and a round base. It is covered with lily and peony patterns. There are two round string patterns between neck and shoulder, a round leaf pattern on the shoulder, and both the patterns employ carving and cutting skills. The maker uses tools made of metal or bamboo and draws various patterns on vessels when they are not completely dry. The pattern is carved and other decoration is drawn, the line is then smoothened and boldened.

The jar was unearthed from Khotan in southwestern Xinjiang, China. It is presumed to have been made in Yotkan, judging from its shape and the patterns on its surface. Jars made in that region usually have a pair of handles, and feature repeated patterns inscribed on the body, or representations of people and beasts such as lions or griffins on the body.

Provenance: Yotkan, Khotan, Xinjiang Uygur, China

Materials: Clay

The bird-head shaped bottleneck traces back to the Sassanian Persia. This style was introduced to China in the late 6^th century and became popular in Sui and Tang dynasty. It was excavated from Turfan region, showing the influence of Tang culture. 

Provenance: Halahezhuo, Turpan, Xinjiang Uygur, China

Materials: Ceramics

Dimensions: H. 27, W. 16.5cm

Accession Number: Bongwan 4034