12th century temple discovered - The Times of India

KARWAR: A temple belonging to the 12th century was found in Madnalli village of Haliyal taluk.Madnalli borders Uttara Kannada and Belgaum districts.

The temple was discovered by famous history researcher Dr S S Kallur, who has done his Ph D on the historical places in Haliyal.

The temple was discovered in the field belonging to R S Hiremath. The temple is in a dilapidated condition. The walls of the temple, its gopuram, two Nandi idols, two Shiva lingas and boulders were found on the spot. Historians believe that the temple was constructed during the rule of the Kadambas. More research and excavation is expected to throw light on the temple's past.

Vishnu Flanked By His Personified Attributes

This work from the 10th Century portrays Vishnu, the Hindu God, and several of his avatars. It is currently on display at the Frist Museum in Nashville, as part of an exhibit entitled Vishnu: Hinduism’s Blue-Skinned Savior. The exhibit includes a paintings, sculptures like this one, and several Hindu shrines from people’s homes. There is an excellent guide [.pdf], from which the above picture is taken, and there have been several lectures on aspects of Hinduism and the role of these works in people’s lives.

The figure in the center is Vishnu, with four arms. He holds a conch shell, a discus, and a mace, symbols of the God. The fourth hand is held up thumb touching forefinger, a position called gyan mudra, a sacred hand position, which my yoga teacher says harnesses the divine energy flow to the human, but which has other meanings as well. He is richly dressed: a large head piece, long earrings, a necklace or two, an asymmetrical belt over his left shoulder hanging down and circling around his waist, a loincloth, dangling jewels, arm and ankle bracelets, and a long cord draping from his upper arms. He wears a halo, perhaps lotus leaves or flames. His face is stylized. The most notable thing to me is that he is smiling.

On either side there are small images, nearly the same on either side. From the top left down, there are seated musicians, a seated figure holding what looks to me like a torch and a scroll, and horsemen, perhaps on an elephant head.

At the bottom, there are six figures, male and female, each holding different things. These are avatars, personifications of one aspect of Vishnu. The guide tells us that Vishnu is all-in-one, all things worthy of worship. The avatars are expressions of one part of that perfection, each in a form we mere humans can understand and relate to. The Guide says that people use the avatars as focal points for devotion, because they are easier to grasp than the transcendent splendor of Vishnu.

Years ago, I was at the Uffizi looking at the Annunciation by Simone di Martini. As I stood there, several groups of Japanese tourists came through, looked at everything and moved on. Later I wondered what that altarpiece meant to them. Did they know that the lily is a sign of purity, a fact taught me by the Holy Cross nuns at St. Joe Grade School? Did they understand the significance of the mantle over her head, or the nature of the angel? Did they feel the same way I did when I saw this frieze of Vishnu?

I can appreciate the craftsmanship in this work, and I understand whatever the curators choose to tell me about it, and I could learn more if I wanted to, but at the end, there is only an intellectual appreciation of the work. It will never have the deep meaning for me created by years of contact with a sophisticated culture and religion, passed on to me by parents, family, friends and society, imprinted from birth, and enriched by my own study and my own efforts to comprehend.

John Dewey says that art is a communicative experience. (This discussion is based on the chapter on aesthetics in Dewey, A Beginner’s Guide by David Hildebrand) The artist feels there is something to be said, and goes through a process of manipulating physical materials into the communication of an mental construct or emotion, then attempting to perceive the work as the perceiver will, then reworking the physical materials, back and forth until the work is complete. Perceivers do the same thing, experiencing, processing the experience and sinking back into the act of perception, until we feel in ourselves the things that the work can produce in us.

In the words of this theory, my perception is too limited to see the full extent of the accomplishment of this unknown artist.

The Telegraph - Calcutta (Kolkata) | Orissa | Heritage structures get govt attention 13th century temples lie uncared for

(From top) The Gangeswara and Yamuneswara twin temples, a sculpture on one of the temple walls, the tank in the precinct and another sculpture. Telegraph pictures

Bhubaneswar, April 19: They could be smaller in size compared to other majestic ancient monuments in the city, but the Gangeswara and Yamuneswara twin temples hold immense social and historical significance.

But the aspects of history that the temples hold may fade just like the monuments, owing to the lack of maintenance and neglect of authorities. Situated on the Ganga-Yamuna road, the temples date back to the 13th century. The two temples are ascribed to have been built during the rule of the Ganga dynasty. Today, they lie amidst dense vegetation that not only mars the beauty of the monuments but also leads to cracks on their surfaces. Many portions of the temples lie broken and the astounding sculptural art that is inscribed on the walls are also falling prey to weathering.

