Korean Ceramics from Leeum Collection at The Met, starting April 7

NEW YORK - A special loan exhibition focusing on the dynamic art of buncheong ceramics will go on view at The Metropolitan Museum of Art on April 7. Featuring more than 60 masterpieces from the renowned collection of Leeum, Samsung Museum of Art in Seoul, Korea—the majority of which have never before been seen in the U.S.—Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art will explore the bold and startlingly modern ceramic tradition that flourished in Korea during the 15th and 16th centuries of the Joseon dynasty (1392-1910), as well as its eloquent reinterpretations by today's leading ceramists.

The exhibition will also present a selection of Edo-period (1615-1686) Japanese revivals and works by modern and contemporary Japanese potters from the Metropolitan's collection to highlight the fascinating reverberations of buncheong idioms beyond its original place and time of production. This is the first exhibition to feature both buncheong ware and later Japanese ceramics inspired by them and to explore their connections.

The exhibition is made possible by the Korea Foundation. Additional support is provided by Willis.

Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art is organized by Soyoung Lee, Associate Curator in the Museum's Department of Asian Art, and Seung-chang Jeon, Chief Curator of Leeum, Samsung Museum of Art, Seoul. Buncheong ware represents a unique genre of ceramics distinguished by its inventive surface decoration employing white slip and a variety of modes of embellishment, including inlaid, stamped, incised, sgraffito, iron-painted, and brushed designs. There are no comparable parallels in other cultures matching buncheong's expressiveness nor range of slip-applied decorative vocabulary.

Produced from the end of the 14th century, buncheong evolved from the famed inlaid celadon of the Goryeo dynasty (918-1392). The technical, stylistic, and aesthetic transformations represented by the new ceramic were grounded in its antecedent and were radical. Its manufacturing centers were located primarily in the central and southern provinces. Initially used by the court and the elite—as tableware and ceremonial vessels—it rapidly became pottery for the commoner class. A major reason for this shift was the increasing demand and preference for white porcelain. By the second half of the 16th century, buncheong production all but ceased on the Korean peninsula.

In neighboring Japan, a parallel life of buncheong unfolded from the 15th century on, where imported vessels were adopted, used, and treasured by connoisseurs and participants of the tea ceremony. Subsequently, in the 17th through the 19th century, various kilns in Kyushu and other parts of Japan manufactured white slip-decorated ceramics incorporating certain buncheong expressions catered to Japanese aesthetics.

The strikingly expressive and contemporary designs of buncheong ceramics, which embody the creative dynamism of the period, continue to resonate with 21st-century artists and viewers.

The exhibition will showcase a number of masterpieces, including six registered Treasures, such as the stunning Large Jar with Inlaid Peony Decoration (Treasure no. 1422) and the arresting Drum-shaped Bottle with Peony Decoration (Treasure no. 1387). Many of the works feature minimalist or abstract designs, such as an example with an eye-catching Miró-esque decoration (Flask-shaped Bottle with Incised Abstract Design) or another with a scrolling motif rendered with calligraphic virtuoso (Jar with Floral Scroll Decoration).

Three 20th-century Korean paintings from Leeum's collection will also be on view, highlighting the kinds of intuitive, purely visual connections to buncheong that one can find in modern art.

A fully illustrated catalogue published by the Metropolitan Museum and distributed by Yale University Press will accompany the exhibition.

The catalogue is made possible by The Miriam and Ira D. Wallach Foundation.

Education programs organized in conjunction with the exhibition include a special lecture by Soyoung Lee on April 15 and a Sunday at the Met lecture and roundtable discussion on May 15. Gallery talks will also be offered for general audiences.

A web feature about the exhibition, as well as a podcast narrated by Soyoung Lee on the history and tradition of buncheong ceramics, will be available at www.metmuseum.org.

After its viewing at the Metropolitan Museum, the exhibition will be shown at the Asian Art Museum in San Francisco.

Visit the Metropolitan Museum of Art online at www.metmuseum.org.

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Well unearthed in Nara linked to special ceremonies in 8th century - The Mainichi Daily News

A large well unearthed from the remains of the ancient capital of Heijo-kyo in Nara is pictured on March 3. In the background stands the Suzaku-mon main gate. (Mainichi)

NARA -- A large hexagonal well dating back to the Nara Period was unearthed from the remains of the ancient capital of Heijo-kyo, leading researchers to believe that the well had likely been used for special occasions.

The well -- two-tiered with the upper part square-shaped and the lower part hexagonal -- was found in an area called Sakyo Sanjo Ichibo, some 130 meters southeast of the Heijo-kyu palace's main Suzaku-mon gate, researchers at the Nara National Research Institute for Cultural Properties announced on March 3.

Since the area in front of the Suzaku-mon gate had been used as a venue for official ceremonies, including rituals welcoming and bidding farewell to foreign envoys, it is highly likely that the well had played a special role during those ceremonies. It is the largest known well among those found in the former Heijo-kyo capital except for inside the Heijo-kyu palace.

The well's upper part measures some 2.5 meters each side and the lower part some 1.1 meters each side, with the latter's depth reaching some 1.8 meters. With the upper and lower parts combined, the well was apparently three meters deep in total.

Grooved pillars were found buried at the four corners surrounding the well, with plates fitted into the grooves. The frame for the upper well has been removed.

Since Haji pottery jars and eaves tiles have also been unearthed, it is believed that the well had been in use in the latter 8th century.

"Despite the presence of the huge well, which is located near the Suzaku-mon gate, no signs of people having lived there were found. We'd like to clarify the whole picture through supplementary studies in the next fiscal year," said Kazuo Inoue, deputy head of the Nara National Research Institute for Cultural Properties.

Shipwreck exhibit stirs up storm at Smithsonian - CNN.com

London, England (CNN) -- Though they sit quietly beneath the waves, shipwrecks are a cause of much wrangling above the surface. The issue of underwater archaeology is clouded by concerns about treasure hunting, the safety of wrecks, and the sale of finds.

A planned 2012 exhibition at the Smithsonian Institute in Washington, featuring 9th century Chinese artifacts salvaged from a wreck in Indonesian waters in 1998 is at the center of the latest row.

Archaeologists within the institution -- and further afield -- are criticizing the curator's decision to mount the show and, in particular, questioning the nature of the original salvage.

Discovered off the coast of the island Belitung in the Java Sea by fishermen diving for sea cucumbers in 1998, the 9th century Arab dhow was a treasure trove of objects including glazed ceramics, and silver and gold wares.

