Treasures of Nanjing Museum – History Gallery Part 2

Nanjing Museum is the second largest museum in China (after the Palace Museum of Beijing) in terms of the numbers of artefacts and relics in its collection. Many magnificent and sometimes mind-blowing artefacts are displayed in the vast space of the six galleries and 23 halls of the museums that spans 130,000 sqm. But that’s still too small to show everything. Here’s a list of what I think were the highlights when I visited in Nov 2025

The museum spans six different galleries (buildings) and over 23 exhibitions of different themes. It is really confusing to navigate around the compound but everything is linked on the lower floor which is called the first floor (yes, the ground level is not the first floor, but the second floor) and the exhibits are scattered around the six buildings. This list is for the History Gallery, which is the main building as you enter the museum. Things may change according to the museum plans. Check before heading to the exhibits.

The History Gallery 历史馆 showcases the history of China through six exhibition halls over two levels, divided by timeline starting with prehistory. The curators have a preference over Jiangsu related artefacts. Because of the vast number of collection that are interesting, this is Part 2 of two posts, focusing on Level 1 of History Gallery covering Six Dynasties to Qing Dynasty.

Vitalisation of Six Dynasties 江东风流 六朝选兴 (Hall 4)

Between the 3rd and 6th centuries, six States – Eastern Wu (222-280), Eastern Jin (317-420), Liu Song (420-479), Southern Qi (479-502), Liang (502-557), and Chen (557-589) successively set their capitals in today’s Nanjing. The period is known as “Six Dynasties” (220–589) in Chinese history, with the last four also collectively called the Southern Dynasties (420-589). Compared to the northern China that suffered from unceasing war fares as well as recession of economy and culture, the societies of the Six Dynasties were relatively stable. ¹

Soapstone pig sculptures 滑石猪

Soapstone² pig sculptures 滑石猪 are common funerary objects in ancient tombs, also known as “手握”/“握手” (hand-held or handshake objects.) They are held in the hands of the deceased in ancient funerary customs and traditions and shaped like pigs. In the minds of the ancients, pigs symbolised wealth and abundance; holding a pig in one’s hand implied that the deceased would also enjoy a prosperous life in the afterlife, representing the hopes of the living for the departed.

Red pottery figurines of Buddha 红陶佛像

Buddha images, including those of Shakyamuni Buddha and Amitabha Buddha, are generally depicted as approachable and solemn, showcasing their compassionate and serene beauty.

In terms of porcelain, the earliest appearance of Buddha images is found on Yue ware celadon from the Eastern Wu period of the Three Kingdoms era. These were primarily created using a mold-printing and appliqué technique, where the image was first created using a mold and then affixed to the porcelain according to the theme.

Buddha images were frequently applied to items such as granary jars, ewers, and tripod basins. On granary jars, the image was typically applied to the upper abdomen and shoulder; on ewers, it was usually applied to the shoulder, with the Buddha seated on a lotus throne supported by two beasts, possessing a halo and exuding a mystical aura; on tripod basins, it was generally applied to the outer abdomen, with the Buddha seated in the lotus position, displaying a solemn expression.³

Lion-Shaped Celadon Glazed Water Dropper 青瓷狮形器

Molded Yue-ware vessels like this were made in large quantities, but their function is unclear. They may have held a candle, or perhaps scholars dipped their writing brushes in the water-filled interior. In the Jin dynasty (265-420), mythical lions, with exaggeratedly curled manes, and winged chimeras were protective images; huge stone examples guarded important tombs.

Shortly after the opening of the Silk Road in the Han Dynasty, lions were introduced to my country as “exotic objects from a foreign land” and became an important theme in Chinese art. Lions did not originate in China. It is said that they were introduced to China from the Western Regions via the Silk Road during the Han Dynasty. During the Six Dynasties, people often used animal images as the shapes of porcelain. With the rise of Buddhism, the image of the lion began to enter the lives of ordinary people. In Buddhism, the lion is the image of a protector of the Dharma, and Shakyamuni Buddha was likened to a lion.