“The Gangeswara temple is carved with secular images with amorous poses of male and female figures,” said historian Sadashiba Pradhan. One can get a clear picture of the lifestyle, costumes and culture of those times through the various images visible on the temple walls. Beautiful floral motifs as well as images of deities have also been carved on the temple. But currently the monument shows signs of distress.

While several sculptures on one of the walls of Gangeswara have been broken and removed, many parts bear cracks. An ancient idol of Ganesha is also lying detached in the precinct. Over the years, the higher level of the road has led to the water being accumulated in the temple’s precinct.

Another important feature of the twin temples is the Ganga Yamuna tank that lies within the same precinct. Historians believe that the tank was built before the temples. It is surrounded by an embankment with outlets for excess water. Local residents use it for religious rituals and bathing purposes.

“The tank is very sacred for us and we believe bathing in it keeps us free from skin diseases. But the water is getting contaminated due to seepage from new buildings that have come up right beside the tank,” said Babuli, a local resident.

Culture department authorities say there are plans to repair and maintain the ancient structures. “The structures will be repaired soon with help of experts on archaeology,” said culture department secretary Ashok Tripathy.

Iran Book News Agency (IBNA) - Culture Minister visits Tajikistan

The cultural week of the Islamic Republic of Iran in the Republic of Tajikistan began on March 23, 2011 with a message from the president of Iran Mahmoud Ahmadinejad.

IBNA: According to the public relations department of the ministry of culture and Islamic guidance of the Islamic Republic of Iran a part of the message reads as follows:

"The culture of the great, ancient land of Persia (Iran) is as old as humanity and has been able to pass through all the history's ups and downs in the form of myths, epics and traditions. The residents of the land enjoy rituals and customs which outstandingly tally with their societies and lifestyle."

In the opening ceremony of the cultural week, minister of Culture and Islamic Guidance, Mohammad Husseini, addressed the audience in a speech in which he expressed happiness to see that after 1100 years, Rudaki is still revered by Persian-speaking nations. He also appreciated the long-lasting cultural commonalities of the two nations.

Also in the ceremony, Dastiyev, the first deputy culture minister of Tajikistan stated in his speech that arranging such ceremonies assists the recognition of Iranian culture by Tajiks. "The rich Iranian culture can help the rise of this land's (Tajikistan) art and literature," he said.

He expressed happiness over the diversity of the programs of the week and hoped Tajikistan would be a good host for Iranian artists.

Later in the ceremony, the Islamic Republic of Iran ambassador in Tajikistan said holding such cultural weeks expands our understanding about the arts and culture of our co-cultures in other sides of borders.

Other speakers of the ceremony were Alireza Ghazveh and Fazel Nazari from Iran together with a Tajik poet who embellished the meeting with their declamations.

After the ceremony and in the second day of the week, a conference was held in the presence of a number of Khujand poets, writers and artists and Iran's minister of Culture and Islamic Guidance, Mohammad Husseini and his accompanying delegate. Prior to the confab, Husseini made a visit to Kamal Khujandi Museum Garden and the Moslehodin Mosque of the city. Kamal Khujandi was a Persian (Tajik) Sufi and Persian ghazal (sonnet) poet of 14th century (8th century hijri).

The conference was held at the hall of the museum and received popular welcome by Khujandis. In the meeting, Husseini asserted Iran's intention to arrange a more comprehensive and inclusive cultural program in the city. "When dealing with culture and cultural writings, many believe Abu Hafs Soghadi was the first to write down Persian culture," said Husseini in the meeting regretting over the loss of the encyclopedia in the present time.

He further valued the long-lasting history of the city and its historical luminaries who have all added to the supremacy of the Persian language.

"The flagship of our common culture is Kamaledin Masoud Khujandi who was a celebrated 14th century poet and mystic and a companion to Hafiz Shirazi," he added.

The meeting was continued by declamation and rehearsals from Parviz Beigi Habibolahi, Saeid Biabanaki, Alireza Ghazveh, Fazel Nazari and Erfan Nazar Aghari.

The programs of the culture minister in Tajikistan were followed by a journey to Kulob, 200km away from Dushanbe, to visit Mir Ali Hamedani's tomb, one of the biggest Shiite Gnostics. In a met with the city's officials and called for added cultural relations between Hamedan, Kulob and Kashmir.

Further in his visit, Husseini attended a meeting with Tajikistan's parliament speaker and delivered Ahmadinejad's message to him.

