In the Oriental Treasures (Shenzhen) Art Museum, an elegant elder gazed intently at the display cases. The gilded bronze statue of the Heavenly Maiden Buddha, exquisitely lifelike, and the kesi thangka (a traditional silk weaving technique) hailed as the "mobile mandala" filled him with profound emotion. Each artifact not only bore witness to the historical fusion of Han and Tibetan cultures but also reflected his personal journey of collecting, chronicling his extraordinary connection with this mystical snowland.
Wonderful Snowfield, Wonderful Bond
His name is Li Wei, 77 years old. Looking back on his life, he did not expect that a good deed more than 50 years ago would make him have a lifelong relationship with Buddha statues and collections.
It was winter 1971. I was on a business trip to Qinghai's Tibetan region for work. The winter was exceptionally harsh, with temperatures dropping below minus 20 degrees Celsius. Recalling events from over 50 years ago, Li Wei still remembers them vividly. "On the way, I passed a Tibetan family and saw a six-or seven-year-old boy wearing a tattered single-layer jacket, his hands and feet frozen red. I couldn't bear to see him suffer, so I quickly handed him a wool vest and socks from my bag. The boy's father had just returned from outside and was deeply moved when he saw the child in the vest. As we parted, he handed me a small bag and said,' Good person, the Buddha will surely bless you.'"
On the return journey, Li Wei opened the small package and discovered a miniature gilded bronze Buddha statue. Though not particularly tall, the statue was exquisitely crafted, adorned with turquoise and crimson coral beads. The exquisite craftsmanship made Li Wei instantly captivated. "The vivid memories of my grandmother's daily devout worship rituals from childhood suddenly came flooding back," he recalled. "It was then that the idea of collecting Buddhist statues took root in my heart."
In the early 1970s, Li Wei searched everywhere for places to get small Buddha statues, but never expected to get the first definite information in front of the steel furnace. "The exquisite Buddha statues were smashed into pieces and burned as scrap copper and iron. My heart ached!"
Li Wei donated all his money to the craftsmen at the furnace, expressing his wish to preserve and collect Buddha statues while urging them to keep an eye out for those scattered among ordinary households. This act of generosity quickly spread the word about Li Wei's daring collection efforts, drawing more and more people to seek his help.
"At that time, all I had was our savings and wages," said Li Wei. To collect the items, he persuaded his family to tighten their belts, sleep on the floor, and even use money meant for their wedding to buy collectibles.
"At first I didn't understand, but later I gradually realized that my father's collection was never about anything else—it was about 'protection,' a 'responsibility.' He couldn't bear to watch Buddha statues being destroyed, so he sold everything he had, borrowed money, and went to collect them." Years later, Li Wei's son Li Shuca revealed the pain behind it all.
With the development of reform and opening up, many foreign merchants began to closely monitor China's cultural relics. They came to Qinghai, hired large numbers of people to purchase cultural relics, and Li Wei's meager salary could no longer bear it. "Sometimes I could only watch helplessly as a treasure fell into the hands of foreigners and flowed overseas, which was truly heartbreaking."
So Li Wei made up his mind to smash his iron rice bowl and go into business. His purpose was only one-not to let the precious cultural relics of his ancestors be lost!
In those years, Li Wei operated a Tao inkstone factory and a distillery. When batches of Tao inkstones crafted using traditional techniques were sold to Singapore, Japan, Hong Kong, Taiwan, and other regions, he earned his first venture capital. He immediately returned to Yinchuan, founded a craft art store named "Oriental Treasures," and thus embarked on his true journey of collecting.
Embroidered Thangka makes its debut in Japan, stunning the world
On September 30,2024, an exhibition titled "Embroidered Thangka Art Exhibition: The Beauty of China's Intangible Cultural Heritage" was held at the Kadokawa Musashino Museum in Japan. This was the first time China's embroidered thangka arrived in Japan. The 86 embroidered thangkas and 10 precious gold-copper Buddha statues, upon their debut, immediately won unanimous praise from Chinese and foreign media. International first-class media outlets such as Xinhua News Agency, AFP, and Japan's Yomiuri Shimbun all covered the event.
