A long-running smuggling scandal involving temple looters in India and a high-profile New York art dealer has widened after an independent review found that the National Gallery of Australia may have been among the prestigious art galleries duped by false documentation.

The Canberra-based gallery, which is Australia's leading cultural institution, said in mid-February that it had identified 22 objects with suspect origins in its Asian art collection, including 14 works bought from former New York-based dealer Subhash Kapoor for $11 million.

Kapoor is in custody in Chennai, India, awaiting trial on art theft charges following his arrest in Germany in October 2011 and extradition to India in mid-2012.

The Canberra gallery said an independent review of its Asian art provenance project by a former High Court judge, Susan Crennan, found the 22 objects had "insufficient or questionable" documentation of their provenance.

One of the objects, a 900-year-old Chola-era bronze statue entitled "Shiva as Lord of the Dance (Nataraja)" has already been returned to India. Former Australian Prime Minister Tony Abbott handed it over to Indian Prime Minister Narendra Modi in September 2014, along with a stone statue of Ardhanariswara (Shiva in half-female form), dating from around 1100. That statue was in the collection of another leading Australian gallery, the Sydney-based Art Gallery of New South Wales.

Both of these Hindu art treasures allegedly were stolen from temples in Tamil Nadu in southern India and shipped to Kapoor.

The Canberral gallery bought the Shiva Nataraja from Kapoor's Art of the Past gallery on Madison Avenue in New York in 2008 for $5.1 million, while the New South Wales gallery paid Kapoor 300,000 Australian dollars ($220,800) in 2004 for the Ardhanariswara. The provenance documents he provided now appear to be fraudulent, according to Crennan's report. "There is evidence that the object (the Shiva Nataraja) was stolen from an identified temple in Tamil Nadu ... and that it left India in late 2006 and was given a false ownership history," she wrote. Kapoor is alleged to have masterminded the theft of 28 bronzes from two temples in Tamil Nadu in 2006 and 2008, and their illegal export to the U.S., according to the Economic Offences Wing of the Tamil Nadu police. U.S. authorities have seized $100 million worth of antiquities from Kapoor's gallery and an associated business, Nimbus Import Export, and Kapoor may face U.S. charges after his Chennai trial. Delhi-born Kapoor, 66, moved to the U.S. in 1974 and is a U.S. citizen.

The two Australian galleries are not the only major institutions to have made purchases from Kapoor; galleries in Singapore, Germany, the U.S. and Canada have returned art objects to India over the past year.

A private New York collector surrendered a $1 million bronze to U.S. authorities in mid-2015 after it was identified as stolen. It has also become clear that many major U.S. institutions dealt with Kapoor, including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Art Institute of Chicago, the Toledo Museum of Art in Ohio and the Smithsonian's Freer and Sackler Galleries in Washington DC.

Crennan's independent report on the Canberra gallery's Asian Art Provenance project, published on Feb. 17, covers 36 objects acquired between 1968 and 2013, including the 14 bought from Kapoor between 2002 and 2011.

Crennan found that only 12 of the 36 had satisfactory provenance, while two others needed further research and the remaining 22 had insufficient or questionable provenance documentation. The gallery aims eventually to publish the provenance of all 5,000 objects in its Asian art collection.

Aside from the Kapoor purchases, the 36 objects whose documentation was reviewed by Crennan included a red sandstone sculpture, the "Seated Buddha," which the gallery bought from Nancy Wiener Galleries in New York for $1,080,000 in 2007. Last year, after discussions about how the Kushan-period sculpture -- created between 200 BC and 400 AD -- was exported from India, Wiener agreed to refund the purchase price to the Canberra gallery and undertook to return the sculpture to India in 2016.

"Exemplary collaboration"

India's High Commissioner in Australia, Navdeep Suri, praised the Canberra gallery's actions, saying its collaboration with the Archaeological Survey of India to determine the provenance of the "Seated Buddha" was "truly exemplary." He said the Australian gallery had set an example for other countries and institutions to follow in the restitution of stolen artworks to their countries of origin.

