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The expert revealed that the item dated as far as back as the 1650s.

Most of the items that turn up on “Antiques Roadshow” are often family heirlooms, paintings, and vintage timepieces. But sometimes, items related to ancient civilizations are also brought in by the guests. One such artifact was a golden bronze sculpture of Buddha. Apart from its captivating appearance and craftsmanship, there were several other factors that led to the sculpture getting a five-figure valuation.

It had a natural shine to it, which comes out in a regular bronze statue after rigorous polishing. According to expert Robert Waterhouse, many people might mistake gilt bronze for just polished regular bronze and not consider it a highly valuable object. “The gilding is in wonderful condition. It’s not been rubbed or worn. These can be somewhat confusing. Often, patinated bronze figures that have been highly polished resemble this,” the expert said.

The item was several hundred years old, and the guest said that it originally belonged to his grandmother, who received it as a gift from a friend after their visit to Asia. The figure, however, was made in the 17th century, circa 1650. This came as a surprise to the guest.

Lastly, the expert noted how good the gilt bronze didn’t seem to be worn out. However, there were a few things that did not work in the item’s favor. “This is a deity. So, this would have been raised on a lotus base, likely a double lotus base, so it fit securely into the base,” Waterhouse explained.

He then revealed that more than half of such Bodhisattvas with multiple arms that are sold are missing the lotus base. But if the base is there, that increases the value drastically. Unfortunately, that was not the case here. The expert also pointed to some signs of corrosion at the back of the figure, which he believed came from some chemicals used to clean it. He also said that it was missing a few fingers.

The concept of a Buddha with multiple arms comes from the birthplace of Buddhism, India. It was then adopted by the Chinese, and such figures are popular to this day. When the time came for the item to be appraised, the guest had to hold on to his jaw. “Speaking to value in a retail setting, this would be $40,000,” Waterhouse said. The guest did not expect this at all. “Wow. Had no idea. Absolutely no idea. That is fabulous,” he said.

The expert also said that if the figure had the lotus base, its value would have shot up to a whopping $150,000. But even without it, this one was worth a ton of money.

Archaeologists in northeastern Thailand have uncovered a spectacular cache of 1,300-year-old gold, silver, and bronze artifacts beneath Wat Dhammachak Semaram, a temple famous for its reclining Buddha statue.

The discovery occurred during routine drainage work, revealing a ceramic container filled with ancient offerings, including gold rings and silver earrings.

Among the most striking finds was a repoussé gold sheet depicting the Buddha in Vitarka Mudra, reflecting the refined metalwork of the Dvaravati period (6th–11th century).

Excavations also yielded terracotta amulets, stone inscriptions, and images showing both Hindu and Buddhist iconography—evidence of cultural exchanges across Southeast Asia.

These relics offer invaluable insight into the spiritual, artistic, and societal richness of ancient Thailand and affirm the temple’s historical significance during King Ramaraj’s reign.

Now housed at the National Museum of Phimai, the artifacts embody the enduring legacy of the Dvaravati civilization and its influence on modern Southeast Asian identity.

Nepal’s effort to secure UNESCO World Heritage status for Tilaurakot—the ancient capital of the Shakya kingdom and Prince Siddhartha Gautam’s pre-enlightenment home—was rejected during the 47th session of the World Heritage Committee in Paris. Despite decades of archaeological research, international collaboration, and renewed political backing, the proposal was deferred following critical recommendations from ICOMOS, UNESCO’s advisory body. Discussions spanned two days but ended without support from any member state; a single amendment might have tipped the outcome.

The case has revealed shortcomings in Nepal’s heritage diplomacy. While nations like India and Japan successfully pushed nominations—Japan even intervening on India’s behalf—Nepal’s team, led by Culture Minister Badri Prasad Pandey, failed to secure strategic backing. Critics suggest that Nepal underestimated the geopolitical sensitivities: India has long promoted its own sites, Piprahwa and Ganwaria, as the real Kapilvastu, challenging Tilaurakot’s identity. A joint transboundary nomination, they argue, could have strengthened both historical legitimacy and international appeal.