Thangka, an important carrier of Tibetan Buddhist culture, is the "mobile mandala" carried by nomadic believers. It is mostly presented in the form of scrolls on paper or canvas, covering various aspects such as religion, history, politics, economy, culture, architecture, medicine, astronomy, calendar calculations, folk legends, and secular life. It is hailed as the "encyclopedia of Tibetan culture" and is also a precious intangible cultural heritage of China.
Unlike ordinary paper thangka, the exhibited works employ over ten exquisite crafts, including the famed 'one inch of kesi is worth one inch of gold' kesi, as well as the meticulous Su embroidery, Man embroidery, ox hair embroidery, and daizi embroidery. The collection features imperial treasures bearing the 'imperial gift' inscriptions of Ming and Qing emperors, making them truly deserving of the title 'national treasures'.
The exhibition opens the eyes of the audience. The hair, face, clothing and ornaments of the figures in the works, even the strokes and intonations of the imperial approval documents, are vividly recreated. The exquisite craftsmanship is amazing.
"A needle and thread embody enlightenment." Zheng Xinmiao, former Vice Minister of Culture and former Director of the Palace Museum, commented on Li Wei's collection of Thangka paintings: "Thangka weaving and embroidery represent the most precious form among all Thangka types, with extremely rare surviving examples. The intricate techniques require years, sometimes even a lifetime, to complete." Zheng revealed to reporters that these artworks typically use court-provided paper Thangka templates. Under the guidance of Buddhist masters and skilled artisans, the finest embroiderers in the palace would reinterpret the Thangka content. The materials are meticulously selected, the craftsmanship exorbitant, making these pieces exceptionally valuable.
"Who would have thought that China still preserves such a complete treasure of Chinese culture!" Many viewers were reluctant to leave after watching for a long time, watching it over and over again, and some even shed tears. As the saying goes, "Good things speak for themselves." At this moment, the national treasure met Japanese audiences across time and space, triggering a strong emotional resonance in them.
"Seeing such exquisite thangkas today was truly awe-inspiring. Many of these embroidered thangkas feature weaving techniques worth learning," said Mika Oda, representative director of Nishijin Shu Keizai Institute, Japan's most renowned century-old embroidery brand, after the exhibition.
Former Japanese Prime Minister Yukio Hatoyama sent a congratulatory message for the exhibition, praising, "The worldview and cosmic view embodied in the embroidered thangka leaves ripples in one's heart after viewing. This kind of touch is the charm inherent in culture itself. Such cultural exchange is the cornerstone of China-Japan peace."
"The embroidered thangka exhibition hosted by Mr.Li Wei fills the historical gap in the history of Sino-Japanese cultural exchange where China's embroidered thangka had never been exhibited in Japan." Former Director-General of Japan's Agency for Cultural Affairs, Masahiro Aoki, also gave unprecedented high praise.
"At that moment, I deeply felt that without translation, the collections transcended national boundaries and historical barriers to engage in a spiritual dialogue with the Japanese people. They are ambassadors that promote the exchange and mutual learning between Chinese and foreign civilizations. It also strengthened my belief in letting the world experience the charm of the Oriental treasures," said Li Wei.
Of the three thousand rivers, Qinghai is the only one
"A true collector must have a specialized niche. You should know what to collect and what to let go." When explaining why he has dedicated decades to studying Qinghai's cultural artifacts, Li Wei told reporters that the plateau embodies spiritual essence. He emphasized Qinghai not only as his entry point into collecting, but also as the land where decades of immersion have made him intimately familiar with its culture, history, and local customs. Every item in his collection has a clear provenance. "I only collect from the source – items that never entered commercial circulation," Li Wei stated.
