It’s a blend of real and ideal, the perfect mount for getting around in the afterlife. The bronze beauty captures the spirit of the horses imported by the Chinese elite from the West during the Han Dynasty. Nicknamed celestial or heavenly horses, they were prized for their size and strength at a time when the Chinese had only a small, pony-like breed. Aristocratic families would have bronze horses like this one cast and placed in elaborately furnished tombs for the deceased to use in the world beyond.
","link":"http://artstories.artsmia.org/#/o/60728","type":"artstory"}],"mtime":"2026-02-27T06:00:50.717Z"},"highlight":{"country":["China"],"title.folded":["Celestial Horse"],"text.folded":["Chinese government envoys sent to central Asia returned to court marveling over a breed of “heavenly horse” like no other, a stout animal with a powerful back and shoulders that worked so hard it sweated blood. The Chinese Emperor Wu (r. 141–87 bce) became obsessed with these stories and dispatched diplomats and later a military force to obtain the horses. His interest in these remarkable horses and the growing role horses played in military campaigns largely account for the popularity of the horse in art from the Han dynasty, particularly the time of Wu’s reign. Bronze horses such as this one were placed in elaborately furnished aristocratic tombs and were meant to provide transportation for the deceased in the afterlife. This spirited horse, a blend of ideal and real, captures the spirit of the fabled “celestial horses” of the Han dynasty."],"public_access":["1"],"text":["Chinese government envoys sent to central Asia returned to court marveling over a breed of “heavenly horse” like no other, a stout animal with a powerful back and shoulders that worked so hard it sweated blood. The Chinese Emperor Wu (r. 141–87 bce) became obsessed with these stories and dispatched diplomats and later a military force to obtain the horses. His interest in these remarkable horses and the growing role horses played in military campaigns largely account for the popularity of the horse in art from the Han dynasty, particularly the time of Wu’s reign. Bronze horses such as this one were placed in elaborately furnished aristocratic tombs and were meant to provide transportation for the deceased in the afterlife. This spirited horse, a blend of ideal and real, captures the spirit of the fabled “celestial horses” of the Han dynasty."],"title":["Celestial Horse"]}},{"_index":"objects2-with-ascii","_id":"5623","_score":487.9026,"_source":{"id":5623,"title":"Prancing Horse","medium":"Earthenware with traces of pigment","classification":"Ceramics","dimension":"42 x 36 1/2 x 11 1/2 in. (106.68 x 92.71 x 29.21 cm)","object_name":"Prancing Horse","continent":"Asia","country":"China","nationality":"Chinese","dated":"1st-3rd century","room":"G333","role":"Artist","text":"With its lifted foreleg, arched neck, and alert expression, this prancing horse conveys energy disciplined by control. During the Han dynasty, such horses became visual shorthand for elite presence, especially in contexts of ceremony and movement. Rather than depicting labor or combat, tomb horses often evoke ordered motion—suggesting escorts, arrivals, and formal progressions tied to official life. Their refined posture and idealized form distinguish them from everyday animals. Buried with the dead, figures like this affirmed the owner’s rank and visibility, projecting an image of dignified procession that extended social identity beyond life into the realm of memory and ritual.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"98.19","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3976,"image_height":5139,"recent":0,"see_also":[],"sort_number":"98 19","dynasty":"Eastern Han dynasty (25–220 CE)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"005000\\600\\20\\5623","Primary_RenditionNumber":"PCD19981204_4467_IMG0028.jpg","Rights_Image_Display":"Full","related:audio-stops":[{"title":"Prancing Horse (2 labels)","_id":"5623","objectId":"5623","link":"http://audio-tours.s3.amazonaws.com/p906.mp3","number":"906","type":"audio"}],"mtime":"2026-02-27T06:00:50.717Z"},"highlight":{"country":["China"],"title.folded":["Prancing Horse"],"text.folded":["With its lifted foreleg, arched neck, and alert expression, this prancing horse conveys energy disciplined by control. During the Han dynasty, such horses became visual shorthand for elite presence, especially in contexts of ceremony and movement. Rather than depicting labor or combat, tomb horses often evoke ordered motion—suggesting escorts, arrivals, and formal progressions tied to official life. Their refined posture and idealized form distinguish them from everyday animals. Buried with the dead, figures like this affirmed the owner’s rank and visibility, projecting an image of dignified procession that extended social identity beyond life into the realm of memory and ritual."],"public_access":["1"],"object_name":["Prancing Horse"],"text":["With its lifted foreleg, arched neck, and alert expression, this prancing horse conveys energy disciplined by control. During the Han dynasty, such horses became visual shorthand for elite presence, especially in contexts of ceremony and movement. Rather than depicting labor or combat, tomb horses often evoke ordered motion—suggesting escorts, arrivals, and formal progressions tied to official life. Their refined posture and idealized form distinguish them from everyday animals. Buried with the dead, figures like this affirmed the owner’s rank and visibility, projecting an image of dignified procession that extended social identity beyond life into the realm of memory and ritual."],"title":["Prancing Horse"]}},{"_index":"objects2-with-ascii","_id":"28558","_score":389.50082,"_source":{"id":28558,"title":"Horse","medium":"Earthenware with sancai (three-color) glaze and pigment","classification":"Ceramics","dimension":"18 3/4 x 18 1/2 x 6 3/4in. (47.6 x 47 x 17.1cm)","object_name":"Horse","continent":"Asia","country":"China","nationality":"Chinese","dated":"7th-8th century","room":"G207","role":"Artist","creditline":"Gift of Leo A. and Doris Hodroff","accession_number":"94.86.1","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":2819,"image_height":3000,"recent":0,"see_also":[],"sort_number":"94 86 1","dynasty":"Tang dynasty (618-907)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"028000\\500\\50\\28558","Primary_RenditionNumber":"181127_mia337_0148.