The Canberra gallery bought the "Seated Buddha" with assistance from gallery benefactor Roslyn Packer, widow of the late media tycoon Kerry Packer. Roslyn Packer also helped the gallery to buy an 800-year-old sculpture, the "Sacred Bull Nandi, Vehicle of Shiva," for A$655,000 from another New York art dealer, Carlton Rochell, in 2009. This sculpture's provenance is also under a cloud; Crennan's report described it as "problematic" and needing further research.

In a September 2014 statement to mark Abbott's return of the two statues to India, the Canberra gallery said it "would never knowingly purchase a stolen or looted item." It said the gallery had undertaken lengthy, comprehensive and independent research before it bought the Shiva Nataraja from Kapoor in 2008. "Despite these efforts, court proceedings may yet confirm that the gallery has been a victim of a most audacious fraud," said the then director of the gallery, Ron Radford. Radford retired the same month, after 10 years as director.

The search for the Hindu statues stolen from two temples in Tamil Nadu in 2006 and 2008 was aided by photographic evidence from the archives of the French Institute of Pondicherry. The institute, established in what was once the French colony of Pondicherry, about 200km south of Chennai, had a collection of photographs of items in various temples in the region. These were matched against catalogue pictures of items being offered for sale by Kapoor in New York. Kapoor's Art of the Past gallery manager Aaron Freedman pleaded guilty in the U.S. in December 2013 to one count of criminal conspiracy and five counts of possession of stolen property. He is now helping U.S. federal authorities with their inquiries. Another New York associate, Selina Mohamed, was charged in December 2013 with possession of stolen property. She subsequently pleaded guilty to a misdemeanor charge of conspiracy and in March 2015 was given a one year conditional release.

The arrests were part of Operation Hidden Idol, run by the U.S. Immigration and Customs Homeland Security Investigations' cultural property unit, which focused on Kapoor's activities.

The Kapoor case evokes parallels with an art looting saga from the 1970s involving a temple north-east of Cambodia's famed Angkor complex. Between 2013 and 2015, six 10th century sandstone statues that were stolen from the Koh Ker temple during the Cambodian civil war were returned to Cambodia from the U.S. The Metropolitan Museum of Art in New York returned two of these statues in 2013 after it said new information had come to light that was not available when the statues were donated to the museum between 1987 and 1992.

In 2014, three items portraying characters from the Mahabharata, an epic Sanskrit poem of ancient India, were returned by the U.S., including a statue of Duryodhana that was first auctioned in London in 1975. The statue was due to be auctioned by Sotheby's in New York in March 2011 before action by Unesco, the United Nations cultural organization, stopped the sale on Cambodia's behalf.

Another statue, of the character Bhima, was returned by California's Norton Simon museum and a third, representing the character Pandava, was returned by Christie's auction house in 2014. Last year, the Cleveland Museum of Art said it would return a statue of Hanuman, a Hindu god, that it acquired in 1982.

Author: Geoff Hiscock | Source: Nikkei Asian Review [March 04, 2016]

I Love Surfing!

Few people outside of the surfing world realise a debate has been raging for 42-years over which country is responsible for the shortboard revolution. A new surfing documentary from two-time Academy Award nominee David Bradbury seeks to settle the issue once and for all.

Going Vertical opens with some great vintage footage of surfers taking on huge waves on traditional longboards, complete with entertaining wipeouts. The film follows on with a who's who of the surfing universe explaining the significance of the shift from longboard to shortboard surfing. Now known as the shortboard revolution, it is the only time in surfing history that has a name. At the heart of the story are lifelong rivals and surfing royalty American Dick Brewer and Australian Bob McTavish, both now in their sixties (pictured above, promoting the film at the Currumbin surf museum). Filmed in Australia, Hawaii and California, and featuring extraordinary archive footage, the men each have a chance to explain why they were responsible for the shortboard revolution and how the other is, well, a phoney.

Sure, it may sound like two old-timers bickering but their stories are so extraordinary, so hilarious and so entertaining, you soon forget what these two were arguing over in the first place. Interviews with Kelly Slater, Mick Fanning, Layne Beachley, Laird Hamilton and Stephanie Gilmore add some colour as they weigh in on the debate and talk about the effect shortboards have had on the sport. Bradbury knows what he is doing and it shows in this sharp, memorable piece of filmmaking that chops from nostalgic recollections to cutting edge surfing footage like one of the film's stars on a wave.

