Cao Guojiu shadow puppet with separate head (part b) and jade tablet (part c). His face is cutout and lined in black, with very delicate features, and a long pointed beard. He wears a rectangular black cap decorated with small red and green pompoms, red edging and green-blue clouds. His brown robe is decorated with clouds of red, blue, green, yellow or black. His pants are striped red and green. Limbs jointed with fibre at the shoulders, elbows, wrists and hips. Operated by three rods. The jade tablet is depicted as a light green-blue, and is club-shaped. There is a small loop for the puppet's fingers.

Large, circular ceramic vessel, resting on three feet modeled in the form of crouching bears. The body has two designs on opposite sides, of taotie masks with pendant ring handles. Covered with an iridescent light green glaze, except for the base.

Pottery hill censer in dark green glaze. Bottom (part a) is in pedestal form with the pedestal forming into a round dish for the base. The round cover (part b) is carved and pierced with hunting scenes of figures and animals. The inside of the base is unglazed. The green glaze on the top and bottom of the dish section is mostly worn away. The clay inside the body of the burner is a dark brown. The green glaze has dripped through the holes of the lid, covering half of the interior brown clay.

Pair of bronze fittings modelled in the form of tigers. The two figures are oriented so their bodies face opposite directions, with the heads in high relief, turned to face front. Both figures have incised linear designs, from the facial markings to the ends of the paws, as well as diagonal lines down the tails. Each figure has one front and one back leg, with the paws shaped into circular forms, with a hole in the centre of each. The back of each figure is hollowed out, with a half-circle attachment projecting out from behind the main body area.

Copper coffee pot with a long trough-like spout curving out from the body. The outer metal of the pot is a dark gold-brown colour, whereas the inside, and underside of the lid, is silver coloured. The lid has a bronze finial on top. The pot has a long handle made of a long, strip of bronze metal, soldered at the base, then riveted through the body, at the rim. The lid is attached with rivets to a hinging mechanism at the top of the handle. The lid is hollow but the bottom has been covered with a piece of silver coloured metal. There is a small stamp on the upper side in Arabic.

Square bronze mirror that appears to have been dipped in silver? Face is shiny, partly silver coloured. Decorated back has a small central knob in the form of a crouching mythical beast with a hole through its body. Four lions sit in each corner, two facing in, two facing out. Background design of grapevine scrolls.

Large painted ceramic pot decorated with birds and floral motifs. The pot stands on three curved hand-moulded feet and has similar handles. The pot curves out from the base and has a thinner neck and an upturned lip at the mouth.

Wooden panel covered in plaster or gesso and painted. Tabla shows people in local traditional dress being burned alive in a bonfire. State police in camouflage are also shown in the scene. The text states that the painting shows the extrajudicial execution of supposed ‘Shining Path’ insurgents. Among the executed are numerous innocent local Ayacuchans.

Wooden panel covered in plaster or gesso and painted. The tabla shows the Peruvian State forces confronting ‘Shining Path’ guerrilla insurgents in the high plains of Ayacucho. The image shows men in Sinchi uniform as well as people in local traditional dress. A low flying helicopter painted with state camouflage is firing on everyone. The image is of destruction and bloody death. However, it also contains images of the local landscape that show continuity in painting style from the house beams (3289/60-61); a dog steals a piece of meat from the fire, chickens roam the hillside. This is the culmination of the armed conflict and shows the confusion involved in the identities of attackers and victims.

Painted house beam. Slice of a tree trunk, covered in plaster on the front, with the bark left on the back. The part that has been plastered is painted with natural pigments. The beam would be read bottom to top. At the bottom is one of the patron saints; the Virgin of Asuncion. In phrases divided by various patterns, such as flowers and llamas, the beam depicts a range of daily activities such as sowing seeds and weaving. The persons represented are named in writing. At the top of this beam is the sun.