Much of the incredibly fragile art has been safely stored away for hundreds of years, as it can only be exposed to the light for short periods, and hence many works have rarely been viewed in the public eye.

For centuries the Chinese have happily accepted three dominant religions– Confucianism, Daoism and Buddhism – which are collectively known as the Three Teachings. People often take a pragmatic approach to their faith, choosing to take parts from each of the teachings, and applying them to their daily lives. The exhibition showcases aspects from all three religions, offering an insight into philosophies rarely explored or explained in mainstream education and the press.

Buddhism is the first of the three Teachings to be explored, marked by a pair of glazed earthenware statues of Lokapala, Buddhist Guardians, both of which strike a menacing pose as they stand by the entrance to the show.

Tiptoe past these ferocious creatures to view an exquisite embroidered depiction of Buddha preaching at Vulture Peak. This valuable treasure was discovered in the Buddhist cave temples at Dunhuang, on the Silk Road, by which the religion came from India to China, and where works were hidden from invaders for centuries.

Buddha’s life, which is predominantly conveyed through paintings, has had a vital role within Buddhist preaching. Many works found at the Dunhuang temples tell his story, from the night he was conceived, when his mother dreamt a white elephant with six white tusks entered her right side, to fulfilling his destiny by living the luxurious life of a prince, and the moment he gave everything up in pursuit of prayer and enlightenment.

Daoism, also known as Taoism is the second of the three teachings. Founded by Laozi, the author of The Daodejing (The Way and its Power), Daoism exerted a widespread influence over traditions in Asia for more than 2,000 years.

Beliefs emphasise the importance of love, moderation and humility, with nature playing a vital role in achieving peace and enlightenment. Landscape painting was a very important aspect of the Daoist philosophy, as mountains were said to be the home and landing spot of the Eight Immortals, deities representing prosperity and longevity.

The Immortals’ dwelling places were considered to be the strongest sources of vital energy, and as a result, paintings offering an interpretation of these scenes form a strong part of the exhibition.

An eye catching portrayal of Penglai, the immortals' home and landing spot, which is now part of China’s Shandong Province, is worth a long look, as is a representation of the Three Star Gods, Fuxing (Prosperity), Luxing (Wealth) and Shouxing (Long Life). During the Ming Dynasty, such images were often hung in hope of good fortune and well being.

Finally, the focus moves to Confucianism, a complex system combining moral, social, political and religious thought, founded by the famous sage and social philosopher Confucius (Kong Fuzi), who lived from 551 to 479BC.

Confucianism is represented by the famous Admonitions Scroll, which illustrates a typical Confucian poem about virtue and the type of behaviour expected of women. The strict rules of the Admonitions Scroll dictates male superiority, and was actually used by author Zhang Hua (AD 232 to 300) as a means to criticize Empress Jia, who dominated her young husband Emperor Huidi (reigned AD 290 to 306).

The Scroll is thought to be a sixth century copy of an original attributed to Gu Kaizhi (about 345 to 496 BC), and individual sections can be viewed in greater depth via a touch screen.

But one of the most unexpected aspects of the show is a representation of the Good Samaritan, a parable taken from the Bible, suggesting Christianity’s small but nonetheless relevant role in adding to the truly diverse nature of Chinese faith.

In fact, Christians actually had a presence in China from as early as the 7th Century AD, but it disappeared just a century later, before Jesuit missionaries returned in the 16th century.

A wealth of Chinese religious objects dating as far back as 1500 BC can also be discovered in the museum’s permanent exhibitions.

During the founding of the first Chinese state, in the reign of the Shang dynasty, many became fascinated with the concept of life after death, and attempted to consult with spirits and ancestors by cracking bones with hot brands and interpreting the cracks.

A staggering number of bronze vessels, many of which were again retrieved from the cave temples, were also manufactured as an offering to the ancestors, and were buried in the tombs of Shang kings and nobles alongside their most important possessions.

These vessels were also inscribed with a particular ancestor's name, but when the Zhou dynasty (1122 to 256 BC), the longest to reign in Chinese history, came to power, they also inscribed their achievements and honours, which also came to serve as valuable historical documents.

The Han dynasty (from 206 BC to AD 220) also toyed with immortality, and the very idea inspired numerous voyages across the vast Chinese seas to the Kunlun Mountains in search of spirits and gods.

While it is unknown for sure whether any supernatural being was ever discovered, expeditions proved fruitful in terms of material wealth, including jewellery, jade, wine vessels and flasks, stone wear and mirrors.

Buddhism rapidly spread in China during the Han dynasty, and was especially patronized by the North Wei dynasty (AD 386 to 535) who commissioned numerous stone, clay and bronze effigies of Buddha during their rule.

The Ming Dynasty (1368 to 1644) followed suit, and their interpretations are some of the most interesting on show. An ivory Buddha seated in a later detachable grotto of turquoise is a particularly beautiful item within the collection, but the Ming Dynasty also created many tributes to Daoist deities, who were often modelled on their Buddhist counterparts.

Finally, the museum’s permanent collections explore the Qing dynasty (1644 to 1912), and one of the most striking objects is a lively bronze figure of Liu Hai standing on a three-legged toad.

Toads were thought to inhabit the moon, which corresponds with the three-legged bird that inhabits the sun, using Mother Nature to achieve peace and fulfilment.

Objects representing religious values from a whole host of other Asian countries, including India, Malaysia, Thailand and Tibet, are also housed within this section of the permanent exhibitions, and really are worth taking the time to explore in depth.

Fragile Nature, the third exhibition in the series exploring Chinese painting, opens in spring 2008.