YOGYAKARTA—The Prambanan temple complex was built in the 9th century and includes temples dedicated to Brahma, Vishnu, and Shiva with reliefs depicting episodes from the Ramayana, the ancient Hindu epic. And, as if lifted from the pages of such a legend of destruction and rebirth, fears have arisen that powerful flowing volcanic mud produced by Mount Merapi, the volcano that erupted in October and November, could now destroy the historic structures.
Dewi S. Sayudi, an official with the Volcanic Technology Development and Research Center, said that there is a serious threat to Prambanan because the nearby Opak and Gendol Rivers are carrying large amounts of volcanic debris, called lahar, the Jakarta Post reports. "The lahar that we have seen so far is just the tip. The flows carry only a small portion of the thick layers of volcanic debris from the slopes of Merapi," he stated.
Lahars act like concrete, flowing when carried by water but becoming solid when deposited on land. Mount Merapi's recent eruptions were the most powerful in a century and are estimated to have spewed over five billion cubic feet of volcanic debris. Now, as Indonesia heads into the rainy season, rain has caused this debris to flow from the volcano's peak, creating a wall of lahar in the Opak River that measures a little less than a mile wide and over six miles long.
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Prambanan temple officials are continuing to monitor the flow of the Opak River but no special precautions have been taken. Bambang Hargono, head of the Serayu-Opak River Region Agency, told the Jakarta Post that all the dams set up to stop volcanic debris were at full capacity, and that his agency plans "to dredge the river to normalize the stream and reduce the risk of lahar next year." But Rajan Zed Prambanan, president of the Universal Society of Hinduism, is alarmed by the danger and issued a statement asking UNESCO — which has designated Prambanan as a World Heritage Site — to intervene to save this "world archaeological treasure."
Debris from Mount Merapi is only the latest potential danger in a centuries-long series of catastrophes to befall Prambanan, which is located on the border of Yogyakarta and Central Java provinces. Historians believe that the temple complex was built around 850 by the Hindu Sanjaya dynasty to mark its return to power after replacing the Buddhist Sailendra dynasty. When the court left the region — possibly due to the eruption of Mount Merapi — the site was abandoned. The temples were damaged in the 16th century after an earthquake, and in the 19th century stones from the structures were frequently looted. The most significant temples were reconstructed in the 20th century, with the work finished only in the 1990s. The Java earthquake of May 2006 damaged the site, and many of the temples are still off-limits for safety reasons.
With the tall, pointed spires that are characteristic of Hindu sacred architecture, Prambanan's tallest structure is the temple to Shiva the Destroyer, which measures 154 feet high. Traditional Javanese dance has been performed at the site during every full moon since the 1960s and helped to make Prambanan a favorite archaeological and cultural destination.
Friday, January 21, 2011
Art Stage Singapore Didn't Disappoint -- Scene Asia - Scene Asia - WSJ
Art Stage Singapore, the city-state’s first high-profile contemporary art fair, promised a splash and didn’t disappoint. The event, which closed this week, drew 32,000 visitors, placing it squarely alongside ART HK as one of the region’s pre-eminent contemporary art events. (The Hong Kong fair had more than 40,000 visitors last year.)
The quality of the art was ambitious — with 121 participating galleries from 26 countries — as were some of the sales. Takashi Murakami sold his “Snow Moon Flower” triptych for US$2.2 million. David LaChapelle, who was by all rights the show’s headliner, gave a Saturday afternoon lecture on commercialism in the art world to a sold-out audience. He cashed in on the weekend, selling all his work.
Lorenzo Rudolf, the fair’s director, likened his experience last week in Singapore to his early days at Switzerland’s Art Basel, which is now one of the world’s most prominent contemporary art fairs. No doubt Mr. Rudolf’s long-standing presence in the art world helped draw the A-list of Western and Asian collectors and artists to Singapore.
His continued presence will likely be critical in Art Stage Singapore’s attempts to grow its reputation in the years to come. But given the fair is backed by four prominent Singaporean government agencies, including the Singapore Tourism Board and the Economic Development Board — deeming it the “flagship” effort to turn the city-state into a contemporary-arts hub — it’s likely that Mr. Rudolf has been offered strong incentives to stick around.
As a wrap-up, here’s what some of the collectors and artists said about Art Stage Singapore:
Pascal de Sarthe, gallerist, who says Mr. Rudolf’s role was the key factor in his decision to participate: “I’m extremely pleased with the outcome of Art Stage Singapore and am glad to announce that we have sold all of LaChapelle’s works. The fair also provided us with a platform to meet many collectors from the continent and this has served us well, especially prior to the opening of our gallery [in Singapore].”
