<em>View from the South of the Pagoda of Monk Wansong or the Old Man of Wansong (Wansong Laoren Ta) at Xisi</em> | Photo: BabelStone (Own work) via ikimedia Creative Commons
A treasure to be sought ought painstakingly, just a short walk from the Xisi Metro Station in the heart of Beijing - a tiny pagoda from the XIII Century at the centre of a lovely walled garden with roses and pomegranates. Ancient and, for a long time, hidden. At the end of the Ming Dynasty, the pagoda was surrounded by the streets and buildings of the blossoming commercial centre that Beijing had become. The pagoda gets its name from the elderly wise man Wansong Xingxiu, a famous monk who lived from 1166 to 1246. We know as much thanks to the inscription on a tablet stating "Pagoda of the Old Man of Wansong”. Hidden but never forgotten, the pagoda was restored numerous times which is why it lasted so long. The last work was completed in 1986 in order to repair damage from an earthquake, bringing to light the original structure - seven levels of brick measuring 5 metres, emerging from structure of thin slabs of stone laid all about it, it is thought, in 1753. In 2013, to celebrate the renovation of the entire neighbourhood, the area was opened to the public. On the North and South sides of the courtyard, there are bookshops specialising in the history of Beijing, as well as an exhibition hall with objects and information related to the pagoda’s history.
Mogao Caves, a source of inspiration for Xie Xiaoze's art
The exhibition is the result of the artist Xie Xiaoze's stay at the Dunhuang Foundation in the United States. The source of inspiration for the multitude of paintings, sculptures and multimedia works is the famous "Library Cave".
A leading figure in the British Black Arts Movement of the 1980s, Himid is renowned for her paintings and installations that challenge dominant historical narratives.
On display are over 170 works by key figures from the period of the First Sino-Japanese War, using their personal writings as a means to explore in depth the historical context and meaning of the conflicts.
Tong Yanrunan’s portrait is never a simple recording of resemblance, but rather a kind of philosophical investigation. The subject never offers himself completely but reveals himself in his resistance to capture.