‎Scherf Angeline, Joly Patrice, Krystof Doris, Collectif‎
‎Dynasty‎

‎[XVIIe Juz du Coran, comprenant deux sourates]. [SINO-ISLAMIC MANUSCRIPT / QING DYNASTY]. -[17TH JUZ OF THE QUR'AN, COMPRISING TWO SURAHS].‎

‎SLND [Chine, seconde moitié du XVIIe siècle (Début de la dynastie Qing, ère Kangxi). Province du Shaanxi (ateliers de Xi'an) ou du Yunnan]. N.d. [China, second half of the 17th century (Early Qing Dynasty, Kangxi period). Shaanxi Province (Xi'an workshops), Gansu or Yunnan Province]. 1 vol. grand in-4° (290 x 210 mm) manuscrit calligraphié à l'encre noire et rouge en arabe sur papier de murier épais de: [57] ff de texte de 5 lignes par page et rosettes (âyât) rehaussées à lor dans le texte, dans un encadrement de double filet rouge, dont 1 double frontispice enluminé, 1 bandeau intermédiaire et 2 pages finales enluminées, 1 f blanc final. (Défaut d'usage, taches, coins salis, bords du f [3] usé et pliures, quelques feuillets jaunis). Plein veau brun à rabat d'époque, plats ornés d'un décor estampé à froid composé d'un encadrement de filets géométriques en chevrons et d'un fond finement quadrillé. Au centre de chaque plat figure un grand médaillon polylobé en relief frappé à la plaque, portant une formule d'invocation pieuse en langue arabe calligraphiée en style Sini cursif à influence persane. (Usures et épidermures).‎