The only criticism is Australian actor Simon Baker's narration, which sounds flat and lazy compared to the excited and vibrant voices of the surfers. Yet overall Going Vertical is slicker than your average surfing documentary, largely because of the juicy story behind it and the colourful array of characters on screen.This is a must-see for all surfing enthusiasts and lovers of quality documentaries. It is screening in limited release throughout Australian from Thursday, March 25 to Sunday, March 28.

The universe is expanding uniformly according to research led by UCL which reports that space isn't stretching in a preferred direction or spinning.

The new study, published in >Physical Review Letters, studied the cosmic microwave background (CMB) which is the remnant radiation from the Big Bang. It shows the universe expands the same way in all directions, supporting the assumptions made in cosmologists' standard model of the universe.

First author, Daniela Saadeh (UCL Physics & Astronomy), said: "The finding is the best evidence yet that the universe is the same in all directions. Our current understanding of the universe is built on the assumption that it doesn't prefer one direction over another, but there are actually a huge number of ways that Einstein's theory of relativity would allow for space to be imbalanced. Universes that spin and stretch are entirely possible, so it's important that we've shown ours is fair to all its directions."

The team from UCL and Imperial College London used measurements of the CMB taken between 2009 and 2013 by the European Space Agency's Planck satellite. The spacecraft recently released information about the polarisation of CMB across the whole sky for the first time, providing a complementary view of the early universe that the team was able to exploit.

The researchers modelled a comprehensive variety of spinning and stretching scenarios and how these might manifest in the CMB, including its polarisation. They then compared their findings with the real map of the cosmos from Planck, searching for specific signs in the data.

Daniela Saadeh, explained: "We calculated the different patterns that would be seen in the cosmic microwave background if space has different properties in different directions. Signs might include hot and cold spots from stretching along a particular axis, or even spiral distortions."

Collaborating author Dr Stephen Feeney (Imperial College London) added: "We then compare these predictions to reality. This is a serious challenge, as we found an enormous number of ways the Universe can be anisotropic. It's extremely easy to become lost in this myriad of possible universes -- we need to tune 32 dials to find the correct one."

Previous studies only looked at how the universe might rotate, whereas this study is the first to test the widest possible range of geometries of space. Additionally, using the wealth of new data collected from Planck allowed the team to achieve vastly tighter bounds than the previous study. "You can never rule it out completely, but we now calculate the odds that the universe prefers one direction over another at just one in 121,000," said Daniela Saadeh.

Most current cosmological studies assume that the Universe behaves identically in every direction. If this assumption were to fail, a large number of analyses of the cosmos and its content would be flawed.

Daniela Saadeh, added: "We're very glad that our work vindicates what most cosmologists assume. For now, cosmology is safe."

Source: University College London [September 22, 2016]

A miniature ancient Egyptian coffin measuring just 44cm in length has been found to contain the youngest ever example of a human foetus to be embalmed and buried in Egyptian society. This discovery is the only academically verified specimen to exist at only sixteen to eighteen weeks of gestation.

This landmark discovery from the Fitzwilliam Museum in Cambridge, is remarkable evidence of the importance that was placed on official burial rituals in ancient Egypt, even for those lives that were lost so early on in their existence. Curators at the Fitzwilliam made the discovery, during their research for the pioneering bicentennial exhibition Death on the Nile: Uncovering the afterlife of ancient Egypt.

The tiny coffin was excavated at Giza in 1907 by the British School of Archaeology and came into the collection at the Fitzwilliam Museum the same year. It is a perfect miniature example of a wooden coffin of the ancient Egyptian ‘Late Period’ and may date to around 664-525 BC. The lid and box are both made from cedar wood. Although the coffin is deteriorated, it is clear that the wood was carefully carved on a painstakingly small scale and decorated. This gave the curators at the Fitzwilliam the first very clear indication of the importance given to the coffin’s contents at this time in ancient Egyptian society.

The diminutive wrapped package inside was carefully bound in bandages, over which molten black resin had been poured before the coffin was closed. For many years it was thought that the contents were the mummified remains of internal organs that were routinely removed during the embalming of bodies.