Tilaurakot remains archaeologically compelling. Excavations led by experts including British archaeologist Robin Coningham have revealed urban layouts, artifacts, and structures dating back to the 8th century BCE, aligning closely with accounts from Chinese monks Faxian and Xuanzang. Findings such as “punch mark” coins and remnants of ancient city planning support its cultural significance.

The nomination dossier, submitted formally in January 2025 and prepared by heritage expert Duncan Marshall alongside a multidisciplinary team, was praised for its scholarship but faltered on technical grounds, as some ICOMOS recommendations weren’t adequately addressed. Officials emphasized that deeper state-level coordination—not just bureaucratic diligence—is vital for success.

While this setback is discouraging, experts remain optimistic. They cite Lumbini’s earlier failures before being listed in 1997 and urge persistence. The 2025 session, reviewing 32 nominations in total, has made it clear: heritage recognition hinges not just on historical merit, but on diplomacy, alliances, and sustained engagement. Tilaurakot’s future nomination may yet succeed—with refined strategy and broader support.

Many rare ancient antiques are on display in an exhibition in Da Nang, the most livable city in Vietnam, until September.

Visitors are captivated by the displays of rare antiques at the Da Nang – Dau Xua Vang Vọng (Da Nang — Echoes from the Past). PHOTO: VNA/ VIET NAM NEWS

The exhibition titled “Đà Nẵng — Echoes from the Past” is currently on display at the Đà Nẵng Museum in Đà Nẵng, recognized as the most livable city in Vietnam. This significant event showcases over 200 unique and rare antiques from various periods, ranging from the 15th century to the Nguyễn Dynasty (1802-1945). The exhibition is notable for its large scale and the collaboration of multiple partners, including antiquities associations from Thăng Long-Hà Nội, Hải Dương, Hưng Yên, and HCM City, as well as contributions from local private collectors.

The displayed collections feature a diverse array of artifacts, such as gilded wooden furniture and mother-of-pearl inlays from the Nguyễn Dynasty, Chu Đậu potteries from the 15th-16th centuries, ceramics from the Lê-Trịnh to Nguyễn Dynasties, enameled bronzewares, royal costumes, gold-thread embroidery, and Chinese pottery from the 18th-19th centuries.

During the opening ceremony on July 11, Huỳnh Đình Quốc Thiện, Director of the Đà Nẵng Museum, emphasized the exhibition’s role in honoring the historical significance of these antiques and bridging the past with the present. He also called for collective efforts to repatriate Vietnamese antiques scattered abroad to enhance the understanding of Vietnam’s history.

The museum received 96 antiques from 16 private collectors for this exhibition, including notable items like a 19th-century bronze incense burner, enamelwares, a ceramic bowl from the Lý-Trần dynasties, a bronze axe from the Đông Sơn Culture, and ceramics from the Trần Dynasty.

The exhibition will be open to the public until September 12 at 24 Trần Phú Street, Hải Châu District.

Buddha-era relics have been discovered at Yogidanda, in Ward No.12 of Butwal Sub-Metropolitan City, Rupandehi. 

Ward Chairman of Butwal-12, Dilli Prasad Sharma Acharya said that the unearthed relics are of the Buddha period. 

He reported the discovery of an old house, temple, grinding stones, ancient well and bricks at Yogidanda and stressed the need for further excavation in the area.

Previously, it has been reported that locals, while grazing cattle in the area, found historical artefacts, some of which were even taken home.

Chairman Acharya said that efforts would be made to draw the attention of the Department of Archaeology towards the scattered historical objects lying neglected in the lap of the 

Chure hill.

He also informed that a statue of the Buddha found at Yogidanda many years ago has been kept in the Lumbini Museum.

The Yogidanda area, which lies within the Charpala Community Forest, is believed to have been a Buddha-era city.

Chairman of the Forest Consumer’s Group, Jagannath Sharma, mentioned that the Buddha-era relics have been discovered in Charpala’s forest since long time. He also claimed that historical records indicate the area was one of the cities during the time of the Buddha.

He informed that they had been drawing the attention of the Department of Archaeology for years regarding the preservation of the area. But the department has remained indifferent towards the issue. 

Charpala Community Forest has preserved the discovered Buddha-era relics believing that it is an open museum.