Qinghai, not only boasts sacred snow-capped mountains, but alsocarries religious beliefs passed down through generations. Located on the plateau, it borders Xizang and faces Xinjiang, serving as a bridge connecting the Hexi Corridor with the inland. Since the Ming Dynasty, the cultural integration between Xizang and the Central Plains has unfolded in Qinghai. Undoubtedly, Qinghai is a melting pot of Han and Tibetan cultures, a corridor for cultural exchanges between China and Central Asian countries.
Peng Changxin, former Director of the Legal Affairs Department at the National Cultural Heritage Administration, attended the exhibition of embroidered Thangka paintings in Japan. He has long followed Li Wei's decades-long collection endeavors. Peng remarked: "The gold-copper Buddha statues and embroidered Thangka paintings collected by Mr.Li Wei exhibit distinct Han-Tibetan fusion characteristics. These artworks are meticulously crafted according to Tibetan Buddhist measurement standards and rituals while incorporating traditional Chinese aesthetic sensibilities. This unique blend of Tibetan and Han artistic styles bears clear historical imprints. Mr.Li Wei's collections not only represent artistic expressions of Han-Tibetan cultural integration but also embody the cultural and national identity rooted in the shared heritage of Tibetan and Chinese Buddhism. They provide invaluable historical evidence and definitive cultural markers for studying Ming Dynasty's governance of Tibet."
"The thangka embroidery we exhibited in Japan is a treasure bestowed by the emperor upon the 'National Master' Zhangjia Living Buddha, who then distributed it to monasteries in Qinghai," Li Wei said proudly.
Through hardships, virtue bears all things
Reflecting on his 50-year collecting journey, Li Wei often likens it to "a quest for sacred scriptures in the Western Regions." He remarks with conviction: "First, we truly came to China's western frontier to seek authentic treasures and' true scriptures. 'Second, these fifty years of collecting have been a perilous odyssey, where we've faced countless trials and survived countless near-death experiences."
Li Wei shared his unforgettable life-and-death experiences with reporters: "Once, while driving to a Tibetan family's home, our car broke down after over 10 hours of driving in a snowstorm at minus 30 degrees Celsius. At 3,000 meters above sea level, the engine wouldn't start and we were oxygen-deprived. For a moment, I thought I was going to die. Fortunately, a passing car came to our rescue hours later. Another time, while exploring Tibetan regions, I encountered a wild Tibetan mastiff that hadn't eaten for days. It suddenly pounced on me, nearly costing me my life. During a trip abroad, I heard a treasure was being bought by an overseas antiquities dealer. After 30+ hours of connecting flights, trains, and buses, I finally managed to leave the treasure before the dealer..." When talking about his collecting journey, Li Wei spoke with endless enthusiasm.
Li Wei told reporters that he was willing to go through all kinds of hardships to collect. If he was not truly in love with the collection, or did not have the determination and perseverance to protect the cultural relics from being lost overseas, he could not keep the collection for a long time. "Then he could only be a merchant who buys and sells goods, not a collector," Li Wei said.
"Collecting often reflects one's character. As the saying goes,' Great virtue bears all things.' Only with noble virtues can one maintain mental balance, resist petty gains, and focus on long-term goals. Without such virtues, one cannot truly acquire valuable items. Even if obtained by chance, they may be sold off quickly for profit." In just a few words, Li Wei revealed the true essence of collecting accumulated over the years.
Li Wei shared a touching story with reporters about an elderly woman from Qinghai who sold a silver Buddha statue. When her family member fell ill and she urgently needed money, the woman sold her family heirloom. Gathering her courage, she said, "I want to exchange it for 10,000 yuan." After checking the statue's age and material, Li Wei immediately offered twice the price without hesitation. "We must ensure fairness. Only by demonstrating genuine care for the Buddha statue, offering reasonable pricing, and maintaining integrity can we attract more people willing to share their treasured possessions with us."
"Eye Science + Science" Original Method
When dealing with a collection, how to identify the authenticity is the key. Li Wei told reporters that he has summed up a set of effective methods: "eye study + science".