Attending the Ferdowsi celebration conference was one of the programs of Mr. Minister which took place at Etefagh hall of Tajikistan.

17th century anchor unveiled for Surtis - The Times of India

SURAT: The Surat Municipal Corporation (SMC) celebrated the World Heritage Day by dedicating the 17th century anchor for public viewing at Navadi Ovara and releasing a book 'At the Core' on the city's heritage treasure on Monday.

A grand function was organised at Navadi Ovara at Nanpura under the chairmainship of mayor Raju Desai on Monday. The mayor inaugurated the historic anchor placed on the elevated concrete structure and released the book on city's heritage treasure.

Official sources said the main idea behind putting the 17th century anchor is to remind the residents about the glorious trade history of this erstwhile port city. The original anchor was fished out during the dredging exercise in river Tapi many years ago.

The book on city's heritage treasure 'At the Core', which has been published by Urban Management Centre and written by Manvita Baradi and Meghna Malhotra, will give an in-depth insight about the historic buildings and structures present in different corners of the city. Each of the heritage structures and their past history has been explained in detail to spread awareness among the residents.

Desai said, "This is a historic city and we have heritage treasure in abundance. The only need is to preserve it in a manner that our coming generations would know about the glorious past of this amazing city."

Restoration of Thousand-Handed Guanyin statue started - People's Daily Online

A technician conducts laser scanning on the Thousand-Handed Guanyin statue. (Photo by Zhou Hengyi, Xinhua)
A project of salvageable preservation on a Thousand-Handed Guanyin statue started formally at the site of the Dazu Rock Carvings located in Dazu County of southwest China's Chongqing Municipality on April 18, 2011.

The Dazu Rock Carvings are a series of Chinese religious sculptures and carvings dating back as far as the 7th century A.D., which depict and are influenced by Buddhist, Confucian and Taoist beliefs.

Listed as a World Heritage Site, the Dazu Rock Carvings are made up of 75 protected sites containing some 50,000 statues with more than 100,000 Chinese characters forming inscriptions and epigraphs.

George Yeo: Nalanda and the Asian Renaissance

INGAPORE -- As Asia reemerges on the world stage in this century, its civilizational origins will become a subject of intense study and debate. Asians are rediscovering their own past and deriving inspiration from it for the future. This inspiration covers all fields including governance, scientific inquiry, architecture, wellness and aesthetics. A tremendous burst of creative adaptation is increasingly evident across Asia. The Western world went through a similar phase as it emerged out of the medieval ages. Hence the word "renaissance" has come to be applied to Asia's reemergence today.

As part of this renaissance, the Indian Parliament recently passed a bill reestablishing Nalanda University as an international university. Nalanda was the world's oldest university by far, flourishing for centuries before it was destroyed by Afghan invaders in the 12th century.

In the same way as one could identify the origins of Western civilization in Greece, Rome and Judeo-Christianity, so too could one trace the origins of East Asian civilization to the influence of Confucianism, Taoism and Mahayana Buddhism.

Just as Europe's past was partly retrieved through the Arab vehicle, for it was the Arabs who were fascinated by the civilization of the ancient Greeks and had its works translated into Arabic when Western Europe was still in the Dark Ages, Asia's past has been partly retrieved through the Western vehicle. Without the massive contribution of Western scholars, our knowledge of our own past in Asia would be much poorer today.

I include here Alexander Cunningham's identification of Nalanda from an English translation of Xuan Zang's record of his journey to the West and Joseph Needham's encyclopedic study of science and civilization in China. Asians, too, stand on the shoulders of others.

It is much easier emotionally to talk about the Buddhist heritage in Asia than it is to discuss the painful interactions of Judaism, Christianity and Islam over the centuries. For the children of Abraham, it has been a history of conflict. In the case of Buddhism, however, after the bloodbath in Kalinga which shocked Ashoka and set him off on a different path, the message is generally one of peace, compassion and acceptance. Buddhism teaches us that nothing is permanent. This reminds us not to be arrogant. Buddhism teaches us that every action has consequences. This reminds us to be good. The deep humanism in Buddhism is a value we need more than ever in a shrinking world where no religion, no ethnic group, is in a majority.