Examination using X-ray imaging at the Fitzwilliam Museum was inconclusive, but suggested that it may contain a small skeleton. It was therefore decided to micro CT (computed tomography) scan the tiny bundle at Cambridge University’s Department of Zoology. The cross-sectional images this produced gave the first pictures of the remains of a tiny human body held within the wrappings, which remain undisturbed.

Dr Tom Turmezei, recently Honorary Consultant Radiologist at Addenbrooke’s Hospital in Cambridge collaborated with the Fitzwilliam Museum, alongside Dr. Owen Arthurs, Academic Consultant Paediatric Radiologist at Great Ormond Street Hospital, London. The ground-breaking results were based on their extensive knowledge of CT imaging and paediatric autopsy.

Five digits on both hands and feet and the long bones of the legs and arms were all clearly visible. Although the soft skull and pelvis were found to be collapsed the categorical consensus was that inside the bundle was a human foetus estimated to be of no more than eighteen weeks gestation. It was impossible to give a gender to the specimen and it is thought that the foetus was probably the result of a miscarriage, as there were no obvious abnormalities to explain why it could not have been carried to full-term.

From the micro CT scan it is noticeable that the foetus has its arms crossed over its chest. This, coupled with the intricacy of the tiny coffin and its decoration, are clear indications of the importance and time given to this burial in Egyptian society.

"CT imaging has been used successfully by the museum for several projects in recent years, but this is our most successful find so far," Dr. Tom Turmezei explained. "The ability of CT to show the inner workings of such artefacts without causing any structural damage proved even more invaluable in this case, allowing us to review the foetus for abnormalities and attempt to age it as accurately as possible."

Julie Dawson, Head of Conservation at the Fitzwilliam Museum said, "Using non-invasive modern technology to investigate this extraordinary archaeological find has provided us with striking evidence of how an unborn child might be viewed in ancient Egyptian society. The care taken in the preparation of this burial clearly demonstrates the value placed on life even in the first weeks of its inception."

Tutankhamun’s tomb contained two small foetuses that had been mummified and placed in individual coffins, but these infants were both significantly more developed, at about 25 weeks and 37 weeks into gestation. Very few other examples of burials of miscarried babies have so far been identified from ancient Egypt.

The miniature coffin is currently on display as part of the exhibition >Death on the Nile: Uncovering the Afterlife of ancient Egypt until 22nd May 2016 at the Fitzwilliam Museum Cambridge.

Source: University of Cambridge [May 12, 2016]

The British Museum in London is rewriting history to appear in a better light and defend itself against demands to return objects to their countries of origin. This is the conclusion of a new PhD thesis in archaeology from the University of Gothenburg.

“Manipulation of the past is not a new phenomenon. The most infamous examples of this can be found in the ways totalitarian states often record their history, like when the Soviet government retouched photos in order to remove persons who had become undesirable. But that museums revise their own history in a similar way has never been documented before,” says Staffan Lundén, author of the thesis.

The study looks at the British Museum’s representation of the so-called Benin Bronzes. The objects became known in Europe after the Britons conquered and looted Benin City in present-day Nigeria in 1897. Many of them ended up at the British Museum, and today some of them belong to the most well-known objects in the museum’s collection. They have come to play a key role in the discussion on who owns the cultural objects that were looted from various countries during colonial times.

The British Museum’s version unfounded

Today the museum promotes the view that the Western world’s discovery of the sophisticated Benin Bronzes helped change the prevailing view of Africans as inferior. The museum’s own scholars are assigned critical roles in the important discovery that the objects indeed were of African origin and not the result of external influences.

“Nobody has ever looked closer at whether the museum’s story is true. My review of the scholarly texts about the Benin objects that were published in the early 1900s shows that the British Museum’s representation of history is completely unfounded.”

The source material, which also includes other publications from the museum, mainly guide books, instead reveals that the museum for a long time promoted a hierarchical view of the world that held Western culture as superior. The scholars at the museum who in the early 1900s wrote about the Benin objects claimed that they were a result of Portuguese influences.

Legitimised derogatory stereotypes

Lundén’s research also shows that the museum’s scholars did not help change the view of Africans. Instead they spread and gave scientific legitimisation to the stock stereotypes of Africans, such as the likening of Blacks to apes.