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"title.folded":["Horse"],"public_access":["1"],"object_name":["Horse"],"title":["Horse"]}},{"_index":"objects2-with-ascii","_id":"30998","_score":387.4366,"_source":{"id":30998,"title":"Horse","medium":"Glazed ceramic","classification":"Ceramics","dimension":"7 1/4 x 3 3/16 x 5 7/8in. (18.4 x 8.1 x 14.9cm)","object_name":"Horse","continent":"Asia","country":"China","nationality":"Chinese","dated":"15th-16th century","room":"G215","role":"Artist","inscription":"Sticker","markings":"Sotheby's sticker on base behind PL front hoof","portfolio":"From a large tileworks retinue","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"98.68.17","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":4991,"image_height":3591,"recent":0,"see_also":[],"sort_number":"98 68 17","dynasty":"Ming dynasty (1368–1644)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"030000\\900\\90\\30998","Primary_RenditionNumber":"130618_mia341_2271.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"title.folded":["Horse"],"public_access":["1"],"object_name":["Horse"],"title":["Horse"]}},{"_index":"objects2-with-ascii","_id":"95826","_score":358.43347,"_source":{"id":95826,"title":"Striding Horse","medium":"Red earthenware with molded and sculpted decoration under white slip, painted with cold pigments","classification":"Ceramics","dimension":"23 x 21 x 11 3/4 in. (58.42 x 53.34 x 29.85 cm)","object_name":"Striding Horse","continent":"Asia","country":"China","nationality":"Chinese","dated":"549–577","room":"G333","role":"Artist","text":"This elegant figure of a gloriously festooned striding stallion is remarkable for its large size and detailed modeling. It is a classic example of a style—including slender legs, powerfully arched neck, small head, large saddle blanket, and exquisite trappings—unique to the Northern Wei (385–535), Eastern Wei (534–539), and Northern Qi (549–577) dynasties. Horses were highly valued during this period, and the great imperial mounts were magnificently decorated showpieces—symbols of wealth and prestige that were ridden with pride by their owners.\n\n
\n\n\n\n\n","creditline":"Gift of the Robert B. Mayer Memorial Loan Collection","accession_number":"92.38.16","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":7668,"image_height":7668,"recent":0,"see_also":[],"sort_number":"92 38 16","dynasty":"Qing dynasty (1644–1911)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"027000\\800\\60\\27867","Primary_RenditionNumber":"mia_7036374.jpg","Rights_Image_Display":"Full","TitleAlt":"Equestrian roof tile, one of a pair","mtime":"2026-02-28T06:00:50.597Z"},"highlight":{"country":["China"],"text.folded":["Rich turquoise, amber, and green glazes animate both rider and horse, ensuring visibility from below. In Qing visual culture, the mounted warrior embodied loyalty, martial readiness, and cosmic guardianship. By placing horse and rider high above the structure, these roof ornaments transformed the building into a protected, hierarchically ordered space under constant watch.\n\n\n
\n\n\n\n\n"],"public_access":["1"],"text":["Rich turquoise, amber, and green glazes animate both rider and horse, ensuring visibility from below. In Qing visual culture, the mounted warrior embodied loyalty, martial readiness, and cosmic guardianship. By placing horse and rider high above the structure, these roof ornaments transformed the building into a protected, hierarchically ordered space under constant watch.\n\n\n
\n\n\n\n\n"]}},{"_index":"objects2-with-ascii","_id":"113285","_score":54.0006,"_source":{"id":113285,"title":"General Guan Yu on Horseback","medium":"Bronze, silver","classification":"Sculpture","dimension":"9 5/16 x 6 11/16 x 4 in. (23.65 x 16.99 x 10.16 cm)","continent":"Asia","country":"China","nationality":"Chinese","dated":"late 17th century","room":"G333","role":"Artist","text":"Guan Yu (160–219 ce) was a military general under the warlord Liu Bei during the late Eastern Han dynasty and Three Kingdoms period (220–280 ce),\nThis tomb tile portrays the sacred mountains, a Han dynasty vision of the boundary between the human world and the immortal realm. In the upper register, horsemen ride through rugged peaks, confronting wild beasts with drawn bows. Their mounts—symbols of speed, strength, and heroic mobility—enable the riders to traverse this perilous landscape and approach the realm of transcendence. Below, dragons coil through the earth’s depths, reinforcing the tile’s cosmological setting. Used in burial, such imagery expressed hopes for protection, spiritual ascent, and the power of the horse to guide the soul safely through otherworldly terrain.\n
\n\n\n\n
\n","creditline":"Gift of funds from Mr. and Mrs. James Miles","accession_number":"83.29","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":10822,"image_height":2424,"recent":0,"see_also":[],"sort_number":"83 29","dynasty":"Eastern Han dynasty (25–220 CE)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"003000\\100\\80\\3187","Primary_RenditionNumber":"mia_8037516.jpg","Rights_Image_Display":"Full","mtime":"2026-05-22T09:00:09.744Z"},"highlight":{"country":["China"],"text.folded":["Used in burial, such imagery expressed hopes for protection, spiritual ascent, and the power of the horse to guide the soul safely through otherworldly terrain.\n\n\n\n\n
\n"],"public_access":["1"],"text":["Used in burial, such imagery expressed hopes for protection, spiritual ascent, and the power of the horse to guide the soul safely through otherworldly terrain.\n\n\n\n\n
\n"]}},{"_index":"objects2-with-ascii","_id":"4683","_score":45.551147,"_source":{"id":4683,"title":"Equestrian figure","medium":"Earthenware with traces of pigment","classification":"Ceramics","dimension":"23 1/4 x 7 1/4 x 19 1/2 in. (59.06 x 18.42 x 49.53 cm)\r\n23 1/4 x 7 1/4 in. (59.06 x 18.42 cm) (object part, a:horse)\r\n5 3/8 x 1 3/8 in. (13.65 x 3.49 cm) (object part, b:tail)\r\n9 3/4 x 7 1/4 in. (24.77 x 18.42 cm) (object part, c:rider)","object_name":"Figure","continent":"Asia","country":"China","nationality":"Chinese","dated":"2nd century BCE","room":"G333","role":"Artist","text":"Beginning in the Han dynasty, horses became closely associated with civil order, aristocratic identity, and public display. This tomb figure depicts a mounted rider in a composed, forward-facing posture, evoking the controlled movement of elite processions. In Han funerary art, horses frequently appear as markers of rank, carrying officials or attendants in scenes that mirror ceremonial