Saturday, 12 May 2012

IDP News Issue No. 39


IDP News Issue No. 39

The Niya Ruins Today 


 Idris Abdurusul and Anwar Abulkasim

 In 2008, as part of the IDP collaboration, Xinjiang Autonomous Archaeological Institute, with the approval of the Cultural Relics Bureau of the People’s Republic of China and the cooperation of the British Library, started in-situ investigations of the ancient ruins of the Southern Taklamakan, including Endere, Rawak and Miran. In order to enable the smooth continuation of this project, and given the extensive documentation by Stein on ruins of the Southern Taklamakan, the Sino-British team continued their in-situ investigations at Niya and Karadong from 7th to 23rd November, 2011. By referring to Stein’s photographs and other documentation from over a century ago, the team was able to see that, although the whole site was fundamentally preserved, the effects of the environment were evident – especially erosion caused by the wind and sand. The ruins of Niya are situated in Niya Township, Minfeng County, Khotan Prefecture, Xinjiang on an old delta of the Niya River, deep in the Taklamakan Desert. The site was mapped by Stein during four visits in the last century. Between 1991–97, the Sino-Japanese Niya Investigative Team set the northern and eastern limits to 37° 58’ 45.3” and 82° 43’ 13.5”, with the stupa at its centre. The various remains are distributed in groups throughout the ancient river delta zone, extending 30 km from north to south and about 5 km from east to west. The southern border is over 100 km from the present-day town of Minfeng and 28 km from the oasis at the end of the Niya River today. The site was originally discovered in 1901, over a century ago. Since then archaeologists have discovered a great number of documents in Gāndhārī-Prakrit written in the Kharoṣṭhī script as well as some in Chinese. Other finds include money, silk, artefacts and finely carved furniture and building structures. The archaeological investigations have revealed over a hundred remains including houses of different sizes, a Buddhist temple, a stupa, cultivated areas, orchards, roads, handicraft areas, graveyards, irrigation systems, and walls. These were given identifiers with the form N.I., N.II. etc by Stein, and 95NMIgraveyard, by the Sino-Japanese team.

Photographs by Stein taken between 1901 and 1916 and Vic Swift of IDP taken in 2011. Top: Niya site N.I., The British Library, Photo 392/34(165) and Photo 1235/3(138). Middle: Panoramas of ancient bridge at Niya, The British Library, Photo 392/28(306 & 307) and Photo 1235/3(157). Bottom: Niya Stupa. Library of the Hungarian Academy of Science, Stein Photo 5/2(67) and Photo 1235/3(41).

Within this ribbon of settlements running north to south, the ruins are found scattered in nineteen clusters, each comprising houses, irrigation canals, animal pens, orchards, roads, forest belt and sand defences. The clusters can be considered settlements or villages. The isolated and barren environment of this desert oasis had a profound influence on the structure of the villages and the form and style of all the remains but, in particular, of the houses. Their design, layout and construction all conform to the desert conditions and have distinct characteristics.1 The Niya ruins comprise the largest extant settlement on the southern Silk Road in the Taklamakan. But apart from the excavated ruins, there are many still covered by the sand and yet to be exposed and excavated. They will yield important resources for the study of oasis settlements. At the same time, because Niya was on a major hub of the Southern Silk Road and thus a place for cultural exchanges from east and west, the excavated documents make clear that this was a place of interactions between Chinese, Indian, Graeco-Roman and early Persian cultures. The good condition of the ruins, their rich cultural connotations, and their extent make them rare worldwide. Research on human culture in barren oasis settlements and their relationship to changes in the environmental circumstances, and on east-west cultural interactions on the history of Central Asian culture, have been greatly enhanced as a result of the investigations at Niya. The work of the 2011 team in carrying out in-situ verification of the changes over the past century, supplementing and improving the existing records, and obtaining rare first-hand data, will prove an important resource for the study and protection of the ancient Silk Road.






