Kozo Akino (first from the left), a member of Japan's House of Councillors and former state minister of finance, visits an embroidery Thangka art exhibition at the Kadokawa Culture Museum in Tokorozawa, Japan, on Sept 30, accompanied by others. PHOTOS BY JIANG XUEQING / CHINA DAILY

The opening ceremony of the "Embroidery Thangka Art Exhibition: The Beauty of China's Intangible Cultural Heritage" was held on Monday at the Kadokawa Culture Museum in Tokorozawa, Saitama Prefecture, Japan.

Showcasing about 100 exquisite embroidered thangkas, a traditional form of painting from the Himalayan cultures of the Qinghai-Tibet Plateau in China, and gilt bronze Buddhist statues from the collection of Li Wei, chairman of Oriental Treasures (Beijing) Art Co. The exhibition serves as a vital platform for deepening cultural exchanges and cooperation between China and Japan.

Hosted from Oct 2 to Oct 9, it is divided into four sections: the history and culture of thangka, the process of creating embroidered thangkas, their aesthetic and cultural significance, and the exchange of Buddhist and thangka art between China and Japan. Approximately 100 guests from various sectors in both countries attended the opening ceremony.

According to Li, the painted thangkas are known for their distinctive ethnic charm and artistic beauty. Embroidered thangkas, a secondary creation developed by the royal courts during the Ming and Qing dynasties, evolved over centuries and now include more than 10 different techniques.

For the first time, the 86 embroidered thangkas and nine gilt bronze Buddhist statues from the Ming and Qing dynasties on display are being exhibited outside of China.

"These artworks not only represent the cultural exchange between China and Japan but also highlight the mutual influence and acceptance of different cultures across Asia," said Li.

"We remain committed to transforming collections into exhibitions and using cultural relics to pass down traditions, deepening cultural and artistic exchanges and cooperation between the two nations," he added.

Thangka, a traditional Tibetan art form known for its distinct ethnic identity and artistic beauty, was among the first to be included in China's National Intangible Cultural Heritage List in 2006.

Chen Lihua, former deputy director of the Palace Museum in Beijing, said: "The nearly 100 embroidered thangkas from Li's collection showcased in this exhibition were meticulously crafted using various traditional Chinese techniques such as embroidery and kesi, an ancient Chinese silk weaving technique. The works possess both immense artistic and aesthetic value. While the exhibition only offers a small glimpse of embroidered thangkas, it reveals the richness and diversity of this unique art form."

She added that the exhibition provides an opportunity for people in both China and Japan to deepen their appreciation of this exceptional cultural heritage, strengthening cultural exchange and friendship between the two nations, and contributing to the preservation and promotion of humanity's shared cultural legacy.

In a video message, former Japanese prime minister Yukio Hatoyama highlighted the cultural significance of the Qinghai-Tibet Plateau, known as the "roof of the world," noting that its rich ethnic culture and history have significantly influenced Japan.

"I am confident that the magnificent worldview and cosmic vision expressed through embroidered thangkas, which embody the true power of culture, will resonate deeply with all attendees. Furthermore, I believe that cultural exchanges like this will serve as a foundation for peace in the future," Hatoyama said, expressing his hope for continued cultural exchange between China and Japan.

Kozo Akino, a member of the House of Councillors of Japan and former state minister of finance, emphasized the importance of mutual respect and trust in blending and sharing cultures.

"Embroidered thangkas make us Japanese reflect on what Japan truly is," Akino said.

He shared that he has paper mandalas at home, explaining that while such symbols may be inscribed on silk in China, they are written on paper with Chinese characters in Japan.

"Despite these differences, the intentions behind these symbols — the infinite potential of life and the pursuit of happiness — remain the same. I believe that recognizing this shared aspiration, even amid cultural differences, represents the true power of culture," Akino said.

Chen Jianzhong, president of Kouzan Fine-Arts Company, which is overseeing the planning and execution of this exhibition, said in an interview that the successful delivery of the event reflects the commitment of everyone involved from promoting Chinese civilization and their resolve to enhancing cultural exchange and mutual understanding.

Wang Wan, chair professor at the School of Economics at Peking University, said the aim of the organizers is to present the charm and diversity of Chinese culture to the Japanese audience through the exhibition. She emphasized the importance of highlighting this diversity to the Japanese public, which includes fostering an understanding of Tibetan culture alongside the recognition of the interplay between Han and Tibetan cultures.