“It’s remarkable that the museum’s so-called information about itself and the history of the Benin objects is totally contradicted by the source material. The study shows that the views conveyed by the museum are strongly characterised by wishful thinking, by the museum’s own traditions and by Western cultural values.”

“Reason to be critical”

The museum’s need for arguments against the return of objects is a strong driver of its rewriting of history and glorification of its past. According to Neil MacGregor, director of the museum until last year, the Benin objects exemplify how the British Museum ever since its opening in 1753 has promoted tolerance and respect for cultural differences. Thus, he that the objects provide a ‘key argument’ against the return of objects in the museum’s collections.

Paradoxically, Lundén concludes, while the statement of objectivity and impartiality is central to the museum’s defence against the return of objects, it seems that the ownership issue strongly contributes to the biases in its representations.

“The public tends to hold museums in high regard. They are considered trustworthy sources of impartial and scientifically based information. This is particularly true for big and well-known museums like the British Museum. But there’s definitely reason to be critical of the knowledge they convey,” he says.

About the Benin Bronzes

Benin Bronzes is the most common name for the objects looted from Benin City in 1897, but they were executed in many different materials: brass, bronze, coral, ivory, coral, terracotta, textile, wood etc. They are dated to the period from the late 15th century to the 19th century and were used for a variety of political and ritualistic purposes in the Benin kingdom. Some objects were placed on altars, some were used in ceremonies and others were wall decorations in a former royal palace.

Thesis title: Displaying Loot. The Benin objects and the British Museum
Date, time and venue of the thesis defence event: Friday 16 September at 1 pm, Stora hörsalen, Faculty of Arts, Renströmsgatan 6, Gothenburg External reviewer: Docent (Reader) Fredrik Svanberg, Swedish History Museum. An electronic version of the thesis is available at: http://hdl.handle.net/2077/45847

Author: Thomas Melin | Source: University of Gothenburg [September 14, 2016]

Scientists behind a theory that the speed of light is variable - and not constant as Einstein suggested - have made a prediction that could be tested.

Einstein observed that the speed of light remains the same in any situation, and this meant that space and time could be different in different situations.

The assumption that the speed of light is constant, and always has been, underpins many theories in physics, such as Einstein's theory of general relativity. In particular, it plays a role in models of what happened in the very early universe, seconds after the Big Bang.

But some researchers have suggested that the speed of light could have been much higher in this early universe. Now, one of this theory's originators, Professor Joao Magueijo from Imperial College London, working with Dr Niayesh Afshordi at the Perimeter Institute in Canada, has made a prediction that could be used to test the theory's validity.

Structures in the universe, for example galaxies, all formed from fluctuations in the early universe – tiny differences in density from one region to another. A record of these early fluctuations is imprinted on the cosmic microwave background – a map of the oldest light in the universe – in the form of a 'spectral index'.

Working with their theory that the fluctuations were influenced by a varying speed of light in the early universe, Professor Magueijo and Dr Afshordi have now used a model to put an exact figure on the spectral index. The predicted figure and the model it is based on are published in the journal >Physical Review D.

Cosmologists are currently getting ever more precise readings of this figure, so that prediction could soon be tested – either confirming or ruling out the team's model of the early universe. Their figure is a very precise 0.96478. This is close to the current estimate of readings of the cosmic microwave background, which puts it around 0.968, with some margin of error.

Radical Idea

Professor Magueijo said: "The theory, which we first proposed in the late-1990s, has now reached a maturity point – it has produced a testable prediction. If observations in the near future do find this number to be accurate, it could lead to a modification of Einstein's theory of gravity.

"The idea that the speed of light could be variable was radical when first proposed, but with a numerical prediction, it becomes something physicists can actually test. If true, it would mean that the laws of nature were not always the same as they are today."

The testability of the varying speed of light theory sets it apart from the more mainstream rival theory: inflation. Inflation says that the early universe went through an extremely rapid expansion phase, much faster than the current rate of expansion of the universe.

The Horizontal Problem

These theories are necessary to overcome what physicists call the 'horizon problem'. The universe as we see it today appears to be everywhere broadly the same, for example it has a relatively homogenous density.