‎Rare et précieux volume de Coran (Juz 17) complet, calligraphié en Chine dans la seconde moitié du XVIIe siècle sous la dynastie Qing, magnifique témoin de l'art sino-islamique, magnifié par un double frontispice enluminé à l'or et aux pigments minéraux et conservé dans sa robuste reliure d'origine portant l'invocation arabe cursive Ya Qadi al-Hajat (« Ô Toi qui combles les besoins ! ») L'introduction de l'islam dans le Moyen Empire remonte au VIIe siècle, sous la dynastie Tang (618-907). La période charnière de l'islamisation chinoise s'accomplit sous la dynastie mongole des Yuan (1206-1368). Par leur politique de brassage de populations, les Mongols déplacèrent des dizaines de milliers de soldats, d'artisans, d'astronomes et d'administrateurs musulmans d'Asie centrale et de Perse vers les provinces chinoises. Ces hommes prirent épouses au sein de la population locale, donnant naissance à l'ethnie des Hui (les musulmans de langue chinoise). Sous la dynastie Ming (1368-1644), la fermeture des frontières maritimes pousse la communauté Hui à s'assimiler culturellement. Devenus indiscernables des Han par le costume et la langue, les musulmans d'époque Ming et du début des Qing (XVIIe siècle) durent réinventer leur mode de transmission textuelle pour éviter l'extinction de leur foi. C'est dans ce contexte du XVIe-XVIIe siècle que le grand érudit Hu Dengzhou (1522-1597) fonda l'Enseignement de la salle des Classiques (Jingtang Jiaoyu) au Shaanxi. Ce système pédagogique révolutionnaire instaura un cursus d'études islamiques rigoureux dispensé au sein des mosquées. Pour pallier la rareté des textes sacrés, le système stimula une production intense et standardisée de Corans copiés localement à la main. Divisés en 30 volumes (Juz'), ces manuscrits étaient conçus selon un format spécifique à 5 lignes par page, pensé pour faciliter la mémorisation et le transport par les étudiants itinérants (manla) à travers le Shaanxi, le Gansu et le Yunnan. Le présent manuscrit est un témoin direct et précieux de cet âge d'or de l'éducation sino-islamique. Le Papier : Papier de fabrication artisanale chinoise, de couleur crème/ivoire naturelle, à fibres longues apparentes. L'examen en contre-jour révèle un papier vergé traditionnel très souple et absorbant, avec présence de vergeures horizontales serrées et de pontuseaux verticaux réguliers, characteristics des ateliers de l'Est et du Nord de la Chine. Le texte est calligraphié en encre de Chine noire en écriture monumentale de style Sini (calligraphie islamo-chinoise), caractérisée par des lignes de base (hast) épaisses et des fûts verticaux étirés, héritée de l'adaptation locale du Muhaqqaq et du Rayhani d'Asie centrale, texte encadré dun double filet vermillon. La Structure est rigoureuse et aérée, de 5 lignes par page. Les versets sont rythmés par des rosettes circulaires rehaussées d'or et de rouge. Le frontispice (ff. 1b-2a) presents une double page enluminée (Unwan) en or brillant, bleu azurite et vert malachite. Le texte s'inscrit dans un dôme polylobé mimant l'architecture d'un mihrab, surmonté de bandeaux d'entête horizontaux ornés d'arabesques incisées (Islimi). Les pages finales (ff. 54b-55a) : Double page d'une grande richesse picturale, encadrée de larges bordures ornées de rinceaux végétaux asymétriques et de fleurs stylisées (pivoines et lotus) à l'encre rouge et verte, inspirées des motifs de porcelaines et de cloisonnés chinois de l'époque. Marqueurs marginaux : Cartouches en forme de nuages (Ruyi) et lettrages d'onglets pour les indications de lecture. Les plats de la reliure à rabat sont ornés d'un décor estampé à froid composé d'un encadrement de filets géométriques en chevrons et d'un fond finement quadrillé. Au centre de chaque plat figure un grand médaillon polylobé en relief frappé à la plaque, portant une formule d'invocation pieuse en langue arabe calligraphiée en style Sini cursif à influence persane (Ya Qadi al-Hajat), se traduisant par « Ô Toi qui combles les besoins ! ». Ce type d'estampage, alliant rigueur décorative chinoise et piété islamique, est caractéristique des ateliers de reliure des provinces du Shaanxi ou du Gansu. Contregardes d'origine doublées d'une toile de coton bleu indigo traditionnel. La couture à point de chaînette d'origine sur comète montre des signes de relâchement au pli central mais préserve parfaitement la cohésion du bloc de texte. Le manuscrit contient l'intégralité du XVIIe Juz du Coran, comprenant deux sourates complètes :1. Surat al-Anbiya (Les Prophètes) : S'ouvre sur le magnifique frontispice avec le verset 1 : « L'échéance du règlement de leur compte approche pour les hommes, alors que dans leur insouciance ils s'en détournent. ». 