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From ancient ceramics to imperial jade, oracle bones to contemporary propaganda posters, our Chinese collection spans over four thousand years and includes around 11,000 items.
Porcelain punch bowl, painted in overglaze enamels with views of house interiors in Guangzhou (Canton) and figures in Chinese dress overlooking a river, export ware: China, Qing Dynasty, late 18th century AD.
The ceramic collection includes almost 2,000 items, from all periods and dynasties of Chinese history, ranging from Late Neolithic cultures such as Yangshao (ca. 5000–3000 BCE), through the Han (206 BCE–220) and Tang (618–907) dynasties, and continuing through the Song (960–1279), Yuan (1279–1368), Ming and Qing up until the 20th century, with material from the Cultural Revolution era (1966–1976).
The ceramics in the collection are representative of many different kilns across China; they are of different forms and types, from various periods of production with different glazes, styles and techniques. The single largest acquisition comprises pieces purchased from Lieutenant-Colonel Kenneth Dingwall (1869–1946) between 1919 and 1925.
There are also many fine examples of export wares intended for the European market amongst others, illustrating the skill of Chinese craftsmen in adapting to new markets and tastes. These include armorial porcelains intended for the European, including the Scottish, aristocracy, and bearing their heraldic devices. Twenty-first century ceramics from the Shanghai design studio Spin Ceramics have been acquired more recently. These pieces showcase the latest developments in studio ceramics in the People's Republic of China.
Jue (vessel) of rough grey unglazed earthenware, with a bulbous body standing on three short tapering legs, and mat impressions: China, Shang dynasty, c.1500-1050 BC.
Fahua stoneware jar showing five scholars approaching an immortal (possibly Shoulao, God of Longevity) on one side, and two Daoist immortals seated, playing weiqi (Chinese chess) attended by a servant on the other side: China, Ming Dynasty, late 15th - early 16th century AD.
Baluster porcelain vase, decorated in underglaze blue with dragons and foliage, known as a Lizard Bottle: China, Qing dynasty, Kangxi reign, 1662-1722.
Circular porcelain dish decorated in underglaze blue with a design of cranes flying among cloud scrolls: Chinese, Ming dynasty, Jiajing reign, 1522-1566.
Figure of a tiger in hard reddish pottery, decorated with combed surface markings and red and green glazes: China, Liang dynasty, 502-556 AD.
Circular porcelain dish, decorated in overglaze enamels on a yellow ground with a central roundel containing a red dragon and pearl, surrounded by four roundels each containing a red dragon and a phoenix, with a reign mark on the base: China, Qing Dynasty, Qianlong reign, 1736-1795 AD.
Bowl of imperial yellow glass, one of a pair: China, Qing Dynasty, Qianlong reign, 1736-1795 AD.
Figure of a luohan or Arhat, holding a lion cub in his arms in porcelain with sancai (three coloured) glazes, possibly Xiaoshi Luohan (Luohan with laughing Lion): China, Ming or Qing Dynasty, 16th - 18th century AD.
Bust of Chairman Mao Zedong, of the finest white biscuit porcelain with smear glaze, an official issue bust, the only sculptural image to be distributed to all official buildings throughout China, part of a consignment intended for distribution in Tibet: China, 1966.
Ceramic figure of a happy worker, one of a set of nine figures depicting different Chinese national minorities, this group of six dancers and musicians and three happy workers was intended to show the contentment of the minorities with New China: China, c1960- 65.
Porcelain figure group entitled Looking up to Mao: China, Jingdezhen, 1972-74.
Oracle bone of tortoise plastron or ox scapula, with incised script recording divination: China, Henan Province, near Anyang, Yinxu, late Shang dynasty, c. 1200–1050 BC
Of great significance is the collection of inscribed oracle bones. Oracle bones, which are usually of turtle plastron or oxen scapula, were used for pyromantic divination by shamans of the late Shang dynasty (c.1600–1046 BCE). The divinatory queries as well as the responses by the spirits were inscribed on the bones in the earliest form of systematic Chinese writing known as oracle bone script.
Formed in China between 1903 and 1908 by two missionaries, Samuel Couling (1859–1922) and Frank Chalfant (1862–1914), the Couling-Chalfant oracle bone collection was assembled only a few years after the oracle bones were recognised for what they are. The 1,500-strong collection was purchased in 1909, making it one of the earliest such collections, and the second largest outside East Asia.