Sylvain Levy, French collector: “I am completely surprised at how interesting and refreshing the fair was… I found the works of the Indonesian artists especially intriguing.”
Shen Shaomin, Chinese artist: “Collectors’ Stage, one of Art Stage Singapore’s fringe events, was also a great success, with many people attending its opening…. Some of my works are also currently under negotiation between potential buyers and my gallery.”
Tomio Koyama, gallerist: “The context of an Asian, instead of Western, aesthetic point of view, is what makes Art Stage Singapore appeal to the entire art market.”
David LaChapelle, artist, in a statement about the fair: “It did not intimidate like some art fairs can. It reminded me of the early days of the Sundance Film Festival when there was such optimism.”
Don Rubell, American collector: “The fair was extremely well organised — the gallery booths were large, providing ample space to display larger works.”
The quality of the art was ambitious — with 121 participating galleries from 26 countries — as were some of the sales. Takashi Murakami sold his “Snow Moon Flower” triptych for US$2.2 million. David LaChapelle, who was by all rights the show’s headliner, gave a Saturday afternoon lecture on commercialism in the art world to a sold-out audience. He cashed in on the weekend, selling all his work.
Lorenzo Rudolf, the fair’s director, likened his experience last week in Singapore to his early days at Switzerland’s Art Basel, which is now one of the world’s most prominent contemporary art fairs. No doubt Mr. Rudolf’s long-standing presence in the art world helped draw the A-list of Western and Asian collectors and artists to Singapore.
His continued presence will likely be critical in Art Stage Singapore’s attempts to grow its reputation in the years to come. But given the fair is backed by four prominent Singaporean government agencies, including the Singapore Tourism Board and the Economic Development Board — deeming it the “flagship” effort to turn the city-state into a contemporary-arts hub — it’s likely that Mr. Rudolf has been offered strong incentives to stick around.
As a wrap-up, here’s what some of the collectors and artists said about Art Stage Singapore:
Pascal de Sarthe, gallerist, who says Mr. Rudolf’s role was the key factor in his decision to participate: “I’m extremely pleased with the outcome of Art Stage Singapore and am glad to announce that we have sold all of LaChapelle’s works. The fair also provided us with a platform to meet many collectors from the continent and this has served us well, especially prior to the opening of our gallery [in Singapore].”
Sylvain Levy, French collector: “I am completely surprised at how interesting and refreshing the fair was… I found the works of the Indonesian artists especially intriguing.”
Shen Shaomin, Chinese artist: “Collectors’ Stage, one of Art Stage Singapore’s fringe events, was also a great success, with many people attending its opening…. Some of my works are also currently under negotiation between potential buyers and my gallery.”
Tomio Koyama, gallerist: “The context of an Asian, instead of Western, aesthetic point of view, is what makes Art Stage Singapore appeal to the entire art market.”
David LaChapelle, artist, in a statement about the fair: “It did not intimidate like some art fairs can. It reminded me of the early days of the Sundance Film Festival when there was such optimism.”
Don Rubell, American collector: “The fair was extremely well organised — the gallery booths were large, providing ample space to display larger works.”
MYREPUBLICA.com - News in Nepal: Fast, Full & Factual
KATHMANDU, Jan 20: E-Arts Nepal, an Internet website, founded by Susan Shrestha and the Kasthamandap Artists’ Group was formally launched in Kathmandu on Sunday, January 16.
On eartsnepal.com, artists, art lovers and collectors can now browse and look at works by Nepali artists online, and if they wish, can purchase works through the website.
“We’ve been working on this for the past two months and currently have works by 50 artists online,” shared Erina Tamrakar, a member of Kasthamandap, at the opening. Along with their works on sale, one can also view the bios of these artists, and artworks can be searched in categories of Paintings, Sculptures and Prints.
The website works similar to other ecommerce sites such as eBay and Amazon. A potential buyer can simply select and add artworks to his or her shopping cart and proceed to payment. More details are available under their Buying Guide section of the website.
“The artworks currently are with the artists themselves and we’ll collect them upon the sale of the works and deliver them to the buyers,” informed Tamrakar, a painter herself. Based on the local rates of most galleries, 30% commission of each work sold will go to E-Arts Nepal and the rest to the artist. Artworks are priced in US Dollars; therefore, the target audience of the website is an international one.
Even so, it does not mean that Nepali buyers are not welcome to make purchases. Perhaps, the prices of works in Nepali Rupees would make it locally friendly.
