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The Oriental Museum is home to over 36,000 objects, dating from pre-history to the present day.

Not sure where to start? Use this guide to discover a selection of star objects from our collection, as chosen by our visitors.

Our galleries are arranged geographically and the entrance to the museum is on Level 4.

However you choose to explore, use the menu on the right to navigate based on where you are in the museum.

Silk Roads

A large and ornate Chinese bed, with a wooden frame surrounding the sleeping area. The frame is painted with a pattern including animals and plants
A large and ornate Chinese bed, with a wooden frame surrounding the sleeping area. The frame is painted with a pattern including animals and plants
an angled view of the Chinese bed, inside the wooden frame is a yellow blanket and a backdrop showing waves and flowers. There is also a vase within the wooden frame
an angled view of the Chinese bed, inside the wooden frame is a yellow blanket and a backdrop showing waves and flowers. There is also a vase within the wooden frame

Chinese Bed

Jiangsu Province, 1830 - 1839 CE

This type of bed is called Babu chuang. This name refers to the fact that the sleeper has to step forward to get on the bed, reflecting its magnificent size.

Being the most important furniture in a Chinese household, the bed demonstrated the wealth and status of the family. This is the biggest type of Chinese bed, and it was only found in some of the richest areas in Southern China, as the craftsmanship was extremely complicated and expensive.

The decoration on this bed indicates it was originally intended as the bridal bed for a wealthy Chinese woman.

A beige clay cylinder in a horizontal tubular shape. The cylinder is supported by gold coloured clasps on the right and left and sits on a wooden base
Close up of carvings on the left side cylinder in Kufic script. The golden clasp at the side suggests the cylinder is designed to be rotated.
Close up of carvings on the right side of the cylinder in Kufic script

Nebuchadnezzar Cylinder

Iraq, 599 BCE

This fired clay cylinder preserves an inscription of the Neo-Babylonian king Nebuchadnezzar II. It records his restoration of the temple of the sun-god Šamaš in Sippar.

The message starts with the king introducing himself, then gives an account of his building work before concluding with a prayer to the sun-god.

This cylinder may originally have been deposited in the walls of the temple, or kept as an archive copy in Sippar or elsewhere.

Tiger Tally

China, 206 BCE – 220 CE

The tiger tally is an ancient form of military verification. An inscription was carved onto the body of the tiger, and the tally was then disassembled into two segments. One half was kept by officials in central government, the other half was given to a military leader stationed away from the capital.

The tally allowed local army commanders to verify the identity of a messenger from the capital. Only when the two segments had been reassembled could the orders that accompanied it be undertaken.

Sculpture on a wooden in the shape of a crouched tiger. The sculpture is split down the centre where it divides into two pieces. The sculpture is decorated with faint Chinese script and swirling patterns.

Window Grill

Pakistan, 19th - 20th Century CE

Blue and faded orange window grill, cut with rectangular patterns and a surrounding floral border.

Window grills allow light and cool air to flow into a building while at the same time maintaining privacy. This particular grill was designed for use in an internal courtyard and so is decorated and glazed on both sides.

The intricate geometric design is inspired by Kufic script, a handwritten Islamic alphabet used by early Muslims to record the Qur'an.

This guide continues with our Egypt Galleries along the corridor.

Egypt

Close up on the face of a Mummy coffin. The depicted figure has large eyes and a headpiece which covers the left and right side of the head.

Servant Girl

Egypt, about 1360 BCE

This is probably the best known of all the Egyptian objects in the Oriental Museum’s collection. Made from boxwood, ivory and gold, it is famous both for the quality of the craftsmanship and for the natural pose of the girl’s body, which was unusual in Ancient Egyptian art.

Produced during the reign of Amenhotep III, the statuette is believed to have been part of the burial equipment of Meryptah, high priest of Amun. A statue of Meryptah himself can be seen on display in the Statues case in this gallery.

Not just a beautiful statue, this object is also a container, probably used for a cosmetic oil or paste.

Close up on the face of the servant girl statue. The grain of the wood is visible and the girl bears a relaxed expression.

Mummified Woman and Coffin

Egypt, about 250 BCE

The exact origin of this mummy and painted wooden coffin are unknown.  However, the style of decoration strongly suggests they are from the area of Akhmim in Upper Egypt.

We think the mummy may have been discovered by French archaeologist Gaston Maspero in 1884, before being donated to Penrith Public Library, Cumbria in 1888 and then Darlington Library and Museum in the 1930s.

