Page 87 - ΝUMO 2026

FO L LOW / C o rf u

EASTERN

WORLDS

In the historic centre of this verdant Ionian island,

the Museum of Asian Art of Corfu bridges the
surrounding landscape with distant artistic and

philosophical traditions, offering an experience unlike
anywhere else in the country.

Corfu has always existed at a crossroads. Not only of empires capture gesture, movement, and fleeting emotion with remarkable clarity.
and influences, but of atmospheres, where the Ionian light meets something Further on, sculptures from India and Gandhara introduce a more introspec-
more inward, more contemplative. It is within this quiet duality that the Mu- tive dimension. Here, the convergence of Hellenistic and Buddhist traditions
seum of Asian Art of Corfu reveals its singular presence. Housed in the Palace feels unexpectedly coherent, a reminder that cultures have always been in
of St. Michael and St. George, the museum carries a sense of continuity rather dialogue, even across distance. Bronze Buddhas, serene yet present, coexist
than contrast. The Regency symmetry of the building, once aligned with British with thangkas from Tibet and Nepal, their intricate compositions inviting pro-
authority, now holds within it a different kind of power. Even before encounter- longed attention. From Cambodia and Thailand, sculptural forms trace the
ing the collections, the experience begins with space itself. Colonnades, high spread of Buddhism through subtle variations of expression and form, while
ceilings, and ceremonial halls introduce a rhythm that prepares the eye to Central Asian textiles quietly echo the rhythms of nomadic life.
slow down and observe. This is the only museum in Greece devoted entirely to
the arts of Asia, yet its uniqueness lies less in exclusivity and more in its abil- (From top left) View of the Palace of Saint WOMEN, SEEN ANEW
ity to shift perception. Moving through its rooms is a gradual recalibration of Michael and Saint George: the reception This season, the museum offers something particularly resonant. From 1
hall. Woman’s blue khalat (coat) Bukhara,
pace. Time stretches. Detail begins to matter. In the Chinese collections, his- Uzbekistan, end of 19th century. Chinese July to 31 December 2026, the exhibition “Women’s Narratives in Japanese
tory unfolds almost like a continuous breath, from prehistoric traces to refined Collection: Roof ornaments with mythical Art” unfolds as a layered and quietly powerful exploration. Through painted
imperial eras. Porcelains, funerary objects, and figurines carry a quiet author- creatures. Japanese collection: Noh scrolls, delicate prints, and everyday objects, it traces the shifting identities of
ity, where craftsmanship becomes a form of philosophy. Nearby, Japanese Masks (Right) Japanese collection: A suit women across time. Not as fixed archetypes, but as fluid presences shaped
byobu screens open like suspended narratives. Gold-leaf surfaces dissolve of samurai armor on display. Fan painting by ritual, society, and personal expression. Let it remain, long after the visit,
depicting Kabuki actors -Colour on paper.
into landscapes and intimate scenes, while woodblock prints and ceramics Artist: Tōshūsai Sharaku (fl. 1794-1795). as a quiet shift in perception. •

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