House-building in Ancient Niya 

Rachel Roberts

In November 2011, a team from IDP and the Xinjiang Institute of Archaeology (XJIA) visited the archaeological site of Niya, an ancient settlement deep in the Taklamakan desert only accessible by specialist sand vehicles. In the first to third centuries Niya was a flourishing oasis kingdom of farmsteads extending up the Niya River, producing grain, wine and fruits such as apricots, plums and pomegranates. The team spent several days documenting the extensive remains; the site is over 30 km long and 5 km wide and contains over one hundred separate sites, some discovered by Marc Aurel Stein in the early part of the twentieth century and more by a Sino-Japanese team throughout the 1990s. Apart from one clay brick-built stupa all the sites we examined consisted of the remains of buildings with a wooden structure and many features in common.

1. Forest of ancient toghrak: Photo 1235/2(365); 2. Foundation beams at N.II., Photo 1235/2(263); 3. Double-notched joint; 4. Mortise and tenon joint at N.XXIV., Photo 1235/2(187); 5. Top beam and intermediary uprights at N.XII., Photo 1235/2(188); 6. Showing diagonal pole at N.III., Photo 1235/2(8); 7. Woven tamarisk at N.VIII., Photo 1235/2(167); 8. Reed wall at N.III., Photo 1235/2(11); 9. Plaster wall at N.VIII., Photo 1235/2(154); 10. Modern roof beams at Daheyan; 11. Roof bracket from Niya, The British Museum 1907,1111.96. All photographs by Rachel Roberts.