parades and journeys through the landscape. The careful modeling and color choices emphasize the horse’s dignified presence. Placed in tombs, equestrian figures such as this ensured that the social standing, authority, and prestige of the deceased were perpetuated in the afterlife through the enduring symbol of the horse.","creditline":"The Ethel Morrison Van Derlip Fund","accession_number":"94.1a-c","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3980,"image_height":5059,"recent":0,"see_also":[],"sort_number":"94 1a c","dynasty":"Western Han dynasty (206 BCE–25 CE)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"004000\\600\\80\\4683","Primary_RenditionNumber":"PCD19981204_4467_IMG0026.jpg","Rights_Image_Display":"Full","mtime":"2026-02-22T06:00:51.001Z"},"highlight":{"country":["China"],"text.folded":["Placed in tombs, equestrian figures such as this ensured that the social standing, authority, and prestige of the deceased were perpetuated in the afterlife through the enduring symbol of the horse."],"public_access":["1"],"text":["Placed in tombs, equestrian figures such as this ensured that the social standing, authority, and prestige of the deceased were perpetuated in the afterlife through the enduring symbol of the horse."]}},{"_index":"objects2-with-ascii","_id":"14436","_score":44.74529,"_source":{"id":14436,"title":"Snuff bottle with battle scene","medium":"Glass with painted decoration","classification":"Tools, Equipment and Utilitarian Objects","dimension":"3 1/2 x 2 1/8in. (8.9 x 5.4cm)","object_name":"Snuff bottle","continent":"Asia","country":"China","nationality":"Chinese","dated":"19th century","room":"G333","role":"Artist","text":"This snuff bottle depicts a dramatic mounted combat between a Chinese warrior and an ethnic opponent, both engaged on horseback. The clash highlights the horse’s essential role in mobility, balance, and martial skill, as riders maneuver weapons at close range. Such pictorial scenes were widely drawn from popular novels and operatic traditions, where historical conflicts were reimagined for entertainment and moral instruction. In these narratives, mounted duels symbolized bravery, loyalty, and cultural identity. Rendered on an intimate object, the scene reflects how stories of warfare and frontier encounters circulated beyond the stage and page, transforming the horse into a vivid emblem of heroic action and martial virtue.","creditline":"Gift of Mr. and Mrs. Augustus L. Searle","accession_number":"27.1.156a-c","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":2161,"image_height":3025,"recent":0,"see_also":[],"sort_number":"27 1 156a c","dynasty":"Qing dynasty (1644–1911)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"014000\\400\\30\\14436","Primary_RenditionNumber":"190503_mia337_1328.jpg","Rights_Image_Display":"Full","TitleAlt":"Snuff bottle","mtime":"2026-02-27T06:00:50.717Z"},"highlight":{"country":["China"],"text.folded":["Rendered on an intimate object, the scene reflects how stories of warfare and frontier encounters circulated beyond the stage and page, transforming the horse into a vivid emblem of heroic action and martial virtue."],"public_access":["1"],"text":["Rendered on an intimate object, the scene reflects how stories of warfare and frontier encounters circulated beyond the stage and page, transforming the horse into a vivid emblem of heroic action and martial virtue."]}},{"_index":"objects2-with-ascii","_id":"17535","_score":41.72921,"_source":{"id":17535,"title":"Male equestrian traveler","medium":"Glazed and painted stoneware","classification":"Ceramics","object_name":"Figure on horse","continent":"Asia","country":"China","nationality":"Chinese","dated":"7th century","room":"G333","role":"Artist","creditline":"Bequest of Alfred F. Pillsbury","accession_number":"50.46.183","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":5669,"image_height":7087,"recent":0,"see_also":[],"sort_number":"50 46 183","dynasty":"Late Sui or early Tang dynasty (618–906)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"017000\\500\\30\\17535","Primary_RenditionNumber":"mia_7036288.jpg","Rights_Image_Display":"Full","TitleAlt":"Figure on horse","mtime":"2026-02-28T06:00:50.597Z"},"highlight":{"country":["China"],"public_access":["1"],"TitleAlt":["Figure on horse"],"object_name":["Figure on horse"]}},{"_index":"objects2-with-ascii","_id":"83322","_score":40.853054,"_source":{"id":83322,"title":"Funerary jar decorated with deities of the four directions and zodiac figures","medium":"Unglazed stoneware with incised, molded, and appliqué décor","classification":"Ceramics","dimension":"13 9/16 x 6 3/16 x 6 3/16 in. (34.45 x 15.72 x 15.72 cm) (overall)","object_name":"Zodiac Funerary Jar","continent":"Asia","country":"China","nationality":"Chinese","dated":"13th century","room":"G333","role":"Artist","text":"Made specifically for the tomb, this unglazed storage jar displays the animals of the four directions (dragon, phoenix, tiger, snake-entwined tortoise) in high relief around the neck. Around the belly appear the 12 animals of the zodiac, standing in correct order: rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cockerel, dog, and pig. The directional animals are freely modeled while the robed bodies of the zodiac figures are mold-made with attached, freely modeled heads. The jar also contains Buddhist iconography evidenced by the incised lotus petals (a symbol of spiritual purity) around the vessel base, and the elongated lid modeled in the form of a stupa spire. The jar thus merges several important belief systems—yin and yang, Daoism and Buddhism—in its decorative schemes. In the broadest sense, all the emblems are auspicious and as a group connote peace and universal order for the afterlife.","creditline":"The Ruth Ann Dayton Chinese Room Endowment Fund","accession_number":"2004.48a, b","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":5988,"image_height":8383,"recent":0,"see_also":[],"sort_number":"2004 48a b","dynasty":"Southern Song dynasty (1127–1279)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"083000\\300\\20\\83322","Primary_RenditionNumber":"mia_7030407.jpg","Rights_Image_Display":"Full","TitleAlt":"Funerary jar decorated with guardians of the four directions and zodiac figures","mtime":"2026-02-22T06:00:51.001Z"},"highlight":{"country":["China"],"text.folded":["Around the belly appear the 12 animals of the zodiac, standing in correct order: rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cockerel, dog, and