In between East Asia and South Asia is Southeast Asia, where all the world's great religions and cultures meet and mingle. If we are not able to live with people who are different from us in their core beliefs, there can be no peace or partnership. Beneath the trade winds, there have evolved in Southeast Asia cultures which enable diverse ethnic and religious groups to cohabitate. This softness has its roots in the Hinduism and Buddhism which came to our shores more than 2,000 years ago. Many of the great monks like Fa Xian and Yi Jing who traveled between South Asia and East Asia spent time in Southeast Asia, especially in Sriwijaya, Sumatra. Syncretism is a way of life in Southeast Asia. In many Southeast Asian cities, it is not uncommon to find bustling mosques, temples and churches within short distances of one another, cheek by jowl. Are there problems? Yes, of course, every day! But the prevalent wisdom is to tolerate, accommodate and find ways to live together.

In addition to the Buddhist heritage, the Islamic heritage and the Western heritage are also important unifying elements in Asia. Unlike Islam's historical contact with the West, which was often unhappy, Islam's arrival in Southeast Asia was very different. It brought hygiene and a system of trust which facilitated trade. For a long time, the maritime silk route from the Mediterranean to China was dominated by Muslim traders. The Ottoman influence among Muslims in Southeast Asia was profound. The songkok, which Southeast Asian Muslims, wear is a relic of that influence.

It was not only from the Middle East and India that Islam came to Southeast Asia. It was also from China. The great fleets from Ming China that sailed to Southeast Asia and the Indian Ocean 600 years ago were commanded by Muslim admirals, the most famous being, of course, Zheng He. The Islamic heritage is therefore another theme in the Asian renaissance which should one day be taken up. We should not only be preoccupied with the dangers of Jihadist extremism. Though it will take many years, the upheavals in North Africa and the Middle East bespeak a future that wants to be born.

The Asian renaissance is incomprehensible without taking into consideration the Western influence of the last 500 years. Although the Western dominance has receded, its impact on every aspect of life in Asia is obvious, enduring and ubiquitous. Any honest treatment of the Asian revival must acknowledge the many positive contributions of the West, including the ideas of democracy, socialism and individual rights. The Christian influence in Asia is pervasive. Without Christian missionaries dedicating their lives to the education of millions of Asians, Asia's modernization would have taken much longer to happen.

For over 700 years, the great university in Nalanda was a center of learning for a wide range of subjects, including philosophy, science, mathematics and public health. Nalanda is an icon of the Asian renaissance in the 21st century and should draw students and scholars from everywhere, as it once did. It should be a center of civilizational dialogue and inter-faith understanding, as it once was. It should again make available for the common betterment of all human beings knowledge already existing in the world. In this way, the Nalanda project is not only a celebration of the past but also an inspiration for the future of Asia and the world. In a messy multipolar world, the Nalanda spirit of man living in harmony with man, of man living in harmony with nature and of man living as part of nature should be our common spirit.

Contents Claims Solved: Ming Vase

Establishing authenticity can be tricky, especially when it comes to a treasured item believed to have been made in 15^th century China. This was the challenge faced by a claims adjuster in this month’s Contents Claims Solved.

The object in question was a 15^th century Ming Dynasty vase. The insured purchased the vase in Hong Kong for $1,000 in 1971. A prudent collector, he still had his original receipt from the Hong Kong dealer certifying the age of the vase. The vase was broken and the insured was now claiming $7,000. This valuation came from a noted New York City appraisal firm that charged $300 an hour for their services.

The claims adjuster wanted to verify the valuation and called upon contents claims specialists to examine a set of images of the vase — the same images used by the NYC appraisal firm to determine their valuation.

Case Background

Vases from the Tianshun period (1457-1464) come up in the marketplace on occasion, though they are not common. Provenance and assured authenticity are major factors that drive valuation for these items, as reproductions of these forms have been widely made in China starting in the 16th century and continuing to the present day. Auction results confirm that true authentic period vases sell for many thousands of dollars, and Ming imperial pieces for many hundreds of thousands or even more. At the other end of the spectrum, modern reproduction “Ming-style” vases sell for as little as a few hundred dollars.

The subject vase presented a number of troubling attributes. The four character markings on the base of the vase were atypical, both in their nature and their placement, which appeared to be on the inside bottom of the vase. Similarly, the reign marks that appeared in calligraphic script on the exterior neck of the piece were most unusual and again atypical of pieces from the stated period. The ceramic form lacked the refinement and grace of a Ming vase, with the broken base pieces being atypically thick. In addition there was a lack of glaze on the bottom rim and the form of the vase itself was cruder than would be typical of genuine 15th century pieces of Chinese porcelain.

