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Archaeologists Discover Tomb of 'Chinese Shakespeare' Tang Xianzu

As William Shakespeare gained fame in 16th century England, playwright Tang Xianzu was making his own mark in China. Billed by some as the “Shakespeare of the East,” Tang—who, just like the Bard, died in 1616—penned operas like The Peony Pavilion, The Legend of the Purple Hairpin, The Story of Handan, and The Dream of Nanke, collectively called The Four Dreams of Yuming Tangi. To this day, Tang's works—particularly The Peony Pavilion, a dramatic romance—are still performed around the world. Now, according to Archaeology, researchers have located Tang's tomb in east China’s Jiangxi Province.

In late 2016, workers in the city of Fuzhou discovered a group of 42 tombs underneath a leveled building. The majority of the graves dated back to the Ming Dynasty, a period that spanned 1368 CE to 1644 CE. According to the Xinhua News Agency, experts think that one of the tombs is the final resting place of both Tang and his third wife, Fu.

Archaeologists also discovered epitaphs that may have been written by the playwright. They included personal details about Tang's life and family, which helped researchers locate the playwright’s individual tomb, according to the Global Times

China's official news agency, Xinhua, tweeted images of the tomb. 

"The epitaphs can help us learn more about the calligraphy, art, and literature in Tang's time," said Xu Changqing, head of the Jiangxi Provincial Cultural Relics and Archeology Research Institute, according to Xinhua. As for the tombs themselves, experts say they could teach them more about Tang’s life, his family, and various cultural aspects of the Ming Dynasty.

Thanks to their respective geographies, Tang and Shakespeare never met in person—or for that matter, even knew of the other’s existence. Still, that hasn’t stopped China from drawing parallels between Tang and Shakespeare, using the Bard to promote their own master playwright. Exhibitions examine similarities between the two men, Chinese opera companies create mash-ups of Tang's and Shakespeare’s works, and Fuzhou’s government even donated statues of Tang and Shakespeare to Shakespeare's hometown, Stratford-upon-Avon, depicting the two standing shoulder-to-shoulder.

But despite Tang's fame, his gravesite's location remained a mystery for years. Nineteenth-century writings confirmed that the playwright was buried in Fuzhou, and an empty tomb constructed in the city’s People’s Park in the 1980s commemorated this legacy. Now that the real thing has been found, Fuzhou’s city government plans to turn the site into a tourist attraction for fans and academics.

[h/t Archaeology]

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Brigido Lara, the Artist Whose Pre-Columbian Fakes Fooled Museums Around the World
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In July 1974, Mexican authorities sent a man named Brigido Lara to jail. His crime wasn't a violent one, but it was serious nonetheless: Archaeologists from the Instituto Nacional de Antropología e Historia (INAH), a Mexican federal government bureau devoted to preserving the nation's heritage, claimed that Lara had been found with ancient ceramic artifacts looted from archeological sites in the state of Veracruz.

Lara was convicted of stealing and smuggling antiquities, but he insisted he wasn't a thief—and he could prove it. All he needed were tools and some clay brought to his jail cell. 

FORGING A CAREER

Lara grew up in Veracruz, in the village of Tlalixcoyán. While his parents were peasant farmers, Lara showed artistic talent—specifically, a knack for creating figurines from clay. Veracruz is home to many archaeological sites that date back to hundreds and thousands of years before the arrival of before Christopher Columbus, and the young Lara would often find ancient terra-cotta figurines in the fields and near rivers. He claims that by the time he was 9 years old, he was making versions of these artifacts using clay harvested from a local stream.

As Lara grew older, his skill set expanded. He reportedly taught himself how to prep and oven-fire local clay, and began making objects that mimicked those of several ancient Mesoamerican cultures—imitation Olmec pots, Maya polychrome vessels, and figurines in the Aztec, Mayan, and Totonac styles. He began specializing in replicating works by the Totonacs, a culture that flourished in central Veracruz until the Spanish Conquest introduced diseases that ravaged the communities. These figurines ranged in size from large to tiny, and often depicted mythological gods wearing masks and headdresses.

It's not entirely clear whether Lara began making these figurines for fun or profit. But according to the man himself, traveling dry-goods merchants had noticed his talents before he had even reached his teens. They accepted his "interpretations," as he called his early work, in lieu of cash—then sold them on the black market. Looters also came to Lara, asking him to fix and restore stolen works. Eventually, the artist wound up working in a Mexico City atelier that produced forgeries.