Apart from one clay brick-built stupa all the sites we examined consisted of the remains of buildings with a wooden structure and many features in common. The materials used to build at Niya were inevitably dictated by the environment, a desert region with limited water and no nearby sources of stone. The main material used for the structure of the building was timber from poplar trees. The poplar tree grows fast and to a good height. It has a deep invasive root system so can tolerate periods of drought and flourishes in clay and sandy soil. A wild black poplar (populus nigra, known locally as toghrak) still grows plentifully in this region in settled areas and forests of dead toghrak from the Niya-period can still be seen to this day (Fig. 1). The trunk and branches of the toghrak are twisted and knotty and far from ideal for building work. Stein observed that at Karadong, the second site visited during the field trip, the structures of the ruined quadrangle all seemed to be constructed from toghrak and he concluded that a more suitable species was not cultivated here. However, at Niya the dwellings were mostly constructed using the cultivated white poplar (populas alba, known as terek). Fallen white poplar were observed to the southeast of site N.V. up to 10 m long with a diameter of 50 cm. This type of tree, being fast-growing, tall and strong, is still widely used today in the Taklamakan and Gobi oases. It is especially effective as a wind break for cultivated fields and can be seen being used to protect cotton fields around Dunhuang. The best quality terek were used for the base or foundations of the house. More usual techniques were not suitable for the sandy ground which is very prone to shifting and erosion. As Stein observed: ‘Massive squared beams of White Poplar or terek wood, usually extended below several rooms, and in some instances exceeding 40 ft in length, formed a kind of foundation; their thickness, which varied from 6 to 10 inches according to the size and importance of the walls they supported.’ (Ancient Khotan, p.317). The size and weight of the timbers increased the contact area between the foundations and the ground making the building more stable. The huge foundation beams can be seen at site N.II. protruding into the air due to erosion (Fig. 2). The corners of the foundation beams were joined together using a double-notched joint (Fig. 3). The Niya house builders seem to have only used a partial notch on the underside beam although it is possible the end section of the beam has been lost due to the erosion of the wood. Double-notched joints are commonly used in structures made with large timbers. The double notch prevents movement in either direction and also allows adjustment to maintain a uniform line when timbers are not all exactly the same size. This would have served the house builders of Niya well as although the foundation beams are very skillfully cut — something that was frequently noted by Stein and his workmen during excavations — they did not have mechanical cutting equipment to produce uniform materials. The corner uprights that form the walls serve two purposes: they create the skeleton wall structure but also further strengthen the corner joints of the foundations. A mortise and tenon joint is used to secure these uprights. Mortise and tenon joints are still commonly used in frame construction today as they are versatile, easily concealed and efficient at holding a frame together. There are many different types of this joint; the type used for the construction of the wall uprights is a through mortise and tenon, where the mortise hole goes completely through the timber member. The uprights strengthen the foundations by the mortise hole being cut through the top of the double notch joint and when the tenon is passed through the mortise it serves as a locking pin for the joint below (Fig. 4). To complete the structure of the wall smaller intermediary uprights about 7 cm square were placed at distances of about 30 cm apart (Fig. 5). The corner uprights and the smaller intermediary uprights were joined along the top by heavy beams similar in size to the foundation beams. The sites at which the top beams had survived were few although good examples of this were seen at N.VIII. and N.XII. (Fig. 5). The corner uprights were fixed to the top beam in the same way as they were fixed at the bottom to the foundation beams, forming a box shape. The intermediary uprights were also fixed with a mortise and tenon joint but, as these posts were not as large as the corner uprights, a stub mortise and tenon was used, which is where the mortise hole is only cut part of the way into the timber. If a through mortise and tenon had been used here the large foundation and top beams would have been weakened by the mortise holes. Two methods of strengthening the wall structure were observed. The first was to incorporate a horizontal beam running between the two corner uprights (Fig. 5). This increased the stability of the wall and shortened the lengths of the intermediary uprights thus reducing the amount of movement over time, which would have affected the integrity of the wall. This horizontal beam was fixed into a groove running the length of the corner upright and supported by the intermediary uprights that were stub mortised and tenoned into its underside. The second method, seen at N.III., is a diagonal member inserted into the groove in the corner upright and stub mortised and tenoned in the foundation beam (Fig. 6). Short intermediary uprights have been added to allow the fixing of the wall covering. The wall covering was made using two different methods, firstly a system of thin tamarisk branches woven into diagonal matting (Fig. 7). Stein felt that the diagonal matting supplied a stronger core to the walls than the second method, which was the use of reeds laid in horizontal layers (Fig. 8). The reeds or diagonal matting were tied onto the uprights with twine. Both methods were seen in the sites of Niya although the diagonal matting is more common with reeds being employed in some of the earlier ruins, N.III., N.IV. and N.V. Stein also observed while excavating N.III. that diagonal matting was used up to a height of 6 ft (c.2 m) with reeds used above this. Once in place the core of the wall was covered with what Stein described as a ‘hard white plaster’ making the wall structure about 7 in (12 cm) thick (Fig. 9). Very few of these ancient dwellings have surviving roofs. When Stein was excavating he found a few, including one on the gate house at the Karadong quadrangle. This has subsequently been lost — evidence of a fire was visible during our visit. But much can be learned by studying the modern-day houses in settlements local to the desert sites. Examples of construction methods identical to the ancient dwellings in Niya can be observed in Kapak-astan and Daheyan. In Daheyan, a village about 25 km to the southeast of Karadong, there was an opportunity to study the roof structure in the house of Matsaydi Abla. The roof consisted of a series of large beams about 15 cm square that were positioned about 40 cm apart centre line to centre line (Fig. 10). The ends of these beams were secured into the beam that formed the top of the wall. The beams were visible from the exterior protruding from the wall by about 40 cm. The joint seemed to be a double-notched joint as seen in the foundations at Niya. Inside the house there were two large beams of a similar size running at 90 degrees to the roof beams. These offered further support to the roof and so allowed a larger room size. These two support beams were in turn supported by a pillar at their centre point which had a carved wooden bracket where the beam and pillar joined: this bracket resembled many excavated from Niya (Fig. 11). The roof covering was reed matting woven in the same way as the tamarisk matting seen in the walls of the Niya dwellings. This matting was supported between the roof beams by a series of roughly cut noggins about 10 cm apart. A layer of plaster had been applied on top of the matting. This completes the basic construction of the Niya dwellings. Windows were added but they were very small due to the need to keep the houses cool during the very hot summer and warm during the freezing winter. Buildings increased in complexity with their importance: many had intricate carvings and complex room layouts demonstrating further the advanced carpentry skills of the contemporary builders, skills that are still used to the present day. Rachel Roberts is Studio Manager and Photographer at IDP. She led the video team at Niya. She is also a professional carpenter.