Human Riding Mythical Beast-shaped Bronze Lamp 人骑兽形铜灯

Ingeniously sculpted as a lively rider balancing on the back of a fantastic beast (probably a Bixie, a mythical beast with a tiger’s head and lion’s body), the bronze lamp belongs to a group of bronze utensils which are both decorative and functional that can be traced to Han dynasty. The rider is depicted with long rabbit ears, thick lips, almond-shaped eyes framed by bushy brows and a bulbous nose, his hair neatly combed and detailed with striation, balancing a cylinder on the top of his head, his slim body bare save for a wide belt, his arms outstretched, broken hands probably were holding something, perhaps a shallow dish intended to hold oil; the winged beast depicted with prominent round eyes framed by arched brows, crowned by a pair of ribbed and curved horns between pointed ears, its mouth open in a ferocious roar, standing foursquare accentuating its broad shoulders and muscular haunches, the tail gently curved to the left. At Nanjing Museum, this artefact illuminates the interplay of faith and craftsmanship during the Southern Dynasties.

Grey pottery oxcart model (funerary) 灰陶牛车

Since ancient times, people have used carriages to display their social status. During the Six Dynasties period, laws strictly regulated the style and number of vehicles used by different social classes. Unlike the Han Dynasty’s tradition of traveling by carriage and horse, riding in an oxcart became fashionable among aristocratic families and wealthy playboys. Oxcarts were smooth and comfortable, the oxen were adorned with ornaments, and the carriages were fully or partially enclosed with windows on both sides, covered by curtains. Aristocratic sons could ride in and out with ease, demonstrating their status.⁴

Glorious Sui And Tang Dynasties 东南都会 隋唐华彩 (Hall 4)

Jiangsu was the most important area for grain production. The Grand Canal, built during the Sui Dynasty, accelerated the shift of the economic centre of gravity from the north to the south; Yancheng and Taizhou became two major areas for salt production; by the Tang Dynasty, Yangzhou owned the most prosperous industries and commerce in China.

Tri-coloured pottery camel 三彩骆驼

This is a Tang Dynasty sancai glazed pottery figure of a Bactrian camel. These sculptures, known as mingqi or “spirit objects,” were specifically created for burial in tombs to serve the deceased in the afterlife. The term sancai means “three colours,” referring to the lead-based glazes—typically amber, straw, and green—that were splashed or poured over the pottery before firing. The camel represents the vital role of the Silk Road during the Tang Dynasty, symbolising the trade of luxury goods like silk and spices between China and Central Asia.

Tri-coloured pottery vase in the shape of double-fish 三彩陶双鱼瓶

This Tang Dynasty tricolour, aka sancai, glazed vase with two fish motifs, dating from the late Tang period, was unearthed in 1975 at Saogou Mountain in Yangzhou. It measures 11.2 cm in diameter at the belly, 4.5 cm in diameter at the mouth, and 23 cm in height. The vase has a pale red body and a vibrant glaze, distinctly different from the robust and substantial sancai ware of the Central Plains region. It exhibits the characteristics of southern sancai ware, which often features aquatic animal motifs. The vase is shaped like two fish facing each other, with protruding black eyes. Each fish has two small fins, scales, and fins. The fish mouths serve as the vase’s mouth, the double ridges form the double handles, and the tails constitute the base. The surface is glazed with green, yellow, and brown hues, which blend and intermingle to create a mottled and brilliant coloured glaze. This sancai pottery piece, symbolising abundance and auspicious harmony, is lifelike and exquisitely crafted, representing an outstanding example of late Tang and Five Dynasties sancai ware.⁵

Pottery figurines of dancer 陶舞俑

Tang Dynasty dances were mainly divided into two categories: soft dances and vigorous dances. The former expressed lyrical beauty and were traditional Han Chinese dances that were popular among the people of the Central Plains. Tang Dynasty music and dance not only extensively absorbed the essence of traditional music and dance from the Han, Wei, and Six Dynasties periods, but more importantly, it incorporated the charm of music and dance from ethnic minorities in the border regions and from other lands, creating a unique style. Its unparalleled excellence throughout history has made it a milestone in the music and dance of feudal China.