Traveling To The Lost Cities Of The World

Gazing at the Andean peaks soaring above the Lost City of the Incas and the lush valley below, it's easy see why it was voted one of the New Seven Wonders of the World in 2007. The 15th century A.D. Peruvian site was abandoned shortly after Spanish conquistadors invaded the neighboring areas, falling to ruin until 1911, when an American scholar stumbled across the remains.

History's once glorious metropolises have become ever more sought-after destinations as Americans get back into travel mode. Machu Picchu welcomes as many as 1 million tourists annually, and that number is said to be growing as much as 6% per year. Last August the UNESCO World Heritage Committee even sent a recommendation to the Peruvian government to limit the number of visitors because the increasing foot traffic was starting to erode the UNESCO World Heritage site.

For boutique travel companies specializing in trips to historical, archaeological and cultural sites, the economic downturn of recent years was little more than a speed bump. For Bruce Poon Tip, founder of Gap Adventures, a Canadian travel company specializing in adventure tours to 100 countries, business actually expanded 40% in 2008, at the height of the recession. It continues to enjoy double-digit growth among its American customers, he says.

"The old traveler used to like Marrakesh and markets and the hustle and bustle of travelers' towns like Cairo, but the new traveler is interested in Antarctica, Galapagos, Mongolia and Tibet," Poon Tip says. "Archaeology falls into that trend, especially newly excavated sites that are often harder to get to and very remote."

The Americas offer travelers dozens of lost cities to explore. Mexico has the Mayan city of Chichen Itza, with Mesoamerica's largest ball court and the hulking pyramidal remains of Teotihuacan, with its well-preserved, color-splashed murals. There's Tical in Guatemala and Copan in Honduras. Even the the Western U.S. boasts the tumbleweed-strewn ghost towns of two centuries ago.

Beyond well-traveled Machu Picchu, Gap Adventures arranges tours to lesser-known citadels as well. One is Choquequiroa, an Incan site excavated a few years ago. Getting there requires an arduous five-day hike, but Poon Tip says it's become a popular destination. He's also negotiating to bring groups to the so-called Lost City of Colombia, a site perhaps better identified as the Lost City of Gold.

"We're working with the government to solve issues to get passengers in and out, and we've even met with the elders of the [indigenous] communities there," says Poon Tip, who plans to launch the first tour there this fall. "It's incredible, and something I've personally never seen before."

Some of history's most awe-inspiring ancient architectural wonders reside in areas of unrest, most notably in the Middle East. Mesopotamia, Babylon and other cities are located in what is now Iraq. There is even speculation that the lost city of Akkad lies fragile and exposed under the foundations of modern-day Baghdad, where recent troubles have helped unbury ancient archaeological clues.

Border Conflict Helped by Ignorance: Scholar | News | Khmer-English

While Cambodia and Thailand continue their protracted dispute over the border, scholars in the US said last week both neighbors should look deeper into their history and remove internal politics to ease the tension.

John Burgess, a longtime Washington Post reporter who has written a book about a Khmer temple in modern Thailand, told an audience in Washington last week the current crisis will ease once Thailand’s internal political situation calms and once Cambodia’s system of government opens up.

Burgess, author of “Stories in Stones: The Sdok Kok Thom Inscription and the Enigma of Khmer History,” told the Asian Society the situation would be calmer without Thais “thronging the streets and citing the loss of land to Cambodia” as a point of contention with the ruling administration.

While acknowledging that Thai-Cambodian conflicts have deep roots, he also noted that both countries have little understanding of their related histories. Students in Thailand know little about the history of Angkor Wat, while Cambodians remain unaware of their religious ties to Thailand, he said.

“I’ve always been shocked at how ignorant the two sides are of each other,” said the author, who became interested in the Sdok Kok Thom temple, near Aranyaprathet, Thailand, while covering Cambodian refugees in 1979. “Other than these wars that everybody knows about, there is basically almost zero comprehension on both sides of the border.”

Professor Thitinan Pongsudhirak of the Chulalongkorn University, who was a speaker at the discussion, agreed, saying both countries need to rewrite their textbooks and stop stereotyping each other.

“If you take the government and army aside in that area, people are okay,” he said. “They’ve been trading from 1962 to 2008 without a problem. In fact Thais can visit the temple and Cambodians vice versa, and foreign tourists.”

Now, however, troops from both sides are locked in a border standoff, one that has led to skirmishes and killings since 2008. Nationalistic groups in Thailand have seized on the border issue in an attempt to oust different administrations in Thailand since that time, while Cambodian officials have accused Thailand of attempting to take Cambodian land.

Thitinan said Cambodia had become a “pawn” in Thai politics, which are now heading toward an election, with anti-government protesters hoping to oust the current prime minister, Abhisit Vejjajiva.