• Oracle bone of tortoise plastron or ox scapula, with incised script recording divination: China, Henan Province, near Anyang, Yinxu, late Shang dynasty, c. 1200-1050 BC.
• Oracle bone of tortoise plastron or ox scapula, with incised script recording divination: China, Henan Province, near Anyang, Yinxu, late Shang dynasty, c. 1200-1050 BC.
• Oracle bone of tortoise plastron or ox scapula, with incised script recording divination: China, Henan Province, near Anyang, Yinxu, late Shang dynasty, c. 1200-1050 BC.
Rice measure of carved red, green and brown lacquer, square and decorated with five-clawed dragons in clouds above mountains and sea, with reign mark on base, and with wooden stand: China, Ming Dynasty, Jiajing reign, 1521–1567 AD.
There is an important range of Ming or Qing objects with imperial provenance or association. These are carved jades, ceramics, lacquer, as well as items of dress and accessories worn by civil and military officials featuring the emblems of court rank and status. Among the most notable items in this collection is a group of 65 single page of finely detailed illustrations painted on silk from the Illustrations of Imperial Ritual Paraphernalia (Huangchao liqi tushi) produced between 1760 and 1766.
Imperial seat of black and brown lacquered wood, decorated in gold with landscapes, flowers and bats. In the centre of the seat there is a circular medallion encompassing a five-clawed dragon among clouds; in the centre of the back there is qing (a stone music instrument) surrounded by peonies and five bats. Finally, there is a shelf for small treasures (duobaoge) on each side and an extending foot rest: China, Qing Dynasty, 18th century AD.
Porcelain moon vase, moon-shaped with narrow neck and two scrolled handles, painted in underglaze cobalt blue with magnolia flowers and leaves: China, Jiangxi Province, Jingdezhen kilns, Ming Dynasty, early 15th century AD.
Porcelain bowl decorated in overglaze enamels with a yellow ground and grisaille design of wisteria, peony and a bird, with inscription and marks, part of a porcelain group made in celebration of the 60th birthday of the Empress Dowager Cixi: China, Jiangxi Province, Jingdezhen kilns, Qing Dynasty, Guangxu reign, 1894 AD.
Painting on silk, Illustration of an Imperial First Rank Concubine's Winter Court Robe No. 2, from the Illustrations of Imperial Ritual Paraphernalia (Huangchao liqi tushi): China, Qing dynasty, c. 1760-1766.
Table screen of pale grey jade, engraved on one side with a landscape and with a poem in the other side by the Qianlong Emperor, dated 1784, with carved wood stand inlaid with bats in mother-of-pearl: China, Qing Dynasty, Qianlong reign, 1735-1796.
Handscroll painting, entitled Fishing in a Willow Brook (Liuxi chuidiao), in ink and colours on silk, on the theme of fishing in seclusion, with two colophons: China, attributed to Wang Hui, one colophon by Chen Zhiyan, Qing Dynasty, Kangxi reign, dated 1706.
Other paintings, prints, and rubbings in the collection include ink rubbings from the Han dynasty Wu Liang Family Shrine and from the Tang Nestorian Stele (781) which documents early Christianity in China.
Recent years have seen the acquisition of early modern paintings, including work by the monk-painter Xu Gu (1823–1896) and Jiang Jie (fl. 1800–32). Late Qing-period pieces include genre (everyday life subjects) paintings and religious subjects, and anonymous watercolour paintings produced in Guangdong for export to Europe.
In 2013, with the support of the Art Fund, the Museum acquired a large collection of propaganda posters from the 1960s to the 1970s, illustrating political themes prominent during China's heavily politicised Mao era.
Painting on silk, Illustration of a First Rank Imperial Concubine's Dragon Jacket, from the "Huangchao liqi tushi" (Illustrations of Imperial Ritual Paraphernalia): China, Qing dynasty, c. 1760-1766.
Hanging scroll painting, entitled Piles of Snow Sheltered by the Mountain, depicting buildings around a river with a fisherman poling a boat, beneath snow-covered mountains, in ink and colours on silk: China, Ming Dynasty, by Fan Jingwen, 1640.
Theatrical robe, voluminous and ankle length with wrap over left front, in orange and turquoise silk embroidered with design of dragons pursuing flaming pearls: China, collected in Tibet, early 20th century.
This significant collection dates from the late Qing and the Republican era. Numbering nearly 1,000 items, it features a variety of accessories, headgear and footwear, official and informal dress, seasonal dress and theatrical costumes. This material shows China as an ethnically diverse culture, containing examples of Han dress and those of minorities such as the Manchu, Tibetan and Miao.