Friday, 11 May 2012

Blood Writing by earlyTibet.com

From: earlyTibet.com by Sam van Schaik



There is something compelling about the idea of a text written in blood. The 20th century Chinese writer Lu Xun once said “Lies written in ink can never disguise facts written in blood.” Here the phrase “written in blood” is metaphorical — Lu Xun was talking about the killing of student protesters — but resonates with Chinese history, as China does actually have a tradition of writing in blood. The tradition was especially present in Buddhism and the earliest surviving examples we have are from the Dunhuang manuscript collections. For example, there is a booklet containing the Diamond Sutra (S.5451) with the following colophon (as translated by Lionel Giles):
Copied by an old man of 83, who pricked his own hand to draw blood [to write with], on the 2nd day of the 2nd moon of bingyan, the 3rd year of Tianyu [27 Feb. 906].
Using one’s own blood to write Buddhist sutras is an ascetic practice, that can be included in along with other, more drastic ascetic practices that were practiced in China over the centuries, including slicing off parts of one’s flesh, burning oneself with incense, burning off a finger, or even complete self-immolation (on which, see the book by James Benn in the references). Much later, in the 17th century, a Chinese writer defended the practice of blood writing against its detractors:
Those disciples of “crazy wisdom” (kuanghui 狂慧) belittle it [blood-writing] as [involving] “corporeality” (youxiang 有相). But among the root causes of beginningless birth and death, none is deeper than the very perception of the body (shenjian 身見)… This [practice of blood-writing] is called paying reverence to the Correct Dharma; it is also called using the Dharma to make offering to Buddha. The Lotus and Śuramgama [sutras] have profound praise for incinerating one’s limbs and fingers, as well as the merits from burning incense [into one’s body]. The practices of severing the limb of afflictions and burning the body of ignorance are situated precisely in this very flesh and blood.
So, what about Tibet? It is my impression that this kind of extreme ascetic practice in general, and blood writing in particular, is historically less common among Tibetan than Chinese Buddhists. The manuscript pictured above (IOL Tib J 308) therefore strikes me as an exception. It certainly looks like it is written in blood: the colour is reddish-brown, and appears to congeal in some places. In fact, it looks much more like blood than the writing in the book by the 83-year-old man, which looks like ordinary ink. In that case, perhaps, the old man just added a few drops of blood to the inkwell.