Kem Sos, an independent analyst, agreed.

“There’re a lot of emotion, a lot of muscle, not much wisdom, not much legal procedure to solve the problem,” he said.

Hindu, Christian tug-of-war over Nepal’s Pashupatinath temple intensifies - The Times of India

Tags:Pashupatinath shrine|Pashupatinath Area Development Trust|Nepal’s oldest temple|Anthony Sharma

Nepal's oldest temple, the 5th century Pashupatinath shrine is revered by Hindus worldwide.

KATHMANDU: Nepal's oldest temple, the 5th century Pashupatinath shrine revered by Hindus worldwide, is in the eye of a new storm as Christians and Hindus fight it out in court over an ancient forest that belongs to the hallowed shrine.

The Supreme Court said on Wednesday it would give its verdict on two separate writ petitions filed separately by a Hindu activist and Christians on April 12. Judges Balaram KC and Bharat Bahadur Karki made the announcement after Nepal's Christians, who are on a relay hunger strike for the 15th day demanding the government give them land to build an official cemetery for the community, finally went to court, triggering a retaliation by a Hindu activist.

On March 13, Chari Bahadur Gahatraj, a Protestant pastor and an influential member of the community, filed a writ with fellow Christian Man Bahadur Khatri, asking the apex court to halt the Pashupatinath Area Development Trust that runs the temple, from demolishing the hundreds of Christian graves scattered in the Shleshmantak forest adjoining the temple complex.

The two petitioners said Christians were allowed in the past to bury their dead in the forest and should be allowed to continue the practice till they were given a separate plot of land by the government. When Judge Awadhesh Kumar Yadav ordered the government not to create any obstruction to Christian burials in the forest till the row was resolved, Hindu activist Bharat Jangam filed a counter petition, saying non-Hindus should not be allowed to encroach on Hindu land.

"The forest is considered sacred by Hindus and is used by them to make offerings to their ancestors," Jangam told TNN. "Hundreds of ancient Hindu sages are buried there. If the Christians want a burial land, they should go to the government, not encroach on the land of a Hindu shrine that is also a Unesco-declared World Heritage site."

When the Christian protests demanding a cemetery started in January, they had not been tinged with communal hues. However, the court's decision to resolve the two petitions together could change all that. Even the Christian community has become divided over the graveyard demand.

The minuscule Catholic community has distanced itself from the protests, saying they had no objection to cremation, which was being followed even in the west. Nepal's first Catholic bishop Anthony Sharma said Nepal being a tiny country, land was at a premium. When the living themselves did not have adequate land, there could be no objection to cremating the dead.

Hindu, Christian tug-of-war over Nepal’s Pashupatinath temple intensifies - The Times of India

The State Hermitage Museum

Ancient African Dogon art goes on display - Story - Environment/Sci - 3 News

Wed, 06 Apr 2011 4:59a.m.

Ancient figurines, masks and sculptures made by the indigenous populations of the African Dogon region have gone on display at the Paris' Quai Branly museum.

Originating near the Bandiagara cliffs in a region today more commonly known as Mali, Dogon art exists as a result of centuries of tribal displacement within the region.

Totem-like characters, masks and sceptres dating from as far back as the 10th century are on show at the exhibit. It displays the art of various tribes including the Djennenke, the N'Duleri and the Tellem - a few of the many settlements which occupied the Dogon plateau.

People now are able to appreciate the quality of this ancient art, said Helene Joubert, head of the Heritage unit of the African collections at the Musee Branly.

"The way African art reconstruct the reality, the mask for example, also using very limited colours like black, white and red which are mineral or natural colours. People are receptive now, they can feel the quality of this," Joubert said.

Sculptures had symbolic importance to the tribes and were often used during ritualistic celebrations to spur fertility or to pray to water gods in an otherwise dry and barren landscape, Joubert added.

Although the Dogon-Mande tribe initially fled Islamic occupation in the 14th century, the progressive islamisation of the area spurred the art's commercialisation. The influence of this is still visible through pieces such as the carved amulets on sculptures of the Tintam tribe.

African art from the Dogon region remains an important pillar of African art and design today. Many of the pieces contained in the exhibition would not look out of place as ornaments in a home furnishing store.

Govt plans to preserve Buddhist caves - The Times of India

GANDHINAGAR: The state government is busy readying a master plan to preserve the Khambhalida caves. This is part of an initiative designed to give due importance to Buddhist destinations in the tourism circuit.