E-Arts Nepal also has sections on Artist of the Month, Collection of the Month, and New Arrivals. Apart from the website being a platform for Nepali artists to showcase and sell their works, and without having to rent a gallery to do so, E-Arts Nepal also holds other useful information pertaining to arts in Nepal, such as museum lists, college lists and conservation guide.
No doubt there are several rooms for improvement as E-Arts Nepal is still in its initial phase. Nonetheless, the website looks promising, especially given the much needed building up of a Nepali art market.
On eartsnepal.com, artists, art lovers and collectors can now browse and look at works by Nepali artists online, and if they wish, can purchase works through the website.
“We’ve been working on this for the past two months and currently have works by 50 artists online,” shared Erina Tamrakar, a member of Kasthamandap, at the opening. Along with their works on sale, one can also view the bios of these artists, and artworks can be searched in categories of Paintings, Sculptures and Prints.
The website works similar to other ecommerce sites such as eBay and Amazon. A potential buyer can simply select and add artworks to his or her shopping cart and proceed to payment. More details are available under their Buying Guide section of the website.
“The artworks currently are with the artists themselves and we’ll collect them upon the sale of the works and deliver them to the buyers,” informed Tamrakar, a painter herself. Based on the local rates of most galleries, 30% commission of each work sold will go to E-Arts Nepal and the rest to the artist. Artworks are priced in US Dollars; therefore, the target audience of the website is an international one.
Even so, it does not mean that Nepali buyers are not welcome to make purchases. Perhaps, the prices of works in Nepali Rupees would make it locally friendly.
E-Arts Nepal also has sections on Artist of the Month, Collection of the Month, and New Arrivals. Apart from the website being a platform for Nepali artists to showcase and sell their works, and without having to rent a gallery to do so, E-Arts Nepal also holds other useful information pertaining to arts in Nepal, such as museum lists, college lists and conservation guide.
No doubt there are several rooms for improvement as E-Arts Nepal is still in its initial phase. Nonetheless, the website looks promising, especially given the much needed building up of a Nepali art market.
The Himalayan Times : Nepali art goes online - Detail News : Nepal News Portal
HIMALAYAN NEWS SERVICE
KATHMANDU: On January 16, Nepali art world forayed into a new world with the launch of E-Arts Nepal online art gallery. The website eartsnepal.com was launched by Chancellor of Nepal Fine Arts Academy Kiran Manandhar at Moksh.
“E-Arts Nepal promotes paintings and sculptures through online gallery to preserve and honour artworks of Nepali artists. The extensive collection shows their hard work,” shared Susan Shrestha, who founded E-Arts Nepal in September 2010 along with Kasthamandap Artist Group.
“We are the first online gallery in Nepal. It promotes our Nepali art,” said Asha Dongol from Kasthamandap Art Group. While Shrestha informed, “We are sharing the works of Nepali artists through technology.”
The online gallery has paintings, sculptures and prints from more than 50 Nepali artists. The collection includes artworks of both the established and young artists. The website also includes news, commentaries and critiques on art exhibitions and art related events. The website also has the featured artist’s biography and profile of his/her art work under the Artist of the month column. There are columns like collection of the month and new arrivals. These artwork featured in the website are available for sale and will be delivered anywhere in the world.
“Art gives an insight about culture of a country. It is an artist’s expression which s/he communicates through art pieces. It also gives peace to the mind,” said Norwegian Ambassador Thor Gislesen.
“The whole idea is good. It will be easy for people abroad to view the artwork and also those who don’t want to run around looking for galleries. Every artist is happy with this effort,” shared artist Saurganga Darshandhari.
KATHMANDU: On January 16, Nepali art world forayed into a new world with the launch of E-Arts Nepal online art gallery. The website eartsnepal.com was launched by Chancellor of Nepal Fine Arts Academy Kiran Manandhar at Moksh.
“E-Arts Nepal promotes paintings and sculptures through online gallery to preserve and honour artworks of Nepali artists. The extensive collection shows their hard work,” shared Susan Shrestha, who founded E-Arts Nepal in September 2010 along with Kasthamandap Artist Group.
“We are the first online gallery in Nepal. It promotes our Nepali art,” said Asha Dongol from Kasthamandap Art Group. While Shrestha informed, “We are sharing the works of Nepali artists through technology.”
The online gallery has paintings, sculptures and prints from more than 50 Nepali artists. The collection includes artworks of both the established and young artists. The website also includes news, commentaries and critiques on art exhibitions and art related events. The website also has the featured artist’s biography and profile of his/her art work under the Artist of the month column. There are columns like collection of the month and new arrivals. These artwork featured in the website are available for sale and will be delivered anywhere in the world.