2. Surat al-Hajj (Le Pèlerinage) : Introduite par un cartouche de titre calligraphié en cursive indiquant : « (Sourate Al-Hajj, 78 versets). Le texte s'achève au feuillet 55a sur la formule conclusive du verset 78 :« ...Quel excellent Maître et quel excellent Soutien ! ». Le manuscrit présente au feuillet intermédiaire (vis-à-vis du verset 18 de la Sourate al-Hajj) une superbe pivoine polychrome peinte en marge, indiquant une obligation de prosternation. Sous le terme «Sajdah » inscrit en bleu azurite, le scribe a tracé une note cursive bicolore à l'encre rouge : « Al-Sajdah al-Ula » (« La première prosternation. »). Cette note témoigne d'une grande rigueur théologique, la sourate Al-Hajj étant la seule du Coran à comporter deux prosternations (v. 18 et v. 77). L'exemplaire offre un témoignage rare de la chaîne de transmission (Isnad) au sein du milieu lettré musulman chinois (Hui) : Respect du texte sacré : Aucun cachet profane n'est apposé dans le corps du texte coranique. Les marques de propriété sont exclusivement reléguées aux espaces neutres. Marques de garde : Présence de plusieurs cachets nominatifs à l'encre rouge (Yin) de formes carrées et rectangulaires sur les feuillets de garde blancs antérieures et postérieures. Ils utilisent une écriture sigillaire archaïque (Zhuanshu), identifiant les propriétaires successifs ou directeurs d'écoles coraniques de mosquées. Cachet sur contregarde : Un cachet d'inventaire est apposé en haut à gauche de la doublure textile en coton bleu, confirmant l'organisation et la conservation ancienne de ce manuscrit dans une collection ou bibliothèque structurée à l'époque Qing. Provenance : Chine, seconde moitié du XVIIe siècle (Début de la dynastie Qing, ère Kangxi). Province du Shaanxi (ateliers de Xi'an), du Gansu ou du Yunnan. L'homogénéité du papier, le style calligraphique monumental Sini propre à cette période et la formule de l'estampage de la reliure (Ya Qadi al-Hajat) rattachent directement ce volume aux prestigieux centres de production de textes sacrés destinés aux collèges coraniques (madrassas) soutenus par le réseau éducationnel de la communauté Hui. Benveniste (Annie), Le Coran en Chine : Manuscrits et calligraphies du XIIe au XXe siècle, Paris, Éditions de l'Amateur, 2008 ; James (David), Manuscripts of the Holy Qur'an from China, Oxford, Oxford University Press, 1994, pp. 45-52 ; Lipman (Jonathan N.), Familiar Strangers: A History of Muslims in Northwest China, Seattle, University of Washington Press, 1997 ; Stella (Maria) & Al-Hassan (Yusuf), Islamic Calligraphy in the Far East: The Sini Script, Cambridge, Cambridge University Press, 2011. 1 vol. large 4to (290 x 210 mm), manuscript calligraphed in black and red ink in Arabic on thick mulberry paper, comprising: [57] leaves of text, 5 lines per page, verse markers (âyât) highlighted in gold within the text, enclosed within a double red ruling; including 1 double-page illuminated frontispiece, 1 intermediate textual band, 2 illuminated final pages, and 1 final blank leaf. (Signs of use, staining, soiled corners, edges of leaf [3] worn with creases, some leaves toned). Contemporary full brown calf with flap, covers decorated in blind with a border of geometric chevron fillets on a finely cross-hatched background. At the center of each cover is a large polylobed medallion in relief, stamped with a metal plaque, bearing a pious invocation in Arabic calligraphed in a Persian-influenced cursive Sini script. (Scuffing and minor abrasions). A rare and precious complete volume of the Qur'an (Juz 17), calligraphed in China during the second half of the 17th century under the Qing dynasty. A magnificent testament to Sino-Islamic art, enhanced by a double-page frontispiece illuminated with gold and mineral pigments, preserved in its robust original binding bearing the cursive Arabic invocation Ya Qadi al-Hajat ("O Provider of Needs!"). The introduction of Islam into the Middle Kingdom dates back to the 7th century, under the Tang dynasty (618-907). The pivotal period of Islamization in China occurred under the Mongol Yuan dynasty (1206-1368). Through their policy of population integration, the Mongols displaced tens of thousands of Muslim soldiers, artisans, astronomers, and administrators from Central Asia and Persia into the Chinese provinces. These men married into the local population, giving rise to the Hui ethnic group (Chinese-speaking Muslims). Under the Ming dynasty (1368-1444), the closure of maritime borders forced the Hui community into cultural assimilation. Becoming indistinguishable from the Han in dress and language, Muslims of the Ming and early Qing periods (17th century) had to reinvent their mode of textual transmission to safeguard their faith from extinction. Within this 16th-to-17th-century context, the great scholar Hu Dengzhou (1522-1597) founded the Scriptural Hall Education system (Jingtang Jiaoyu) in Shaanxi. This revolutionary pedagogical system established a rigorous curriculum of Islamic studies taught within mosques. To overcome the scarcity of sacred texts, this network stimulated an intense and standardized production of locally hand-copied Qur'ans. Divided into 30 volumes (Juz'), these manuscripts were designed in a specific 5-line-per-page format, carefully planned to facilitate memorization and transport by itinerant students (manla) traveling across Shaanxi, Gansu, and Yunnan. The present manuscript stands as a direct and precious