pig. The directional animals are freely modeled while the robed bodies of the zodiac figures are mold-made with attached, freely modeled heads. The jar also contains Buddhist iconography evidenced by the incised lotus petals (a symbol of spiritual purity) around the vessel base, and the elongated lid modeled in the form of a stupa spire. The jar thus merges several important belief systems—yin and yang, Daoism and Buddhism—in its decorative schemes. In the broadest sense, all the emblems are auspicious and as a group connote peace and universal order for the afterlife."],"public_access":["1"],"text":["Around the belly appear the 12 animals of the zodiac, standing in correct order: rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cockerel, dog, and pig. The directional animals are freely modeled while the robed bodies of the zodiac figures are mold-made with attached, freely modeled heads. The jar also contains Buddhist iconography evidenced by the incised lotus petals (a symbol of spiritual purity) around the vessel base, and the elongated lid modeled in the form of a stupa spire. The jar thus merges several important belief systems—yin and yang, Daoism and Buddhism—in its decorative schemes. In the broadest sense, all the emblems are auspicious and as a group connote peace and universal order for the afterlife."]}},{"_index":"objects2-with-ascii","_id":"31065","_score":40.158337,"_source":{"id":31065,"title":"General Guan Yu on Horseback","medium":"Gilt bronze","classification":"Sculpture","dimension":"20 1/4 x 16 1/2 x 7 3/8in. (51.4 x 41.9 x 18.7cm)","continent":"Asia","country":"China","nationality":"Chinese","dated":"16th century","room":"G333","role":"Artist","text":"Guan Yu (162–219 ce) was a famous warrior whose exploits were popularized in the 14th-century novel San Guo Zhi Yan Yi (Romance of the Three Kingdoms). He was exalted during later dynasties, and in 1594 the Wanli emperor awarded him the title “Faithful and Loyal Great God Supporter of Heaven and Protector of the Kingdom.” He is shown here in full armor astride his war horse. Typifying the robust style of middle Ming sculpture, such an image would have appealed greatly to aristocratic members of the military bureaucracy.\n\n\t\n
\n
\n\n","creditline":"Gift of George and Marilyn Johnson in celebration of the 100th anniversary of the Minneapolis Institute of Arts","accession_number":"2015.14.11","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":2924,"image_height":9929,"recent":0,"see_also":[],"sort_number":"2015 14 11","dynasty":"Qing dynasty (1644–1911)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"118000\\600\\70\\118679","Primary_RenditionNumber":"mia_8007746.jpg","Rights_Image_Display":"Full","TitleAlt":"Calligraphy brush","mtime":"2026-02-27T06:00:50.717Z"},"highlight":{"country":["China"],"public_access":["1"],"medium":["Wood, bone, horse hair"]}},{"_index":"objects2-with-ascii","_id":"5106","_score":32.54981,"_source":{"id":5106,"title":"Belt plaque, one of a pair","medium":"Bronze","classification":"Metalwork","dimension":"2 15/16 x 4 11/16 x 5/16 in. (7.46 x 11.91 x 0.79 cm)","object_name":"Belt plaque","continent":"Asia","country":"China","nationality":"Chinese","culture":"Ordos","dated":"3rd-2nd century BCE","room":"Not on View","role":"Artist","text":"These two mirror-image plaques cast in shallow relief show a feline and an eagle with griffin head locked in combat. Animal combat and hunting themes were popular with the nomadic peoples of China’s northern frontier during the late Bronze Age. Numerous bronze horse trappings, weapons, belt hooks, and plaques such as these have been excavated from tombs in Mongolia, Siberia, the Ordos region, and northern provinces of China. This so-called “animal style” influenced the art of the more settled populations of China during the late Bronze Age.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"96.52.2.1","artist":"Ordos artist","life_date":"China","department":"Asian Art","rights_type":"Public Domain","image_width":5262,"image_height":4028,"recent":0,"see_also":[],"sort_number":"96 52 2 1","dynasty":"Warring States period (475–221 BCE)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"005000\\100\\00\\5106","Primary_RenditionNumber":"mia_6014899.jpg","Rights_Image_Display":"Full","TitleAlt":"Ordos Belt Plaque, one of a pair","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["Numerous bronze horse trappings, weapons, belt hooks, and plaques such as these have been excavated from tombs in Mongolia, Siberia, the Ordos region, and northern provinces of China. This so-called “animal style” influenced the art of the more settled populations of China during the late Bronze Age."],"public_access":["1"],"text":["Numerous bronze horse trappings, weapons, belt hooks, and plaques such as these have been excavated from tombs in Mongolia, Siberia, the Ordos region, and northern provinces of China. This so-called “animal style” influenced the art of the more settled populations of China during the late Bronze Age."]}},{"_index":"objects2-with-ascii","_id":"17544","_score":28.58398,"_source":{"id":17544,"title":"Snake from set of zodiac figures","medium":"Earthenware with white slip and traces of pigment","classification":"Ceramics","dimension":"H.10 in.","object_name":"Snake, Figures of the Zodiac","continent":"Asia","country":"China","nationality":"Chinese","dated":"386–535","room":"Not on View","role":"Artist","text":"The appearance of certain animals played an important role in ancient beliefs regarding omens and portents, and a complex system of thought that spanned the Han (206 BCE-220 CE), the Six Dynasties, and Tang period (618-906). The earliest appearance of the twelve animals of the Chinese zodiac is in funerary sculpture like these found in northern Chinese tombs dating to the Northern Wei dynasty (386-535).\r\n