Man's brown silk chaofu or offical court robe, with a design of an elaborate cosmic scheme of dragons among clouds and waves, adapted for Tibetan use: China, early Qing period, c1675-1700.
Dragon robe or longpao of deep blue silk embroidered with nine dragons and cosmological designs, showing Manchu influence: China, given to Dugald Christie, medical missionary stationed at Mukden (Shenyang), late 19th century.
Woman's robe of blue silk in tapestry weave (kesi), with design of chrysanthemums and shou (longevity) characters, lined with yellow silk, in the style favoured by Empress Dowager Cixi, probably autumnal wear for older women: China, Qing Dynasty, late 19th century.
Skirt of figured silk, embroidered with a floral pattern in blue, green and white: China, Qing Dynasty, late 19th century.
Sage green satin panel embroidered in coloured silks and showing a design of peacocks, birds and flowering plants surrounded by a floral border: China, possibly early 19th century.
Hanging consisting of four pieces of yellow silk brocade sewn together, studded with sequins, embroidered with coloured silks and showing a design of birds, flowers and lions: China, 19th century.
Square dish of red lacquered wood, carved with design of three men and an attendant carrying a bamboo container, an ox being led in front: China, 17th century.
The lacquer collection is notable and features many fine pieces spanning a number of historical periods, exemplifying the full range of Chinese lacquer techniques and materials. The collection ranges from small lacquer containers and vessels to large pieces of imperial lacquered furniture. Around 20 per cent of the items were part of the collection of the noted scholar of Chinese antiquities Sammy Yukuan Lee (1902–2011).
Moon flask of carved red lacquer on a porcelain body, decorated on both sides with a landscape: China, Qing dynasty, late 19th century.
Ceremonial bowl of carved red lacquer on gilt metal, with alternate sprays of lotus and peach blossom and the longevity character Shou: China, Qing dynasty, Qianlong reign, 1736-95.
Box of red lacquered wood, small circular, decorated with a sage seated in a garden flanked by two attendants, with thunder pattern on the side: China, Yuan dynasty, by Zhang Cheng, 1279-1368.
Cup of red lacquered wood carved in high relief with a battle scene, the inside coated with smooth black lacquer: China, Ming dynasty, late 15th century.
Circular dish of red lacquered wood carved on upper surface with three bands of spectacle-shaped designs surrounding a centre of petals and arrowhead patterns: China, Yuan dynasty, 14th century.
Wall panel of malleable iron (tiehua) with paper ground, one of four representing one of the 'Four Gentlemanly Virtues' (plum blossom, orchid, bamboo and chrysanthemum) and the four seasons: China, Qing Dynasty, 17th - 18th century AD.
The metalwork collection includes a small number of Shang to Han bronze vessels and weapons with some bear inscriptions. The collection also includes pieces of cloisonné and enamels, some of imperial provenance, and some produced in Guangzhou (formerly Canton) for the export market.
A small number of Buddhist gilt bronzes, of both Chinese and Sino-Tibetan figures of Song to Qing date, exemplify the skill of Chinese craftsmen in producing high quality, large scale gilded bronze figures. China's Buddhist and Daoist traditions are reflected through figurative images in both three and two dimensions of lacquered wood, bamboo, ivory, ceramics, cloisonné, stone, metal, and soapstone.
Figure of Buddha in gilt bronze, seated on double lotus base in a meditation gesture: China, Qing Dynasty, 19th century AD.
Figure of Guanyin, bodhisattva of compassion, in gilt bronze, with flowing robes, a jewelled corsage and diadem: China, Qing Dynasty, Qianlong reign, 1736-95 AD.
Mirror of silvered patinated bronze, with a central perforated boss in the form of a many-peaked mountain on the reverse: China, attributed to Tang dynasty, 618 - 907 AD.
Bronze mirror, ogival with a central boss pierced for a cord, decorated with running winged horses and phoenixes, and a flower and butterfly border: China, Tang dynasty, 618 - 907 AD.
Vase of cloisonné enamel on copper, in various colours showing fishes among lotus and other aquatic plants, and with a border of interlocking dragon strapwork design around its neck: China, Ming dynasty, 16th century.
Double vase carved from a single piece of jade, the bases joined by branches of lingzhi, a taotie mask on the sides of the larger vase, and leaves round the neck: China, 18th century.