witness to this golden age of Sino-Islamic education. The Paper: Handcrafted Chinese paper, of a natural cream/ivory hue, with prominent long fibers. Transillumination reveals a traditional, highly supple, and absorbent laid paper, displaying closely spaced horizontal laid lines and regular vertical chain lines characteristic of workshops in Eastern and Northern China. The text is calligraphed in black Chinese ink in a monumental Sini script (Islamo-Chinese calligraphy), characterized by thick baselines (hast) and elongated vertical ascenders, inherited from the local adaptation of Central Asian Muhaqqaq and Rayhani scripts; the text block is framed by a double vermilion ruling. The Structure is rigorous and balanced, with 5 lines per page. Verses are punctuated by circular rosettes heightened in gold and red. The Frontispiece (ff. 1b-2a) features an illuminated double page (Unwan) executed in brilliant gold, azurite blue, and malachite green. The text is framed within a polylobed dome evoking the architecture of a mihrab, surmounted by horizontal headpieces decorated with incised arabesques (Islimi). The Final Pages (ff. 54b-55a): A double page of remarkable pictorial richness, enclosed by wide borders decorated with asymmetrical foliate scrolls and stylized flowers (peonies and lotuses) in red and green ink, inspired by contemporary Chinese porcelain and cloisonné motifs. Marginal Markers: Cloud-shaped cartouches (Ruyi) and thumb-index lettering for textual cues and reading indications. The covers of the binding with flap are decorated in blind with a border of geometric chevron fillets on a finely cross-hatched background. At the center of each cover is a large polylobed medallion in relief, stamped with a metal plaque, bearing a pious invocation in Arabic calligraphed in a Persian-influenced cursive Sini script (Ya Qadi al-Hajat), translating to "O Provider of Needs!". This style of tooling, combining Chinese decorative discipline with Islamic piety, is highly characteristic of bookbinding workshops in the Shaanxi or Gansu provinces. Original pastedowns lined with traditional indigo-blue cotton cloth. The original chain-stitch sewing on support shows signs of loosening at the central fold but perfectly preserves the structural integrity of the text block. The manuscript contains the entirety of the 17th Juz of the Qur'an, comprising two complete surahs: Surat al-Anbiya (The Prophets): Opens onto the magnificent frontispice with verse 1: "Closer and closer to mankind comes their reckoning: yet they heed not and they turn away." Surat al-Hajj (The Pilgrimage): Introduced by a title cartouche calligraphed in cursive indicating: "(Surah Al-Hajj, 78 verses)." The text concludes on leaf 55a with the final formula of verse 78: "...An excellent Master and an excellent Helper!" The manuscript features a superb polychrome peony painted in the margin of the intermediate leaf (opposite verse 18 of Surat al-Hajj), indicating a required prostration. Beneath the term "Sajdah" inscribed in azurite blue, the scribe has written a two-tone cursive note in red ink: "Al-Sajdah al-Ula" ("The first prostration"). This annotation demonstrates great theological precision, as Surat al-Hajj is the only surah in the Qur'an to require two prostrations (v. 18 and v. 77). This copy offers a rare glimpse into the chain of transmission (Isnad) within the Chinese Muslim literate milieu (Hui): Reverence for the Sacred Text: No secular stamps are applied within the text block of the Qur'an. Ownership marks are strictly relegated to neutral spaces. Flyleaf Marks: Several nominative seal impressions in red ink (Yin), both square and rectangular, are present on the front and rear blank flyleaves. They utilize an archaic seal script (Zhuanshu), identifying successive owners or directors of mosque Qur'anic schools. Pastedown Stamp: An inventory stamp is applied to the upper left of the blue cotton textile lining, confirming the early organization and preservation of this manuscript within a structured collection or library during the Qing era. Provenance: China, second half of the 17th century (Early Qing Dynasty, Kangxi period). Shaanxi Province (Xi'an workshops), Gansu or Yunnan Province. The homogeneity of the paper, the monumental Sini calligraphic style unique to this era, and the formula of the binding's stamped medallion (Ya Qadi al-Hajat) directly link this volume to the prestigious centers of sacred text production intended for the Qur'anic colleges (madrasas) supported by the educational network of the Hui community. Benveniste (Annie), Le Coran en Chine : Manuscrits et calligraphies du XIIe au XXe siècle, Paris, Éditions de l'Amateur, 2008 ; James (David), Manuscripts of the Holy Qur'an from China, Oxford, Oxford University Press, 1994, pp. 45-52 ; Lipman (Jonathan N.), Familiar Strangers: A History of Muslims in Northwest China, Seattle, University of Washington Press, 1997 ; Stella (Maria) & Al-Hassan (Yusuf), Islamic Calligraphy in the Far East: The Sini Script, Cambridge, Cambridge University Press, 2011.‎