Jianghuai Plain in Song-Yuan Period 江淮多姿 宋元气象 (Hall 5)

After the fall of the Tang dynasty in 907, Yangzhou in Jiangsu became the eastern capital of the Nan (Southern) Tang state during the Ten Kingdoms period, which lasted from 937 until it was finally absorbed by the Song dynasty (960–1279) in 975/976. After a long period of segregation, China was reunified in the Song Dynasty with new social development when Wu Yue joined the dynasty peacefully.

Pottery figurine with the design of fish-body and a human-head 人首鱼身陶俑

Despite its ordinary material, this terracotta figurine is exceptionally valuable because it was unearthed from the tomb of Li Jing, the father of Li Yu, the last ruler of the Southern Tang Dynasty. The body is sculpted in the shape of a crucian carp, with fins in a swimming motion and wings carved on the shoulders. Although the human head and fish body are integrated, it doesn’t appear jarring; rather, it creates a sense of unity. This demonstrates the skillful pottery sculpting techniques of ancient Chinese artisans.

Compared to the ferocious tomb guardian beasts unearthed in China, this human-headed, fish-bodied figurine, with its delicate features and slight smile, is closer to the image of a sea god described in ancient texts. Li Jing hoped he would receive the protection of the sea god in the afterlife, and also hoped this would ensure the prosperity of the Southern Tang Dynasty.⁶

Jun Yao with Flambé-Glazed drum-shaped washer 钧窑窑变釉鼓钉洗

It was during the Song dynasty, which saw the development of a wealthy mercantile class and emergent market economy in China, that Jiangnan (southern Jiangsu, Shanghai, and adjacent areas) emerged as a center of trade. From then onwards, major cities like Suzhou or Yangzhou, would be synonymous with opulence and luxury in China. Today the region remains one of the richest parts of China.

Celadon glazed porcelain plate in the shape of lotus leaf 青釉荷叶形瓷盘

Celadon is renowned for its jade green hue and lightly cracked glaze. Originating 1,700 years ago, this form of pottery hit its peak during the Song Dynasty (960-1279) when vast quantities were exported to East Asia, Southeast Asia and the Middle East. It is not certain if this lotus-leaf plate was a Guan kiln or Longquan kiln piece, but Longquan City in eastern Zhejiang Province is considered the cradle of celadon culture, and now a group of young artisans are dedicating themselves to restoring this ceramic art to its former glory. 

Jade Crown 玉发冠

The jade hair crown unearthed from the tomb of Bi Yuan in Wu County is a fine example of jade art from the Song dynasty, even though it was excavated from a Qing dynasty tomb. This hair crown is shaped like flower petals, and the jade hairpin is shaped like a cloud-shaped ruyi (a traditional Chinese ornament symbolising good fortune). Bi Yuan was the top scholar in the imperial examinations during the Qianlong era and rose to the position of Governor-General of Hunan and Guangzhou. He was an avid collector of bronze and jade artefacts, and this piece likely belonged to his collection. Although this jade crown is not a finely crafted imperial jade artefact, it is the only known Song Dynasty jade hair crown, possessing significant historical research value and thus considered a rare treasure.⁷

Gold belt ornament with interlocking flower and fruit design 缠枝花果金腰带饰

In January 1959, a large number of Yuan Dynasty gold artefacts were unearthed from the tomb of Lü Shimeng in Wuxian County, Jiangsu Province. Among them, two gold ornaments with intertwined flowers and fruits unearthed from the tomb of Lü Shimeng in Wuxian County, Jiangsu Province, are particularly exemplary.

The ornament is surrounded by a border, within which is a high-relief carving of intertwined flowers and fruits, with lush branches and leaves, and a dense and crowded composition that exudes beauty and exquisite craftsmanship.⁸

Flourishing Age Of Jiangnan 盛世江南 明清辉煌 (Hall 6)

The final section of the History Gallery covers the Ming and Qing Dynasties. These dynasties saw two periods of Pax Sinica, and yet saw some of the worst destructions and genocides due to invading armies and foreign powers.

Pair of Stone Lions from Ming Imperial Palace 石狮（一对）

This hall is demarcated by these pair of stone lions retrieved from the formal Ming Imperial Palaces site in Nanjing, where the founding emperor Zhu Yuanzhang used to run the vast country from before his son, Zhu Di, moved the capital to Beijing. Some of the prominent buildings and structures in Nanjing suffered great destruction from the sacking of the city first by Taiping Rebellion and then by returning Qing forces and then by invading Japanese armies. Pretty much everything in Nanjing has been rebuilt from scratch.