Spokesperson of Butwal Sub-Metropolitan City, Shiva Rana, expressed commitment to taking initiatives for the preservation of historically significant relics discovered in Yogidanda.  

He informed that the concerned bodies would be notified for further excavation.

Meanwhile, a Chinese research team visiting Lumbini Buddhist University also conducted a field study of the Yogidanda area. 

Ward Chairman Acharya informed that the Chinese team suggested the relics might date back to the Buddha-era and need detailed study and preservation.

Chairman Acharya further informed that the historical items could become a valuable heritage for future generations and should therefore be preserved. He further highlighted the need for further excavation of the area. 

Charpala Community Forest Chairman Sharma informed that the Lumbini Provincial government has provided some funds to construct sheds for preserving the historical artefacts. 

The conservation work is expected to take place this year, he added. 

Former chairman of Padmapani Natural Therapy Centre, Ram Prasad Bhattarai said that locals have long been finding wall structures, old wells and brick pots in the Yogidanda area of Charpala and the Ranibagiya Bankatta area of Sainamaina.

He said that some historical artefacts have disappeared due to a lack of preservation.

Priceless Buddhist artworks, recently repatriated from Japan, were unveiled for public display at the National Palace Museum of Korea in Seoul on Tuesday. The works comprise a rare set of 10 silk paintings, The Ten Underworld Kings from Korea’s early Joseon dynasty (1392–1897), and a scroll Transcription of the Zhou Version of the Avatamsaka Sutra (Flower Garland Sutra), Volume 22, from the Goryeo period (918–1392). 

The Korea Heritage Service and the Overseas Korean Cultural Heritage Foundation, which were instrumental in retrieving the artworks, held a joint media conference at the museum on 8 July to formally announce the return of the rare Buddhist heritage items.

“The repatriation of these cultural artifacts is particularly meaningful as we are showing [them] to the public for the first time just a month before the 80th anniversary of Korea’s liberation from Japanese colonial rule,” the head of the Korea Heritage Service, Cho Eung-chon, said during the briefing. (The Korea Herald)

Korea was liberated from 35 years of Japanese colonial occupation on 15 August 1945.

“The Goryeo sutra and the king painting set unveiled this time are works punctuating the excellence of Buddhist art from the Goryeo and early Joseon periods,” Cho added. “And we will share their value by allowing the public many chances to see them.” (Korea.net)

The set of 10 silk paintings, traditional hanging scrolls each 66 centimeters wide and 147 centimeters long, depict the 10 lords of the underworld who pass judgment on the recently deceased for the sins they committed during life. Each of the images shows one of the 10 kings amid a scene from hell. The paintings, considered to be representative of the artwork of the early Joseon period, returned to Korea in November 2024.

“Complete sets of The Ten Underworld Kings from early Joseon are extremely rare,” said Dong-A University professor emeritus of art history Park Eun-kyung. “This set provides crucial insight into the transition from Goryeo to Joseon Buddhist painting.” (Korea JoongAng Daily)

The Joseon dynasty spanned some 500 years, from 1392–1897, and is considered the peak of classical Korean culture and literature, and also a high point for the development of science and technology. The dynasty encouraged the propagation of the ideals and doctrines of Neo-Confucianism, which found favor as the state ideology. Although Buddhism was officially discouraged and on occasion subject to persecution, literary exchanges from the period show that Buddhism continued to thrive intellectually, with regular dialogues and exchanges of thought and philosophy between Confucian officials and Buddhist scholars.

Also unveiled on Tuesday was a Goryeo-era transcription of part of the Avatamsaka Sutra produced in 1334, and handwritten in a rare pigment, made by mixing gold powder with hide glue, on dark blue paper.

The scroll, measuring 10.9 meters in length, and featuring a cover adorned with five lotus flowers painted in gold and silver, is believed to be the 22nd volume of an 80-volume Avatamsaka Sutra Chinese translation by the Tang dynasty monk Siksananda (652–710). It was returned from Japan in April this year.

The text describes the journey of Vairocana Buddha as he ascends to the heavenly realm of Tushita. The sutra is a foundational text of Huayan (Kor: Hwaeom) school of Buddhism, which emphasizes the oneness of the Buddha and sentient beings.