The Indonesian government granted permission to a private German salvage company, Seabed Explorations GbR, to excavate the wreck using divers.

The collection of finds, which included 60,000 objects, was sold largely intact to Sentosa Leisure Group, a statutory board under the Singapore Ministry of Trade and Industry, for $32 million, according to the Smithsonian.

Julian Raby, director of the Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian, where the exhibition is due to take place, said that the finds represent a highly significant discovery for historians, in particular showing the existence of a kind of maritime silk route between Iraq and China.

"The reality of this wreck, understanding the mixture of things that are involved -- it completely blows your mind," said Raby. Yet some scholars are unhappy about the show.

Paul Johnston, Curator of Maritime History at the National Museum of American History at the Smithsonian, believes that the wreck was excavated too quickly. He said that it was done within just two short seasons -- one of which was just two months long -- and therefore without enough due diligence.

"I don't personally see how anyone could possibly recover 60,000 objects in just two seasons and claim that it's a scientific excavation," he said.

But in an email to CNN, Tilman Walterfang, of Seabed Explorations, wrote: "The (Indonesian) government dictated the pace of recovery (not us) because security for the artifacts and the team couldn't be guaranteed. It was a race against time, with the monsoon season approaching fast, and looters hovering both day and night."

Raby, for his part, defends the salvage company, saying that the objects were conserved to a high degree and that archaeologists were on hand to help with excavations. He also said that the world should celebrate the fact that the collection was sold intact, and not dispersed across the market.

While some looting did take place between seasons, he said, the majority of the wreck's artifacts are kept together.

The Belitung wreck highlights a broader dispute between the archaeological community and commercial excavators, which David Mearns, marine scientist and director of commercial salvage company Blue Water Recoveries, likens to "an open warfare."

"There is a group of academic archaeologists who for whatever reason don't want anything to be touched at all other than by themselves, and certainly not sold," he said, adding that often archaeologists are invited to take part in commercial excavations, but refuse on principle to participate.

"The real concern archaeologists have in regard to this exhibition is that a lot of people on the commercial side will be able to use this to justify their own activities," said Bruce Smith, Curator of North American Archaeology at the Smithsonian. He fears that it will open the door to what he calls "treasure hunters."

But both Seabed Explorations and Raby believe that a middle ground may be reached, that archaeologists and commercial enterprises can work together to excavate wrecks to the highest possible standards.

They say that wrecks are at risk of being looted by local divers and face damage wrought by the ocean itself. Archaeologists may not have the funding to reach a wreck in time, they say, but salvage companies do.

Still, Paul Johnston believes that where money is concerned, due diligence and proper scientific work can often be compromised. In his experience, which includes excavating wrecks in American waters, the vessels are more likely to be damaged by the actions of man than the ocean itself, he said. He maintains he has never had any trouble getting funding for a shipwreck excavation.

In an effort to clear a path through these thorny arguments, Raby of the Smithsonian is inviting some of the most eminent scholars in the field of underwater archaeology to discuss the issue at a conference set for the end of April.

"If we're looking to raise public and political consciousness about the importance of cultural heritage," he said, "then I think one has to ask whether diktat is better than dialogue."

Libyan people & ethnic tribes - China.org.cn

The Libyan population is estimated at 6.5 million, including 1.5 million immigrants. The Arabs are the majority inhabitants of Libya, who brought Islam to the region during the 7th century AD from Arabia. The North African country has about 140 tribes and clans that will likely determine the political future of Libyan leader Muammar Gaddafi.

Libya's Population and Energy Production

Libya's Ethnic Groups

With an area of almost 1,800,000 square kilometers, Libya is the fourth largest country in Africa by area, and the 17th largest in the world. The capital, Tripoli, is home to 1.7 million of Libya's 6.4 million people. >>

The main Arab tribes: The tribal system is still a fundamental part of Libyan society. Most Libyan surnames carry the tribal name and therefore one can easily identify a person's tribe simply by knowing his surname. >>

The Berber tribal groups: The Berbers are the indigenous inhabitants of Libya and the Sahara. There are numerous tribes found in East Libya, West Libya and across the entire Sahara desert where they have been since the beginning of civilization. >>

The Tebo: The Tebo (or Tebu, Tibu, Tibo, Tibbo, or Tibbos) are a group of tribes found along the southern side of the Harouj mountain and to the east of Fezzan. >>

The Jews: The Jewish community's existence in Libya goes back to the time of the pharaohs of ancient Egypt. >>

Immigrants: After the 1969's revolution, Libya witnessed a massive influx of foreign workers, primarily invited to take part in rebuilding Libya. >>

Bulgaria Thracian Gold Pictures

A plate with gold decoration on display pictured during a private exhibition at the National History Museum in Sofia, Bulgaria, 21 March 2011. Nearly 200 gold, silver, bronze and pottery items dating from between the 6th century BC to 1st century BC were shown in the exhibition 'Thrace and Ancient World' which is a collection of Bulgarian businessman Vassil Bozhkov EPA/VASSIL DONEV

A cache of Roman coins dating to the end of the 3rd century AD

rchaeological excavations carried out in Autun, a suburb of Arroux, in France revealed an ancient quarter composed of craft workshops and fine residences. The workshop of the famous coroplath (figurine maker) Pistillus was discovered, along with a pottery kiln and moulds, complete figurines and failed ones, and signed with the name of the figurine maker.

During the final weeks of the excavation the archaeologists also found a cache of Roman coins dating to the end of the 3rd century AD which were buried in a pit sealed with tiles.

The small bronze coins were of an ‘unofficial’ type, like many that circulated during the troubled period of the second half of the 3rd century/early 4th century. Internal wars and conflict between contenders to the emperor’s throne, epidemics, the financial burdens of sustaining a large army, pressures at the borders of the Empire, economic crisis, and a host of other troubles meant the Empire was in crisis at this time.

The Roman State was no longer capable of fully ensuring the long-term control of the monetary system. Small bronze mintings of little value appeared, which specialists would call “necessity coins”. The intent was not to deceive but to serve as spendable cash within the local economy. Though produced by private citizens, they were more or less tolerated by the State.

They were however poor imitations of the official productions and the effigies are difficult to identify. The coins discovered at Autun resemble typical 3rd century ones, such as those of Tetricus. Due to the high copper content of the deposit, the wicker basket in which they were stored is partially preserved.

Though this assemblage would have had a reasonable valuable, it does not seem to have been a hidden treasure, but rather a deposit of debased coins destined to be recast. The pit is in fact located within one of the metallurgy workshops revealed at the site.