Or.8210/S.5451
Recently, I had the chance to have the ink in this Tibetan manuscript examined by Renate Noller, a specialist in pigment identification at the Bundesanstalt für Materialforschung und -prüfung. Her results are yet to be published, but this particular ink turned out to have a very high iron content. Now, there are inks made with iron (in the West, iron gall ink was particularly popular, and was used, for example, by Leonardo da Vinci in all his manuscripts), but that tends to darken with time to a browny-black, and lacks the clotted quality of this manuscript. If you look closely, you can see that the scribe was dipping his pen very frequently, that the ink went down very thickly and then ran out after a couple of letters.
The text that is (perhaps) written in blood in IOL Tib J 308 is the Sutra of Aparimitayus, a very popular text in Tibet, on the visualisation and the mantra of a deity representing long life and rebirth in a pure land. In the 840s thousands of scrolls of this sutra were written at Dunhuang at the behest of the Tibetan emperor, to ensure his long life through the religious merit generated by copying the sutra. This manuscript is not one of those, and to judge from its archaic orthography and “square” style, may be even older than them. Still, the motivation for copying the sutra is probably the same. If it was written in blood, this act would have given a greater value to the act of copying of the sutra, and thus to the merit generated by doing so.
*  *  *
References
James Baskind. 2007. “Mortification Practices in the Obaku School“, in Essays on East Asian Religion and Culture, edited by Christian Wittern and Shi Lishan, Kyoto.
James Benn. 2007. Burning for the Buddha. Honolulu: University of Hawai’i Press.
John Kieschnick. 2000. “Blood Writing in Chinese Buddhism.” JIABS 23.2: 177–194.
John Kieschnick. 2002. The impact of Buddhism on Chinese material culture. Princeton: Princeton University Press.
Jimmy Y. Yu. 2007. “Bodies of Sanctity: Ascetic Practices in Late Imperial China“. Dissertation prospectus, Princeton University. (Source of the 17th century passage above.)
Jimmy Y. Yu. 2012. Sanctity and Self-Inflicted Violence in Chinese Religions. New York: Oxford University Press.

Thursday, 10 May 2012

The Search for Immortality: Tomb Treasures of Han China



Credit: Fitzwilliam Museum










In the first exhibition of its kind, the Fitzwilliam 

Museum will relate the story of the quest for

immortality and struggle for imperial 

legitimacy in ancient China’s Han Dynasty.



The Search for Immortality: Tomb Treasures of Han China (May 5-November 11) will feature over 350 treasures in jade, gold, silver, bronze and ceramics in the largest and most important exhibition of ancient royal treasures ever to travel outside China.
The Han Dynasty established the basis for unified rule of China up to the present day. To maintain this hard-won empire the Han emperors had to engage in a constant struggle for power and legitimacy, with contests that took place on symbolic battlefields as much as on real ones. While written accounts provide an outline of these events, it is through the stunning archaeological discoveries of recent decades that the full drama and spectacle of this critical episode in Chinese history has been brought to life.
The spectacular objects in this exhibition bring to Cambridge the finest treasures from the tombs of the Han royal family."