This could only be true if all regions of the universe were able to influence each other. However, if the speed of light has always been the same, then not enough time has passed for light to have travelled to the edge of the universe, and 'even out' the energy.

As an analogy, to heat up a room evenly, the warm air from radiators at either end has to travel across the room and mix fully. The problem for the universe is that the 'room' – the observed size of the universe – appears to be too large for this to have happened in the time since it was formed.

The varying speed of light theory suggests that the speed of light was much higher in the early universe, allowing the distant edges to be connected as the universe expanded. The speed of light would have then dropped in a predictable way as the density of the universe changed. This variability led the team to the prediction published today.

The alternative theory is inflation, which attempts to solve this problem by saying that the very early universe evened out while incredibly small, and then suddenly expanded, with the uniformity already imprinted on it. While this means the speed of light and the other laws of physics as we know them are preserved, it requires the invention of an 'inflation field' – a set of conditions that only existed at the time.

Author: Hayley Dunning | Source: Imperial College London [November 25, 2016]

A new study of the early universe reveals how it could have been formed from an older collapsing universe, rather than being brand new.

The universe is currently expanding and it is a common theory that this is the result of the 'Big Bang' – the universe bursting into existence from a point of infinitely dense and hot material.

However, physicists have long debated this idea as it means the universe began in a state of complete breakdown of physics as we know it. Instead, some have suggested that the universe has alternated between periods of expansion and contraction, and the current expansion is just one phase of this.

This so-called 'Big Bounce' idea has been around since 1922, but has been held back by an inability to explain how the universe transitions from a contracting to an expanding state, and vice versa, without leading to an infinite point.

Now, in a new study published today in >Physical Review Letters, Dr Steffen Gielen from Imperial College London and Dr Neil Turok, Director of the Perimeter Institute for Theoretical Physics in Canada, have shown how the Big Bounce might be possible.

Broken Symmetry

Cosmological observations suggest that during its very early life, the universe may have looked the same at all scales – meaning that the physical laws that that worked for the whole structure of the universe also worked at the scale of the very small, smaller than individual atoms. This phenomenon is known as conformal symmetry.

In today's universe, this is not the case – particles smaller than atoms behave very differently to larger matter and the symmetry is broken. Subatomic particle behaviour is governed by what is called quantum mechanics, which produces different rules of physics for the very small.

For example, without quantum mechanics, atoms would not exist. The electrons, as they whizz around the nucleus, would lose energy and collapse into the centre, destroying the atom. However, quantum mechanics prevents this from happening.

In the early universe, as everything was incredibly small, it may have been governed solely by the principles of quantum mechanics, rather than the large-scale physics we also see today.

In the new study, the researchers suggest that the effects of quantum mechanics could prevent the universe from collapsing and destroying itself at end of a period of contraction, known as the Big Crunch. Instead, the universe would transition from a contracting state to an expanding one without collapsing completely.

Dr Gielen said: "Quantum mechanics saves us when things break down. It saves electrons from falling in and destroying atoms, so maybe it could also save the early universe from such violent beginnings and endings as the Big Bang and Big Crunch."

Simple Ingredients

Using the idea that the universe had conformal symmetry at its beginning, and that this was governed by the rules of quantum mechanics, Dr Gielen and Dr Turok built a mathematical model of how the universe might evolve.

The model contains a few simple ingredients that are most likely to have formed the early universe, such as the fact that it was filled with radiation, with almost no normal matter. With these, the model predicts that the effect of quantum mechanics would allow the universe to spring from a previous universe that was contracting, rather than from a single point of broken physics.

Dr Turok said: "The big surprise in our work is that we could describe the earliest moments of the hot Big Bang quantum mechanically, under very reasonable and minimal assumptions about the matter present in the universe. Under these assumptions, the Big Bang was a 'bounce', in which contraction reversed to expansion."

The researchers are now investigating how this simple model can be extended to explain the origin of perturbations to the simple structure of the universe, such as galaxies. "Our model's ability to give a possible solution to the problem of the Big Bang opens the way to new explanations for the formation of the universe," said Dr Gielen.

Author: Hayley Dunning | Source: Imperial College London [July 12, 2016]