Archaeology handicrafts and science and technology sites to visit China

During the crossing, countless breads of sugar with blue tones are wandered, enchanting the traveler by their beauty. There is an atmosphere of serenity, fullness, at the heart of this China, which seems to have remained the same for millennia. Very pure water strikes through its transparency. Landscapes reveal impressive karst ensembles. There are majestic bamboo bamboo. At the heart of these exceptional panoramas are the scenes of everyday life: Buffets on the banks or coming refreshing in the river, villagers washing their clothes, fishermen picking their nets. Asian buffaloes, with very special skin, need these daily water baths or mud in summer to cope with heat. Chinese children bathe in water or sail on fortune rafts.

In the eyes of the Chinese, these karst emitters, who inspired both painters over the centuries, sketched very specific forms such as «the mountain to the Nine Horses». We must have a very seasoned eye to distinguish them; if so, a life of happiness opens up to you, as the Chinese tradition wants!

This tourist attraction consists of a series of wooden beams planted in the soil. They are carved by sûtras from Tibetan Buddhism evoking the emptiness of life and the absurdity of desire, constantly resumed. For lovers of Tibetan Buddhism, you can walk through this trail after visiting the Great Buddha.

Located in a villa of the French concession. In 1950, Chen Yi, the first mayor of Shanghai, elected his home. Established in 1956 with a view to maintaining the traditional tradition, the Institute conducts research on local and national heritage. It oversees the creation of new models, the development of artistic treaties, is responsible for research on materials and techniques. We visit various workshops where craftsmen, sorted on the strand, manufacture embroidery, sculptures, jade work, lacquer, or painting. An interesting visit to better perceive regional crafts. Large shop of objects made on site and in workshops in the region.

Just after Guyang, these are actually three caves (south, central and north), the most important of which is that of the centre. Built under the reign of Emperor Xuanwu (500-516), in honour of his father (Emperor Xiaowen) and his mother (Empress douairière Wenzhao), they were designed on the model of the temple Lingyan in Yungang (Datong).

The ensemble asked for more than twenty-four years of work carried out by more than 800 000 workers. At the entrance to the centre's cave, two Buddhism guards protect the three Buddhas: that of the Past (Mahakasyapa), the Present (Sakyamuni, the centre) and the Future (Maitreya). In the middle of the ceiling, you can see a lotus flower around which ten apsaras (heavenly dancers assimilated to the girls of joy) fly.

The walls of the cave also contain four banner of bas-reliefs, which are now largely deteriorated. The third, which represents two scenes of Emperor Xiaowen and Empress Wenzhao performing Buddhist rituals, is currently at the Metropolitan Museum in New York and at the Kansas Nelson Art Gallery. Still visible, the first bandeau describes scenes of the Buddha's life, the second of the representations of Buddhist philosophy and the fourth ten-sculptées Buddhist deities and flanked of two disciples and bodhisattvas. Between the central cave of Binyang and the south, the Yique niche containing a 1,90 m high stele commemorates the construction of the caves of Binyang.

The high relief of the lotus flower that is flourishing at the center of the ceiling finally gave its name to the cave. Its provision is similar to the other structures of Longmen: Buddha in the center flanked by two disciples and bodhisattvas. His particularity lies in the treatment of the disciples, who are the bas-reliefs and not the high reliefs. The walls of the cave are covered with Buddha representations, the smallest of Longmen (not more than 2 cm).

A little further than Binyang, this cubic structure 5,90 m wide, 6,50 m deep and 5,80 m high, built in the 15 000 th century, has more than Buddhist statues. In the centre, the main statue is a 4 m high Amitabha sitting on a pedestal shaped with eight petals (Sumeru), behind which there is a bas-relief representing 54 bodhisattvas seated on lotus leaves. On each side of Buddha, there are four imposing warriors. The walls are covered by miniature representations of the main Buddha. The ceiling is decorated with a lotus flower around which an inscription indicates that the cave would have been completed in 680. The cave at the Ten Thousand Buddhas is the only structure of Longmen with the date of construction, the destination, the names of the benefactors and the masters of work. The cave was once flanked by two "keepers" lions that were stolen.

Manufacture of clay figurines from the Huishan hills. Traditional traditional crafts dating from the Ming River and reached its apogee under the Qing when more than 150 workshops were in operation. These grotesque characters, old man dodu or child kissing a fish, the respective symbols of wealth and good fortune, were produced for the faithful who went to the temple Huishan on the weekend as a souvenir of their stay. Visit of the museum to the Research Institute on Niren, art and Local crafts (Niren Yansuo, Gongyimeishu Yanjiusuo).

The northern moraine of the Rongphu glacier is two small hours of walking, without difficulty if it is altitude. You don't have to cross the torrent that's going on because it's extremely dangerous. To approach the glacier is, then you climb on the left along a path. After an hour and a half we see the traces of Camp 1 (5 460 m) and the rediscovery of the glacier is set in the distance.

To reach the other camps, you must cross the bed of the torrent almost dry and continue to climb on the other side. The advanced base camp (6 340 m) is still a day's walk. Expeditions climb through the northeast edge.

The village of Yerpa Da, on the left, next to a small, rudimentary bridge, marks the end of the runway. If you want camping, it's the ideal place. The foot of the caves (2 hours walk) can be reached on the ground. No local buses serve Yerpa. Yerpa was once the main hermitage in Lhasa. The greatest sages have pondered this, especially Songtsen Gampo, Guru Rinpoche, Atisha. Lhalung Pelgyi Dorje came to find refuge after killing Langdarma. Yerpa is considered one of Tibet's most important sacred sites. Maitreya Temple was ransacked during the Cultural Revolution, but the caves did not change and the site kept all its natural serenity. It has a magnificent view over the valley below and the mountain chain in the background.