—Dr Timothy Potts

Dr Timothy Potts, Director of the Fitzwilliam Museum, commented: “It is impossible to overstate the importance of the Han Dynasty in the formation of a Chinese national culture and identity.  At the time of the ancient Romans, the Han emperors were the first to unify a large part of the regions we now know as China under a sustained empire, which they ruled virtually unchallenged for 400 years.
“The Han Dynasty gave its name to the Chinese language, its script and the vast majority of the Chinese people.  It was arguably the defining period of China’s history and the point of genesis for the China of today.
“The spectacular objects in this exhibition bring to Cambridge the finest treasures from the tombs of the Han royal family, the superb goldwork, jades and other exquisitely crafted offerings the kings chose to be buried with on their journey to the afterlife. For their artistry, refinement and pure beauty they rival anything from the ancient world.”
This pioneering exhibition will compare the spectacular tombs of two rival power factions: the Han imperial family in the northern ‘cradle’ of Chinese history, and the Kingdom of Nanyue in the south, whose capital in modern-day Guangzhou formed the gateway to the rich trade routes of the China Sea and Indian Ocean.
Objects from these tombs have never before been displayed together as a single exhibition. Through the exhibition it is revealed how, in both life and in death, Empire and Kingdom played a diplomatic game of cat and mouse, one to assert its supremacy, the other to preserve its autonomy.
Protected by clay guardians and surrounded by jade and gold, the monarchs’ tombs were palaces fit for immortals.  Each tomb was a symbol of power and majesty, designed to ensure that its owner continued to enjoy in the afterlife the same comforts and privileges afforded to them in life.  In showing these two tombs together, The Search for Immortality sheds new light on a critical period of China’s early history. The exhibition will only be seen in Cambridge.
Curator of the exhibition, Dr James Lin, commented:  “It is immensely exciting that we are able to compare these unique discoveries from two rival kingdoms for the first time in Cambridge, as the archaeology allows us to tell a story that textual evidence simply does not reveal.
“It is known from written records that the first Han Emperor and the first King of Nanyue vied with each other for power and legitimacy in southern China; this exhibition shows how the struggle to be known as ‘emperor’ in the southern borderlands continued into the second generation of the Nanyue kingdom, an episode mostly passed over in the historical chronicles.
“Through a direct comparison of the tomb treasures from the Han imperial family with those of the second king of Nanyue, Zhao Mo, the exhibition shows how the latter’s funerary splendour continued to be styled on that of the Han heartland, often reaching the same level of exquisite artistry. This provides a new perspective on the Han period and how the imperial family continued to exert its influence, through both arms and art, to maintain control of their vast empire.”
Founded in 206 BC, the Han Dynasty followed the collapse and disintegration of the Qin Empire, which had been established only fifteen years earlier by China’s First Emperor, Qinshihuangdi. Except for a brief interruption in 9-25  AD, the Han emperors were to rule much of China for the next 400 years until 220 AD.
Contemporaneous with the late republic and early Roman Empire, the Han is considered the ‘classical’ period of Chinese history and, at the time of the birth of Christ, was as great in population and power as the Romans. It saw the emergence  of cultural values, ideologies and institutions which have remained central to Chinese identity ever since. During this period Confucianism, with its emphasis on loyalty to family and to the Emperor, was first adopted as the official ideology.
It was also then that rigorous state examinations for selecting civil servants on the basis of merit rather than hereditary status were first introduced.  In China today ‘Han’ is often used interchangeably with ‘Chinese’: the language is referred to as the Han language – Hanyu; Chinese script as Han writing – Hanzi; and over 90% of Chinese nationals regard themselves as Han Chinese – Hanren.
Zhao Tuo, a former commander in the army of the First Emperor, established the independent  state of Nanyue in 204  BC. Its capital Panyu is modern-day  Guangzhou (Canton) and was then, as now, a busy commercial port and an eastern terminus of the ancient maritime Silk Route.
In 196 BC Emperor Gaozu, founder of the Han Dynasty, sent an envoy demanding that Nanyue founding king, Zhao Tuo, submit to his authority.  Zhao Tuo agreed and Nanyue was granted formal status as a vassal state of the Han Empire.
Yet only a year later, having gained the allegiance of two neighbouring states, Zhao Tuo declared himself Emperor. After two years of conflict, Zhao Tuo once more ‘submitted’ to the Han ruler, though both he and his successors continued to style themselves ‘Emperor’ at home, using the lesser title of ‘King’ only in their dealings with the Han court.
The exhibition compares the tomb of Zhao Mo, Zhao Tuo’s grandson and successor from the Southern Nanyue kingdom, with the astonishing finds from three of the major northern Han tombs of the kings of Chu, a branch of the imperial family that had been granted this kingdom by the emperor.
This is the first time such a comparison of the splendour and treasures of these two sets of rival tombs has been made.
The exhibition will reflect the layout of the funerary goods within the tombs, giving a sense of what it would have been like to walk through one of these tombs for the first time: being met by tomb guardians, progressing into the principal chambers with pottery servants, musical instruments and other treasures, and finally coming upon the inner sanctum with the burials of the kings themselves. Highlights include:•    two jade burial armour suits belonging to the rival rulers, painstakingly made from thousands of plaques of jade, sewn together with gold or silk thread
•    lavish burial furnishings in jade thought to ward off demons or to serve the emperor in the afterlife, such as a jade cup to catch the morning dew that ensured immortality
•    spectacular objects in gold, including imperial seals and exotically decorated belt buckles
•    pottery soldiers and bronze weapons
•    pottery dancers, musicians and servants
•    unusual artefacts including a toilet and an early ginger grater.
The Search for Immortality: Tomb Treasures of Han China has been made possible through the generous permission of China’s State Administration for Cultural Heritage, Art Exhibitions China, Xuzhou Museum and the Museum of the Mausoleum of the Nanyue Kings. The exhibition is part of the London 2012 Festival, a spectacular 12-week nationwide celebration from 21 June to 9 September 2012, bringing together leading artists from across the world with the very best from the UK.