In effect, to re-establish a healthy monetary economy, some emperors launched reforms and attempted to replace the ancient coins that had no value other than that of their metal. The monetary deposit of Autun is perhaps linked to the reforms of Diocletian under the Tetrarchy (late 3rd century-early 4th century).

These numismatic artefacts will contribute to an understanding of unofficial mints and the phenomena of debasement and recasting of coins during the Empire. They join the approx. 300 other Roman coins—mostly bronze—discovered elsewhere on the site.

Ancient tradition | Historical Society of Pandiya Nadu

SEGREGATION of burial grounds has existed in the Tamil country from time immemorial, say experts. C. Santhalingam, veteran archaeologist and secretary of the Madurai-based Pandiya Naattu Varalaatru Peravai (Historical Society of Pandiya Nadu), said people belonging to different communities lived in segregated habitations called cheris and each of them had its own burial/cremation ground.

According to him, the burial practice started from the megalithic period. “As far as Tamil Nadu is concerned, we have evidence for megalithic burials. In such burials there are so many types, such as dolmens, dolmanoid cists, slab cists, urn burials, menhirs, hero stones, umbrella stones and cap stones,” he said.

The southern Tamil Nadu region has several urn burial sites, he said. “Recently at Pulimankombai village in Andipatti taluk in Theni district, archaeologists discovered some inscribed hero stones that belong to the 4th century B.C. These are the earliest hero stones with inscriptions so far found in Tamil Nadu,” he said. In Sangam literature, there are plenty of references to hero stones and the Pulimankombai discoveries corroborate them, he added.

In the early Tamil epic Manimekalai, of the 5th century A.D., different types of burials such as cremation and burial- suduvor (cremation), iduvor (burial), thaazhiyil kavippor (urn burial) and thaazhvayin adaippor (cist burial) are mentioned, Santhalingam said.

Throwing light on the hero stone culture, he said, “In some districts, including Tiruvannamalai and Dharmapuri, several inscribed hero stones have been reported by archaeologists. They were erected for the heroes who dedicated their lives to the cause of safeguarding the villagers and their cattle. In the process of reclamation of forest lands, they would have encountered dangers from wild animals and lost their lives. For such valorous persons also hero stones were planted. Their names and their country's names and other details were inscribed [on the stones]. Such practices continued from the 4th century B.C. up to the 16th century A.D.”

Referring to the changes that unfolded in pastoral life, he said people switched to cultivation as the main occupation. “Concomitantly, rigid state formation also started in the Tamil land. From the 6th century A.D. onwards, the Pallavas in northern Tamil Nadu and the Pandyas in southern Tamil Nadu established their states.”

As migration of the Brahmin community started from the north to the south, its members were patronised by the rulers (the Pallavas), who provided them fertile land, called ‘Brahmadeyas' or ‘Chaturvedimangalam', with exclusive water rights, Santhalingam said. So far in Tamil Nadu, around 800 Brahmadeyas have been enumerated from the 6th century to the 13th century A.D. These lands were owned by Brahmins, and the tillers, who were landless farm labourers, lived in separate areas called pidagais (hamlets). Each chaturvedimangalam might have had three or four pidagais.

“As there were separate dwelling areas for landowners and farm labourers, their burial grounds also must have been segregated,” he said. People also lived in segregated habitations known as kammala cheri, Parai cheri and Andhana cheri. So, each community had separate habitations and burial grounds, he added.

In support of the argument, he said, such differences could be seen in the Raja Raja Chola inscription of the 11th century A.D. ( South Indian Inscriptions, Volume-II, record No.5), “which speaks of Vellan sudukaadu (burial grounds of the Vellalas), Parai sudukaadu (burial grounds of Dalits), Eala cheri (habitation of toddy tappers) and Parai cheri (habitation of Dalits). The stone inscription dated A.D. 1014, the last regnal year of King Raja Raja Chola-I, refers to the boundaries of a land.”

The stone inscription was reported from the Thanjavur region and has been published in South Indian Inscriptions, Volume-II as record No.5 dated A.D. 1014. The inscription speaks about land boundaries; when land was donated to a temple, the four boundaries were demarcated. So, during the donation, burial grounds or land given to Jains and Buddhists were exempted from the donated land.

Santhalingam also referred to another stone inscription, dated to the 18th century A.D., found at the Kuduminathar temple in Kudumiyanmalai village in Pudukottai district. “It speaks about burial-related services rendered by some persons of the Valayar caste and engaging in such practices was banned by their own community, which also appealed to their kin not to take up such menial jobs.”

He said: “Though there is no evidence to show that each community adopted its own custom in performing the last rites, there is some historical evidence to show that when persons with royal background or some heroes were buried, their belongings such as swords, ornaments, diadems, haras made of metals and semi-precious stones such as carnelian, paste beads, glass beads, jasper and crystal beads, etc., were also buried along with the mortal remains. In some other places, we have unearthed earthen pots with their names, scripts and graffiti. From these pieces of evidence, we can differentiate the burial of royals and commoners. Gold diadems were collected from Athichanallur, the earliest – 1000 B.C. – burial site excavated 100 years ago on the banks of the Tamiraparani river in Tamil Nadu's Tuticorin district.”

A Huge Market, With New Players - NYTimes.com

SINGAPORE — An 11th-century Chinese mechanical marvel — a water-driven astronomical clock tower in Kaifeng that has long since been dismantled — has inspired the introduction of a new Hong Kong-based watch brand, the Chinese Timekeeper, which proudly proclaims its 100 percent Chinese-made pedigree.

“Greater China is a huge market for watches, and when you look specifically for mechanical watches, they’re almost all sold as Swiss-made,” Adrien Choux, the Frenchman who is founder and marketing director of the new brand, said in a telephone interview. “Yet when you look into the details, most of them have some parts manufactured in China. This proves that the quality of Chinese-made components is good and you just have to pay attention during the assembly process and apply a strict quality control.”

A report released in November by Bain & Co. said that the Chinese luxury watch market was worth 15.5 billion renminbi in 2009, or $2.34 billion, and that it was growing at 35 percent a year. The high end of the market was dominated by foreign brands, especially the top five: Cartier, Longines, Omega, Rolex and Tudor.

While there are several large Chinese watch brands — like Sea Gull, made by Tianjin Sea Gull Watch Manufacturing Group, the largest producer of automatic movements in the world, Rossini, Ebohr, Shanghai Watch and Fiyta — they have mainly focused on mass-market production. Aspirations toward the luxury end of the market, however, are starting to emerge among several Chinese players.