Jade has always been significant in Chinese culture, and the museum’s collection demonstrates this through a number of early jades. Later jades and hardstones include some imperially inscribed pieces, as well as figurative carvings, belt plaques, brush pots, table screens, plaques, and vessels.
Carvings in bamboo, wood, ivory and rhinoceros horn are found in the collection, demonstrating the skill of Chinese craftsmen in working across a diverse range of materials. These carvings were produced for and associated with China's literati elites of the Ming and Qing periods. Other arts of the scholar's studio include furniture, brush rests, brushes, table screens, and wrist rests, as well as a wide range of decorative objects that may have been collected, viewed, used, or studied by scholars. There is also a group of carved soapstones mainly for the export market.
Circular table screen (yuan pingfeng) of dark green jade, carved on one side with two Daoist immortals and an attendant carrying offerings, and on the other a landscape: China, Qing Dynasty, 18th century AD.
Vase of mutton-fat jade with three loose ring handles, carved with symmetrical designs of archaic dragons: China, 18th century.
Jade container in the shape of a parakeet: China, 19th century.
Tiger pendant of mottled jade, one of a pair, worn as part of a larger group strung together with beads: China, early Western Zhou Dynasty, 11th - 10th century BC.
Shaving-brush case of ivory, roughly cylindrical and carved in relief with birds, flowers and foliage: China, 19th century AD.
Suanpan (abacus) of wood and brass, used for both decimal and hexadecimal calculations: China, Qing Dynasty, early 20th century.
Bronze pen rest in the form of two conjoined archaic dragons facing one another: China, probably Ming Dynasty, 1368-1644.
Pair of spectacles of smoky quartz, with engraved silver mounts and folding jointed legs: China, late 19th century.
Hand scroll painting, depicting chrysanthemums, with inscriptions, seal and signature, ink and white pigment on paper: China, Guangdong province, Nanhai, by Kang Tongwei, c.1865. Collected by Sir James Stewart Lockhart. With permission of George Watson's College
The collection is supported by important loans, most notably from the Royal Collection Trust and George Watson's College. The latter has lent a large group of items relating to Sir James Haldane Stewart Lockhart (1858–1937), who served as a colonial official in Hong Kong. Widely respected, Lockhart rose to the rank of Registrar General and Colonial Secretary of Hong Kong (1895–1902) and then became Commissioner of Weihaiwei (1902–1921) in Shandong province. Lockhart spoke Chinese fluently, and had an affinity with Chinese culture and customs which makes his collection a unique and unparalleled Sino-Scottish collection. You can see items from the collection in our online database here.
Hanging scroll painting of a cock and hen, in ink and colour on paper: Cina, by Xiao Yufen. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Fan painting of a bird and flower, in ink and colour on gold, framed: China, by Ren Yi. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Handscroll painting of chrysanthemums, in ink and white paint on paper: China, by Kang Tongwei. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Fan painting of an elder and his attendant under a willow tree, ink and colour on paper: China, by Qian Huian. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Calligraphy: China, by Kang Youwei. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Circular fan painting entitled Mountain Streams and Autumn Rain, in ink and colour on silk, framed and glazed: China, by Hu Gongshou, 1869. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Painting of market day at the Lou Fou Hills, in ink and colour on paper: China, by Liu Tian. Collected by Sir James Stewart Lockhart. With permission of George Watson's College.
Robe (changfu) of embroidered silk, worn by a married Manchu woman: China, Qing Dynasty, 19th century AD. Lent by Her Majesty the Queen.
Semi-formal winter hat (jiguan), blue with red tassels and a plume, and with a glass button on top indicating fifth rank official: China, Qing Dynasty, 19th century AD. Lent by Her Majesty the Queen.
Manchu bride's costume: China, 19th century. Lent by Her Majesty the Queen.
Glass sculpture entitled Calligraphy or Non Calligraphy VIII (Fei shu fei fei shu VIII): China, by Wang Qin, 2007.
We continue to add to our Chinese collection, with new acquisitions from contemporary artists.
Glass sculpture entitled Grey Flute Series: Sea Blue: China, by Zhuang Xiaowei, 2007.
Glass sculpture entitled Calligraphy or Non Calligraphy VIII (Fei shu fei fei shu VIII): China, by Wang Qin, 2007.
Large square slab-built porcelain vase with underglaze decoration of flowers of the four seasons: China, Jingdezhen, Ceramic Research Institute, by Wang Bu, c1956.