Indus civilisation site in India under threat of vanishing

Indus civilisation site in India under threat of vanishingWashington: Rakhigari, one of the largest and oldest Indus Valley sites in the world located in Haryana along with Taxila in Pakistan are under threat of vanishing in a tide of rapid economic growth, the World Heritage Fund has warned.

Rakhigari, discovered by Indian archaeologists in 1963 is among the ten sites identified by the Fund as the most in danger of "irreparable loss and destruction," in its new report 'Asia's Heritage in peril' released last night in California.

The sites under threat include Kashgar, one of the last intact silk road sites in China, Mes Aynak, the last Buddhist ancient Monastry complex on the silk Road still standing in Afghanistan, Plain of Jars, Megalithic archaeological landscape of mysterious origins in Laos and Taxila, the former crossroads of industry in Ancient Asia in Pakistan.

"These 10 sites represent merely a fragment of the endangered treasures across Asia and the rest of the developing world," the fund's executive director Jeff Morgan said in presenting the report.

The architectural gems from across Asia's ancient and sophisticated cultures are struggling in the face of economic expansion, sudden floods of tourists and areas of lawlessness and war, the report said.

Other sites named in the report are: Ayutthaya in Thailand, a former Siamese capital known as the "Venice of the East." Fort Santiago in the Philippines, Mahasthangarh, one of South Asia's earliest archaeological sites in Bangladesh, Myauk-U, capital of the first Arakanese kingdom in Myanmar and Preah Vihear, a Khmer architectural masterpiece in Cambodia.

The endangered Rakhigari site lies just 150 kms away from the Indian capital in a village in Hisar district of Haryana.

Archaeological Survey of India is carrying out a detailed excavation of the site, revealing the size of a lost city and recovering numerous artifacts, some over 5,000 years old.

Source: Deccan Herald
At Rakhigari, the diggers have found evidence of paved roads, drainage system, large rainwater collection, storage system, terracotta brick, statue production and skilled metal working in both bronze and precious metals.

Travelling the Silk Road

Tang-era drum  (detail). Courtesy: American Museum of Natural History, Division of Anthropology.
Tang-era drum (detail). Courtesy: American Museum of Natural History, Division of Anthropology.

Now showing in Canberra

From 31 March until 29 July 2012
National Museum of Australia, Temporary Exhibition Gallery
Adult $10, concession $8, family $22, child $5
Friends half-price

Travelling the Silk Road: Ancient Pathway to the Modern World is now showing at the National Museum of Australia – its one exclusive Australian venue.
Step 1000 years back in time to experience the sights, sounds and stories of the greatest trading route in history in this new exhibition from the American Museum of Natural History, New York.
Embark on a thrilling journey along the legendary Silk Road, exploring the ancient cities of Asia and the Middle East over six centuries, where spectacular sights, exquisite silks and rousing stories await.
Remarkable dioramas, fascinating interactives and impressive artefacts will amaze children and adults alike on this adventure along the world's oldest international highway.

Shop the Silk Road

Continue your Silk Road journey in the exhibition gift shop. Buy ceramics, textiles, glassware and jewellery sourced from and inspired by India, China, Persia and Turkey. Open daily during the exhibition.

Programs and events

View the Museum's special Silk Road programs and events.
The video below features professional sand artist Pooja Harischandra. Pooja illustrates elements of the exhibition through a visual story in sand.