“Art gives an insight about culture of a country. It is an artist’s expression which s/he communicates through art pieces. It also gives peace to the mind,” said Norwegian Ambassador Thor Gislesen.
“The whole idea is good. It will be easy for people abroad to view the artwork and also those who don’t want to run around looking for galleries. Every artist is happy with this effort,” shared artist Saurganga Darshandhari.
Panda diplomacy: the remix | Analysis & Opinion |
The latest chapter in the long story of panda diplomacy was written at Washington’s National Zoo, where the Chinese government agreed to lengthen the “loan” of popular panda pair Mei Xiang and Tian Tian for another five years. Actually, the loan is conditioned on whether they produce a new heir or heiress to the cuteness of panda-dom in the next two years; one or both could be exchanged for more fecund substitutes.
They have a good track record: Washington native Tai Shan, born in 2005, headed back to China last year.
This was a big enough deal for President Barack Obama to mention it at an elaborate state dinner at the White House for Chinese President Hu Jintao.
“Today, we’ve shown that our governments can work together, as well, for our mutual benefit,” Obama told the glittering gathering. “And that includes this bit of news: Under a new agreement, our National Zoo will continue to dazzle children and visitors with the beloved giant pandas.”
In the United States, panda diplomacy started soon after President Richard Nixon’s 1972 trip to China. But the idea that China might be able to export, or at least loan, this cuddly symbol to further diplomatic ends may date back to the Tang Dynasty, when 7th century Chinese Empress Wu Zetian sent a pair of pandas to Japan.
For some reason, Washington has gone disproportionately gaga over pandas. In 2004, the PandaMania exhibition put fancifully painted panda sculptures around town; there’s still one near the hotel where the Chinese government set up its press operations for President Hu Jintao’s visit. Asked why people in the United States are so smitten, Chinese conservation official Zhang Shanming told reporters it just might be that, when pandas sit on their hind quarters, eating, they look like human babies.
To be honest, Tian Tian and Mei Xiang didn’t look so much like babies in that distinctive pose; they looked more like furry beanbags as the big deal was unveiled. But pandas are pandas and Washingtonians are likely to continue the love affair with them.
They have a good track record: Washington native Tai Shan, born in 2005, headed back to China last year.
This was a big enough deal for President Barack Obama to mention it at an elaborate state dinner at the White House for Chinese President Hu Jintao.
“Today, we’ve shown that our governments can work together, as well, for our mutual benefit,” Obama told the glittering gathering. “And that includes this bit of news: Under a new agreement, our National Zoo will continue to dazzle children and visitors with the beloved giant pandas.”
In the United States, panda diplomacy started soon after President Richard Nixon’s 1972 trip to China. But the idea that China might be able to export, or at least loan, this cuddly symbol to further diplomatic ends may date back to the Tang Dynasty, when 7th century Chinese Empress Wu Zetian sent a pair of pandas to Japan.
For some reason, Washington has gone disproportionately gaga over pandas. In 2004, the PandaMania exhibition put fancifully painted panda sculptures around town; there’s still one near the hotel where the Chinese government set up its press operations for President Hu Jintao’s visit. Asked why people in the United States are so smitten, Chinese conservation official Zhang Shanming told reporters it just might be that, when pandas sit on their hind quarters, eating, they look like human babies.
To be honest, Tian Tian and Mei Xiang didn’t look so much like babies in that distinctive pose; they looked more like furry beanbags as the big deal was unveiled. But pandas are pandas and Washingtonians are likely to continue the love affair with them.
China to provide help for Nalanda University - The Economic Times
BIHARSHARIF: China will provide assistance required to build the Nalanda University in Bihar and develop it as an international institute of learning.
"China will extend all possible help to re-establish the historic Nalanda University of Bihar as an international institute of learning," Chinese Ambassador to India Zhag Yan told reporters here.
He said it would also have positive impact on relations between China and India.
Yan said several other Asian countries were also interested to provide support for the varsity to be set-up in Nalanda district.
The Nalanda University Bill 2010 will establish a central university on the lines of the one founded in the 5th century.
"China will extend all possible help to re-establish the historic Nalanda University of Bihar as an international institute of learning," Chinese Ambassador to India Zhag Yan told reporters here.
He said it would also have positive impact on relations between China and India.
Yan said several other Asian countries were also interested to provide support for the varsity to be set-up in Nalanda district.
The Nalanda University Bill 2010 will establish a central university on the lines of the one founded in the 5th century.
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