Glazed Arch of Dabao’en Temple 大报恩寺塔琉璃拱门

Emperor Yongle (Zhu Di) ordered the construction of the Great Bao’en Temple and the Porcelain Tower in 1412 to commemorate his mother. The project lasted 19 years, cost 2.485 million taels of silver, and involved 100,000 craftsmen and soldiers. After its completion, the Porcelain Tower became a landmark of Nanjing and held the record for the tallest building in China from its construction until its destruction in 1865 during the war of the Taiping Rebellion.

This archway was reconstructed using a spare set of components from the Ming Dynasty’s Great Bao’en Temple Porcelain Tower, a pagoda personally designed by Emperor Zhu Di. The nine-story tower, reaching 78 meters in height, was entirely constructed of glazed tiles except for its main brick structure and wooden roof. It was a prominent and luxurious landmark of the Ming capital. The archway in the Nanjing Museum is based on the original tower’s gate; the original pagoda had eight such gates on each floor, totaling 64. This is the only complete replica of the original.

The archway features the distinctive Tibetan Buddhist Tantric imagery (six-armed figures). A majestic Garuda (golden-winged bird) sits atop the gate, flanked symmetrically by statues of dragon maidens, makara fish, lions and sheep, and the white elephant king. Historical records indicate that three complete sets of tower components were fired during the construction of the Great Bao’en Temple Porcelain Tower: one for construction and two buried underground for future maintenance. This archway was one of two sets of archways that were on standby at the time.⁹

Gold table screen, Imperial black lacquer throne in gold tracery with the pattern of dragon and scenery 正面珐琅背面黑漆描金大座屏、黑漆描金龙纹山水纹宝座

Since the Han Dynasty, Yangzhou’s lacquerware industry has been relatively developed, and it became a major lacquerware production area during the Song Dynasty. By the Ming Dynasty, Yangzhou had further developed into the national center of lacquerware. At that time, Yangzhou lacquerware was famous for its inlaid lacquerware. Historical records state: “The Zhou Dynasty’s method was unique to Yangzhou. At the end of the Ming Dynasty, a man surnamed Zhou created this method, hence the name Zhou system. This method uses gold, silver, gemstones, pearls, coral, jade, emeralds… to carve landscapes, figures, trees, pavilions, flowers, and birds, which are then inlaid on sandalwood, pear wood, and lacquerware. Large items include screens, tables, chairs, windows, and bookshelves, while smaller items include brush rests, tea sets, and inkstone boxes… truly unprecedented wonders.”

Jiang Qianli, a Yangzhou native at the end of the Ming Dynasty, was a renowned craftsman specialising in inlaid lacquer. During the Qing Dynasty, Wang Guochen, Lu Ying, and others were “skilled in this art.” In short, during the Ming and Qing Dynasties, Yangzhou lacquerware craftsmanship was exquisite, with mother-of-pearl inlay, multi-treasure inlay, and carved lacquer being the most famous.¹⁰

Crimson solid gauze embroidered python robe 绛色实地纱彩绣蟒袍

At first glance, the dragons on this robe have five claws. And the common sense is dragons have five claws, and python has four claws. So why is it still referred to as a python robe?During the Qing Dynasty, only the emperor and empress wore dragon robes; even the crown prince wore python robes. The dragons and pythons on Qing Dynasty robes were very similar. The python’s head also had horns, almost identical to a dragon’s head. The usual difference between a dragon and a python was that a dragon had five claws, while a python had four claws.

The python robes of princes all featured four-clawed pythons. However, while the crown prince, princes of the first rank and dukes wore python robes, the robes were embroidered with five-clawed pythons. Since the five-clawed python and the five-clawed dragon were almost indistinguishable in shape, the distinguishing feature was the colour of the robe. Only the emperor and empress wore bright yellow dragon robes; the crown prince’s python robe could only be apricot yellow, the princes’ python robes could only be golden yellow, and princes of the first rank, heirs, and dukes could only wear blue or dark blue.