No detail was too tiny for Lara. He visited archaeological sites to study just-dug-up artifacts, and harvested clay from the surrounding region to sculpt exact likenesses. He later told Connoisseur magazine that for true authenticity, he even crafted his own primitive tools and stockpiled 32 grades of cinnabar—a reddish form of mercury used by the Olmec, an ancient Mesoamerican civilization that existed between 1200 BCE and 400 BCE—for precise pigmentation. He finished his works with a ancient-looking patina made from cement, lime, hot sugar water, urine, and other ingredients, and coated the final products with a seal made from dirt and glue.

But even though Lara was a stickler for the details, he also took artistic liberties with some of his "interpretations," adding elements that wouldn't have appeared on the original artifacts. Sometimes he would include a fanciful new detail from his imagination: a winged headdress, or one that writhed with serpents; a duck-billed mask, or a dramatic, lifelike pose.

Lara didn't consider himself a forger. "My style was born with me," he told The New York Times in 1987. "I didn't learn from anyone. I studied the pre-Columbian pieces in my town that came from the burial mounds, and I used the ancient techniques. I made these pieces and I am very proud."

But by young adulthood, he'd also become a businessman, selling his unsigned pre-Columbian replicas to middlemen who re-sold them to illegal art collectors both domestically and abroad. "I was aware that many buyers then sold them as authentic pre-Hispanic works," Lara admitted to Art & Antiques magazine years later.

COMING CLEAN

Lara's forgery career may have continued undetected had he and four of his buyers not been apprehended in 1974 and charged with trafficking in pre-Columbian works. The police didn't consider Lara an artist or a forger—his works looked so real, the authorities thought they'd been dug right out of the ground.

Lara was sentenced to 10 years in jail. To regain his freedom, he devised a plan: He asked law enforcement officials to grant his lawyer permission to bring him clay and art tools. Right there in his cell, Lara created replicas of the antiques he'd reportedly stolen. Experts from the INAH examined the earthen artworks, and declared them "genuine" ancient artifacts.

The stunt worked. Lara had proven he had made the works himself, not smuggled them out of ancient sites. Finally convinced of his innocence, prison officials released him in January 1975 after he'd served only seven months of his sentence.

After his release, Alfonso Medellín Zenil, head of the Museo de Antropología de Xalapa, offered Lara a job. "Our policy is, when you can't beat them, hire them," Fernando Winfield Capitaine, then the museum's director, joked to Connoisseur.

The Museo de Antropología is home to an extensive collection of artifacts from Mexico's Gulf Coast produced by ancient indigenous peoples such as the Olmec, the Huastec, and the Totonac. Lara was hired to restore these works as well as to make replicas for the museum's gift shop.

But his career as a forger wasn't behind him quite yet.

REVELATIONS AND REFLECTIONS

In the early 1980s, Veracruz governor Agustín Acosta Lagunes began repatriating pre-Columbian works from abroad, expanding the collections at the Museo de Antropología de Xalapa. But when Lara saw some of these imported works, which had been purchased at Sotheby's auction house in New York City, he pronounced them fakes. He knew, he said, because he'd made many of them—including a figure of a male dancer that had been exhibited at the Los Angeles County Museum of Natural History’s “Ancient Art of Veracruz” exhibit in 1971.

Little by little, it emerged that Lara’s works might have made their way into pre-Columbian art collections around the world, including in prestigious museums such as the Dallas Museum of Art and the Saint Louis Art Museum, as well as in renowned private collections. Lara claimed credit for a 3-foot statue of the Mexican wind god Ehecatl in New York City's Metropolitan Museum of Art, and out of approximately 150 works on display in the "Ancient Art of Veracruz" exhibit, asserted that he had made about a dozen.

Among the most notorious fakes Lara claimed to have created were three life-size ceramic sculptures in the Dallas Museum of Art that had once belonged to film director John Huston. "If you look at them closely, they are copies," Lara told the Associated Press in 1987. The works were attributed to the Totonac, and thought to have been made between 600 to 900 CE. Lara, however, claimed to have produced them during the 1950s: "The details are different than the originals … the details in the breast decorations, in the shoulder patches and so on," he said. "They are very different. They are originals of course—my own."