“The illustrated frontispiece . . . offers a condensed visualization of the sutra’s content,” South Korea’s Yonhap News Agency reported. “At the top right, Vairocana Buddha is depicted surrounded by bodhisattvas, while other scenes portray his teachings under the Bodhi tree, in Trayastrimsa Heaven, Yama Heaven, and Tusita Heaven.” (K-Vibe)

Such transcribed sutras were originally created as means to propagate the Buddhist teachings.

“The refined and skilled line work suggests the work of a professional monastic calligrapher,” an official noted. (K-Vibe)

The Goryeo dynasty was established in 918 by King Taejo Wang Geon. It united the Later Three Kingdoms (892–936) in 936 and ruled most of the Korean Peninsula until it was displaced by the founder of the Joseon kingdom, Yi Seong-gye, in 1392. Goryeo expanded the country’s borders to present-day Wonsan in the northeast (936–943), the Yalu River (993), eventually expanding to cover almost all of the present-day Korean Peninsula (1374).

While the achievements of Goryeo include establishing relations with the southern kingdoms of what is now China to stabilize national sovereignty, and progressive taxation policies, Goryeo is perhaps most notable for providing an environment in which the arts were able to flourish, leading to the creation of countless sophisticated works by this Buddhist state. Buddhism in Goryeo also evolved in ways that rallied support for the state to protect the kingdom from external threats.

Their rarity and exceptional state of preservation mean the artifacts are considered priceless national cultural properties. The artifacts are being stored at the National Palace Museum of Korea while experts examine their condition and assess their preservation needs.

According to survey data from 2024, the majority of South Korea’s population—51 per cent—holds no religious affiliation. Christians make up the largest religious segment of the population at 31 per cent, while Buddhists account for 17 per cent. Buddhism is reported to be the fastest-growing religion in South Korea in recent years, amid growth in interest among young people.

Seventeen national treasures, including the ancient Dong Duong Buddha statue and the oldest wooden Buddha figures in Southeast Asia, are now on display at the HCM City Museum of History.

The exhibition, running from June 29 to August 10, showcases invaluable artifacts from public museums and private collections in Ho Chi Minh City.

These treasures offer a panoramic view of Vietnam’s cultural and historical evolution from prehistoric times to the modern era.

A highlight of the exhibition is the Dong Duong Buddha, a national treasure discovered in 1911 in Quang Nam by French archaeologist Henri Parmentier.

Dating from the 8th to 9th century, it is considered one of the most beautiful and ancient bronze Buddha statues in Southeast Asia, exemplifying the sophisticated bronze casting and unique aesthetic of the Champa civilization.

The statue has been exhibited internationally and once insured for USD 5 million in France – the highest value ever for a Vietnamese sculpture displayed overseas.

Other notable artifacts include a 10th-century sandstone bust of the goddess Devi from Quang Nam, a 7th-century four-armed Avalokitesvara statue from Tra Vinh, and a 3rd-5th century bronze Vishnu statue from Kien Giang, all representing the pinnacle of Cham and Oc Eo culture.

The exhibition also features a sandstone statue of the goddess Durga from the 7th century, unearthed in Tra Vinh, and a statue of the sun god Surya from 1,500 years ago found in An Giang, highlighting the exquisite craftsmanship of the Oc Eo culture.

Among the rarest items are three ancient wooden Buddha statues – discovered in Dong Thap and Long An – dating back as far as 1,500 years. They include a 2-meter-tall Buddha carved from a single piece of hardwood, representing a unique aspect of early Buddhist art in Southeast Asia.

Also on display are artifacts from the Dong Son culture, including a ceramic steamer bowl estimated to be 2,000-2,500 years old, privately owned by actor Chi Bao and recognized as a national treasure in 2024.

Other remarkable items include a 1947 printing mold for a 5-dong banknote, the 1833 Lương Tài Hầu seal, and two digitized lacquer paintings: “Thanh nien thanh dong” by Nguyen Sang (2017) and “Spring garden of Central-North-South” by Nguyen Gia Tri (2013), the latter created over 20 years and measuring 200x540cm.