‎Jagiellon Dynasty, 1386-1596. Politics, Culture, Diplomacy‎

‎, Brepols, 2024 Hardback, 273 pages, Size:156 x 234 mm, Illustrations:1 tables b/w., 7 maps b/w, Language: English. ISBN 9782503598970.‎

‎Summary The volume offers a re-examination of the rise of the Jagiellon dynasty in medieval and early modern Central Europe. Originating in Lithuania and extending its dominion to Poland, Hungary, and Bohemia, the Jagiellon dynasty has left an enduring legacy in European history. This collection of studies presents the Jagiellons as rulers with dynamic and negotiated authority. It begins with the dynasty's origins and its dynastic union with Poland, milestones that have shaped the political and cultural trajectory of the dynasty's reign. The volume places significant emphasis on the role of royal consorts, thereby broadening traditional gender-focused perspectives. Far from being mere accessories, queens had a considerable influence on governance, economic matters, and diplomacy. The cultural impact of Jagiellon rule is analysed through interactions with humanists and the intellectual milieu of the court. The performative aspects of Jagiellon power, including the use of words, gestures, and even intentional silences, are examined as powerful tools of articulation. Emotional factors that influence governance and intricate dynastic relationships are explored, revealing how political decisions, especially constitutional reforms, are made more rapidly when faced with perceived dynastic vulnerabilities. In Poland, the rise of parliamentary institutions under the earlier Jagiellon monarchs epitomises the concept of negotiated authority, underscoring the growing political role of the nobility. This volume thus provides a multi-faceted and nuanced understanding of the Jagiellon dynasty's legacy in political, cultural, and gender-related spheres, enhancing understanding of European history. TABLE OF CONTENTS Preface to the first volume of the East Central Europe series Central Europe as Jagiellon Europe Darius von Güttner-Sporzy?ski Chapter 1. The Making of the Dynasty: From the House of Gediminas to the House of Jagiellon Rimvydas Petrauskas Chapter 2. W?adys?aw Jagie??o: The Founder of Jagiellon Power in East Central Europe Tomasz Graff Chapter 3. Queens Consort of the Jagiellon Monarchs Bo?ena Czwojdrak Chapter 4. Sigismund I the Elder and the Intellectual Milieu of Erasmus of Rotterdam Robert T. Tomczak Chapter 5. The King and his Subjects: Methods and Means of Royal Communication Piotr W?cowski Chapter 6. The solitude of Sigismund II Augustus: Between Loneliness and Seclusion Marek Ferenc Chapter 7. The Lithuanian Wife of Sigismund II Augustus: Barbara Radziwi??'s Path to becoming Queen of Poland Agnieszka Januszek-Sieradzka Chapter 8. The Royal Household of Stephen Báthory and its Jagiellon Legacy Dominik Kadzik Chapter 9. Representation, Society, and the Jagiellon Monarchy, 1506-1572 Jolanta Choi?ska-Mika Index‎

‎Eagles Looking East and West. Dynasty, Ritual and Representation in Habsburg Hungary and Spain‎

‎, Brepols, 2021 Paperback, 338 pages, Size:156 x 234 mm, Illustrations:55 b/w, Language: English. ISBN 9782503581330.‎

