Zhang' Private Collection

Online Gallery for free!!!

Netherlands Silver Torah crown, of twelve-arched filigree form, the circlet chased with foliage and set with two amethysts. Gilt ball finial. Gilt plaques with Hebrew inscriptions. Two bells. Gilt sockets chased with foliage. Hebrew inscription "Crown of the Law". Credit line Permanent loan from Jewish Welfare Board object number JM 134
Credit: Gift of the Jewish Community of Padua Venice, italy
Eastern Europe
Badung. This exquisite Balinese head adornment comes from the royal court of Badung. It is worn on important ceremonial occasions by, amongst others, by the bride of a royal wedding. It may also be worn by selected dancers of the royal court when performing the gambuh dance. While its front is adorned with a myriad of tiny metal flowers, the back part of the gelung agung, which is triangular in shape and displays three smaller triangles embellished with 175 gemstones, the carving of an elephant's head, as well as a karang asti (special stone) believed to have supernatural powers to ward off evil, is just as spectacular. Thus, when the performer of the gambuh turns the back of her head to the audience, the spectators are treated to an equally stunning display of beauty by this masterpiece. Less Classification Ethnography
Sultan Muhammad Sulaiman This particular ketopong (crown) dates back to the mid-19th century, when it was made during the reign of Sultan Muhammad Sulaiman (1845-1899), by local artisans and goldsmiths from the Kutai Kingdom in East Kalimantan. This crown as one of the most important symbols of the kingdom's existence, is shaped as brunjungan, and required almost two kilogram of gold for its creation. Less Description Length: 31 cm Classification Ethnography
Easter Europe
Torah crown, Galicia, Poland, 1813 1813 Unknown Large silver Torah crown, bearing biblical scenes, (Abraham and Isaac about to be sacrificed, Jacob sleeping and angels ascending the heavenly ladder, Moses with the tablets, Aaron wearing high priests garb, Solomon holding model of a temple, and David playing the harp.) Two Hebrew inscriptions read "This crown belongs to Yehezkiel, son of Isaac of blessed memory, his wife Mameni, daughter of Meir, his grandson Isaac Meir, his grandson Samuel Isaac." and "This is the work of my hands that I may be glorified. Dob, son of Yehuda Katz; Tsebi, son of Israel; Eliezer, son of David 1813". Less object number JM 135
Greece Culture Rhodes (?) (Greece) Viewing Notes This Torah crown was dedicated to the Kahal Gadol Synagogue of Rhodes by Michael Hayyim David Soriano. The Jewish Museum also owns a matching Torah Shield (1991-124) dedicated to the same synagogue by the same member of the prominent Rhodes Jewish family. Source: The Jewish Museum, New York, 2009. Less Medium Silver: chased and pierced Credit Line Purchase: Kurt Thalberg Gift in honor of Elizabeth Cats, 1992-94
Jerusalem (Israel) Medium Silver: filigree and die-stamped; ivory: carved; turquoise Credit Line Gift of W. Henry Gamson in memory of Israel Rokeach, JM 28-57
Siak kingdom This gold crown was, most probably, crafted during the reign of Sultan Syarif Kasim I who, until 1889, was the ruler of the Siak kingdom. The last sovereign to own this, now famous crown, was Sultan Syarif Kasim II, who ruled from 1915 to 1949. Following Indonesia's independence, Sultan Syarif Kasim II bequeathed the crown to the newly founded Republic of Indonesia, so that, eventually, it became an important part of the National Museum collection. Less Description Diameter: 33 cm Classification Ethnography
Manuel Capdevila
Muisca Eastern Cordillera (Muisca) - Muisca Period The visual effect of Muisca metalwork objects is partly due to the technique most commonly used, lost-wax casting with the surface left unfinished. Fine ornamental detail, such as the lace-like edging on the rim of this diadem, would disappear if the surface was made smooth. Technique Lost wax casting in gold Viewing Notes El efecto visual de las piezas de metalurgia muisca se debe en parte a la técnica utilizada, de vaciado a la cera perdida sin pulimento. El fino detalle ornamental, como los lazos que adornan los bordes de esta diadema, desaparecería si las superficies se pulieran. Alternate Title Corona y colgantes de orejera con colgantes
Ewe Eastern part of Ghana, Benin and Togo
Green slate head of a king (or Osiris?) wearing White Crown on front of which is uraeus with long body. Remains of curled beard with strap. Conventionalized features, eyebrows in high relief, short puckered mouth. Fine quality. At back uninscribed plinth of obelisk form. Condition: Preserved portion intact. Face is preserved to chin. Lower left side of face lost. Less Medium Slate Dimensions 7 7/8 x 4 3/4 in. (20 x 12 cm) Accession Number 48.163 Period Late Period Collection Egyptian, Classical, Ancient Near Eastern Art Dynasty second half of XXVI Dynasty
