Exhibition:The Lignan School, Rise of Modern China (until June 28, 2015, Musée Cernuschi, Paris)

The Lingnan School of Painting’s origins lie in Guangdong (present-day region of Canton), and marks the beginning of this important artistic scene at the beginning of the 19th century.  Heavily influenced by the Tokyo-based school of Japanese painting called “Nihonga”, the Lingnan School united Chinese artists Chen Shuren and the Gao brothers, Gao Jianfu and Gao Qigeng. The Lingnan School brings together elements of Guohua and the expressiveness of Western realism.

Exhibition: The Prince and the Pir: Dervishes and Mysticism in Iran and India (British museum, UK); until July 8th

This small display presents works on paper and objects exploring depictions and attributes of Sufi dervishes from the 16th to the 19th centuries.

The relationship between a ruler and his spiritual adviser in the Islamic world has historically been an important one. In the Persian-speaking contexts of Iran and India, a holy man known as a pir or shaykh often provided spiritual guidance.

New Book: Guolong Lai: Excavating the Afterlife - The Archaeology of Early Chinese Religion

In Excavating the Afterlife, Guolong Lai explores the dialectical relationship between sociopolitical change and mortuary religion from an archaeological perspective. By examining burial structure, grave goods, and religious documents unearthed from groups of well-preserved tombs in southern China, Lai shows that new attitudes toward the dead, resulting from the trauma of violent political struggle and warfare, permanently altered the early Chinese conceptions of this world and the afterlife.

Exhibition: Buddha. 108 Encounters, Museum Angewandte Kunst, Frankfurt, Germany, 26 February - 07 June 2015

The exhibition will present altogether 108 outstanding examples of Buddhist art, primarily sculptures, from India, China, Tibet, Southeast Asia, Korea and Japan. The main focus will be on the image of the Gautama Buddha, which will be enhanced by other forms of expression prevalent in Buddhist art. A hundred and eight portraits of the Buddha mean a hundred and eight encounters with a visage embodying a human ideal of inward and outward peaceableness.