The government, in reply to a question posed by Jodiya MLA Raghavji Patel, said on Tuesday that there are places of Buddhist importance in Siyot in Kutch, Ranpur in Jamnagar, Sana, Junagadh, Prabhas Patan, Savnigiri in Junagadh district, Khambhalida in Rajkot, jajpur in Bharuch district. Apart from the Khambhalida plan, the government plans to spend Rs 43.4 lakh for the caves in Rajkot.

Officials said there are three caves in Khambhalida, the central one being a 'chaitya' with a worn-out stupa. The entrance of the 'chaitya' is flanked by two large sculptures of the Bodhisatvas-Padmapani on the right and Vajrapani on the left. These caves dates back to 4th-5th century AD and are scooped out from the local limestone rock.

The Siyot caves in Lakhpat of Kutch districts date back to first century AD. They have an east-facing sanctum and an ambulatory. Siyot must have been one of the 80 monastic sites that the 7th century Chinese travellers reported at the mouth of Indus river. The government said that it has been spending over Rs 1 lakh for the maintenance of these caves.

Prof claims to have discovered clinching evidence | Annigeri, the department of Kannada of Karnatak University (Dharwad) | - The Times of India

HUBLI: Even as people are curious to know the mystery behind the skulls found at Annigeri, the department of Kannada of Karnatak University (Dharwad) has claimed to have discovered two important inscriptions of the 10th century, which may unravel the mystery.

J M Nagaiah, associate professor of Dr RC Hiremath Institute of Kannada Studies ( KUD), has said that he has discovered the inscriptions, one each at Hottur near Shiggon taluk of old Dharwad district, and at Gawarwad near Annigeri.

According to the Hottur inscription, Chola emperor Rajaraja, during an expedition, had attacked Belaval-300 province with the help of his nine-lakh-strong army and captured Annigeri during 1007-08. The emperor then tried to forcibly convert people into Shaivas (followers of Lord Shiva). He is also said to have ruthlessly chopped people, including children, who refused to be Shaivas. King Sataysharava Irive Bemdag of Chalukyas of Kalyan was ruling Annigeri then.

The Gawarwad inscription says emperor Rajadhiraja I of Cholas, during his expedition, attacked Annigeri, the then capital of Belavan Nadu-300 (comprising 300 surrounding villages). After capturing Annigeri, Rajadhiraja I destroyed Jinnalya, temples built by Jains, and also killed those who opposed the destruction of temples during 1018-1050.

The Hottur inscription is included in `Epigraphy India' (volume No. 16), while the Garwada inscription is included in `Epigraphy India' (volume No. 15). "The two inscriptions are enough to unravel the Annigeri skull mystery," Nagaiah told `The Times of India'.

He said that human skulls discovered at Annigeri must be of those who were killed for opposing Rajaraja's attempts to convert them to be Shiavas, or of those who were killed by Rajadiraja for protecting Jain temples.

"But for these incidents, there are no evidence of massacre (near Annigeri). The skulls must be of those who were killed by the Cholas," he claimed.

"I'm planning to bring the two inscriptions to the notice of State Archeological Department. We will be able to come to a definite conclusion about the skulls after getting the carbon dating test report from Bhuvaneshwar," he said.

Bronze battle-axe | Excavated in 1965 from the No. 1 Subutun Shang Tomb in Qingzhou, Shandong province

BEIJING, March 29 (Xinhuanet) -- The on-going exhibition, The Art of Chinese Bronze Wares, at the National Museum of China, offers not just a peek into ancient Chinese civilization, but also a rare look at the sense of humor of its ancient creators.

Take the Ya Chou bronze battle-axe, for example.

Excavated in 1965 from the No. 1 Subutun Shang Tomb in Qingzhou, Shandong province, and now kept in Shandong Museum, this bronze battle-axe of the Shang Dynasty (16th century-11th century BC), is 32.7 cm long and 34.5 cm wide, and features a human face with exaggerated features such as bow-shaped eyebrows, round eyes, elliptical ears, a bull-shaped nose, and a wide-open mouth full of sharp teeth.

"This style is consistent with other bronze wares of the Shang Dynasty, that are both majestic and scary," says Lu Wensheng, head of Shandong Museum.

As one of the 18 weapons of ancient times and commonly used by the king, the battle-axe stood for power and justice.

This also explains why the Chinese character for "king" found on bone inscriptions resembles the shape of the battle-axe.

Another bronze battle-axe was also excavated at the same time from the No. 1 Subutun Shang Tomb, the largest and best Shang tomb after the Tomb of Shang Kings in Anyang, Henan province.