Almost all early examples represent human bodies in kneeling or standing positions with animal heads. Unfortunately, few full sets of all twelve animals survive from the early period. These are typical Tang examples. They relate closely to a full set excavated near Xi'an, the ancient Tang capital, which also portrays the figures dressed in formal, long-sleeved robes. Depicted here are the cockerel, horse, snake, dragon, and monkey.","creditline":"Bequest of Alfred F. Pillsbury","accession_number":"50.46.197","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3307,"image_height":5034,"recent":0,"see_also":[],"sort_number":"50 46 197","dynasty":"Early Tang dynasty","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"017000\\500\\40\\17544","Primary_RenditionNumber":"mia_5013654.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["Depicted here are the cockerel, horse, snake, dragon, and monkey."],"public_access":["1"],"text":["Depicted here are the cockerel, horse, snake, dragon, and monkey."]}},{"_index":"objects2-with-ascii","_id":"13239","_score":28.206959,"_source":{"id":13239,"title":"Harness trapping in the form of a phoenix, one of a pair","medium":"Gilt bronze","classification":"Metalwork, Tools, Equipment and Utilitarian Objects","dimension":"H.3-3/4 x W.9-3/8 x D.3/4 in.","object_name":"Harness trapping, Pair of Harness Trappings","continent":"Asia","country":"China","nationality":"Chinese","dated":"10th century","room":"Not on View","role":"Artist","text":"Originally mounted as cheek pieces on a horse's bridle, these graceful harness trappings are each cast in the form of a mythical phoenix holding a pearl in its beak. The Liao people came from the northern steppe grasslands to conquer north China in the tenth century (916-1125). They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"2000.34.1.1","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3528,"image_height":2988,"recent":0,"see_also":["13240"],"sort_number":"2000 34 1 1","dynasty":"Liao dynasty","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"013000\\200\\30\\13239","Primary_RenditionNumber":"PCD20000427_4542_IMG0025.jpg","Rights_Image_Display":"Full","mtime":"2026-04-01T09:00:09.910Z"},"highlight":{"country":["China"],"text.folded":["They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters."],"public_access":["1"],"text":["They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters."]}},{"_index":"objects2-with-ascii","_id":"13240","_score":28.206959,"_source":{"id":13240,"title":"Harness trapping in the form of a phoenix, one of a pair","medium":"Gilt bronze","classification":"Metalwork, Tools, Equipment and Utilitarian Objects","dimension":"H.3-3/4 x W.9-3/8 x D.3/4 in.","object_name":"Harness trapping","continent":"Asia","country":"China","nationality":"Chinese","dated":"10th century","room":"Not on View","role":"Artist","text":"Originally mounted as cheek pieces on a horse's bridle, these graceful harness trappings are each cast in the form of a mythical phoenix holding a pearl in its beak. The Liao people came from the northern steppe grasslands to conquer north China in the tenth century (916-1125). They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"2000.34.1.2","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3528,"image_height":2988,"recent":0,"see_also":["13239"],"sort_number":"2000 34 1 2","dynasty":"Liao dynasty","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"013000\\200\\40\\13240","Primary_RenditionNumber":"PCD20000427_4542_IMG0025_001.jpg","Rights_Image_Display":"Full","mtime":"2026-04-01T09:00:09.910Z"},"highlight":{"country":["China"],"text.folded":["They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters."],"public_access":["1"],"text":["They were horse-riding herdsmen who lavished great attention on the saddles and harness trappings of their prized mounts. Although foreign rulers, the Liao embraced many aspects of China's artistic legacy and sponsored the production of ceramics, bronze accoutrements, and exceptionally fine gold work. Many examples of gilt metal harness trappings have been excavated from Liao tombs where horses were occasionally interred with their masters."]}},{"_index":"objects2-with-ascii","_id":"45525","_score":28.206959,"_source":{"id":45525,"title":"Censer","medium":"Gilt bronze","classification":"Metalwork","dimension":"3-5/8 x 8-3/4 x 5-13/16 in. (9.2 x 22.2 x 14.8 cm)","object_name":"Censer","continent":"Asia","country":"China","nationality":"Chinese","dated":"c. 1600–1610","room":"Not on View","role":"Artist","inscription":"2 dealer's stickers, on bottom","markings":"untranslated stamp, highlighted in gilt, on bottom","text":"This gilded bronze censer is shaped like a Bronze Age ritual vessel form known as gui. It is cast and carved in relief, displaying a wave pattern in the main body, with eight mythological ocean animals, including sea horse, lion, elephant, and dragon, all accented with gilding. The center of the base is inset with a large, rectangular cartouche containing a six-character seal-script mark, which reads, “Made by Zhu Zhenming of Yunjian.” Yunjian is present-day Songjiang near Shanghai, also the hometown of metalwork master Hu Wenming. Zhu worked in Hu’s workshop, where he completely assimilated the master’s style and then became an independent artisan producing bronze objects that appealed to scholars’ tastes.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"2001.138.4","artist":"Zhu Zhenming","life_date":"Chinese, active around 1600","department":"Asian Art","rights_type":"Public Domain","image_width":5810,"image_height":4150,"recent":0,"see_also":[],"sort_number":"2001 138 4","dynasty":"Ming dynasty (1368–1644)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"045000\\500\\20\\45525","Primary_RenditionNumber":"mia_7027139.jpg","Rights_Image_Display":"Full","mtime":"2026-04-01T09:00:09.910Z"},"highlight":{"country":["China"],"text.folded":["It is cast and carved in relief, displaying a wave pattern in the main body, with eight mythological ocean animals, including sea horse, lion, elephant, and dragon, all accented with gilding. The center of the base is inset with a large, rectangular cartouche containing a six-character seal-script mark, which reads, “Made by Zhu Zhenming of Yunjian.” Yunjian is present-day Songjiang near Shanghai, also the hometown of metalwork master Hu Wenming. Zhu worked in Hu’s workshop, where he completely assimilated the master’s style and then became an independent artisan producing bronze objects that appealed to scholars’ tastes."],"public_access":["1"],"text":["It is cast and carved in relief, displaying a wave pattern in the main body, with eight mythological ocean animals, including sea horse, lion, elephant, and dragon, all accented with gilding. The center of the base is inset with a large, rectangular cartouche containing a six-character seal-script mark, which reads, “Made by Zhu Zhenming of Yunjian.” Yunjian is present-day Songjiang near Shanghai, also the hometown of metalwork master Hu Wenming. Zhu worked in Hu’s workshop, where he completely assimilated the master’s style and then became an independent artisan producing bronze objects that appealed to scholars’ tastes."]