The dragon robes of the emperor and empress were bright yellow; the python robes of the crown prince could only be apricot yellow, the python robes of princes could only be golden yellow, and the python robes of princes of the first rank, heirs, and dukes could only be blue or dark blue. ¹¹

Footnotes :

1. 公元211年，孙权将治所自京城（今江苏镇江）迁至秣陵（今江苏南京），次年改名建业。其间两次短暂徒都武昌（今湖北鄂城）外，建业始终是孙吴政权的首都。西晋末因避愍帝司马邺之讳，改名建康。317年晋室南迁，又为东晋首都。而后宋、齐、梁、陈，均立都建康。六朝以建康（建业）为都，前后约330年。随着农业的发展，手工业和商业的兴起，城市的兴建和扩展，以及科技、文化、艺术的进步，建康城以其政治、经济、文化中心的重要地位与辐射能力，汇聚了南北方大批杰出人才，吸引了许多异国使臣客商，成为国际上屈指可数的大都市。
   ↩︎
2. Soapstone (steatite) is a soft, dense, metamorphic rock primarily composed of talc, known for its heat resistance, durability, and smooth feel. 
   ↩︎
3. 揭开：三国东吴末期瓷器上的佛教图案有何隐秘？2018-02-01 14:54 新快报
   佛祖包括释迦牟尼佛像、无量寿佛像等，一般被刻画得非常亲切、庄严，尽显其慈祥、宁静之美。
   就瓷器而言，佛祖形象最早见于三国东吴时期的越窑青瓷，主要采用模印贴塑技法制作而成，即先用模具翻制出佛像形象，再依据主题需要贴饰于瓷器上。佛像常常被施于谷仓罐、盘口壶、三足洗等类器物上。谷仓罐一般贴饰于罐体上腹部及肩部;盘口壶一般被贴饰在肩部，佛像端坐在双兽驮起的莲花座上，背有轮光，充满神秘色彩;三足洗一般被贴饰在器物外腹部，佛像结跏趺坐，神态庄重。https://ijx.ifeng.com/6352630/news.shtml?&back
   ↩︎
4. 自古以来，人们常以车舆显示社会地位。六朝时期，法令对不同阶层使用车辆的式样和数量都有严格规定。与汉朝车马出行的传统不同，乘坐牛车成为世家大族、富豪纨绔的时尚。牛车平稳舒缓，牛身挂有饰物，车厢全封闭或半封闭，左右开窗，遮以帷帐，士族子弟乘之从容出入，以示身份。
   ↩︎
5. Tri-colored pottery vase in the shape of double-fish 三彩陶双鱼瓶
   Pottery | Tang Dynasty (618-907) | Unearthed from Yangzhou City Site, Yangzhou | Nanjing Museum collection
   陶器 | 唐代（618-907年） | 扬州市扫垢山出土｜南京博物院藏
   这件晚唐时期的唐三彩双鱼瓶1975年出土于扬州扫垢山，腹径11.2厘米， 口径4.5厘，高23厘米，淡红色胎，釉色鲜艳，与中原地区三彩器的稳重浑厚有明显不同，是以水生动物为造型的南方三彩器特征。此瓶塑成腹部相对的双鱼形，鱼眼球凸出呈黑色，两鱼中间各有上下两个小翅，鱼鳞、鱼鳍也一应俱全。鱼口即瓶口，双脊即为双系，尾部制成瓶底，表面挂有绿、黄、褐三色釉，三色互相浸润交融，形成斑驳灿烂的彩色釉。这件寓意连年有余，吉祥合欢的三彩陶形象逼真，栩栩如生，做工精湛，为晚唐、五代三彩器的优秀之作。https://zhuanlan.zhihu.com/p/571415469
