Visitors to the National Art Museum of China are surprised to
discover the museum's facade now resembles the world-renowned
Dunhuang Mogao Grottoes, in Gansu province.
A colorful, wooden archway has been sited in the piazza, in front
of the museum, attracting passers-by with its elegant architecture
and three huge, gilded Chinese characters-mo gao ku (Mogao
Grottoes), popularly known as the Caves of the Thousand Buddhas.
Two clay-sculpted guardians in ancient armor stand at the
entrance, introducing visitors to a series of labyrinths, or "caves
with mural art."
Lights of Dunhuang, a grand exhibition of mural art and ancient
relics from the largest Chinese Buddhist art trove in the world is
being held at the museum.
The highlights of the show are 10 duplicate ancient caves, 120
mural copies, created by generations of Chinese
researchers/artists, nine authentic clay figurines and wooden
sculptures, and 10 ancient manuscripts.
These are priceless treasures under State protection, organizers
say.
Over half a century, about 60 exhibitions of Dunhuang's mural
art have toured cities in and outside China but "this one is by far
the largest and most comprehensive," says Fan Jinshi, president of
the 64-year-old Dunhuang Academy, that researches, conserves and
promotes the 1,600-year-old cave art.
"As part of the Olympics program, the exhibition offers visitors
from around the world a rare chance to experience the best of
classic Chinese art in the dynamic, modern metropolis of Beijing,"
she says.?
Left: Lights of Dunhuang, an exhibition of mural art and ancient
relics from Dunhuang Mogao Grottoes, is being held at the National
Art Museum of China. Right: A grand-sized mural painting featuring
flying fairies. Photos by Jiang Dong
The exhibition is the first large-scale, arts and culture event
in Beijing so far this year. Since Jan 19, the museum has received
over 7,000 visitors a day, local media has reported.
"The art from Dunhuang Mogao Grottoes is at the root of classic
Chinese art," Chang Shana, a veteran artist and former dean of
School of Arts, Tsinghua University, says.
"An in-depth understanding of how traditional art evolves can
help artists striving to find their own voices in the 21st
century."
Bo Songnian, an art historian who has visited the Mogao Grottoes
many times, attended the exhibition, along with a couple of his
students at the Central Academy of Fine Arts.
"Although the cave art on show are mostly quality duplicates,
they still are worth a close look. In the caves you may not be able
to see the details of the murals and relics so clearly," Bo
says.
"For years, I have dreamt of visiting Dunhuang, for the great
mural art. But my physical condition has prevented me," says Wei
Jinlong, a retired Beijinger who came with his granddaughter to the
exhibition.
Hu Lihai, a graphic designer, attended the show to find
inspiration for his daily work.
"I am totally enthralled by the ancient art from the Mogao
Grottoes. I plan to visit the caves after Spring Festival," Hu
says.
Beginning later this year, visitors will be required to register
to see the caves. Just 2,000 visitors will be able to view the 50
caves a day, although a total of 812 caves with mural art and other
ancient relics are extant.
The idea behind this move is to preserve the antiquities,
according to Fan Jingshi, who adds "promoting Dunhuang art is our
responsibility but keeping the mural art intact is our top
priority."
At the exhibition that continues until March 21, around 75
trained guides will provide services for visitors in English,
Korean, German, French, Japanese and Chinese. Also, researchers
from Dunhuang and Beijing will deliver lectures on ancient Chinese
mural art and history at the conference hall, on the seventh floor
of the museum.
Interactive touch screens and videos about art and relics from
the Dunhuang Mogao Grottoes will also be made available.
The largest, most comprehensive and best-preserved collection of
Buddhist mural art in China and the world, the Mogao Grottoes have
been widely recognized as a repository of information about life
and society in ancient China and along the Silk Road.
The rediscovered Library Cave with its 50,000 ancient documents
and manuscripts have offered scholars an unrivaled wealth of source
material for studying the ancient art, cultures and history.
Nestled in the Gobi Desert in Northwest China, Dunhuang was the
last oasis on the ancient Silk Road of China, for travelers from
the 4th to 15th century.
Due to its isolated location, Dunhuang survived two eras of
Buddhists persecution, but in the early 20th century foreign
archeologists removed a great number of Dunhuang relics and
treasures, now scattered over 30 museums around the world,
according to Yang Xiuqing, veteran scholar and deputy
editor-in-chief of Dunhuang Studies magazine.
"Dunhuang has been an endless fountain of inspiration for
generations of Chinese artists," says museum director Fan Di'an,
who has also prepared two minor exhibitions accompanying the grand
Lights of Dunhuang cave art show.
On display are copies of the Dunhuang mural paintings by such
painters as Zhang Daqian, Dong Xiwen, Wu Zuoren, Guan Shanyue, Ye
Qianyu, and Yuan Yunfu.
Also on show are ink and oil works by younger artists from the
Research Institute of Fine Arts in Mogao Grottoes such as Hou
Liming, and Chen Haitao.
Visitors at a duplicate cave of the Dunhuang Grottoes, featuring
murals on the ceiling and walls.
(China Daily January 24, 2008)
