The perfume burner is identifiable in a “Qilin”, a fantastic animal forged during the Ming Dynasty (1368-1644). The many influences from the ancient vases are evident, such as the Kuang vase, a gravy boat closed by a lid in the shape of an ox's neck and head, characterized by a hinge placed on the opposite side of the neck; present in our specimen on the front side. Another notable similarity is found with the Tsun ritual vase, a zoomorphic vase that takes on multiple forms depending on the animal it reproduces. Finally, the reference to the monster She is visible, a terrible demon goddess worshiped in China. It features a lion's head with a neck completely ringed by a flowing mane, on whose body stylized clouds appear that reveal the superior nature of this flying animal, which grabs a snake under its mighty claws. These fabulous animals flew inside the tombs to dissuade the spirit of evil from leaving the body of the deceased and became an integral part of the funerary equipment, precisely with the function of guardians.

Shoes with "horse hoof" heel (mati). Purple silk satin shoes are fully embroidered with polychrome silk. The embroidery on each side depicts some nice skits. In sequence we have: a deer and a monkey, a fisherman intent on catching a fish with a line, a large lotus flower and an animal (perhaps an owl) but with a pink and red color. The shoe is equipped with a wooden rise, lined with glued canvas, ending with a heel placed in the center of the sole. Shoes with raised soles represent a clothing tradition different from that of China. In fact, among the Manchu women there was no practice of bandaging the feet (guojiao), while these particular women's shoes were used characterized by a low-cut shoe mounted on a high wooden clog, they were also called "qixie", "flag shoes" , named after the political-administrative divisions of the Manchu territory of the Qing.

The Kwame mask is used during the funeral rites of the Kwame ethnic group, who live in the north-east area of the Lega area in Congo. The anthropomorphic mask is made from a long wooden plank, slightly curved at the lateral ends, on the top of which there is a sort of crown made through the use of fowl feathers. It is characterized by a very spacious forehead and a wide arched eyebrow arch which, joining the bridge of the nose, creates a heart shape made even more visible by the white kaolin with which it is painted. This heart shape is the typical conformation of the face in the Lega sculptural tradition, a culture that has contaminated the artistic style of the contiguous ethnic groups.

Vertical scroll, attributed to the painter Huang Quan (900-965) according to the use of the black ink technique on paper. It is also called “il Canto Concorde”. In the central panel of the work we can admire a watercolor on canvas, in which three geese, a pond and aquatic plants are represented. Above the painting, there is a poem attributed to Emperor Shao Xing (1127-1162) which celebrates the fruitfulness of nature. Probably made in the style of the Huang Quan school, dating back to 1400-1500. Three other inscriptions dating back to the 16th century complete the scroll. 150 x 50 cm., In the Museum since 1902.

Cast from a stele of Xian, Wood of the Tombstones, from 1734. “Effigy of the Supreme Master” indicates the title at the top, in seal style (xiaozhuan). Drawing by Yun Li (Prince Guo) of the Qing Dynasty. Portrait of the philosopher Confucius, his hands tucked into the long sleeves of his dress, adorned around the neck with a white sash, with a thick mustache and beard. Typical hat of the Chinese man of letters, with a nail that pierces it from side to side. 192 x 160 cm.

The painting reflects the characteristics of the "romantic landscape", according to which the representation of things, if done well, contained the very essence of the things represented. The landscape in black ink and brush tempera on paper, lined on paper, imitates those of the Zhe Pai school. Performed by Cheng Gu, stage name Zhaoguang, painter of the Imperial Academy during the reign of Kangxi (1662-1722), at the "southern fragrance palace" inside the Forbidden City. He imitated the painters of the Song era, and achieved their own results. He was skilled in the landscape genre and in the painting of characters and in the genre of flowers and birds.

Porcelain vase, biscuit with green monochrome. The biscuit is the object after the first firing, which can therefore still absorb liquids and fix showcases and glazes in subsequent firings that give rise to glazed or glazed ceramic. This vase of Ø cm. 20 dates back to the time of the Kangxi Emperor (1662–1722), of the Qing dynasty.

The giant pangolin called Ikaga is the sacred animal par excellence for the Lega. Its compact hairs are grouped into horny scales, which, covering each other, protect the whole body. This particularity makes it the symbol of the union between the Lega, since each member of the village plays a very specific role that guarantees protection for the entire clan. The pangolin due to the sacredness of its very nature cannot be hunted. Our artifact represents an arched four-legged animal, whose body tapers towards the tail to end up pointed, enriched by orthogonal incisions that form relief plates.