Thailand This finely crafted regal figure of the Buddha is depicted in a strong frontal stance wearing long, flowing monastic robes, scalloped at the hems and gathered in front with a jewelled girdle. While the smooth and naturalistic modelling of the torso gives the appearance of a bare upper body, the Buddha's robes are in fact draped over both shoulders where an elaborate necklace or collar disguises the neckline of the garment. In addition, the Buddha is depicted wearing elaborate jewellery: heavy earrings, armbands and a distinctive conical crown, the practice of depicting the Buddha as adorned with a crown having developed in Pala India where the crown represented the complete attainment of Buddhahood. Nevertheless, dressed in the regalia of a king, this majestic figure of the Buddha embodies the concept of the Devaraja (literally god-king), as an incarnation of the Divine on earth and as the means by which the Khmer kings legitimised their sovereignty. In an interesting variation, the hands of this Buddha are held in the gesture of 'vitarka mudra', the gesture of philosophical debate and discussion, reminiscent of Thai Buddha images of the preceding Mon-Dvaravati period. Thus although the distinctive facial features, powerful frontal and hieratic stance, and ornate formalism of this skilfully executed image of the Buddha has its stylistic origins with the Khmer culture, this appropriation and adaptation of Mon-Dvaravati elements attest to the dynamic evolution of Southeast Asian Buddhist sculpture. Asian Art Dept., AGNSW, 29 May 2002. Less Cultural Origin Khmer style Signature & Date Not signed. Not dated. Medium copper alloy Period Thailand: Lopburi period 900 - 1300
Japan These are the Twelve Divine Generals who, as the followers of Yakushi (Healing) Tathagata, protect Yakushi Tathagata and its believers. Wearing armor and carrying a weapon, such as a sword or an ax, they threaten enemies with a fierce look and keep close watch over the surroundings. Each of them has his own symbol (one of the twelve horary signs) on his head. While their dynamic motion is fully captured without exaggeration, their armor and clothes are represented by delicate coloring. The brilliant coloring and use of kirikane (a technique to cut gold leaf into small pieces and paste it on a surface) patterns suggest that the person (or persons) making the votive offering for the creation of these deities had ample means.It is said that these images were originally enshrined at Joruriji Temple in Soraku-gun, Kyoto, which is close to Nara. Considering that Joruriji Temple was established in the late Heian period and has since been passing on the court culture as symbolized by the nine Amitaba Tathagata images and the Pure Land Garden, it seems that the person making the votive offering was a nobleman. The sculptors seem to be members of the Kei school (a group of sculptors of Buddhist images that has produced renowned sculptors such as Unkei and Kaikei), which established a fresh style in the Kamakura period. Their efforts to create 12 unique images can be seen in the varied postures, hairstyles, hand-held symbols and armor shapes. Among the 12 images, these five images are possessed by the Tokyo National Museum and the remaining seven images are owned by the Seikado Bunko Museum (The Tokyo Metropolitan Government ). Less Medium Wood with polychromy, cut gold leaf and inlaid crystal eyes Provenance(Japanese) 伝浄瑠璃寺伝来 Object Date 鎌倉時代・13世紀 Provenance Said to have been formerly owned by Joruriji temple, Kyoto Medium(Japanese) 木造、彩色・截金、玉眼 Object Title 十二神将立像 戌神
Banten, West Java. This beautiful work of art is from Banten, West Java. Banten's location at the Strait of Sunda, allowed it to become a strategic gateway for all people wanting to enter Java or Sumatra. From the 16th to 19th centuries, the Sultanate of Banten played an important role in the development and proliferation of Islam in the archipelago. It is thus not surprising to find strong Islamic influences in the design of pieces created around that time. This crown, with the head cover of its inner part made of silver and fine gold threats, is an excellent example of such art work. In 1832, after many attempts, the Dutch finally captured and destroyed the royal palace of Banten. The Sultan's subsequent exile marked the fall of the Banten Sultanate, but a number of Banten regalia, including the Sultan's crown, were saved and are now part of the National Museum collection. Less Description Diameter: 19 cm Classification Ethnography