In 1960 when the Oriental Museum first opened the public, it had an important Egyptian collection but no mummy.  A loan was arranged from Darlington for this mummy which was later converted into a formal transfer. 

Research into this mummy is ongoing. Tap the images below to see what we have discovered.

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For many years the mummy was thought to be male but recent research suggests this is a woman. X-rays reveal that during her life she suffered from childhood malnutrition, a slipped disc, a kidney stone, dental abscesses and a broken toe.

For many years the mummy was thought to be male but recent research suggests this is a woman. X-rays reveal that during her life she suffered from childhood malnutrition, a slipped disc, a kidney stone, dental abscesses and a broken toe.

This woman was born without a fully formed left arm. An artificial hand was added when the woman was mummified, so that she would have both hands in the Afterlife. The limb was modelled in linen, carefully shaped to fit over the arm and includes an artificial hand equipped with fingers and thumb.

This woman was born without a fully formed left arm. An artificial hand was added when the woman was mummified, so that she would have both hands in the Afterlife. The limb was modelled in linen, carefully shaped to fit over the arm and includes an artificial hand equipped with fingers and thumb.

The preservation of a person’s name, and the repeating of that name, was very important to the Ancient Egyptians. Unfortunately knowledge of this woman’s name has been lost as the inscription at the foot of the coffin has been badly damaged.

The preservation of a person’s name, and the repeating of that name, was very important to the Ancient Egyptians. Unfortunately knowledge of this woman’s name has been lost as the inscription at the foot of the coffin has been badly damaged.

This guide continues downstairs in our Korea Gallery.

Korea

Large, white ceramic moon jar from Korea

Wedding Ducks

Republic of Korea, 2013 CE

Two wooden wedding ducks sat face to face. One duck is red and black with a ribbon around its beak, the other is black and blue

Marriages were once arranged between families in Korea, but in the past few decades, ‘love marriages’ have become more commonplace. This, along with the growth of Christianity, has led to more ‘western’ marriage ceremonies. However, many couples still have an additional traditional ceremony in the bride’s house where gifts are exchanged between families and respect shown to elders.

Wedding ducks are a traditional gift, and are given by the groom to the brides’ family as a promise of fidelity, as ducks were believed to mate for life. After the wedding, the ducks became a symbol of the marriage and are placed in the couple’s home. If the couple is happy, the ducks were placed beak-to-beak. But if the couple has an argument, they are positioned tail-to-tail. These ducks are painted with the auspicious colours, which bring good luck.

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Black and blue painted wooden wedding duck. The duck's breast has red spots, the wing is blue with feathers painted pink, white and yellow
Red and black painted wooden wedding duck. The duck has a red and blue ribbon around it's beak. The wings have patterns with yellow and pink stripes and red and white spots.

Sake Cups

North Korea, 1910-1945 CE

Six small silver cups with wide round tops. The cups are shining in the light and engravings are visible on the sides.

This set of silver cups for drinking rice wine is still being researched.

It was given to Erna Hähnel, a member of a delegation from the German Democratic Republic (East Germany) which visited North Korea in 1957. The cups are Japanese in style and may have been made in Korea during the period of Japanese colonial rule (1910-1945 CE). This was a difficult period for all Koreans and so why they were deemed a suitable gift for an official visitor from an important ally is still unclear.

Black and white photograph showing a group of ten people. Erna stands on the left hand side, linking arms with a man dressed in black. She has blonde hair and wears a leather jacket.

Erna, whose collection is now on loan to the museum, can be seen third from the left.

Japan

Inside of a Japanese Buddhist altar showing many ornaments and decorations.
Blue, red and black samurai armour, combining sections of metal plate and scales which are laced together. The components of the armour are chest armour, helmet, facial armour, armoured sleeves, thigh armour and shin armour.

Buddhist Altar

Japan, around 1980 - 1985 CE

Buddhist family altars like this one are known as a Butsudan. They can be used to hold memorial tablets for dead ancestors and representations of Buddhist deities.

This altar belonged to a Japanese family and was used by the grandmother until her death in 1999, providing a focus for her daily rituals.

Every day she would open the doors to the altar, light candles or incense, leave offerings of food or drink for the ancestors and pray or speak to them.

Samurai Armour

Japan, 2013 CE

This set of armour was handmade in Japan for the Museum by a company specialising in the production of armour for films.

It is a reproduction of ō-yoroi style armour worn by samurai during the Medieval period in Japan. First seen in the 10th century, this was a rich man’s armour, not the armour of a low ranking samurai.

The colour and design of the armour helped to identify the wearer on the battlefield, indicating the wearer’s rank and family. 