The site visit takes place following the ritual course of kora, i. e. by turning on the left. It takes at least three hours if you make the big tour that passes through the "nonnerie". The path fills the juniper that one can burn in offering in the ovens provided for this use. The most famous caves are closed and kept by monks who live next door. Search for the person who has the key (le). No money will be asked, but it is recommended to leave offerings in each cave. The small "nonnerie" is particularly pleasant.

Henan was one of the main North China porcelain producing regions, with the neighbouring province of Hebei. Today, it is possible to visit these high places of Song porcelain, (beginning of the second millennium): ruins of the Jun De porcelain ovens in Yuzhou (south of Zhengzhou), ruins of the ovens and museum of famous Ru pottery in Ruzhou (south-west of Zhengzhou), ruins of Fours pottery ovens, furnaces and the Imperial Porcelain research Institute in Kaifeng.

This ancient fortified town of the time Yin and Shang (1500-1027 BC) is the first to have been discovered on the shores of the Blue river (the cradle of the Chinese civilization being the Yellow river). The ruins uncovered testify to a flourishing civilization: 7 m (20 m at the base) of 1 120 m thick in clay walls in the north-east of the city, the palace comprising three buildings on a north-south axis: on the front, the reception room and, on the back, the residential quarters. Around the city was the habitat of the small people scattered over an area of 10 000 km ². More than 2 000 objects were excavated among them many weapons.

Panlong was indeed an important political and military centre of the Shang.

The Longrui reserve is a completely wild place where you can discover a monkey species endemic to the karst regions of southern Guangxi: the langour langour. The reserve brings together about 400 individuals, timid but charming with their long white ring marking their face. The reserve also has a very rare species of camellia: Camellia with golden flowers. The amateurs can admire them in full bloom between October and November. The walk in the reserve is worth a detour. The location is feasible and takes you away from the large Chinese cities. Possibility to spend the night on site: contact your guide or the village of Panlong.

You can walk long hours in the mountains and on the arpentés paths of this reserve. On your road, you may be aware of some insects, spiders and butterflies. Take your bathing suit, bathing is possible in some places.

This tiny village of a few hundred souls is situated in the heart of a fabulous karst landscape. La Montagne Fleurie, or Huashan, is the site that attracts the most tourists in the south of Guangxi. You are advised to go there when it is beautiful (light will help you better collect the frescoes). If you have the possibility to purchase binoculars, do not hesitate.

From Pingxiang: We recommend you take a bus to the village of Ningming. Once you arrive in Ningming, take the boat at the port of Tuolongqiao (about 1 hour and a half). By private boat, 80 RMB per person. Let us prefer ship companies: 35 RMB per person.

From Nanning: buses leave early in the morning and take you to Ningming. From here take the boat to go to the Mountain Fleurie.

Accommodation. The village of Panlong has a small and comfortable hotel (Tel: (0771) 8628195, about 150 RMB at night). You can sleep in the traditional wooden houses of the Dong, Miao and Zhuang minorities.

The mural frescoes are worth a visit. This enormous pyramid limestone is located on the east bank of the Mingjiang River. The cliff has magnificent frescoes for several hundred metres. The paintings span 125 m wide and close to 44 m high! The red paint that dominates the cliff has not lost its vitality. It seems, however, that it is more than 2 000 years old, but it does not seem to change over time. Scientists studied the substance, they would have to be red (mineral) hematite. On these magnificent frescoes, the visitor can distinguish about 1 300 figures. Most of them are active human beings (dancing, jumping, or an animal), some with objects like shields or knives.

Legend. The precise date of these paintings remains a mystery to historians. However, a legend Zhuang tells that a young man from the Zhuang minority would have wanted to rebel against the king of the time. He began drawing on sheets of paper from soldiers and horses. The story wanted once in a safe, the drawings turn into a real army after 100 days. Only on the 99 th day, the young man's mother opened the chest in which the drawings were hidden. When the woman saw the sheets of paper, it was too late and they flew away. The drawings were drawn by the cliff and remained stuck on the walls of this mountain. Later, these drawings would have become the frescoes that can now be seen on the site. If one refers to legend, it would appear that the paintings were performed between 770 and 476 BC.

How could the frescoes be painted? The walls of the limestone mountain are difficult to reach. His ascent is dangerous or almost impossible. Historians therefore questioned how the artists of the time were able to paint on the rock. Several theories clash with each other. Some think that the men at the time had designed a bamboo scaffolding (very resistant material) to access the most difficult parts. Others believe that the level of water should vary more. Thus, according to floods and assèchement, some parties were more feasible. But these two theories were very quickly refuted. Historians today think that painters would have served small wooden planks set in the wall (there would remain traces). These small boards would have created some sort of staircase that would have facilitated access to less practicable areas. This theory seems to be the most likely for experts.

The contents of the frescoes. The frescoes are about 1 300 characters varying between 50 cm and 3,50 m. No one knows what the use and the recipient of these works were. Several theories still fight the origin of these frescoes. Some think it would be a work to pay tribute to the god of water. Others think that these drawings might serve to inspire warriors before they go to battle. At the moment, no conclusion could be reached. The frescoes represent several series of episodes. The first represents a procession of warriors, the second shows the selection of combatants, and then breaks different scenes of war. At the end, we can see an episode describing young women dancing in the face of warriors'triumph. During your trip, you will also discover representations of dogs, drums and weapons.

The largest of Clearwater Bay. It is supervised by nageurs, and equipped with cabins to change, a few restaurants of restaurants to feed and water games for children. Rames boats can be rented there, and the waters of the protected bay are generally very calm. The site is charming, even the days of great attendance in summer.

The site is fully furnished, with routes marked to indicate walks. Walks offer beautiful views of the city. A mandatory exit for those who want to air your mind!