“The Chinese have always had a unique relationship to luxury products, such as silk, jade and porcelain,” Mr. Choux said. “They also have a long history in time-keeping, creating the first water-driven escapement mechanism, the first armillary sphere or even the mechanical gears. I felt there were all the elements to establish a strong new Chinese brand: A clear opportunity in terms of manufacturing, a huge consumer market and a history you can play on.”

Mr. Choux, who has lived in Asia for more than a decade, noted that in the two years before the introduction of the Chinese Timekeeper in December he had been encouraged by the fact that the French luxury house Hermès took a similar strategic approach to the market by introducing a China-made luxury brand tailored for its Chinese customers, Shang Xia. Of his brand, he added: “It’s a Chinese brand designed and assembled in Hong Kong by local watchmakers, inspired by a fascinating Chinese history and destined to intrigue the Chinese customers. The fact that I’m French doesn’t really matter. I see a great opportunity here.”

Another Hong Kong brand, Longio, started producing tourbillon watches in 2007 and now has seven models, with retail prices ranging from $2,800 to $8,000.

In 2009, Shanghai Watch released its first tourbillon, a piece designed by Eric Giroud, the Swiss designer behind the Harry Winston Tourbillon Glissière. In January, the brand offered the Unity 128 Tourbillon, again designed by Mr. Giroud in consultation with Carson Chan, managing director and international watch specialist at Bonhams Hong Kong.

While the first rose gold tourbillon retailed for 138,000 Hong Kong dollars, about $17,700, the new one retails at 238,000 dollars. The company declined to reveal how many of the first watches had already been sold, saying only that it was “close to sold out.”

“I think the Chinese are starting to make watches just as the Japanese made their cars in the ’60s and ’70s and the Koreans started making mobile phones in the ’90s,” Mr. Chan said. “Back then, a Samsung or LG mobile phone was seen as inferior. Today, the Samsung Galaxy pad is giving the iPad a run for its money.”

Tianjin Sea Gull Watch now produces about 300,000 watches with its own in-house movement, including 5,000 Sea-Gull tourbillon watches, and its general manager, Jian Wang, in an interview with the specialized watch Web site Europa Star, said it planned to triple its tourbillon production over the next few years. The Chinese company also plans to invest in a Swiss movement company to improve its own gear.

Ebohr, too, has announced plans to move into the mid-range watch market, by launching a tourbillon timepiece for 10,000 renminbi. And the company has invested in a new Swiss brand, Codex, which is targeting the mid-range market with chronographs priced from $4,000 to $5,000.

Mr. Choux of the Chinese Timekeeper said his new brand was using components from a variety of high-end watch manufacturers, primarily in Guangdong Province, and movements by Sea Gull that are then assembled in Hong Kong, which he said allowed for better quality control. “The idea,” he said, “is to offer a brand that competes in terms of quality and design with what exists in Switzerland, but giving it a Chinese look and heritage that consumers can relate to.”

The new brand logo on the rotating gear of the watch movement is a Chinese sage with his long hair characteristically tied in a bun. He is depicted walking with his hands behind his back on the rotating gear of a watch movement.

The design of the Chinese Timekeeper piece has kept that astronomical clock tower in Kaifeng in mind. The round case is composed of four stainless-steel rings, a play on the four-story pagoda, while the number 10 on the dial has been replaced with the Chinese character — which can also be read as “perfect.”

The first collection of this watch comprises six models, ranging from 17,800 Hong Kong dollars to 20,800 dollars. Since December, about 30 watches have been sold in Hong Kong, Mr. Choux said.

“It’s entry-level luxury,” he added. “I think that’s where a new Chinese brand needs to be if it wants to claim some differentiation and build its own legitimacy. Our challenge, being priced around €2,000, is to alter the current perception held by many Chinese customers of being too expensive for a Chinese brand.”

Grandville show a 'history-altering event' : DY Weekend : Features : DAILY YOMIURI ONLINE (The Daily Yomiuri)

Grandville show a 'history-altering event' : DY Weekend : Features : DAILY YOMIURI ONLINE (The Daily Yomiuri)

Kumi Matsumaru / Daily Yomiuri Staff Writer

French literature scholar Shigeru Kashima says his collection, which went on show last week in Tokyo, will alter people's perceptions of art history and greatly affect artists and illustrators.

His collection of work by French printmaker and caricaturist J.J. Grandville, who was active in the first half of the 19th century, is "the first overview of his works in the world."

"I don't think anybody else in the world has more of his works than I," Kashima told The Daily Yomiuri prior to the opening of J.J. Grandville: Gravures Francaises Fantastiques au XIXeme Siecle at Nerima Art Museum in Tokyo. "My collection teaches us a lot about his artistry and achievements."

Grandville, whose work also has been highly praised elsewhere, rose to fame with his illustrations of half-animal half-human characters in a collection titled Les Metamorphoses du Jour in 1829.

By the time of the book's release, Grandville had already proven his ability to express our subconscious instincts in the form of animals. He used his editorial illustrations for satirical magazines and books to take penetrating looks at politics and public morality through the guise of his fantastic drawings, which later had a significant influence on the Surrealist movement of 1920s France.

Kashima said he became fascinated with Grandville's works since when he found them at a second-hand bookshop in Paris. His collection is split into three sections split over the Nerima museum's two floors.

The first section covers his works from 1825 to 1835, highlighting the rise of Grandville as a leading caricaturist. The works on show include 47 out of the 73 drawings for Les Metamorphoses du Jour, which were published in 1828-1829 and poked fun at people of various classes.

In Je n'y suis pour personne., what appears to be a bear sits and waits as a bird--presumably his wife--stands behind him with cleaning equipment.

The second part of the show, which deals with his works up until 1847, examines how the artist developed his own fantasy world until 1847. Especially amusing is a series of drawings titled Scenes de la Vie Privee et Publique des Animaux, published in 1840-42, in which he depicts the private life of animals. In it, he lampooned people who relied on superficial means to change their image, and the idea that one should be careful of one's actions because there may be somebody watching.

The last section shows the extent to which Grandville, who died in 1847 at the age of 43, has continued to influence artists. The items on display include books containing half-finished works.

Kashima is known for having a vast collection of books that he says "makes money for me." He has opened an antique book studio he rents out for photographic shoots.

While he is unsure of exactly how many books he has, Kashima says he spent a small fortune on the Grandville books. "I'm sure I'm not the only one whose life changed the moment he saw these drawings," he writes in the exhibition catalogue.

