We welcome friends from all over to visit the Luoyang Tangyi Gold and Silverware Museum.

　　Located near the White Horse Temple in Luoyang, the Tangyi Museum of Gold and Silver Artifacts boasts an extensive collection of gold and silver objects spanning a wide range of historical periods. The diverse stylistic features and cultural characteristics of these artifacts across different eras are sure to inspire awe at the profound depth and sophistication of craftsmanship and culture throughout various historical stages.

　　The Luoyang Tangyi Museum of Gold and Silver Artifacts is one of the first privately-run museums in Luoyang. It was founded by Wang Yaqiang, vice president of the Luoyang City Cultural Relics Collection Society and a renowned collector, based on his years of collecting. The museum is Henan Province’s first specialized private museum dedicated to gold and silver artifacts.

Warring States Animal-Face Pattern Gold Plaque Ornament

From the Warring States period through the Ming and Qing dynasties, gold and silver artifacts shone brilliantly.

Guided by the staff of the Tangyi Gold and Silverware Museum in Luoyang, a reporter from Dongfang Jinbao stepped into this privately-run museum located to the west of Baima Temple. The large golden characters at the entrance of the exhibition hall—“Promote National History and Culture, Inherit the Essence of Intangible Cultural Heritage Handicrafts”—clearly define the museum’s mission and purpose.

The exhibition hall comprises two floors, featuring four distinct galleries: a gallery showcasing exquisite gold and silver gifts, a special gallery dedicated to the charitable use of gold and silver artifacts, a gallery highlighting high-quality replicas of gold and silver pieces, and a special gallery spotlighting rare and precious gold and silver treasures. As noted by a reporter from Dongfang Jinbao, the exhibition hall displays meticulously crafted gold and silver tea sets, dining utensils, and ancient ornaments. Among the museum’s collection of gold and silver artifacts, many pieces—ranging in age from the Warring States period to the Tang Dynasty—demonstrate exceptional craftsmanship in techniques such as relief carving, inlay work, chasing, and floral ornamentation. These artifacts span a wide variety of types and boast diverse shapes and superb quality.

In one of the exhibition halls, there stands a three-tiered, octagonal incense burner. Its base is a circular, stepped structure; the middle tier features intricately carved pavilions and balustrades; and the top tier—a delicate, airy structure reminiscent of a floating pavilion—supports a blossoming lotus disk. Upon closer inspection, one can marvel at the exquisite patterns adorning the incense burner. Equally captivating are the exquisitely crafted silver wine vessels adorned with meticulously chased and gilded hunting motifs. Even the petite cages made of gold and silver filigree hardly fail to draw attention, fully showcasing the allure of this artistry.

Staff told reporters that some of the museum’s exhibits include replicas of Tang Dynasty Buddhist gold and silver artifacts unearthed from the underground palace of Famen Temple in Xi’an, as well as replicas of gold and silver artifacts from a Song Dynasty kiln site in Pengzhou, Sichuan. “These collections possess high artistic value. Through this exhibition, not only can visitors appreciate many ancient crafts on the verge of being lost, but they can also gain insight into Luoyang’s profound historical and cultural heritage.”

As the staff introduced them, one exquisite piece of gold and silverware after another came into view of the reporters. There was the gilded cup adorned with intertwined floral motifs, the gilded silver bowl decorated with mandarin duck and lotus petal designs, the gilded silver jar with a handle featuring parrot motifs, the gilded silver soup bowls, and the silver plum vase embellished with auspicious cloud-head patterns—every corner was a breathtaking sight.

Even more striking are the jewelry pieces such as gold and silver flat ornaments, hairpins, hair combs, and pendants. The dazzling array of jewelry includes a wide variety of items, including hair accessories, earrings, bracelets, necklaces, and rouge powder boxes.

One of the museum’s prized treasures is a bronze plaque ornament featuring animal-face motifs from the Warring States period. Measuring 101 millimeters in length, 76 millimeters in width, and weighing 97 grams, the animal face boasts a broad visage with a short, peach-shaped tongue. Its upper part is shaped like the Chinese character “shan,” giving it an exceptionally unique design with clearly defined patterns. This exquisite piece is among the rare and distinctive gold artifacts recently discovered from the Warring States period.

“These gold and silver artifacts are the ‘new darlings’ of culture, carrying rich historical memories and meticulously showcasing the historical charm and contemporary style of these relics.” According to the museum’s introduction, these collections fully demonstrate the “extraordinary skill” of both ancient and modern retro manufacturing techniques.

Staff members explained to reporters that the craftsmanship involved in making gold and silver artifacts is intricate and complex. During the pre-Qin period, the primary technique used for crafting gold and silver was the mold-casting method. Chasing and inlaying are two major hallmarks of gold and silver artifact production. In addition to mold casting, the hammering and shaping method was also widely employed. To create a stunning, breathtakingly beautiful gold or silver artifact often requires artisans to go through a series of sophisticated processes—including melting, inlaying, hammering, soldering, gilding, flower-pinning, filigree work, setting gemstones, bead-blowing, refining edges, and applying turquoise—before the final piece is completed.

The inheritance of craftsmanship is a long and arduous journey. It is understood that China's gold mining dates back 4,000 years, and by the early Spring and Autumn period, our ancestors had already mastered the technology for smelting silver. According to archaeological evidence, during the Shang Dynasty, China had already mastered the techniques for crafting gold artifacts. By the early Spring and Autumn period, people had learned how to make silverware as well. During the Warring States period, the craftsmanship of gold and silver ware had reached an exceptionally high level. During the Qin and Han dynasties, gold and silver ware production separated from the traditional bronze-casting techniques and evolved into an independent and largely established craft. During the Tang Dynasty, as the nation reached its peak, cultural exchanges between East and West fostered the mutual integration of Eastern and Western crafts. As a result, the art of gold and silver ware production during the Tang Dynasty reached its zenith.

Among the exhibited items—ranging from dining and living utensils to everyday objects and decorative ornaments—their intricate shapes and lustrous, pleasing finishes are predominantly adorned with floral and avian motifs. These pieces not only carry forward traditional stylistic elements but also reflect influences from other art forms, religions, and foreign cultures. With their elegant and opulent character, especially the exquisite high-footed wine glasses, these artifacts vividly illustrate the profound integration of Chinese and Western cultures.

While engaging in artistic creation, Wang Yaqiang, director of the Luoyang Tangyi Gold and Silver Ware Museum, has also adopted a new creative philosophy, producing exquisite pieces imbued with national style and focusing on the development and craftsmanship of high-end gold and silver ware. His passion for the artistry of gold and silver ware is what drives his extensive and diverse collection of these exquisite artifacts.

Art originates from life yet transcends it. In the creation of handicrafts, without the imagination and innovation of artisans, these crafts could never be elevated to the status of artworks. For instance, the gold plaque adorned with animal-face motifs and the gilded silver incense burner with a five-footed pedestal and lotus-flower design all vividly exemplify the innovative spirit of artistry.