What meanings do the ritual objects present in the MAO collections have and how were they used and perceived in their original context? Why and how did they become part of the museum's heritage - as well as other Asian art museums in Europe? And again: what are the problems posed by conservation and restoration, subordinated to taste and techniques that change over time? What is the relationship between Buddhism and new technologies?
From these questions the new Buddha10 exhibition begins. Fragments, drifts and refractions of the Buddhist visual imaginary , a project that starts from the works in the collections to open wider perspectives on issues concerning the museum, its collections and on what it means to manage, preserve and enhance a heritage of Asian art in the Western context.
In the rooms dedicated to temporary exhibitions, in an essential and evocative space, over twenty large Buddhist statues in wood or stone from different periods (from the twelfth to the nineteenth century) from the MAO collections will be combined with some sculptures - including two extraordinary sculptural heads in stone from the Tang period (618-907 AD) - from the Museum of Civilizations in Rome , with which the Museum has started a fruitful and articulated collaboration, and to an important loan from the Chiossone Museum in Genoa.
The works will be placed in dialogue or in contrast with each other, in a dialectical and diachronic relationship that opens trajectories of reflections on many themes: the relationship between true and false, between science and religion, the ability of restoration to reveal and hide, as two types of restoration can profoundly change two similar works, the role of light in the fruition of the works and much more.