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Caravaggio: Eternal Ecstasy

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The exhibition, titled Caravaggio: Eternal Ecstasy, centers on Caravaggio’s masterpiece painting Magdalene in Ecstasy, presented for the first time in China. This priceless example of Caravaggio’s profoundly emotive compositions, crafted during the twilight of his life before his death in 1610, acts as the cornerstone for an in-depth examination of the methodologies and practices employed in the restoration, conservation, and preservation of artistic masterpieces.
This exhibition is uniquely curated as a scholarly endeavor – orchestrated by specialists in the field, including renowned art restorer Cinzia Pasquali, famed for her work on the Hall of Mirrors at
Versailles and the Apollo Gallery at the Louvre, and is co-presented with the Italian Cultural Institute of Beijing. Locked into a local dialogue through the integration of seminal artifacts from
The Kizil Grottoes (3rd-8th century AD), which are part of the M WOODS museum collection, this exhibition transcends its aesthetic appeal to serve as an engaging educational experience. It aims to challenge local audiences in China to consider and rethink how we engage with the past, offering a comparative perspective on these critical approaches to restoration and highlighting
the distinct philosophical divergences between Western Europe and East Asia.
Using renowned Baroque painter Michelangelo Merisi da Caravaggio, commonly known as Caravaggio, as a focal point, this exhibition will showcase masterpiece, Magdalene in Ecstasy. Born in Milan in 1571 and deceased in 1610, Caravaggio’s Magdalene work is being displayed for the first time in China. This exhibition promises to be an invaluable asset for our audiences in Chengdu, offering the opportunity to experience the painting first hand.
Additionally, it will act as a forum for examining and studying the artwork through a series of workshops and educational displays. These initiatives are designed to impart comprehensive information concerning the various stages and processes involved in the restoration of this pivotal masterpiece.

In the context of China, the exhibition enriches its scope by incorporating pivotal relics from The Kizil Grottoes, thus broadening and localizing the thematic focus on cultural continuity from a non-European perspective. M WOODS’ Artistic Director Victor Wang has also included additional artifacts from the collection to underscore the historical importance of the Kizil Grottoes, alongside contemporary works that illustrate the varying cultural interpretations of transcendental experiences. Caravaggio’s Magdalene in Ecstasy, with its intense emotional and physical expressions, is rooted in the Baroque tradition of dramatic realism. This is contrasted with the Eastern portrayal of Nirvana, or enlightenment, which emphasizes a serene and detached state of spiritual and worldly liberation, and itself represents a unique blend of influences from ancient Indian, Greco-Roman, Persian, and Han and Tang civilizations. The Kizil Grottoes, located within the ancient Qiuci Kingdom’s territory along the northern route of the Taklamakan Desert in the Xinjiang section of the Silk Road, represent some of the earliest examples of Buddhist art in China. This setting invites a nuanced comparative analysis of early Pan-Asian religious and philosophical art forms alongside Caravaggio’s Baroque masterpiece.Only a few paintings from Caravaggio’s later years remain, presenting a unique opportunity to view one of his most enigmatic works. While numerous copies of Magdalene in Ecstasy exist today, this particular version, authenticated in 2014 by Mina Gregori, is regarded as the true original. It is believed to be the painting Caravaggio had with him on his final journey to Porto Ercole. On the back of the canvas, a note in seventeenth-century handwriting was discovered: “Madalena reversa di Caravaggio a Chiaia ivi da servare pel beneficio del Cardinale Borghese di Roma” (Magdalene on her back by Caravaggio in
Chiaia to serve for the benefit of Cardinal Borghese of Rome). A recurring figure in Caravaggio’s body of work, Mary Magdalene symbolizes his own tumultuous life, marked by desperate attempts to seek forgiveness for his transgressions.