Encyclopedia of India–China Cultural Contacts v2.c15.s2.t16.7

v2.c15.s2.t16.7

He followed the path which Xuanzang took in his journey to India to study Indian culture and art to visit Nalanda, Rajagrih, Bodhgaya, Sarnath, Pataliputra, Ajanta, among other historical sites and art relics, and gathered abundant materials and data for his studies on Indian art. On the basis of his travels, he also wrote a series of research papers on Indian history and culture, Indian art and India-China cultural exchanges, including Sino-Indian Art Exchanges, *Record of Indian Ajanta Grotto Art*, *Record of Ajanta Cave Temple Art*, *Pilgrimage to Indian Ancient Buddhist Trace and Development and Education Characteristics of Indian Institute of World Art*’ and composed *Sino-Indian Art Contact* (1955) and *History of Fine Arts Development in India and Southeast Asia* (1980). In *Sino-Indian Art Contact*, he collected 11 research papers on the art and cultural exchanges between India, China and Indonesia, and made empirical investigations into Chinese and Indian grotto art, recreation, music and so on. *The History of Fine Arts Development in India and Southeast Asia* is divided into six chapters and introduces the development of Indian prehistoric art, Buddhism art, Hinduism art and Islamic art in line with the evolution of the times. In his paper *Sino-Indian Cultural Exchanges* (*New Construction*, edition 5, 1952), he made a detailed investigation into the art exchanges between India and China from four aspects, namely, music, sculpture, dance and painting, and also studied Indian and Chinese musical instruments, such as Pipa and Konghou, putting forward that the two nations had begun cultural exchanges through Yunnan, Burma and the Western Regions from ancient times. The above-mentioned studies of his have opened up the researches fields of India-China art exchanges and contributed to India-China cultural exchanges.