The 'muminia' (indispensable) or 'kekoni' (beautiful) mask has a face covered with black patina, except for the eyes whitened with kaolin. Characteristic is the white band with black dots carved on the forehead and cheeks. The mouth seems to shout the warnings of the ancestors. This type of mask was declared extremely rare as early as 1952 by Biebuyck, an acute scholar of Lega culture. This specimen comes from a Baliga village (Shabunda area). The rare muminia masks belong to a large ritual community that encompasses several villages, in whose name they are kept in a secret place, by the oldest Kindi member, in the collective bag. The essential meaning of this type of mask is social, a symbol of cohesion between disparate groups. In the introductory rite of a 'bwame' candidate it is said: 'Come on, little friend! But where you will arrive, open your eyes before speaking '. This is how prudence is taught, the highest virtue recommended to the 'bami'.

One of the most characteristic statues of the Museum is the great golden Buddha, which enriches the room dedicated to oriental culture. It is in fact one of the representations of the Buddha Amitabha, literally "he who possesses limitless light, he who is infinite splendor". The figure appears sitting cross-legged on a double lotus flower pedestal, the overlapping hands rest on the groin with the palms facing upwards, the head is embellished with a polylobed crown. All these elements are lacquered in gold color. The Buddha Amithaba belongs to the celestial world of the Mahayana tradition of Buddhism and, according to the Scriptures, possesses innumerable merits, deriving from past lives, as a bodhisattva, that is, one who has given up his own happiness to help others save himself. Furthermore, distinguishing the celestial Buddha Amitabha from the terrestrial one, Sakyamuni, appears quite complex, by virtue of the fact that the same figurative elements are used for both.

The jar is one of the oldest artifacts in the Museum, dating back to the Majiayao - Banshan Culture of the 3rd millennium BC. (Neolithic). It was used as a vessel for the collection of grains. It comes from excavations carried out by the Swedish archaeologist Dr. J. Andersson in 1923 near the Gansu area, in northwestern China. Characterized by a spherical shape with a flat circular base with two handles around the belly, typical of jars, it was made through the use of very fine light-colored clay, enriched by a black mantle decoration, in the upper part of the belly. It has upside-down spiral elements, with respect to the order of the hours on the clock, and framed in the upper part by two important lines, and in the lower part by a horizontal line and a festooned line.

Jar for medicinal substances. Here is what Prof. Ye Zhemin writes about it in the "Palace Museum Journal" n ° 3, 2000, Beijing: “Jar with a drawing of a wild goose in the clouds in black and brown on a white background of the type of the Cizhou furnace, Ming dynasty. The Cizhou kiln is renowned for its folk pottery and has an unbroken history of imitations by many kilns. In this jar, with simple but energetic brushstrokes, a wild goose was painted among the clouds. It resembles a composition of flowers, set up in such an original way that, in comparison with the "flowers and birds" decorations of subsequent dynasties, it stands out for its liveliness and naturalness. "

One of the most characteristic statues of the Museum is the great golden Buddha, which enriches the room dedicated to oriental culture. It is in fact one of the representations of the Buddha Amitabha, literally "he who possesses limitless light, he who is infinite splendor". The figure appears sitting cross-legged on a double lotus flower pedestal, the overlapping hands rest on the groin with the palms facing upwards, the head is embellished with a polylobed crown. All these elements are lacquered in gold color. The Buddha Amithaba belongs to the celestial world of the Mahayana tradition of Buddhism and, according to the Scriptures, possesses innumerable merits, deriving from past lives, as a bodhisattva, that is, one who has given up his own happiness to help others save himself. Furthermore, distinguishing the celestial Buddha Amitabha from the terrestrial one, Sakyamuni, appears quite complex, by virtue of the fact that the same figurative elements are used for both.

Large celadon plate with dragon and phoenix decoration below deck chasing each other along the inner edge. Given its large size, it was probably produced in a kiln in Vietnam (Chinese territory at the time). Yuan dynasty (1271- 1368), celadon Ø 65 cm.

The sculpture represents Guan Di, a male Taoist deity. His original name was Guan Yu, one of the two generals who remained loyal to his emperor Liu Bei until the end, following the usurpation of the Kingdom by Cao Cao (Ts'ao ts'ao) in 155-220 AD. He later received the honorary title of Guan Gong. This general died in 219, fighting valiantly. For the courage and loyalty shown, he ascended among the gods of the Taoist pantheon and was proclaimed "god of war" with the name of Guan Di. Prominent character of the historical novel "Three Kingdoms", still very popular today and known by all Chinese. In the depictions he is normally dressed as a general, riding his horse and with a red face (color of loyalty).

“Guanyin” in porcelain, in Japan (Kannon) and China (GuanYin) it has taken on a feminine character. The representations are many and the most frequent represent him with the lotus flower, or his hands in the pose of charity, with a bowl in his hand, with a figure of Buddha on the diadem, as a disciple next to Buddha, with eleven heads, with many hands, as a protector and giver of children.

The Kayapò have a complex system of celebrations; one of the most emblematic rituals of passage is the initiation rite "me-î-tuk" or "bearers of the black bracelet", which denotes the passage of boys from puberty to youth. These ornaments are worn by children both during their presentation to the community and during the naming ritual, which allows them to receive the special and beautiful name that will accompany them throughout their lives. The bracelets feature geometric design decorations in bark fibers. From them hang clusters of woody seeds, painted of urucum, held together by pendants of glass beads and parrot feathers.