Kashima is confident this showcase will spark a sort of Grandville-mania that leads to a rethink of art history.

"J.J. Grandville: Gravures Francaises Fantastiques au XIXeme Siecle," until April 3, 10 a.m. to 6 p.m., at Nerima Art Museum near Nakamurabashi Station on Seibu Ikebukuro Line in Nerima Ward, Tokyo. Closed March 22 and Mondays, except for March 21. Admission is 500 yen for adults, with student and senior discounts available. For further information, visit http://tinyurl.com/GrandvilleDY.

Sotheby's New York Announces Sale of Indian & Southeast Asian Works of Art

Sotheby's New York Announces Sale of Indian & Southeast Asian Works of Art

An Illustration to the Gita Govinda: Krishna Adorns his beloved Radha, India, Kangra or Guler, circa 1780. Image: 5 ½ x 9 ½ in., 15 x 25 cm. Est. $150/250,000. Photo: Sotheby's.

NEW YORK, N.Y.- Sotheby Indian & Southeast Asian Works of Art sale on 24 March in New York will be led by a spectacular 10th century Khmer Koh Ker period Athlete from a European private collection (est. $2/3 million). Acquired by the original owner over 40 years ago, the figure is mate to the Koh Ker athlete at the Norton Simon Museum in Pasadena that is almost identical in posture and physical appearance. The sale also includes early South and Southeast Asian stone and bronze sculpture, Indian miniature painting, Tibetan and Himalayan bronzes, the famous Pearl Canopy of Baroda, Raj-era silver and fine ivory works. Overall the 112 lot auction is estimated to fetch $8.2/12.2 million. The Khmer Athlete was commissioned by emperor Jayavarman IV (r. 914 – 928) for his new capital at Koh Ker 80 miles north of Angkor. Koh Ker sculptures are among the great masterpieces of Khmer art. The impressive size and quality of the figure reflects the prestige and importance of the ruler who commissioned it as well of the skill of his craftsmen. The Athlete’s pose derives from Cambodian dance postures which often depicted Hindu epics and mythology. These dances have been a constant feature in the country’s long history. The imposing stance of this figure indicates that it was more significant than a mere temple guardian. Indeed, the Athlete would have been a major mythological figure, instantly recognizable to the Khmer elite of the day and this depiction stands as one of the great achievements of Khmer art. A further important Khmer work in the sale is a sandstone Standing Shiva, Baphuon style, from the 11th century (est. $300/500,000). This beautifully modeled figure is arguably one of the finest sculptures of the Baphuon School. Its expressive face includes a third eye on the forehead identifying the figure as Shiva. An exquisite silver and copper inlaid Pala bronze from eastern India depicting the bodhisattva Manjushri, one of the most iconic deities in Mahayana Buddhism, belongs to the 11th /12th century (est. $200/300,000). This superb sculpture demonstrates the refinement of Pala figuration which was known for its elegance and highly stylized motifs. The section on South Indian bronzes is highlighted by a fine copper alloy sculpture of the Jina Parsvanatha dating to the 9th century that has been in the same collection for nearly 50 years (est. $150/200,000). The unclad figure of the Jina stands on a tiered plinth scattered with ritual implements. The unusual anchor shaped srivatsa on the Jina’s chest as well as the paleography of the Grantha inscription on the base, confirm the sculpture’s early date. A pair of exceptional Tibeto-Chinese gilt bronzes from the Qing Dynasty are highlights of the Tibetan works in the sale (est.$150/200,000 each). The sculptures depict The Arhats Kalika and Ajita, enlightened disciples of Shakyamuni Buddha. The group of Indian miniatures in the sale is led by An Illustration to the Gita Govinda: Krishna Adorns his beloved Radha (est. $150/250,000). The painting depicts a scene from the Gita Govinda (Song of the Dark Lord) composed by the 12th century poet Jayadeva. The verse is homage to the incarnation of the Supreme Being Vishnu as Krishna, the Divine Lover. Here Krishna is seen tenderly tying a jeweled girdle around the waist of his beloved Radha after their tryst on the banks of the Yamuna. The auction ends with a selection of fine decorative works including a pair of rare ceremonial ivory sandals of Sri Lankan origin dating to the 18th/19th century (est. $40/60,000), a sumptuous early-19th century gilt silver Pandaan of Deccani origin (est. $80/120,000) and a pair of finely-wrought silver goblets by Omerse Mawji of Kutch (est. $30/50,000) the lead Raj-era silversmith of India.