}},{"_index":"objects2-with-ascii","_id":"31228","_score":27.874544,"_source":{"id":31228,"title":"Pig, from a set of zodiac figures","medium":"Earthenware with mineral pigments","classification":"Ceramics","dimension":"H.3-1/8 x W.3-7/16 x D.5-3/4 in.","object_name":"Pig, Animal Figures of the Zodiac","continent":"Asia","country":"China","nationality":"Chinese","dated":"13th century","room":"Not on View","role":"Artist","text":"These twelve recumbent animals each represent one of the twelve earthly branches of the Chinese calendar. They include, in numerical order, the rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cock, dog, and pig. These symbolic animals are employed for chronological purposes and are used to designate the hours, days, months, and years. Each animal is supposed to exercise some influence over the period of time denoted by the special characteristics of that animal. Many Chinese people also believe that a person's physical attributes, personality, success, and happiness are all influenced by the zodiac animal under which they were born.\r\n
The first explicit mention of zodiac animals is found in Tang (618-906) texts, and ceramic zodiac figures have survived from that time. It probably wasn't until the Yuan dynasty (the era of Mongol rule) however, that the usage became popular and widespread.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"99.178.3.1","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":7279,"image_height":5199,"recent":0,"see_also":[],"sort_number":"99 178 3 1","dynasty":"Yuan dynasty (1271–1368)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"031000\\200\\20\\31228","Primary_RenditionNumber":"mia_7030354.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["They include, in numerical order, the rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cock, dog, and pig. These symbolic animals are employed for chronological purposes and are used to designate the hours, days, months, and years. Each animal is supposed to exercise some influence over the period of time denoted by the special characteristics of that animal. Many Chinese people also believe that a person's physical attributes, personality, success, and happiness are all influenced by the zodiac animal under which they were born.\r\n
The first explicit mention of zodiac animals is found in Tang (618-906) texts, and ceramic zodiac figures have survived from that time. It probably wasn't until the Yuan dynasty (the era of Mongol rule) however, that the usage became popular and widespread."],"public_access":["1"],"text":["They include, in numerical order, the rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, cock, dog, and pig. These symbolic animals are employed for chronological purposes and are used to designate the hours, days, months, and years. Each animal is supposed to exercise some influence over the period of time denoted by the special characteristics of that animal. Many Chinese people also believe that a person's physical attributes, personality, success, and happiness are all influenced by the zodiac animal under which they were born.\r\n
The first explicit mention of zodiac animals is found in Tang (618-906) texts, and ceramic zodiac figures have survived from that time. It probably wasn't until the Yuan dynasty (the era of Mongol rule) however, that the usage became popular and widespread."]}},{"_index":"objects2-with-ascii","_id":"66155","_score":27.874544,"_source":{"id":66155,"title":"Bench","medium":"Red bean wood, plant fibers","classification":"Furniture","dimension":"14 3/4 x 13 7/16 x 38 3/16 in. (37.47 x 34.13 x 97 cm)","object_name":"Bench","continent":"Asia","country":"China","nationality":"Chinese","dated":"18th century","room":"Not on View","role":"Artist","inscription":"Sticker","markings":"On back of apron on one short side: dealer's sticker","text":"This elegantly proportioned, well-crafted bench, while small, could still probably accommodate two sitters at the same time. It is fashioned in the standard corner-leg or waisted style with legs terminating in horse hoof feet. The frame is constructed of red bean wood, a rare, extremely dense and heavy material that provides exceptional strength. Stools, like Chinese furniture in general, had their own hierarchy based on height, shape, material, and decoration. After large square and rectangular seats came a variety of round stools appropriate to informal occasions and persons of lesser rank. A low bench such as this, because it is designed to seat more than one person, would have ranked near the bottom of the stool hierarchy. Because of its soft seat, however, it would have been more prestigious than a simple plank seat trestle bench, which would have been reserved for children and servants.","creditline":"The Ruth Ann Dayton Chinese Room Endowment Fund","accession_number":"2003.60.1","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3560,"image_height":3614,"recent":0,"see_also":[],"sort_number":"2003 60 1","dynasty":"Qing dynasty (1644–1911)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"066000\\100\\50\\66155","Primary_RenditionNumber":"121024_mia341_0367.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["It is fashioned in the standard corner-leg or waisted style with legs terminating in horse hoof feet. The frame is constructed of red bean wood, a rare, extremely dense and heavy material that provides exceptional strength. Stools, like Chinese furniture in general, had their own hierarchy based on height, shape, material, and decoration. After large square and rectangular seats came a variety of round stools appropriate to informal occasions and persons of lesser rank. A low bench such as this, because it is designed to seat more than one person, would have ranked near the bottom of the stool hierarchy. Because of its soft seat, however, it would have been more prestigious than a simple plank seat trestle bench, which would have been reserved for children and servants."],"public_access":["1"],"text":["It is fashioned in the standard corner-leg or waisted style with legs terminating in horse hoof feet. The frame is constructed of red bean wood, a rare, extremely dense and heavy material that provides exceptional strength. Stools, like Chinese furniture in general, had their own hierarchy based on height, shape, material, and decoration. After large square and rectangular seats came a variety of round stools appropriate to informal occasions and persons of lesser rank. A low bench such as this, because it is designed to seat more than one person, would have ranked near the bottom of the stool hierarchy. Because of its soft seat, however, it would have been more prestigious than a simple plank seat trestle bench, which would have been reserved for children and servants."]