The “Rori-rori” headdress of the Kayapò, made with feathers of various birds, is fixed on a mesh of vegetable fibers. It is a typically masculine polychrome ornament worn on the dancer's head during the holidays and conveys the idea of lightness and freedom.

The lip disc is a tool that brings alterations to the body. A few days after the birth of only male children, the father proceeds to the perforation of the lower lip of the newborn, inserting a small ornament made of glass or ceramic beads, which he will gradually replace with others, of increasing size. This tradition refers to the importance of oratory art and authority, of the ability to speak, which for the Kayapo is one of the most important social activities.

The art of feathers accompanies the Kayapo throughout their life and a particularly significant artifact is the "Great Krôkrôk-tire Diadem". Worn only in large celebrations, it is made exclusively with the tail feathers of two species of parrot: the red macaw and the blue-yellow macaw. At the ends of the tips are tied white heron or eagle sub-andiral feathers. The name Krôkrôk, an onomatopoeic word, indicates the rustling of the leaves shaken by the wind, and its swaying during the dances, recalls the image of a person flying.

Collar worn during the wedding ceremony, of brass color, divided into two semicircles, the upper face of which represents two dragons (symbol of male fertility). In the front, two dragons bite the same sphere; characters standing on clouds and heart-shaped openings (seat of feelings) alternate along the body of the dragon. At the end of the marriage rite the dragon dance was performed as a wish for fertility.

It is a tool used to pour drinks, which had a very specific function in the context of the daily ancestral rites, during which millet wine was poured on the simulacrum of the evoked ancestor, and toasted in his honor. In the Museum since 1929; From Luoyang, Henan.

Elegant pins with precious decorations embellished the hairstyles, common since ancient times, of Chinese women. The ladies of the aristocracy used to replace the pins at the turn of the seasons: the jade ones were used in spring and summer, while the gold clips were suitable for the autumn and winter season. They are made of silver, pearls, brass, coral, turquoise, kingfisher feathers, and enamels.

Jar for medicinal substances. Here is what Prof. Ye Zhemin writes about it in the "Palace Museum Journal" n ° 3, 2000, Beijing: “Jar with a drawing of a wild goose in the clouds in black and brown on a white background of the type of the Cizhou furnace, Ming dynasty. The Cizhou kiln is renowned for its folk pottery and has an unbroken history of imitations by many kilns. In this jar, with simple but energetic brushstrokes, a wild goose was painted among the clouds. It resembles a composition of flowers, set up in such an original way that, in comparison with the "flowers and birds" decorations of later dynasties, it stands out for its liveliness and naturalness. "

It is a ritual vase called "Yi", dating back to the middle period of the Zhou dynasty (1045-256 BC), a kind of gravy boat without a lid. Its physiognomy alludes to an animal, sometimes a dragon, a tiger, in our case an ox. The ovoid cup rests on three feet simulating bovine legs and the snout recalls that of a bovid. The grip or tail of the animal is represented by a dragon or a feline, in the act of jumping on the animal's back and biting it. It represents one of the most significant bronze artefacts in our collection.

The screen is made up of 12 panels decorated on both sides that present the ideogram "shou" - long life in the lower part, inscribed in the center of a circular element and surmounted by rectangular reserves of gilt, which in turn welcome the ideogram "xi" - happiness. The decoration on one side is characterized by 12 landscape scenes painted on paper, and on the other side by a long writing in gold on a black silk satin background, which tells the deeds of a certain Wu Wang Ming. In fact, this splendid artifact dates back to 1844, and was commissioned by a group of officials as a gift to his colleague Wu Wang Ming who left the office upon reaching the age limit. Objects like this, displayed as a backdrop for formal gatherings, became fashionable during the reign of Kangxi (1662-1722).

The Museum has a collection of over 5,000 Chinese coins divided into four groups that complement each other and whose name is due to the collectors or sorting officers: the Bonardi Rossa collection of over 1400 pieces; the Bonardi Azzurra collection of over 600 pieces; the Rossi-Scalzi collection of over 1300 pieces, and finally the Grazzi collection, of over 5000 pieces. All this vast collection was put together in Henan and Shanxi in a period ranging from 1904 to 1942. And it is, perhaps, true what Prof. Serafino Ricci wrote about the red Bonardi collection alone, which he was able to examine person: “For the rarity, the variety, the richness of the oldest pieces of which it is composed, it is one of the best existing collections”. Only the Rossi-Scalzi collection is exhibited in the museum, contained in the elegant and ingenious container built in China, in hand-painted wood. And among the mountain of Chinese coins, there were also pieces classified as "amulets", to ward off spirits and harmful creatures and to wish happiness, success, career, wealth etc ...