Now kept at the National Museum of China, this battle-axe also has a human face like the Ya Chou, except the eyes and nose are shaped differently and the mouth is even bigger.

These two bronze battle-axes are the only ones found in China with an openwork carving of a human face.

Another key difference between the two is that there are four symmetrical pictographic inscriptions of "Ya Chou" carved under the two ears on both sides of the Ya Chou battle-axe, while there is none on the other one. The inscription is also the reason the battle-axe is called "Ya Chou".

Guo Moruo (1892-1978), Chinese author, poet, historian, archaeologist and an expert on ancient writing, believed that Ya Chou was the title of an ancient nation that existed in the Xia Dynasty (21st century-16th century BC) or even earlier.

It is believed the human face on the Shang Dynasty battle-axe was intended to scare the enemy. But it is hard to say how effective that strategy was.

Gazing at it in the 21st century, one is more amused than scared, a feeling that also seems reflected in the upturned corners of the mouth of the image.

National museum exhibits 14th century Chinese celadon

Popular Longquan ware found in sunken ship off coast of Sinan shows beauty and culture of 14th century Asia


The National Museum of Korea is holding a special exhibition featuring about 90 pieces of 14th century Chinese celadon ware found in a shipwreck.

The featured pieces are known to be from the Longquan region of China’s southern Zhejiang province, where the most superior kind of Chinese celadon ware was produced at the time.

In 1323, a Chinese merchant vessel carrying more than 30,000 items for export, including ceramics, sank off the southwest coast of Korea at Sinan. It was en route from Ningbo, China to Kyoto, Japan.

The ship was accidentally discovered by a Korean fisherman in 1975 ― more than 650 years after sank. Its site was excavated from 1976 to 1984, bringing the long-lost artifacts back to the surface.

Among the 30,000 artifacts, 14,000 pieces were found to be Longquan celadon ware, including tableware.

Celadon Vase with Two Grips incised with Lotus Designs (National Museum of Korea)

“The pieces found in the Sinan wreck show how the Japanese had a strong preference for Longquan ware at the time,” said Kim Young-mi, a researcher at the National Museum. “By the 16th century, Longquan ware was being exported to Western Asia, Africa and even Europe.”

The exhibition showcases different types of Longquan ware, its signature jadish color, and cultures of 14th century Asia reflected in the featured pieces.

It was during the Southern Song Dynasty that the production and quality of Longquan ware reached its highest level. The icy, jadish color of the celadon ware was called “Fenqing,” meaning layers of transparent blue with a subtle white hue.

Celadon plate with cloud and crane patterns (National Museum of Korea)

“They were trying to imitate the color of a clear sky after rain,” said Kim.

The items on display include dishes, bowls, stem cups, ewers, incense burners, flower vases and pots for interior decoration.

Many of them are decorated with patterns of peonies, lotus flowers, eight trigrams and dragons with clouds.

“The Japanese enjoyed tea ceremonies using Longquan ewers and cups,” said Kim. “They also used the incense burners to keep their indoor air pleasant. And some people simply used them for decoration purposes.”

The term “celadon” in fact has a close connection with Longquan ware. During the 16th century, an opera called “l’Astre,” was extremely popular in Europe.

In the opera, a character named Celadon, who loves the heroine l’Astre, wears a costume of jadish color.

When Longquan ware pieces were first imported to Europe, people started calling them “celadon ware,” as their color was similar to the one of opera character Celadon’s costume.

“China does own a lot of Longquan ware,” Kim said. “But I believe our museum owns one of the widest collections (of Longquan ware) in the world.”

18th-century Chinese silk scroll painting tops $30M at Paris auction

18th-century Chinese silk scroll painting tops $30M at Paris auction
PARIS (AP) – A giant 18th-century Chinese silk scroll painting of a military troop review has been sold at auction for more than euro22 million ($30.8 million), the highest auction price for a Chinese work in France.

The work, found in a Paris attic and sold in Toulouse by auctioneer Marc Labarbe, is one of a series of four works of 17th-century maneuvers that mobilized some 20,000 men.

A Hong Kong collector, who asked to remain anonymous, made the winning bid Saturday of euro22,057,000 after a ferocious bidding war with seven others.

The 24-meter-long (78.7 feet) horizontal scroll was painted around 1748 under Emperor Qianlong.

One of the four scrolls is in the Palace Museum of Beijing, and another was auctioned off in 2008 at Sotheby's in Hong Kong for $67.86 million.

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.

# # #

---

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.”