Shenzhen Museum of Ancient Art

The main museum at the Shenzhen Civic Centre showcases the cultural diversity and economic development of the Shenzhen region. This older museum next to Lizhi Park showcases the rest of the Chinese history.

Shenzhen Museum of Ancient Art is one of the four museums under the Shenzhen Museum umbrella focusing on archaeological relics and historical artefacts that defined the Chinese civilisation. This was the original Shenzhen Museum, which has since expanded into four locations.

Permanent Exhibitions included ancient Chinese ceramics and bronze wares, while special exhibitions are often held in the spacious halls in the four storeys museum.

Exhibition of Ancient Chinese Ceramics

China is a world famous country for its ancient ceramics. As early as in the Neolithic Age more than 10,000 years ago, ancient Chinese people had already learnt to make and use pottery.

Earthenware Basin with Painted Decoration 几何纹彩陶盆

Pottery | Neolithic Age, Miaodigou Phase of Yangshao Culture (c. 3900-3600 B.C.) | Dimensions – H: 17.4cm, D (base) : 11.8cm | Shenzhen Museum Collection, Excavated from the site of Xiameng Village, Bin County, Shaanxi Province (1959). 陶器｜新石器时代 • 仰韶文化庙底沟类型（约公元前3900~公元前3600年）｜高17.4厘米、底径11.8厘米｜深圳博物馆藏，1959年陕西邠县下孟村遗址出土

Porcelain is a great invention of the working people in ancient China. The emergence and development of Chinese ceramics have made outstanding contributions to human culture. With its leading manufacturing techniques and long history tradition, China have had a profound impact on the development of world ceramics, the exchange of Chinese and foreign civilizations, and the material life of humankind. Since the 8th century, Chinese porcelain has been exported to overseas continuously.

Black Earthenware with Two Loop Handles and Bronze Ornaments 黑陶嵌铜泡钉双耳壶

Pottery | Western Han Dynasty (202 BC- 8 AD) | Dimensions – H:20cm, D (mouth) : 13.3cm, D (base) : 8.5cm | Shenzhen Museum Collection, Donated by a Japanese organization (2010). 陶器｜西汉（公元前202-公元8年）｜高20厘米、口径13.3厘米、底径8.5厘米｜深圳博物馆藏，2010年日本某友好团体捐赠

This exhibition features a batch of representative pieces selected from ceramics obtained by the Shenzhen Museum over the years through various channels such as inter-museum exchange, acquisition by purchase, donation, and transfer over from judicial organisations. These selected ceramics cover every stage from Neolithic to the Ming and Qing dynasties, showing the role of ceramics in social life and cultural exchange in each historical stage. It can be called a miniature history of the development of Chinese ceramic culture.

Painted Pottery Courtyard Model 彩绘陶院落

Pottery | Ming Dynasty (1368-1644) | Dimensions – H: 40cm, W: 91cm, L: I12cm | Shenzhen Museum Collection, Excavated from Gaogaoshan Village, Qi County, Henan Province. 陶器｜明（1368~1644年）｜通高40厘米、面宽91厘米、进深112厘米｜深圳博物馆藏，河南杞县高高山村出土

This complete courtyard is a true portrayal of the tomb owner’s identity before his death, and also provides visual physical materials for the study of Ming Dynasty architecture in the Central Plains.³

Exhibition of Bronze Ware

The exhibition presents the finest collections of Chinese bronze art in the Shenzhen Museum. Classified by age and purpose, it includes ritual vessels, musical instruments, weapons, mirrors, currency, religious statues, archaistic wares imitation Bronze Age ritual vessels etc. This exhibition demonstrates China’s continued cultural vitality and aesthetic changes, as well as the history, culture, craftsmanship, technology and social thoughts of different periods.

China has a long history of bronze casting. The earliest bronze used in China an be traced back to 6,000 years ago. During around 1,500 years of the Bronze Age, during Xia-Shang-Zhou dynasties, ancient bronzes were not only the embodiment of the top technology at that time, but also the symbol of the highest political power. As an old saying goes “The most important events in the country are rituals and wars”. A large amount of bronze was used to make weapons, ritual objects and musical instruments.

After the Shang and Zhou dynasties, the characteristics of the bronze objects were no longer in mysterious, heavy and stately style.

Bronze Bullock-Cart 铜牛车

Bronze | Tang Dynasty (618-907) | Dimensions – L: 42cm, W: 18cm, H: 23.5cm | Shenzhen Museum Collection, Transferred by Shenzhen Municipal Public Security Bureau (1992). 铜｜唐（618~907年）｜通长42厘米、宽18厘米、高23.5厘米｜深圳博物馆藏，1992年深圳市公安局沙头角分局移交

The original function of ritual vessels had been gradually lost during the Spring and Autumn Period, and the focus of the bronze craft had gradually shifted from ritual wares of state ceremonies and shrines to daily life objects.

Bronze Mirror with Inscriptions on Mythical Beasts and Immortals Playing Board Game Liubo “仙人止博”七乳神兽纹铜镜

Bronze | Wang Mang Interregnum to Eastern Han Dynasty (8-22, 22-220) | Dimensions – D: 21.1cm, Thickness of Edge: 0.7 cm | Shenzhen Museum Collection, Collected from the public (2003). 铜｜新莽至东汉（8~220年）｜直径21.1厘米、镜缘厚0.7厘米｜深圳博物馆藏，2003年征集

In addition to vessels for use in everyday life, other important later bronze objects include mirrors, coins, Buddhist and Taoist figures, and archaistic bronze wares made from the Song dynasty onward following revival of Confucianism.