}},{"_index":"objects2-with-ascii","_id":"5194","_score":23.860485,"_source":{"id":5194,"title":"Eighteen Lohans Crossing the Sea","medium":"Ink on paper","classification":"Paintings","dimension":"12 x 167 1/2 in. (30.48 x 425.45 cm)","object_name":"Hand scroll","continent":"Asia","country":"China","nationality":"Chinese","dated":"Wanli period, c. 1580","room":"Not on View","role":"Artist","inscription":"Stamps; Inscription; Signature","markings":"text field before image with one seal at LLC; signature and two artist'S seals at LLC of image","text":"Wang Jian was from Wuxi in modern Jiangsu northwest of Suzhou on the Grand Canal. The son of Wang Wen (1497-1576), a legendary painter, poet, and calligrapher, Wang Jian received his jinshi degree in 1565 and worked on and off in government service for several years during which he authored many books. He was recorded as an excellent painter in the difficult baimiao (fine outline) style exemplified in this rare hand scroll of the Eighteen Lohan.\r\n\r\n
The original sixteen lohan or guardian arhats were enlightened individuals of Indian origin ordered by the Buddha to stay in this world to await the advent of the coming Buddha Maitreya. These sixteen, from an initial grouping of five hundred, were later joined by two more sinicised additions to from the Chinese set of eighteen, the jolly monk Budai and Damoduoluo (Dharmatrata). The theme of lohan crossing the sea traveling from the legendary island of Penglai in the eastern sea, to visit and influence mortal men, became a popular religious theme in the late Ming. The group is depicted here among strange sea monsters and demons in withering waves with exotic animals like the tiger, elephant, lion, dragon, Fu dogs, fish, winged horse, along with old sages and long-haired attendants.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"97.139.1","artist":"Wang Jian","life_date":"Chinese, 1520–1590","department":"Asian Art","rights_type":"Public Domain","image_width":14058,"image_height":6795,"recent":0,"see_also":[],"sort_number":"97 139 1","dynasty":"Ming dynasty (1368–1644)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"005000\\100\\90\\5194","Primary_RenditionNumber":"mia_9003039.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["The group is depicted here among strange sea monsters and demons in withering waves with exotic animals like the tiger, elephant, lion, dragon, Fu dogs, fish, winged horse, along with old sages and long-haired attendants."],"public_access":["1"],"text":["The group is depicted here among strange sea monsters and demons in withering waves with exotic animals like the tiger, elephant, lion, dragon, Fu dogs, fish, winged horse, along with old sages and long-haired attendants."]}},{"_index":"objects2-with-ascii","_id":"118670","_score":23.68728,"_source":{"id":118670,"title":"Calligraphy brush","medium":"Horn, horse hair","classification":"Tools, Equipment and Utilitarian Objects","dimension":"15 × 1 × 1 in. (38.1 × 2.54 × 2.54 cm)","object_name":"Calligraphy brush","continent":"Asia","country":"China","nationality":"Chinese","dated":"late 19th century","room":"Not on View","role":"Artist","text":"In Chinese literati culture, the brush, a writing implement, is known as one of the “four treasures of the study” along with the inkstick, inkstone, and paper. Brush handles are commonly constructed from bamboo, but some brushes have handles of sandalwood, jade, carved bone or ivory, and other precious materials as demonstrated by these examples. During late imperial times, artists catered to the tastes of gentlemen collectors and elaborated brushes with motifs derived from folklore, legends, superstitious beliefs as well as religious subjects from Confucianism, Buddhism, and Daoism.","creditline":"Gift of George and Marilyn Johnson in celebration of the 100th anniversary of the Minneapolis Institute of Arts","accession_number":"2015.14.2","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":3051,"image_height":10173,"recent":0,"see_also":[],"sort_number":"2015 14 2","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"118000\\600\\70\\118670","Primary_RenditionNumber":"mia_8007767.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"public_access":["1"],"medium":["Horn, horse hair"]}},{"_index":"objects2-with-ascii","_id":"29453","_score":23.56969,"_source":{"id":29453,"title":"Art Brush","medium":"Bamboo, horse hair","classification":"Tools, Equipment and Utilitarian Objects","dimension":"10 x 1/2 in. (25.4 x 1.27 cm)","continent":"Asia","country":"China","nationality":"Chinese","dated":"20th century","room":"Not on View","role":"Artist","inscription":"Inscription","markings":"'Jade Mountain' poem at mid body of handle","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"96.97.7","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":4743,"image_height":3140,"recent":0,"see_also":[],"sort_number":"96 97 7","dynasty":"Qing dynasty (1644–1911)","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"029000\\400\\50\\29453","Primary_RenditionNumber":"100728_mia341_154659.jpg","Rights_Image_Display":"Full","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"public_access":["1"],"medium":["Bamboo, horse hair"]}},{"_index":"objects2-with-ascii","_id":"60546","_score":14.228641,"_source":{"id":60546,"title":"Covered Box","medium":"Wood and gold","classification":"Woodwork","dimension":"4 5/8 x 8 1/4 x 8 1/4 in. (11.75 x 20.96 x 20.96 cm) (overall)","object_name":"Covered Box","continent":"Asia","country":"China","nationality":"Chinese","dated":"11th century","room":"Not on View","role":"Artist","text":"The form of this circular, covered box is well-known in tenth- and eleventh-century ceramics and silver, but wooden containers of this early date are extremely rare. In the center of the cover is a multi-lobed gold finial engraved with linear details most likely representing a flower blossom. Recent excavations of Liao dynasty (916-1125) tombs in north China and Inner Mongolia have yielded numerous gold, gilt silver and gilt bronze objects. Skillfully worked in repoussé, much of this gold work was used as decorative accents for utilitarian objects like sword scabbards, leather belts, horse harnesses, or, as the case is here, rather luxurious wooden containers.\r\n