Dura-Europos: A buried city unearthed - Dover, MA - Dover-Sherborn Press

Boston —

Around 165 A.D., Christians, Jews and pagans lived and worshiped side by side in a cosmopolitan city called Dura-Europos by the Euphrates River on the frontier of the Roman Empire.
Located in modern-day Syria, it housed a Roman military garrison of more than 10,000 soldiers and civilians whose lives reflected the hopes and dangers of those uncertain times.
A couple exchanged an engagement ring engraved with the word “Omonoia,” or “concord.” Soldiers dallied in a brothel adorned with a statue of Aphrodite, the goddess of love. A man named Tiro sold a 28-year-old female slave Math-Sin for 700 denari, worth about two years of unskilled labor.
Then sacked by invading Sasanians and abandoned in 256, the city lay covered by earth and lost for 16 centuries.
Through serendipity and determined archaeology, the city has come alive again through a remarkable exhibition at the McMullen Museum of Art at Boston College.
Organized by the McMullen and Yale University Art Gallery, “Dura-Europos: Crossroads of Antiquity” opens a thrilling window into a multicultural society through fascinating artifacts of great beauty and historical significance.
For Lisa R. Brody, who helped organize the exhibit, the 75 artifacts on display “provide glimpses into the lives of the people” who lived in Dura-Europos so long ago.
An associate curator of ancient art at Yale University Archives, she said thousands of objects recovered from the site and resulting research provide a multidimensional picture of the physical and spiritual lives of the city’s residents.
Visitors can stand before reconstructions of sacred spaces from the city where early Christians baptized their children, Jews gathered and adherents of mystery cults participated in forgotten rituals.
They can gaze upon some of the earliest painted images of Christ performing miracles, a statue of Hercules battling a lion, a Roman’s red wooden shield or an invader’s flattened iron helmet.
The exhibit includes the earliest known example of a baptistry, or baptisimal pool, along with 14 painted plaster scenes of Christian narratives such as Christ healing a paralytic or walking on water.
The exhibit includes four copies of wall paintings from the synagogue, one containing symbols of uncertain meaning.
Visitors can see a Mithraeum, a shrine for the mystery cult known as Mithraism, often practiced by Roman soldiers that featured secret rituals such as the killing of a bull.
Assistant Professor Gail L. Hoffman, who teaches classics and fine arts at BC and helped organize the show, predicted visitors would be intrigued by the accidental discovery of the city in 1920 by British soldiers digging a gun emplacement and subsequent excavations by archaeologists from Yale University, France and Syria.
“The exhibition explores how the ancient town of Dura-Europos, while it was destroyed by and then unearthed as a result of the clash of empires, contains within its walls a city where cultures and languages, the arts and even settings of religious worship mixed and intermingled,” she said.
Far more than a collection of old objects, “Crossroads” brings alive the people of Dura-Europos by showing where they prayed, what they wore, how they fought and even how they divorced.
A document from 254 A.D. recovered from the site records the divorce decree between a soldier, Julius Antiochus, and Aurella Amimma, who is illiterate, in which they give each other permission to remarry and relinquish future claims against one another.
Life in Dura-Europos was as uncertain in 165 A.D. as it is today.
The city was founded around 300 B.C. by Macedonian Greek soldiers, prospered from trade on nearby caravan routes and vanished from sight after six centuries.
When the end came in 256, Sasanian and Roman soldiers fought to the death in underground tunnels, trying to sabotage and shore up, respectively, the fortress walls even to the point of using a kind of chemical warfare that presaged brutalities to come.
McMullen Museum Director Nancy Netzer compared the exhibit to a snapshot of a polyglot, a multicultural society that appeared to thrive in the face of threats from Sasanians, the precursors of the Persian empire.
She observed that some of the exhibit’s most important artifacts were inadvertently preserved when Roman soldiers buried several city blocks within an earthen embankment constructed to shore up the city’s western wall.
“The architectural record is so rich for this site...and tells us something about how different ethnic societies existed in the ancient world. Jews, Christians and pagans worshiped in buildings alongside each other. There’s no evidence of strife except that which came from outside,” she said.
For her own research, Netzer examined arms and military trappings worn by some of the invading Sasanians, which appear to have come all the way from England, suggesting trade routes and other ties that require further exploration.
Netzer said she was especially struck by architectural and decorative similarities in the spaces where Christians, Jews and pagans worshiped.
“The similarities provoke questions about relationships among different religious group in a very wealthy and strategic outpost of the Roman empire,” she said. “It’s a crossroads in many ways.”

“Dura-Europos: Crossroads of Antiquity”
Through June 5
McMullen Museum of Art
Boston College
Admission: Free
Call: 617-552-8587
www.bc.edu/artmuseum

Read more: Dura-Europos: A buried city unearthed - Dover, MA - Dover-Sherborn Press http://www.wickedlocal.com/dover/archive/x1705412184/Dura-Europos-A-buried-city-unearthed#ixzz1FSYs33Xm

Famous Los Angeles Getty Museum exhibiting Ganesha and Vishnu

Prestigious J. Paul Getty Museum of Los Angeles (USA) is currently exhibiting 13th century Lord Ganesha in its "Gods of Angkor" exhibition, which will continue till August 14. This exhibition contains intricately detailed 26 historical bronze statues and ritual objects from Cambodia, including 11-12th century Lord Vishnu, Lord Shiva's bull Nandi, etc. Ganesha statue, in a sitting posture, is shown with snakes forming his armbands. Applauding Getty Center for exhibiting Hindu focused art, distinguished Hindu statesman Rajan Zed, in a statement in Nevada (USA) today, said that art had a long and rich tradition in Hinduism and ancient Sanskrit literature talked about religious paintings of deities on wood or cloth. Rajan Zed, who is President of Universal Society of Hinduism, urged major art museums of the world, including Musee du Louvre and Musee d'Orsay of Paris, Metropolitan Museum of Art in New York, Los Angeles Getty Center, Uffizi Gallery of Florence (Italy), Art Institute of Chicago, Tate Modern of London, Prado Museum of Madrid, National Gallery of Art in Washington DC, etc., to frequently organize Hindu art focused exhibitions, thus sharing the rich Hindu art heritage with the rest of the world. The J. Paul Getty Museum at the Getty Center in Los Angeles houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European and American photographs. The J. Paul Getty Museum at the Getty Villa in Malibu houses approximately 44,000 works of art from Greek, Roman, and Etruscan antiquities. David Bomford is the Acting Director while Mark S. Siegel is Board Chair of Getty Trust.(ANI)

China digs for gold in Britain - China.org.cn

The British antiques market is enjoying a golden period, with buyers from China looking to reclaim important heritage artifacts. The phenomenon has permeated both high-end and regional antique houses and some sellers have reported monthly sales figures reaching the level previously expected in a year.

Mark Dodgson, secretary general of the British Antique Dealers’ Association, told the Global Times that visitors from the Chinese mainland were targeting Chinese artworks, and specifically artworks not originally made for the export market.

"They are keen to buy ‘imperial’ items, from a number of dynasties. Chinese buyers are not, however, particularly interested in the many ceramic items that were exported from China to the West more than 200 years ago, despite these items being highly valued by Western collectors,” he explained.

Ivan Macquisten, the editor of the UK-based trade magazine Antiques Trade Gazette suggested that this trend first became apparent around 2005, after a landmark ￡2.6 million ($4.22 million) sale of a 14th century Yuan Dynasty (1279–1368) porcelain double-gourd vase (pictured right) at Woolley & Wallis of Salisbury in July 2005. “Christie’s sold another Yuan Dynasty vase for ￡14 million at the same time, but this was the first big sale outside London.

Although the sale was made to a dealer, it was thought to be on behalf of a Chinese collector,” he said.