Head downstairs to our Himalayas, South Asia and South-East Asia Gallery to continue with this guide.

Himalayas, South Asia, South-East Asia

Skull Cup

Tibet / Nepal, 1800 - 1900 CE

In Tibetan Buddhist rituals a skull cup, known as a kapala, is used to make offerings to appease angry or ferocious deities such as Dharmapalas. These offerings may take the form of dough-cakes and wine in place of flesh and blood. The dough may be formed into the shapes of eyes, ears or tongues.

The human skulls used for kapala are specially selected and prepared, often using the remains left by high lamas to their monastery. Once consecrated for use in the rituals they are sensitively cared for.

Statue of Ganesh

Nepal, 1700 - 1900 CE

The Hindu deity Ganesh is revered in Himalayan Buddhism and is believed to bring wealth and fortune. 

In this statue, Ganesh sits with his feet resting on his vehicle, the rat.  His female aspect, Shakti, sits on his knees. 

Indian Door

Mumbai (Bombay), before 1918 CE

Carved wooden archway. The door is open, but we can see the door itself has black decorations and a large circular door handle.

This impressive carved Indian door was donated to the National Museum of Wales in 1918. According to the National Museum’s records it came from a house in Bombay (now Mumbai) that had been demolished in 1913 or before. Nothing else is known about it.

The National Museum does not have an Indian collection and so transferred the door to the Oriental Museum in the 1970s. It is currently being researched, but for the time being it remains one of the museum’s largest but least understood objects.

Shiny silver helmet, carved with patterns of birds and mammals, as well as buildings, leaves and flowers.
Reverse view of the safety helmet showing a carving of a bearded man.

Decorated Safety Helmet

UK and Indonesia, 1959 - 2014 CE

Metalworking in Southeast Asia continues to evolve.  In Indonesia, particularly in Java, during the second half of the 20th century a tradition of decorating work helmets has developed.

This UK-made fire safety helmet has been decorated with traditional Islamic motifs including floral scrolls, birds and animals.  There are also images of the Ali Qapu Palace and Imam Mosque, both in Isfahan, Iran.

The two men depicted appear to be Nadir Shah (1736-47 CE) founder of the Persian Afsharid dynasty and the ancient Persian king Darius the Great (550-487 BCE). This would suggest that the helmet was decorated for an Iranian working in Java. 

Head downstairs to our China Gallery for the final section of this guide.

China

Ceramic sculpture in the shape of an apple with a bite taken from it. The outer visible layer is white with blue patterns in the shape of Chinese dragons. The inner section is bright red.

Apple by Li Lihong

People’s Republic of China, 2007 CE

Artist Li Lihong (born 1974) was born in Jingdezhen, the traditional heart of the Chinese porcelain industry. 

His reworking of Western company logos are among his most notable pieces. In this case you can see Apple’s bitten apple and Nike’s swoosh. He has also reworked Disney’s Mickey Mouse ears, and the McDonald’s golden arches. These works all reflect Li’s upbringing in China in the aftermath of the Cultural Revolution with the influx of American brands and products into the country looking for a share of the huge Chinese market. 

Ceramic sculpture in the shape of the Nike tick 'swoosh' logo. The sculpture is a pale green with pink, blue and red patterns.

Nike by Li Lihong. You can find this on display in the Silk Roads Gallery upstairs.

Nike by Li Lihong. You can find this on display in the Silk Roads Gallery upstairs.

Li Lihong presents both the confrontation between tradition and modernity and the meeting of West and East. These concepts are important ongoing subjects for contemporary artists in China and also resonate with Western collectors.

The Heft

by Liu Qiwei

2023 CE

Video displayed with kind permission of Liu Qiwei

Video displayed with kind permission of Liu Qiwei

This project is an exploration of gravity, motion, and balance inspired by a stack of rocks. It is a kinetic silversmithing (sculpture). A significant amount of time was dedicated to crafts to achieve both engineering and aesthetic excellence.

The “pebbles” are hollow and shaped through numerous times of raising, while the patterns of golden leaves are chased onto the surface, creating a fossil-like texture that reflects the contemplation of time. The entire artwork embodies a sense of effortless strength, natural rotation, and equilibrium influenced by external forces over time.

This embodies the concept of "和"(He: harmony) found in Chinese philosophy—a state of calm, patience, and embracing the natural flow.

You've reached the end of this guide, but there is still much more of the Oriental Museum to see.

Enjoy the rest of your visit or scroll down for more of our online resources.

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