\r\n
When the semi-nomadic Khitans gained control of several northern prefectures in 916, eventually founding the Liao dynasty, they inherited important ceramic kilns along with the Chinese taste for luxury goods.","creditline":"Gift of Ruth and Bruce Dayton","accession_number":"2002.11.1a, b","artist":"China","department":"Asian Art","rights_type":"Public Domain","recent":0,"see_also":[],"sort_number":"2002 11 1a b","dynasty":"Liao dynasty","image":"invalid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"060000\\500\\40\\60546","mtime":"2026-02-04T06:00:50.797Z"},"highlight":{"country":["China"],"text.folded":["Skillfully worked in repoussé, much of this gold work was used as decorative accents for utilitarian objects like sword scabbards, leather belts, horse harnesses, or, as the case is here, rather luxurious wooden containers.\r\n
\r\n
When the semi-nomadic Khitans gained control of several northern prefectures in 916, eventually founding the Liao dynasty, they inherited important ceramic kilns along with the Chinese taste for luxury goods."],"public_access":["1"],"text":["Skillfully worked in repoussé, much of this gold work was used as decorative accents for utilitarian objects like sword scabbards, leather belts, horse harnesses, or, as the case is here, rather luxurious wooden containers.\r\n
\r\n
When the semi-nomadic Khitans gained control of several northern prefectures in 916, eventually founding the Liao dynasty, they inherited important ceramic kilns along with the Chinese taste for luxury goods."]}},{"_index":"objects2-with-ascii","_id":"1024","_score":13.414923,"_source":{"id":1024,"title":"Lei wine vessel","medium":"Bronze","classification":"Metalwork, Ceremonial Objects","dimension":"10 1/16 × 12 1/4 in., 15.2 lb. (25.56 × 31.12 cm, 6.9 kg)\r\n6 13/16 in. (17.3 cm) (object part, mouth)\r\n5 7/16 in. (13.81 cm) (object part, foot)","object_name":"Vessel","continent":"Asia","country":"China","nationality":"Chinese","dated":"6th century BCE","room":"G214","role":"Artist","inscription":"Inscription","markings":"The inscription is spurious and has been cut into the rim in modern times. It reads: 'In the 2nd month, 1st decade, on the day Ting-mao Lady Kung Ki ordered Chao to have the management of the fields; Chao had his merits reviewed [?] and was given a horse and was given a fur coat. in response he extolled Kung Ki's grace and so made this precious vessel.' This is a well known inscription found on one 'Tsun' and one 'Yu, ' but it is of early Chou time and (No Yu existed in Middle Chou or Haui) is much too archaic for this Huai style vessel. the inscription only is a forgery. the vessel is a Huai style specimen of the highest class and is beyond suspicion or reproach.","creditline":"Bequest of Alfred F. Pillsbury","accession_number":"50.46.35","artist":"China","department":"Asian Art","rights_type":"Public Domain","image_width":6619,"image_height":7761,"recent":0,"see_also":[],"object_title_html":"Lei wine vessel","sort_number":"50 46 35","dynasty":"Spring and Autumn period","image":"valid","public_access":1,"curator_approved":0,"highlights":0,"Cache_Location":"001000\\000\\20\\1024","Primary_RenditionNumber":"mia_6019491.jpg","Rights_Image_Display":"Full","mtime":"2026-04-21T09:00:09.725Z"},"highlight":{"country":["China"],"public_access":["1"],"markings":["and was given a horse and was given a fur coat. in response he extolled Kung Ki's grace and so made this precious vessel.' This is a well known inscription found on one 'Tsun' and one 'Yu, ' but it is of early Chou time and (No Yu existed in Middle Chou or Haui) is much too archaic for this Huai style vessel. the inscription only is a forgery. the vessel is a Huai style specimen of the highest class and is beyond suspicion or reproach."]}}]},"aggregations":{"Artist":{"doc_count_error_upper_bound":0,"sum_other_doc_count":0,"buckets":[{"key":"China","doc_count":61},{"key":"Cheng Jiasui","doc_count":1},{"key":"Cheng Xiang","doc_count":1},{"key":"Fei Danxu","doc_count":1},{"key":"Gao Qipei","doc_count":1},{"key":"Ordos artist","doc_count":1},{"key":"Wang Jian","doc_count":1},{"key":"Yang Weiquan","doc_count":1},{"key":"Ye Zhongsan","doc_count":1},{"key":"Zhang Hong","doc_count":1},{"key":"Zhu Zhenming","doc_count":1}]},"Department":{"doc_count_error_upper_bound":0,"sum_other_doc_count":0,"buckets":[{"key":"Asian Art","doc_count":69},{"key":"European Art","doc_count":2}]},"Rights":{"doc_count_error_upper_bound":0,"sum_other_doc_count":0,"buckets":[{"key":"Public Domain","doc_count":71}]},"Medium":{"doc_count_error_upper_bound":0,"sum_other_doc_count":0,"buckets":[{"key":"Bronze","doc_count":5},{"key":"Gilt bronze","doc_count":5},{"key":"Earthenware with traces of pigment","doc_count":3},{"key":"Ink and color on paper","doc_count":3},{"key":"Pigment on paper","doc_count":3},{"key":"Earthenware","doc_count":2},{"key":"Earthenware with mineral pigments","doc_count":2},{"key":"Earthenware with polychrome glaze","doc_count":2},{"key":"Earthenware with sancai (three-color) glaze and pigment","doc_count":2},{"key":"Earthenware with white slip and traces of pigment","doc_count":2},{"key":"Glazed and painted stoneware","doc_count":2},{"key":"Glazed ceramic","doc_count":2},{"key":"Ink on paper","doc_count":2},{"key":"Jade","doc_count":2},{"key":"Pigment on paper on matt board","doc_count":2},{"key":"Porcelain","doc_count":2},{"key":"Agate, silver","doc_count":1},{"key":"Bamboo, horse hair","doc_count":1},{"key":"Black lacquer with “white brass” inlay on wood","doc_count":1},{"key":"Bronze with traces of polychrome","doc_count":1},{"key":"Bronze, silver","doc_count":1},{"key":"Ceramic, glaze","doc_count":1},{"key":"Crystal","doc_count":1},{"key":"Earthenware with impressed decor","doc_count":1},{"key":"Gilded bronze","doc_count":1},{"key":"Glass with painted decoration","doc_count":1},{"key":"Horn, horse hair","doc_count":1},{"key":"Horsehair, gilt brass, cotton cloth","doc_count":1},{"key":"Impressed earthenware","doc_count":1},{"key":"Ink and color on silk","doc_count":1},{"key":"Ink on silk","doc_count":1},{"key":"Ivory","doc_count":1},{"key":"Ivory with red lacquer inlay","doc_count":1},{"key":"Pigment on paper (on matt board)","doc_count":1},{"key":"Red bean wood, plant fibers","doc_count":1},{"key":"Red earthenware with molded and sculpted decoration under white slip, painted with cold 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