As news spread about Lara’s forgeries, the Saint Louis Art Museum, the Met in New York City, and the Dallas Museum of Art responded to the controversy by taking works off display. "All three museums acknowledged that many of the Veracruz-style objects in their collections were problematic," Matthew H. Robb, a former curator at the Saint Louis Art Museum who is now chief curator at the Fowler Museum at UCLA, tells Mental Floss.

Nobody knows exactly how Lara’s creations made their way into American museums (Lara blamed various high-profile art traffickers and dealers), but experts say they noticed when suspicious artifacts resembling his work first began popping up in the 1950s, as pre-Columbian art was becoming more and more popular among American art collectors. "They appeared out of nowhere, resembling nothing previously excavated," Edmund Carpenter, a New York archeologist, told The New York Times. "I saw some in New York, Los Angeles, Paris. Museums bought them, big collectors bought them. But nobody asked, 'How come a big find like this?'"

Bryan Just, a curator and lecturer on pre-Columbian art at the Princeton University Art Museum, chalks the phenomena up to scholarly ignorance. At the time, "there wasn't a lot of material available for comparison," he tells Mental Floss. "There are many regions, including Veracruz … where not a whole lot of archeology had been done. So for a lot of these [new] artworks, there weren't great sources to reference that answered questions like, 'How should this stuff really look?' And at that time, what had been excavated may not have been published."

There was also a shortage of experts to consult because the very idea of pre-Columbian relics as art was still relatively new. Connoisseurs only began collecting and selling these works in the early 20th century, and university scholars didn’t begin offering pre-Columbian art history courses until the 1950s, according to Just.

Not that collectors were necessarily consulting scholars in the first place: "If you were considering work that was offered to you by a dealer, you may have not wanted to consult a colleague who's an expert in that particular area if they work at a collecting institution," Just says. "You know, out of concern that they might snag it up before you do."

Fortunately, modern scholars have access to a greater body of knowledge about pre-Columbian art than their predecessors. "In retrospect, when I see Lara's stuff now, it seems pretty obvious to me that it's wrong," Just says. "It doesn't make sense when you think about it in terms of the broader context of what we know about these particular traditions."

But even today, it isn't always easy to ascertain what's real and what's not when it comes to pre-Columbian art. Experts sometimes use thermoluminescence tests, which involve removing a tiny piece of the object, grinding it up, heating it in a furnace, and observing how much light it emits. Ideally, this process can measure how long ago the clay was fired, but the results can be skewed if a work was recently exposed to extreme heat or had been cleaned.

Another issue is that "lots of these complicated ceramic sculptures are pastiches," Victoria Lyall, a curator of pre-Columbian art at the Denver Art Museum, tells Mental Floss. Artists "will use bits of older sculptures and put them back together. So you have to test a lot of different spots to really get a better sense of whether the entire piece is fake."

X-rays are a good way to spot a composite, but they interfere with thermoluminescence test results, putting conservationists between a rock and a hard place. Furthermore, clays from certain regions—like the clay Lara worked with in Veracruz—reportedly aren't as conducive to thermoluminescence testing.

A LEGACY OF LIES

Lara is now in his mid-70s. He no longer restores antiques at the Museo de Antropología de Xalapa full-time, but he still works as a consultant there, and he continues to make art under his own name. However, his legacy will forever be tied with the difficult history of pre-Columbian artwork. According to experts, it's possible that his artworks are still masquerading as artifacts around the world, and that he may have even helped shape modern scholars' perception of pre-Columbian art from Veracruz.

However, it's also feasible that Lara's stories are a composite of fact and fiction—just like his work. The artist claims to have made thousands of forgeries (one estimate places the number at more than 40,000 pieces), but some experts say it would have been nearly impossible for Lara—who was only in his 30s when he was arrested—to have produced so many works in just a few decades.

Plus, the timelines don't always add up: Lara "was about 8 years old at the time that the [Ehecatl statue] was supposedly manufactured and purchased by the Met," Lyall says.

Lara also claims to have been self-taught, but some have speculated that he's stretched the truth about his natural talent. He may have instead learned his trade by apprenticing at a young age in a Veracruz workshop that specialized in forgeries, theorizes Jesse Lerner, a professor of media studies at Pitzer College. Lara "denies all that, but it's hard to know … Just by the nature of his business, it's kind of shady," Lerner tells Mental Floss. (Lerner's 1999 documentary Ruins—a look at the history of Mexican archeology and the traffic in fakes—features an interview with Lara.)