The so-called "eye study" is actually the ability to judge the collection. Li Wei said that because he has long been concerned about various collections in Qinghai, when he sees a collection, he will immediately judge the key information behind the collection, such as the historical background and cultural characteristics, according to the source and the characteristics of the form.
However, developing such discerning "golden eyes" to distinguish authenticity is not an overnight achievement, requiring dedicated study. Li Wei not only immersed himself in historical records from relevant periods but also purchased various collection catalogs from major bookstores both domestically and internationally, meticulously studying each item in detail. "Later, I simply placed the Buddha statues from different eras I collected by my bedside, comparing them with the catalogs. Every day, from the moment I opened my eyes to the moment I closed them, I observed these statues, analyzing their characteristics and patterns. Now, any Buddha statue presented before me can be instantly identified by its facial features, attire, craftsmanship, and other traits to determine its era and origin." Li Wei also revealed to reporters that the facial changes in Buddha statues across different periods might mirror those of the emperors of their times—a unique insight he gained after studying hundreds of statues.
"Science" refers to scientific testing, such as dating collections with precision instruments. "If 'eye study' is a holistic judgment, then scientific testing is a precise judgment," said Li Wei.
Zhou Weirong, an expert in ancient Chinese metallurgy and former director of the China Numismatic Museum, once conducted a detailed appraisal of the Ming Yongxuan gold-copper Buddha statue collected by Li Wei. They extracted a small amount of material from this collection and analyzed it from multiple perspectives, including chemistry, physics, metallurgy, and archaeology, and wrote an article titled "The Alloy Composition and Interpretation of the Oriental Treasure Yongxuan Buddha Statue".
Zhou Weirong stated: "Between November 2011 and February 2012, we authenticated 29 Ming Dynasty bronze Buddha statues from the Yongxuan period (1426-1435) in Mr.Li Wei's collection. These statues feature classic forms and elegant postures, with full-body gilding and exceptional craftsmanship. The alloy composition is low-zinc brass, representing typical bronze stone statues. All were cast using the lost-wax technique, demonstrating meticulous standards in design, mold assembly, and post-casting finishing."
"Collection" becomes "exhibition" --adding luster to Chinese culture
In early summer, the Zhoushan Islands are a sea of blue and a sky of clear. In this "Buddhist Kingdom of Sea and Sky" near the mountains and the sea, there is a cultural expo park integrating pilgrimage, sightseeing, experience and ecology--Putuoshan Guanyin Fa Jie.
Upon entering the Guanyin Holy Altar within the sacred precinct, a magnificent thousand-armed and thousand-eyed Guanyin dome unfolds before visitors. The golden Buddha statues, stacked in layers, converge toward the celestial dome, ultimately forming a dazzling celestial canopy that leaves one awestruck. On the second and third floors of the altar, over 700 donated golden bronze Buddha statues and ritual objects by Li Wei are on display.
"That was in November 2015, when I learned that the Guanyin Dharma Realm at Putuo Mountain was about to be completed and opened, I immediately gave strong support. Not only did I donate 500 precious bronze Buddha statues from the Yuan, Ming, and Qing dynasties to the Putuo Mountain Buddhist Association, but I also decided to establish China's first Buddhist sculpture research institute here, promoting the study of Buddhist sculpture art and the research on Han-Tibetan culture and history," said Li Wei.
The Guanyin Dharma Realm, a century-spanning cultural and artistic project jointly initiated by Zhejiang Provincial Party Committee and Zhoushan Municipal Party Committee, integrates Buddhist philosophy with cultural heritage. The donation of golden bronze Buddha statues and ritual objects by Mr.Li Wei has enriched the exhibition displays at the Guanyin Sacred Altar, while also deepening public understanding of the historical fusion between Han and Tibetan cultures. Meanwhile, the ongoing construction of the Buddhist Sculpture Research Institute provides a platform for better preserving and promoting China's outstanding traditional culture. Xin Haiping, then serving as Director of Zhoushan Municipal Party Committee's Publicity Department and United Front Work Department, shared the donation's background with reporters through heartfelt narration.
