Embossed with BAO XIANG flowers and leaves, Bao Xiang Flower also called ‘precious lotus’ as auspicious pattern started to be widely use to decorate monastery, temple, clothes, porcelain etc from Sui dynasty 4th century until now. It is considering as one of most important pattern in Chinese imperial family. That can be easily find from Chinese palace and buildings, also objects from worldwide museum. This very beautiful pair of gilded (gold plated) silver bracelets are in ‘C’ form and have been cast from silver using the hammering process then engraved. They have raised edges and a fully carved central spine that runs the length of each bangle.The pairs of terminates are in the form of snub-nosed dragon heads. The two heads share the one body, with the body being engraved onto each bracelet. The bodies are decorated with ring (pearl pattern) punching. (The decorative device of ring-punching to provide detail or background is a hallmark of Liao dynasty metalwork. Shen (2006, p. 160) illustrates a related gold pair that were excavated from the tomb of the Princess of Chen who was buried in 1018. According to Shen, ‘C’-shaped bracelets with animal terminates were first produced in the ancient Near East in the first millennium BC. Later, the form spread to Eurasia. The substitution of dragons for other animals was an innovation of the Khitan people, the founders of the Liao empire.From the collection of Calliope Sotirades (1910-1984), who collected internationally between the 1930s and 1980s, bought these bracelet from Belgium private collector in 1960s, and then part of her property include other goldwares bequeathed to her son. Exhibition history New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.Brussels, Sablon, Asian Art, June 4th-8th 1994Taipei. The Great Liao Relics Exhibition, January 6, 2010- February 7, 2011 There are only few comparing samples in the worldwide published. Compare Liao bracelets similar to the present example, published in Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Emma C. Bunker and Julia M. White with Jenny F. So (Hong Kong, the University of Hong Kong Museum Society, 1999), p. 236.Compare also, a Liao bracelet similar to the present example illustrated in Chinese Gold Ornaments by Simon Kwan and Sun Ji (Hong Kong: Muwen Tang Fine Art Publication Ltd., 2003), pp. 382-383, pl. 231. Kwan and Sun suggest that the Liao continued stylistic developments dating to the Tang dynasty. See the Tang prototypes published in Zhongguo Gudai Jinyin Shoushi, Yang Zhishui (Beijing: Gugong, 2014), vol. 1, p. 129.