Silver Ingot with Inscription of 2nd Year of Tianqi (1622) “天启二年”银元宝

Silver | Ming Dynasty (1368-1644) | Dimensions – H: 8cm, L: 14.4cm, W: 8.3cm, Wt: 1.88kg | Shenzhen Museum Collection, Transferred by Shenzhen Finance Bureau (1991). 银｜明（1368~1644年）｜高8厘米、长14.4厘米、宽8.3厘米、重1.88千克｜深圳博物馆藏，1991年深圳市财政局移交

In the bronze exhibition, there’s also a collection of ancient coins and ingots used as currency of the different period.

Special Exhibitions

“Reaching for the Horizon” was a special exhibition that ran from 11 Jul – 12 Oct 2023, illustrating some famous sea voyages of the world during the 15th and 19th centuries. A total of 265 cultural relics from more than 20 countries are on display, revealing the history, technology, trade, art and war related to these sea voyages.

During the Age of Navigation, maritime routes brought the world together as a unified entity. This facilitated extensive global exchanges in terms of resources, culture, technology, and art. In this new era, countries eagerly engaged in longer and more wide-ranging explorations that exploited the potential of the oceans.

The establishment of new sea routes and the “discovery” of new continents gave rise to maritime trade. The desire to monopolise trade and increase profits led to intense naval battles among European countries. The British Empire emerged victorious in these conflicts, defeating various European powers and establishing itself as a global hegemony.

Another special exhibition that ran between 28 Apr to 27 Aug 2023 was a collection of bronzes from Shanghai Museum. This was the first time I saw some many of the wonderful bronzes from Shanghai Museum, which is considered one of the best collection of Shang-Zhou bronzes in the world.

Xiao Ke Ding (Food Vessel) 小克鼎/膳夫克鼎

Bronze ware | Western Zhou, King Xiao Reign (c. 10th BC) | Dimensions – H: 56.5 cm, D: (mouth) 49 cm, Wt: 47880 g | Shanghai Museum Collection, Excavated from Famen Town, Fufeng County, Shaanxi during Qing Guangxu reign (r. 1875-1908) 铜器｜西周孝王（公元前10世紀末）｜高56.5厘米，口径49厘米，重47880克｜上海博物馆藏，清光绪中期出土於陝西扶風法門寺任村

This particular Xiao Ke Ding 小克鼎 is one of seven that was cast by Ke 克 (c.~9th century BC), an imperial chef of Western Zhou King Xiao 周孝王 (c. 950-886 BC) , Four of these dings are still in China, three others are in museums in Japan. It would be nice (if not impossible) to see a reunion of all seven of them again.

Footnotes:

1. 盆外壁所饰一周黑彩涡纹、三角纹、弦纹与圆点组成的花卉几何纹饰带，是仰韶文化庙底沟类型彩陶的常见纹饰。庙底沟类型是仰韶文化繁荣时期的一种地方文化类型，以河南陕县庙底沟遗址为代表，彩陶发达，以泥质红陶居多。Text from museum display label (2023) ↩︎
2. 这类平底双耳壶主要分布于川、藏、滇三省相邻的地区，年代自中原地区的夏商时期延续至秦汉，但黑陶质嵌铜泡钉者极为少见。有研究者将其归属指认为早期由西北地区迁至西南的氐羌系民族，后因转向定居农业，及汉文化的渗入而趋于绝迹。Text from museum display label (2023) ↩︎
3. 院落浅灰胎硬陶制成。平面呈长方形，为两进四合院布局。由园门、前院、前房、后院、正房及前后院左右厢房组成。四周有围墙，正面为院门，置门扇两扇，门外有敞开护墙，门里有照壁。其正面绘山水图。院门、前房、上房、厢房屋顶为悬山式。正脊上有鸱吻，垂脊前端有瑞兽，房檐下有斗拱。前、正房与前院东西厢房中西扇门洞开。院内有井台、磨盘。大门外置轿，轿旁站立一侍俑。门两侧有备好鞍的马。这座完整的院落是墓主生前身份的真实写照，也为研究中原地区明代建筑提供形象的实物资料。 ↩︎
4. 先秦时期，牛车主要用于运载货物，贵族出行与战争都用马车。秦汉时期，牛车仍然主要用于运载货物，除了汉初因马匹不足而公卿多乘牛车外，大多数时候牛车是商人或身份低的人乘坐。汉末三国时期，由于战马紧张，皇帝与大臣日常出行多改用牛车，由此风行。西晋时最终确立了以牛车为出行礼仪的公车制度。魏晋风度一部分也与牛车有关。南北朝时期沿袭这一制度，贵族都以牛车为时尚与身份的标志，装饰奢华。日本平安时代皇室贵族流行乘牛车也受六朝隋唐风气之影响。隋唐时期，贵族豪门多骑马，牛车多为女性的出行工具，“香车宝马”由此而来。Text from museum display label (2023)  ↩︎
5. 镜中有7组祥瑞，各有榜题铭文，其中一组为“仙人止（通掷）博”：两个羽人对弈六博棋，骰子正被高高掷起。六博棋，据说有祭祀西王母、避邪的作用。羽人是西王母的侍神，又是“羽化登仙”思想的体现。 ↩︎
6. 银元宝上有刻铭：“江夏县徵完天启二年漕折银伍拾两，银匠徐王。” ↩︎