Li wei's career as a collector has taken a major turn, from believing that collectors could only "collect" and "hide" to donating more than 700 pieces of his collection to the world.
"In fact, this is not my first donation. Since 2007, I have initiated a systematic project to authenticate the bronze and gilded bronze Buddha statues in my personal collection. In April 2009, I donated 22 ancient bronze and gilded statues, including the 'Daming Yongle Nian Shi' gilded bronze statue of the Auspicious Heavenly Mother, to the National Museum of China," Li Wei said proudly.
When discussing this transformation, Li Wei remarked: "I cherish my collection deeply, as they represent the cultural treasures passed down by our ancestors. Yet I was profoundly outraged when, a decade or two ago, items of modest value were smuggled overseas and hyped by auction houses. This experience made me realize: my valuable collection shouldn 't remain hidden in my storage room for self-admiration. Instead, it should be showcased to the world – to be appreciated, studied, and ultimately presented as a testament to the beauty of China's outstanding traditional heritage."
When the exquisite bronze Buddha statue collected by Li Wei was unveiled, it shocked the academic and professional circles. People came in a flood to appreciate and study it.
Renowned scholars including Ji Xianlin, a master of Chinese classical studies; Rao Zongyi, a towering figure in academia; Feng Qiyong, a distinguished expert in literature and history; Wang Yao, a leading Tibetan studies scholar; Tan Xiyong, a specialist in Han-Tibetan Buddhist studies; Bu Liansheng, a master of Buddhist sculpture; and Sun Guozhang, along with other veteran scholars from the fields of Chinese classical studies, Tibetan studies, and Buddhist sculpture, have all provided guidance and attention to Li Wei's collection. Professor Shen Weirong from Renmin University, a renowned expert in Buddhist sculpture authentication, and Wang Jiapeng, a research fellow at the Palace Museum, have devoted substantial time and effort to collaborate with senior scholars both domestically and internationally. Together, they conducted thorough documentary research and physical authentication of this collection.
With the care and support of the National Press and Publication Administration, the Palace Museum, the National Museum, the China Tibetology Research Center, and the Cultural Relics Publishing House, large-scale albums such as "Han-Tibetan Fusion: A Collection of Gold and Bronze Buddha Statues", "Han Style and Tibetan Charm: Essays on Gold and Bronze Buddha Statues from the Ming and Qing Courts", and "Splendid Thousand Worlds: A Collection of Ancient Chinese Brocade and Thangka" have been published, based on Li Wei's collection.
After reviewing the initial draft of *The Fusion of Han and Tibetan Cultures: A Collection of Bronze Buddha Statues*, Mr.Ji Xianlin inscribed for Li Wei on his sickbed: "To Add Luster to Chinese Culture." Mr.Feng Qiyong wrote: "A Precious Treasure of the Snowy Region, A Golden Witness in the Garden of History"...
"I don't just want these beautiful collections to have a good home. I also hope to build a station for dialogue between civilizations through these bilingual books," said Li Wei.
I will continue my love for thousands of years
The endless river embraces the stars. Though human life is finite, the precious gem can transcend millennia and shine eternally.
In front of the Oriental Treasure (Shenzhen) Art Museum, Li Wei stared at his calligraphy work, "Nothing".
Through decades of collecting, I've been privileged to preserve these treasures. They embody China's splendid civilization and crystallize human progress. My mission is to transform collections into exhibits, spreading China's outstanding traditional culture globally and ensuring its legacy endures for millennia," Li Wei stated.
"Life goes on, so does the passion for collecting!" Li Wei reflected, "Looking back, I'm proud to have been connected with Buddhist statues and the world of collecting. Through my efforts, I hope to spread China's rich cultural heritage, continuing this timeless bond that transcends life and time."
(By Guo Dan)