China digs for gold in Britain - China.org.cn

Gujarat Set To Promote Buddhist Pilgrimage Tourism | Easy Destination Blog

Gujarat Set To Promote Buddhist Pilgrimage Tourism Easy Destination Blog

Buddha caves to draw tourists - The Times of India

Buddha caves to draw tourists - The Times of India

Armenian basilica dated 5th or 6th century discovered on Mount Ararat - PanARMENIAN.Net

Armenian basilica dated 5th or 6th century discovered on Mount Ararat - PanARMENIAN.Net

Russia-InfoCentre :: Medieval Fortress to be Reconstructed in Surgut

Russia-InfoCentre :: Medieval Fortress to be Reconstructed in Surgut

Is part of Opa monument of 7th century? - The Times of India

Is part of Opa monument of 7th century? - The Times of India

Catholic Culture : Latest Headlines : 5th-century church uncovered in Israel

Catholic Culture : Latest Headlines : 5th-century church uncovered in Israel

LuminoMagazine.com - THE PRIMITIVE BEAUTY OF KODO

LuminoMagazine.com - THE PRIMITIVE BEAUTY OF KODO

Mangalore: Rare 14th Century Stone Inscription Found in City

Mangalore: Rare 14th Century Stone Inscription Found in City

The Basant People of Delhi : The Delhiwalla

The Basant People of Delhi : The Delhiwalla

14th century idols found in Banaskantha village - The Times of India

14th century idols found in Banaskantha village - The Times of India

Ancient Resource’s Feb. 19 sale features Amlash rhyton, Cleopatra's hand

Ancient Resource’s Feb. 19 sale features Amlash rhyton, Cleopatra's hand

Ruins of two 4000-year-old cities discovered in central China

ZHENGZHOU, Jan. 13 (Xinhua) -- Chinese archeologists have unearthed the ruins of two ancient cities in the central China province of Henan.

The cities date back 4,000 years, Ma Xiaolin, deputy director of Henan's provincial cultural heritage bureau, said Thursday.

The discovery will shed light on the development and construction of early cities, culture shifts and the origin of the nation.

One of the cities is believed to be the capital of a tribal state of the Xia Dynasty (2100 BC-1600 BC). The other is thought to be a key military town of the early Shang Dynasty (1,600 BC-1,100 BC).

The two square-shaped cities are located in the Wangjinglou relics site in Xinzheng City. They cover an area of 1.68 million square meters.

The military town has a 2,000-square-meter gate, China's oldest discovered defense enclosure.

The relics also include city walls, moats, rivers, roads and tombs.

Christie's auction house has best year in 245-year history - Telegraph

Total sales rose more than 50pc to hit £3.3bn last year, as the company retained its position as the world’s largest auction house.

Christie's was involved in two-thirds of global artwork sales worth more than $50m (£32m).

Works sold over the course of 2010 included Pablo Picasso’s Nude, Green Leaves and Bust, which sold for an auction world record £70.3m, as well as the £35.2m sale of Alberto Giacometti’s Grande tête mince, both of which were sold on the same day last May.

Impressionist and modern art sales was Christie’s most successful market, with sales totalling £767m, followed by post-war and contemporary art sales of £603m.

Europe and the US were responsible for the lion’s share of sales, but growth was fastest in the company’s Asian business, with sales more than doubling to £499m.

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Steven Murphy, chief executive of Christie’s International, said: “2010 was a record-breaking year and early signs of 2011 indicate that the art market remains buoyant at all levels.”

Sotheby’s, Christie’s biggest rival, also had a good year in 2010 with sales, excluding private deals, of about £2.7bn.

“This has been one of the greatest years ever for Christie’s and the art market. The results of 2010 are the fruition of a decade of endeavour led by a strong and dedicated team,” Mr Murphy said.

The auctioneer’s next big sales will be an Impressionist and Modern Art Evening and The Art of the Surreal in London next month, which together are expected to raise as much as £109m.

Internet sales are expected to become a bigger part of the company’s business, and online bidding via Christie’s LIVE made up 28pc of total sales last year compared with 23pc in 2009.

Emerging markets such as China are becoming increasingly important to Christie’s and the development of the Asian business will be a major focus for the next five years.

Is part of Opa monument of 7th century? - The Times of India

PANAJI: Is part of the 12th century Saptakoteshwar temple at Opa originally a rock-cut cave dating back to the 7th century?

Some archaeologists say it is one of the oldest temples in the state and its garb griha (sanctum sanctorum) is the original temple.

"This original part of the temple is scooped out from the laterite," says state archives and archaeology department assistant superintending archaeologist Manguesh Deshpande.

The superstructure of the rest of the temple, including the sabha mandap (outer hall) and antaral (vestibule/ connecting passage) were laid later over and around the cave temple, he explained.

Archaeologists find some evidence of the earlier period. "The Shivlinga in the garb griha is mounted on a pedestal and its style is typical of the western Chalukya period," archaeologist Varad Sabnis said. Agrees Deshpande, "The style of the Shivling is of an earlier phase and differs from other Shivlings."

Shree Saptakoteshwar was the family deity of the Kadamba dynasty. "In fact, King Jaykeshi included Saptakoteshwar in his title," Sabnis said. The famous 12th century Mahadeva temple at Tambdi Surla is considered the oldest existing living monument of the Kadambas.

Conceding that a proper study may be needed regarding the temple's antiquity, Deshpande said that the garb griha and the rest of the superstructure blend so well that few notice the distinction. "The different hue and texture of stones in both structures is distinctly visible near the arch of the garb griha," he said.

Another cave, Ishwar Bhat in Amona also has a similar Shivling belonging to the 7th century. The motifs on the granite door jambs at Opa are also characteristic of the art of the Chalukya period.

"Few have noticed that there are two structures within-one carved into the laterite and the other a subsequent addition," said Deshpande.

Read more: Is part of Opa monument of 7th century? - The Times of India http://timesofindia.indiatimes.com/city/goa/Is-part-of-Opa-monument-of-7th-century/articleshow/7387507.cms#ixzz1CdAcN0Nm

Genesis of portraits in Indian art traced - The Times of India

PATNA: Delivering a lecture on `Historical Portraits in Indian Art at the Khuda Bakhsh Library on Saturday, art historian and Tagore National Fellow S P Verma traced the genesis of portraits in Indian art to the 4th century AD and highlighted the contribution made by the Mughal emperors in this regard.

He stated that emperors Akbar and Jahangir got their portraits and also those of their nobles and officials prepared on a largescale. The Mughal painters, by striking a synthesis between Indian, Iranian and European traditions, raised the level of portraiture to an extraordinary finesse.

Many of these portraits, incidentally, are preserved at the Library. Verma said that they generally belong to the 18th century and represent a phase of stagnation. Nevertheless, they constitute an important source: Material for reconstructing the history of the Mughal empire. A slide-show of important portraits further enriched the lecture.

Former VC of Maulana Mazharul Haq Arabic & Persian University Qamar Ahsan presided while Library director Imtiaz Ahmad welcomed the guests and introduced Verma who has seven books and scores of articles published in the country and abroad. He also has been assigned the responsibility of preparing a descriptive catalogue of the illustrated manuscripts at the Library.