This workshop might have sold both Lara's wares and similar works to international collectors through an established underground market. Such a scenario would explain the artist's familiarity with pieces in faraway collections, like the Met's statue, which he could describe in great detail despite likely having never produced it with his own hands. Because forgeries aren't exactly signed, it's difficult to know for sure which pieces are Lara's and which may have been made by other forgers.

Either way, Lara's frauds are a reminder to avoid believing everything you read—even if it's a label in a museum. And they offer another lesson, too.

"The types of ancient works that Lara and other forgers were imitating, they weren't intended as aesthetic objects," Lerner says. "They weren't for museums. They were representations of this whole world view of cosmic forces."

That makes forgeries like Lara's particularly problematic. "If the only way we can access that worldview is through these objects that survive, [Lara] is just adding bad data to the pool of data that we have available. He's messing up everyone's understanding of who these figures are representing, and how their universe was understood and functioned."

In other words, sometimes fakes don't just fool art lovers—they can also change our understanding of history.

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Stones, Bones, and Wrecks
English School Caretaker Discovers Medieval Coin Hoard Buried in Playground
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Courtesy of Anderson & Garland Fine Art Auctioneers

From Viking silver to Roman bronze, amateur treasure hunters in Europe locate all kinds of buried treasures with their metal detectors. Now, a new hoard is making headlines: As the ChronicleLive reports, the caretaker of a primary school in Northumberland, England used his own electronic device to find a stash of Medieval-era silver coins buried underneath the school's playground.

The discovery occurred at Warkworth Church of England Primary School, in the tiny village of Warkworth. The school sits near a well-preserved medieval castle, which was once owned by the House of Percy, a powerful noble family.

"The collection was found in the playground by the caretaker who had asked to metal detect and was granted permission," Fred Wyrley-Birch, director of Newcastle auctioneers Anderson & Garland, who will auction off some of the coins, told Mental Floss. "The hoard was then declared a treasure trove, and was valued and authenticated by The British Museum."

The cache consists of 128 silver coins forged during the 15th and early 16th centuries, a period of transition in England from the Medieval era to the Renaissance era. It includes groat and half-groat coins, which date back to the reigns of monarchs King Edward IV and King Henry VII, and nine coins from the 1460s associated with Charles the Bold, Duke of Burgundy. Together, they're worth £11,000 (nearly $15,000 US).

Theories abound as to why the coins were buried: The presence of a large medieval castle just up the hill has prompted Wyrley-Birch to concoct "a romantic tale" of a "large tax bill on its way to the local sheriff, which never made it to its intended destination."

Meanwhile, Andrew Agate, a local finds liaison officer for the Portable Antiquities Scheme, to which discoveries of treasures are reported, proposed to ChronicleLive that "the owner may have felt in danger during turbulent times of Scottish incursions," he said. "The intention would have been to retrieve them, but for some reason, this never happened."

The British Museum didn't opt to purchase the silver currency, so the primary school caretaker and the landowner, the Diocese of Newcastle, agreed to split the buried treasure. On Wednesday, September 13, Anderson & Garland will sell 66 coins at auction, all of which belong to the Diocese.

"The collection is a rare opportunity to buy interesting coins that have been underground for 500 years," Wyrley-Birch says. "Most types of treasure troves are kept for the nation and placed in a museum, but for unknown reasons, this one has been given back."

You can check out some of the coins for sale below:

  A primary school caretaker with a metal detector discovered a hoard of 128 silver Medieval-era coins, which were buried underneath the playground at the Warkworth Church of England Primary School in Warkworth, England.
Courtesy of Anderson & Garland Fine Art Auctioneers

A primary school caretaker with a metal detector discovered a hoard of 128 silver Medieval-era coins, which were buried underneath the playground at the Warkworth Church of England Primary School in Warkworth, England.
Courtesy of Anderson & Garland Fine Art Auctioneers

A primary school caretaker with a metal detector discovered a hoard of 128 silver Medieval-era coins, which were buried underneath the playground at the Warkworth Church of England Primary School in Warkworth, England.
Courtesy of Anderson & Garland Fine Art Auctioneers

A primary school caretaker with a metal detector discovered a hoard of 128 silver Medieval-era coins, which were buried underneath the playground at the Warkworth Church of England Primary School in Warkworth, England.
Courtesy of Anderson & Garland Fine Art Auctioneers

[h/t ChronicleLive]

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