The present research concerns the contextualisation and presentation of eleven small statues from the Tang era dated from the XI and XII centuries CE today housed at the Asian Art Museum in Turin (MAO). A multidisciplinary group with expertise in Asian art, digital representation, and information processing systems, with the support of VR@POLITO and MOD Lab Arch of the Politecnico di Torino is involved in the work. The goal is to present together several Tang-era pottery models not belonging to the same funerary outfit within the spaces of a coeval, philologically compatible hypogeal tomb. With a pronounced storytelling intent, the reconstructive 3D model represents a virtual exhibition project summarizing Tang art’s architectural, pictorial, and sculptural features. The pipeline was developed through photogrammetric acquisition with Structure from Motion (SfM) technology and 3D modeling of the artworks, reconstructive modeling and texturing of a Tang tomb as the ideal space of the statues, and communication through a virtual reality (VR) experience augmented with a set of information.

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023).

The opening of the Narinder Singh Kapany & Satinder Kaur Kapany Sikh Art Collection Gallery at the Montreal Museum of Fine Arts provides a timely opportunity to explore alternative modalities of caring and curating by giving voice to alternative sense-making. This article conveys some reflections born out of the interactions with diasporic artists who tied their own stories to the historical corpus that was conceived through the collector's own bias and mission. Adopting Sikhi (continuous learning) may provide a meaningful curatorial approach that allows contemporary diasporic artists to assert their agency and modes of self-representation, as in the case of Keerat Kaur's Sweet Speech exhibition.