   ↩︎
6. 此陶土烧制的陶俑尽管材质普通，却因出土于南唐后主李煜的祖父、南唐开国皇帝李昪陵墓而“身价非凡”。其高约15厘米，长35厘米，头部为一昂首挺胸、头戴冠冕、面目清秀的男性形象。陶俑的身躯被塑造成鲫鱼形状，左右鱼鳍作划水状，肩部刻画有一对翅膀。陶俑虽然人头、鱼身融合一体，看起来一点却并不突兀，反倒有些浑然一体的既视感。表现出中国古代工匠娴熟的陶塑技艺。同中国出土的那些面目狰狞的镇墓兽相比，这件人首鱼身俑面目清秀，略带笑意，更接近古籍中记载的海神形象，专家推断李璟希望他的父亲李昪在地下能够得到海神的护佑，也期盼以此保佑南唐国运昌盛。果真如此，李璟也算是一位贤明的孝子皇帝了。
   https://zhuanlan.zhihu.com/p/571415469
   ↩︎
7. 吴县毕沅墓出土的玉发冠也是一件玉器精品。
   此冠作花瓣状，碧玉发簪作云头如意状，毕沅是乾隆年间的状元，官至湖广总督，他本人爱好金石收藏，这件应该属于它的收藏。此玉冠虽然不属于精雕细琢的宫廷玉器，但因为是目前发现的唯一一件宋代玉冠，具有很高的历史研究价值，所以也堪称珍品。https://zhuanlan.zhihu.com/p/571415469
   ↩︎
8. 1959年1月在江苏吴县吕师孟墓出土了大量元代金器，其中江苏吴县吕师孟墓出土的两件缠枝花果金饰表现得尤为典型。该饰件周围有边框，框内高浮雕缠枝花果，枝繁叶茂，花团锦簇，构图繁密拥挤，尽显华美秀巧。https://baike.baidu.com/item/缠枝花果方形金饰件/9025160
   ↩︎
9. 此拱门是用明代大报恩寺琉璃塔的一套备用构建复原而成，而南京大报恩寺琉璃塔是由朱棣亲自设计的佛塔。塔高9层，高达78米，除主体为砖砌，塔顶为木结构外，其余建筑构件皆为琉璃，为当年明都城极为醒目、奢华的地标建筑。南京博物院这座拱门的构件就是原来的塔门，原本的琉璃塔每层都有8个这样的塔门，整座塔就有64个。目前保存完整的仅此一件。
   门券上的形象为藏传佛教密宗所特有的法相装饰（六拏具），门顶端高居着神态威武的金翅大鹏鸟，两侧对称设置龙女、摩羯鱼、狮羊立兽、白象王等神像和神兽。据史料记载，当年建造大报恩寺塔时共烧制了三套完整的塔身构建，一套用于施工，两套埋于地下用于日后维修。这座拱门就是当时备用的两套拱门中的一套。https://zhuanlan.zhihu.com/p/571415469
   ↩︎
10. 汉代以来，扬州制漆业即比较发达，宋代开始成为髹漆重点产区。至明代，扬州更发展为全国的髹漆中心。当时，扬州的漆器，以镶嵌漆器著名。史载：“周制之法，惟扬州有之。明末有周姓者，始创此法，故名周制。其法以金、银、宝石、珍珠、珊瑚、碧玉、翡翠••⋯为之，雕成山水、人物、树木、楼台、花卉、翎毛，嵌于檀、梨、漆器之上。大而屏风、桌椅、窗、书架，小则笔床、茶具、砚匣⋯•••自古来未有之奇玩也”。明末扬州人江千里即为“治嵌漆”的名匠。清代有王国琛、卢映等人“精于此技”。总之，明清时期，扬州漆器技艺精湛，以螺钿、百宝嵌和雕漆最为著名。
    ↩︎
11. 清代只有皇帝、皇后穿的是龙袍,连皇太子穿的都只是蟒袍。清代袍上的龙和蟒非常接近。“蟒”的头部也有角,和龙头几乎完全一样。通常龙和蟒的区别在于龙是“五爪”(即爪子上五个指头),蟒是“四爪”(爪子上四个指头)。贝子、贝勒等的蟒袍上的蟒都是四爪。但是皇太子、皇子、亲王、世子、郡王穿的虽然是“蟒袍”,长袍上绣的却是“五爪蟒”。“五爪蟒”和“五爪龙”在形状上几乎无法区分,这时用来区分是“龙袍”还是“蟒袍”的标志是衣袍的颜色。只有皇帝皇后的龙袍是明黄色,皇太子蟒袍只能用杏黄色,皇子蟒袍只能用金黄色,亲王、世子、郡王则只能用蓝色或石青色。https://www.zhihu.com/question/616180449/answer/3445168827
    ↩︎