HTML Microdata document

This HTML5 document contains 80 embedded RDF statements represented using HTML+Microdata notation.

The embedded RDF content will be recognized by any processor of HTML5 Microdata.

Namespace Prefixes

Prefix	IRI
dc	http://purl.org/dc/elements/1.1/
rdfs	http://www.w3.org/2000/01/rdf-schema#
n13	https://www.metmuseum.org/art/collection/search/
n8	http://data.silknow.org/vocabulary/
silk	http://data.silknow.org/ontology/
ecrm	http://erlangen-crm.org/current/
rdf	http://www.w3.org/1999/02/22-rdf-syntax-ns#
n11	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
prov	http://www.w3.org/ns/prov#
n7	http://data.silknow.org/object/
xsdh	http://www.w3.org/2001/XMLSchema#
n2	http://data.silknow.org/statement/
n6	http://data.silknow.org/activity/

Statements

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Subject Item: n2:05e12a4e-18f5-5551-bb8b-901f5777825e
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Subject Item: n2:1243b872-d7da-53c1-8a49-68ae1a324e00
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Subject Item: n2:891709ca-d70e-5612-9172-edf26249e0f9
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Subject Item: n2:51273ab4-ad15-5863-b468-d582f3b67172
rdf:type: rdf:Statement
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Subject Item: n7:27403ebe-4c2d-3d1a-b506-c2ebfa3f46fc
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1601 / 1625, China
rdfs:comment: The pear-shaped lute slowly migrated from Central Asia into China during the Han and Sui dynasties (1st-7th century). It eventually became the pipa; the term describes the original playing motion of the plectrum held in the performer's right hand: p'i, "to play forward" (toward the left), and p'a, "to play backward" (toward the right). Until the mid-tenth century, the pipa was held horizontally (guitar style), and its twisted silk strings were plucked with a large triangular plectrum. Toward the end of the Tang dynasty, musicians began using their fingernails to execute the exuberant and programmatic repertory that was gaining popularity and that became the national style. To facilitate the use of the fingers, the instrument began to be held in a more upright position. In addition to its use in the opera and in storytelling ensembles, the pipa has a solo repertory of highly programmatic, virtuosic music. The spectacular back and sides of this unique Ming-dynasty instrument feature more than 110 hexagonal ivory plaques, with thinner bone plaques on the neck. Each plaque is carved with Taoist, Confucian, or Buddhist figures and symbols signifying prosperity, happiness, and good luck. These include images of various gods and immortals, such as Shou Lao, the Daoist god of longevity, who is shown with a prominent forehead on the single plaque at the very top. When the instrument is played, this expert workmanship remains unseen by the listener, as the back faces the player. The front is relatively plain but shows signs of use. The ivory string holder bears a scene featuring four figures and a bridge; an archaic cursive inscription; and, at the lip, a bat motif with leafy tendrils. Above the lower frets, two small insets depict a spider and a bird, and just before the rounded upper frets, a trapezoidal plaque portrays two men, one with a fish. The finial repeats the bat (good luck) motif.
owl:sameAs: n13:503651
dc:identifier: 50.145.74
ecrm:P3_has_note: The pear-shaped lute slowly migrated from Central Asia into China during the Han and Sui dynasties (1st-7th century). It eventually became the pipa; the term describes the original playing motion of the plectrum held in the performer's right hand: p'i, "to play forward" (toward the left), and p'a, "to play backward" (toward the right). Until the mid-tenth century, the pipa was held horizontally (guitar style), and its twisted silk strings were plucked with a large triangular plectrum. Toward the end of the Tang dynasty, musicians began using their fingernails to execute the exuberant and programmatic repertory that was gaining popularity and that became the national style. To facilitate the use of the fingers, the instrument began to be held in a more upright position. In addition to its use in the opera and in storytelling ensembles, the pipa has a solo repertory of highly programmatic, virtuosic music. The spectacular back and sides of this unique Ming-dynasty instrument feature more than 110 hexagonal ivory plaques, with thinner bone plaques on the neck. Each plaque is carved with Taoist, Confucian, or Buddhist figures and symbols signifying prosperity, happiness, and good luck. These include images of various gods and immortals, such as Shou Lao, the Daoist god of longevity, who is shown with a prominent forehead on the single plaque at the very top. When the instrument is played, this expert workmanship remains unseen by the listener, as the back faces the player. The front is relatively plain but shows signs of use. The ivory string holder bears a scene featuring four figures and a bridge; an archaic cursive inscription; and, at the lip, a bat motif with leafy tendrils. Above the lower frets, two small insets depict a spider and a bird, and just before the rounded upper frets, a trapezoidal plaque portrays two men, one with a fish. The finial repeats the bat (good luck) motif.
ecrm:P65_shows_visual_item: n8:745 n8:743 n8:744
ecrm:P138i_has_representation: n11:433201e0-6389-3ae6-a7bb-98695ab492a8 n11:89e20883-c3c3-3acd-86fa-2d2d52a0c04a n11:903cdc8d-be5e-3f59-9f15-66eccaafa905 n11:90db51ba-ee87-3000-9f8b-e7210e300bf2 n11:9e3419eb-d5a5-378a-9a9e-b988317380e9 n11:aff21a98-22e4-385c-9cfa-4d4296d3ad0c n11:c35fd13c-7ff1-3f7f-b498-6b122dee8342 n11:f5fcb302-851e-3cb3-9f19-51c832abfc3d n11:268880f5-b79c-3923-991c-dd84aee20719 n11:280b5e1b-0b64-30f0-8f5e-7e5d700841f9
ecrm:P102_has_title: 1601 / 1625, China

Subject Item: n2:f3637981-2db0-511c-97ba-14e79f6f1ef1
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
rdf:object: n8:745
rdf:subject: n7:27403ebe-4c2d-3d1a-b506-c2ebfa3f46fc
prov:wasGeneratedBy: n6:f3637981-2db0-511c-97ba-14e79f6f1ef1
silk:L18: 0.6228