On a recent business trip to Zurich, I had the opportunity to tour two of the city’s great repositories of Swiss history and culture: the Museum Rietberg and the Landesmuseum Zürich (English: Swiss National Museum). Both house sumptuous works of art and special rotating exhibitions.
The Six Dynasties period from the third to sixth centuries CE was one of the most dynamic periods in Chinese art history, akin to the European Renaissance in the impact it had on artistic creativity and the celebration of individual expression. Art in a Time of Chaos: Masterworks from Six Dynasties China, 3rd-6th Centuries, now on show at the China Institute in New York, New York, situates these innovations and achievements from both the Southern and Northern Dynasties across four major disciplines: Ceramics, sculpture, calligraphy, and painting. In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Ms. Willow Weilan Hai, Director of the China Institute Gallery, about the exhibition.
The immense cultural achievements of women writers in ancient Japan — Murasaki Shikibu (c. 973 or 978-c. 1014 or 1031 CE), Sei Shonagon (c. 966-c. 1017 or 1025 CE), and Izumi Shikibu (c. 976-c. 1040 CE) — facilitated the first flowering of classical Japanese literature. Women wrote Japan’s and perhaps Asia’s first autobiographical narratives in diaries and memoirs, as well as miscellaneous writings composed of poems, lists, observations, and personal essays during the Heian era (794-1185 CE). For this reason, the Japanese can uniquely claim to have a literary golden age dominated by women.
In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Professor Lynne K. Miyake of Pomona College about the importance of these women writers and what enabled their literary brilliance.
On Friday evenings from 6:00-10:00 PM, the Rubin Museum of Art in New York City becomes a lively social venue with a full bar, series of special public lectures or tours, and complimentary gallery admission. In January, Ancient History Encyclopedia’s Communications Director, James Blake Wiener, partook in the museum’s end of the week festivities and learned a curious thing or two about Tibetan art along the way.
One of the most important discoveries in marine archaeological history occurred in 1998, just off Indonesia’s Belitung Island in the western Java Sea: A 1,200-year-old Arabian dhow with an astounding cargo of gold, silver, ceramic artifacts, coins, and tangible personal effects. The ship’s hold contained some 57,000 pieces in total and yet no human remains. The Lost Dhow: A Discovery from the Maritime Silk Route, now on show at the newly opened Aga Khan Museum in Toronto, Canada, explores the movement of cross-cultural exchange, trade, and technology between the Abbasid Caliphate (750-1258 CE) and Tang dynasty China (618-907 CE) through the prism of an ancient shipwreck.In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Mr. John Vollmer, Guest Curator for the Aga Khan Museum’s presentation of this exhibition, about the importance of the objects in this exhibition and what the exhibition means to the recently opened museum.
China’s Tang dynasty golden age is routinely described as one of the most brilliant eras in Chinese history. Under Tang rule and leadership, China became the wealthiest, most populous, and most sophisticated civilization on earth. While exerting political hegemony and a powerful cultural influence across East Asia, China was also open to influences from its Turkic and Indian neighbors.
In this exclusive holiday interview, James Blake Wiener of Ancient History Encyclopedia speaks to Dr. Jonathan Skaff, Professor of History at Shippensburg University of Pennsylvania and expert on Chinese-Turkic relations during the Tang era, who reevaluates Chinese culture and politics during an age of commercial trade, technological innovation, and ultimately, political instability.
From the first century BCE until the seventh century CE, the Korean peninsula experienced an unprecedented era of immense wealth, political power, and cultural efflorescence. Although the kingdoms of ancient Korea are not familiar to many researchers in Anglophone countries, the fields of early Korean history and archaeology are active and pertinent components of academic programs in East Asia, where it is recognized that an understanding and appreciation of the pre-historical and early historical periods are necessary for a proper grasp of Korea in an age of globalization.
In this exclusive interview, James Blake Wiener of the Ancient History Encyclopedia speaks with Dr. Mark Byington, Founder and Project Director of the Early Korea Project at the Korea Institute, Harvard University, who has dedicated his life to the development of academic study of early Korean history and archaeology in North America.
For centuries, Wang Xizhi (c. 303-361 CE) has been revered as the “Sage of Calligraphy” across East Asia. Born in the town of Linyi, in Shangdong, China, during the tumultuous years of the Jin dynasty (265-420 CE), Wang revolutionized and reinvigorated this traditional art through his mastery of all forms of Chinese calligraphy, including the notoriously difficult semi-cursive or “walking script.” A legend in his lifetime, Wang’s works were avidly copied by aspiring calligraphers across ancient China. Over the centuries, original pieces by Wang were lost and only exquisitely traced copies remain. Today, many of these copies are kept in Japan and revered as “national treasures.”
This winter, the Tokyo National Museum, in Tokyo, Japan, celebrates the life and legacy of China’s most admired calligrapher in Wang Xizhi: Master of Calligraphy. Reflecting on Wang’s style and artistic prowess, this exhibition seeks an authentic image of an elusive artist, reevaluating his artistic role and legacy through his influence on successive artists in China and Japan. In this exclusive interview, James Blake Wiener of the Ancient History Encyclopedia speaks with Dr. Tomita Jun–an expert on Chinese calligraphy and the show’s curator–with regard to Wang Xizhi’s enduring place in art history.