‎Summary Symbolised by the 'double-headed eagle' looking East and West, the Habsburg dynasty constituted a universal power structure in the early modern era. The dynasty's Spanish and Austrian branches created a code of shared identity, one which also encompassed their religious piety and their ability to pitch the Austriacum Imperium against multiple enemies worldwide. The present volume investigates the construction of the dynasty's political image in two spheres, the Kingdom of Hungary and the Spanish monarchy, between the sixteenth and eighteenth centuries. Fifteen Hungarian, Czech and Spanish specialists offer comparative perspectives on the Habsburg era during this convulsive period of European history, addressing topics including diplomatic links, dynastic ritual and representation, and the Order of the Golden Fleece. In covering a wide range of themes, their contributions aim towards a better understanding of the emergence of new political attitudes in the Western world prior to the Enlightenment. Contributors to the volume include Cristina Bravo Lozano, Václav B??ek, Nóra G. Etényi, Alfredo Floristán Imízcoz, Rubén González Cuerva, Borbála Gulyás, Fanni Hende, János Kalmár, Zsolt Kökényesi, Zoltán Korpás, Pavel Marek, Tibor Monostori, and Géza Pálffy. TABLE OF CONTENTS Introduction Dynastic links between far lands: The kingdom of Hungary and the Spanish monarchy in the early modern age Tibor Martí and Roberto Quiros Rosado PART I A ritualized dynasty: The ceremonies of the Habsburgs Funerals and coronations: Dynastic heraldic representation in Central Europe from the fifteenth to the early seventeenth century Géza Pálffy Swearing in, crowning and proclaiming the Habsburgs in the kingdoms of Spain: Continuity and innovation, 1516-98 Alfredo Floristán Imízcoz Festivities celebrating the coronations of the Habsburgs Maximilian and Rudolf as king of Hungary in Pozsony/Bratislava, 1563-72 Borbála Gulyás The funerals of the emperor Rudolf II in the Spanish monarchy, 1612 Václav B??ek and Pavel Marek Printed political representations of the coronation of Joseph I as king of Hungary, 1687 Nóra G. Etényi Archduke Charles of the House of Habsburg's proclamation of accession to the throne of Spain and his inauguration as king of Aragon, 1703-6 János Kalmár Political representation at the coronations of Hungarian kings in the first half of the eighteenth century Fanni Hende PART II One dynasty, two branches: Political interaction and self-representation of the eastern and western Habsburgs Quarrelling brothers: The fraternal relationship of Charles V and Ferdinand I and their attitudes towards Hungary Zoltán Korpás The king of Hungary and the cardinal of Toledo: The creation of a common dynastic image around the two Ferdinands, 1631-35 Rubén González Cuerva The kingdom of Hungary in essays and other writings of Diego Saavedra Fajardo in the years 1630-50 Tibor Monostori Hymenaeus in The Hague: Inaugural and dynastic celebrations of Spanish diplomats in the United Provinces, 1649 Cristina Bravo Lozano Hungarian members of the Order of the Golden Fleece: The importance of a Habsburg chivalric order in seventeenth-century Hungary Tibor Martí Moribus antiquis: Dynasty, political strategy and court ceremonial during the genesis of the Austrian Golden Fleece, 1709-13 Roberto Quirós Rosado Court entertainment and relationship networks: Shooting competitions in Charles VI's Viennese court as social opportunities for the noble elite, 1716-33 Zsolt Kökényesi‎

‎Gold and Platinum Coins of the Romanov Dynasty: prepared for the exhibition Go‎

‎Gold and Platinum Coins of the Romanov Dynasty: prepared for the exhibition Gold coins in the history of the Romanov dynasty. In English /Gold and Platinum Coins of the Romanov Dynasty: prepared for the exhibition Gold coins in the history of the Romanov dynasty. M. Lingva-F 2021. 502 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb04c1f89f17d4d9e1.‎

‎Dinastiya Min: siyanie uchenosti [Ming Dynasty: The Radiance of Knowledge]‎

‎Gorbatova, Irina: Dinastiya Min: siyanie uchenosti [Ming Dynasty: The Radiance of Knowledge]. Exhibition: Moscow, Kremlin Museum, 2018. 240 pages; illustrated in colour. Hardback. 31x24.5cms. The exhibition is dedicated to the Ming dynasty epoch (1368-1644) and aims to represent all the aspects for which Ming culture is renowned: porcelain, painting, stone carving and furniture. The catalogue is divided in four parts, mirroring the exhibition's structure: The 'Scholar's Studio' section, in which the museum's furniture collection is preminently showcased; the 'Passion for Antiquity' section, dedicated to archaeological artifacts, including very rare items of jewellery; the 'Porcelain Pleiad of the Ming Dynasty' section, which documents how coloured glaze and overglaze painting were developed during that period, along with new techniques of lacquer carving and cloisonne enamel; the 'Treasures Discovered in Ming Tombs' section, displaying a set of china statuettes, a honorary escort found in the tomb of the imperial family members. Text in Russian with English summary.‎

‎The exhibition is dedicated to the Ming dynasty epoch (1368â1644) and aims to represent all the aspects for which Ming culture is renowned: porcelain, painting, stone carving and furniture. The catalogue is divided in four parts, mirroring the exhibition's structure: The âScholarâs Studioâ section, in which the museum's furniture collection is preminently showcased; the âPassion for Antiquityâ section, dedicated to archaeological artifacts, including very rare items of jewellery; the âPorcelain Pleiad of the Ming Dynastyâ section, which documents how coloured glaze and overglaze painting were developed during that period, along with new techniques of lacquer carving and cloisonne enamel; the âTreasures Discovered in Ming Tombsâ section, displaying a set of china statuettes, a honorary escort found in the tomb of the imperial family members. Text in Russian with English summary‎