Tale of three cities

Macao mosaics

Some of the architecture and design elements of the new Poly MGM Museum in Macao seem to invoke the spirit of the ancient mariners taking a voyage along the Maritime Silk Road — the theme of the museum's inaugural exhibition. A set of 12 large floor tiles, each with distinct traditional cultural motifs symbolizing a country on the historic Silk Road, are inlaid into the museum's floor.

Curator Su Dan, who is deputy director of the China National Arts and Crafts Museum and the China Intangible Cultural Heritage Museum, says that "the 12 traditional cultural totem patterns representing countries along the Silk Road have been arranged sequentially from East to West according to their geographical distribution". Together, they mark "the cultural pathway of the Silk Road on a global map".

He goes on to explain that the design is a reference to Macao's "unique port location" on the Maritime Silk Road map and is meant to serve as "an enduring carrier of historical information". Su adds that "the patterns were crafted using traditional stone mosaic techniques, with materials sourced from various parts of the world, such as Amazon Green Stone, Dragon and Phoenix Dance stones from Brazil, Wood Grain Stone from Canada, and Red Rose Stone from France. The design aims to demonstrate the coexistence and fusion of multiculturalism in Macao, while also positioning the city in the global art coordinate."

A rather large tapestry from 1620, depicting a scene from the Trojan War, looks down on visitors from a museum wall. Called Aeneas and Anchises, it is one of seven such existing Trojan War-themed works. The Metropolitan Museum of Art in New York has one.

Though it brings Italian maestro Raphael's (1483-1520) iconic sketch based on the same theme to mind, the tapestry, created by unnamed artisans, could not be more different. Much about the scene, showing a man carrying his elderly father on his back as they try to flee from the scene of the battle, is distinctly Chinese. Su says that the piece was probably completed in Macao, resulting in a number of Chinese elements getting assimilated into a Western-style tapestry.

"For instance, the waves serving as the backdrop and the white clouds in the sky are typical Chinese motifs," he points out. "Additionally, along the borders of the tapestry, one can spot Chinese phoenixes and floral patterns. Hence, this piece stands as an important testament to the cultural exchanges between China and the West over the centuries."