Read more: Genesis of portraits in Indian art traced - The Times of India http://timesofindia.indiatimes.com/city/patna/Genesis-of-portraits-in-Indian-art-traced/articleshow/7387247.cms#ixzz1Cd6SGv3r

Berlin shows off real-life 'Indiana Jones' treasures | The Manila Bulletin Newspaper Online

Berlin shows off real-life 'Indiana Jones' treasures

By Francis Curta

January 29, 2011, 3:28am

Giant basalt lion figures (9th century BC) from the entrance of the Western Palace of Tell Halaf are seen here on display at the "Rescued Gods of the Palace of Tell Halaf" exhibition at the Pergamon museum in Berlin. (AFP)

BERLIN (AFP) – A treasure trove of 3,000-year-old giant birds, lions, and goddesses goes on show in Berlin with a past so incredible that it could rival archaeology action film hero Indiana Jones.

The story kicks off nearly 100 years ago when Max von Oppenheim, the son of a rich German banker, fell in love with the Middle East as a diplomat keeping an eye on British empire-building.

He stumbled across the ruined palace of an Aramaean king, buried in the desert, as German engineers toiled on the nearby Berlin to Baghdad railway line along what is today the Turkish-Syrian border.

After two digs, from 1911-1913 and 1927-1929, Oppenheim brought back many of his finds to Berlin where they were housed in their own museum.

Some statues were damaged during fighting between French and Turkish troops at the end of World War I. One goddess-like figure had her pleats and nose chopped off with an axe.

But much worse was to come.

The museum was bombed in November 1943 and all artefacts made of wood and gypsum were burnt to a cinder. Only the basalt rock statues survived the inferno, but cold water used by firemen fractured them nearly beyond repair.

"The whole museum reached temperatures of over 1,000 degrees (Celsius) (1,800 degrees Fahrenheit)," said Kirsten Drueppel, an expert at Berlin Technical University's department of mineralogy involved in the restoration.

"And then it was suddenly cooled down with water and this put severe stress on the stones, which just exploded."

The fragments were recovered from the ash, but then disappeared for more than 50 years into the dark cellars of a museum in communist East Berlin, half-forgotten until the collapse of the Berlin Wall in 1989.

In 2001 the painstaking work of restoration began. It then took nine years of detective work to fit together most of the 27,000 pieces of this giant 3-D puzzle, and breathe new life into some 60 priceless artifacts.

"Some 90 percent of what could be saved has been restored," Beate Salje, head of ancient Near East section at the Pergamon museum, where the treasures go on display, told a press conference here.

Some pieces were as small as a fingernail, others weighed one and a half tonnes. One of the statues, a goddess, was broken into 1,800 pieces. One of the restored lions is made of 900 fragments.

"The work of restoration was never wearisome or a pain. It's the sort of work that requires a lot of effort, but it's what you dream of doing when you are an archaeologist," said curator Lutz Martin.

The exhibition, "Rescued Gods of the Palace of Tell Halaf", is open to the public until August 14. The Pergamon on Berlin's central Museum Island is expected, at some future date, to be made its permanent home.

In the meantime, the exhibition might tour the United States, Britain, and France, said Salje.

Von Oppenheim died a broken man in 1946, but "he always believed it might be possible to restore his statues," said Michael Eissenhauer, director general of Berlin's state museums.

"It's a miracle," he said.

"For years, no one could imagine such an exhibition would ever be possible."

First stop Wales for ancient Chinese Dazu carvings

By Clare GabrielBBC Wales

The exhibition gives a "powerful sense" of what Dazu is really like

Continue reading the main story

Related stories

• Ancient Chinese carvings on show

A tiny piece of ancient China is going on show in Wales for the first time.

Buddhas and other carvings sculpted in rock at Dazu - now a world heritage site in the south west of China - are being exhibited at the National Museum Cardiff.

It is the first time that the sandstone carvings, some dating back to the 7th Century, have travelled outside their homeland.

Chinese authorities say they are "honoured" to take the carvings to Wales on the first stop of what promises to be a planned world tour.

The museum describes acquiring the 10-week exhibition as a "coup" which will hopefully help increase its profile on the international stage.

Five million visitors each year go to the Dazu World Heritage Site near Chongqing, where most of the 50,000 statues are still in situ carved out of steep hillsides at 75 sites.

The Dazu carvings being delivered to the museun in Cardiff earlier this month

It is the largest example of Buddhist cave temple art. The carving started in the 7th Century and continued for more than four centuries.

Many of the exhibits have been discovered in recent excavations.

Zhou Bo, Chongqing county magistrate, said it was the first time the carvings have been shown outside China, but it is planned to also take them to North and South America, Africa and Australia.

He said they hoped to show the importance of the world heritage site "to all humankind".

Mr Zhou said the carvings were a fine example of humanism, predating by some 400 years the great Italian art of the Renaissance.

He said compared to the great art of ancient Greece and Rome, the sculptures showed exceptional skills because they were carved on the hillsides of Dazu.

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“Start Quote

This sort of exhibition would be perfectly at home at the British Museum or the V & A ”

Andrew RentonNational Museum Wales

The sacred carvings were also "home to Chinese gods and the place where people come to express their spirituality and worship," Mr Zhou said.

Dazu is also an example of how the three religions of Buddhism, Daoism and Confucianism had co-existed.

This exhibition has grown out of a developing relationship between China and Wales, started when Premier Wen Jiabao visited in 2000.

An official memorandum of understanding was signed when Wales' then First Minister Rhodri Morgan visited Chongqing in 2006.

This is the first real fruit of that collaboration, but now it is hoped there will be a return exchange with artefacts from Cardiff going to China.

Originally the carvings would have been brightly coloured

National Museum Cardiff's head of applied art, Andrew Renton, said this exhibition could help raise its profile on the international stage.

"This sort of exhibition would be perfectly at home at the British Museum or the V & A," said Mr Renton.

"What this is about is trying to give our visitors a flavour of what it would be like to visit the Dazu World Heritage Site which is really an overwhelming experience."

Mr Renton said: "For me the central Buddha as you come into the exhibition represents one of the key themes. I think it gives a really powerful sense of what this Buddhist site is really like.

"It's the sense of inner peace and contemplation it gives. It transports you to a different dimension somehow."

Cheng Wuyan, deputy director general of Chongqing Bureau of Cultural Relics, called the exhibition a "triumph".

"I hope that this exhibition will deeply impress the British people and that they will get a better understanding of Dazu World Heritage Site," he said.

The exhibition From Steep Hillsides: Ancient Rock Carvings from Dazu, China runs from Wednesday, 26 January to Sunday, 3 April.