There I stood, the slopes of Mt. Etna rising before me, the glorious Sicilian coastline reflecting the brilliant blue sky. I hadn’t taken a trip to Sicily, but was rather at the British Museum’s latest exhibition, Sicily: Culture and Conquest, gazing into one of the many photographic vistas that adorn the walls. When I first entered the exhibit, two objects immediately caught my attention. On the left, a terracotta pot dating to 650-600 BCE. Its importance? It is the earliest known depiction of what is now the official symbol of Sicily, the triskelion (three legs in a circle). The influence of Greek culture on Sicily is still felt to this day it seems. The other object was a wonderfully ornate ivory casket. Made by Muslim craftsman, it bears a long Arabic supplication, but also Christian iconography (two haloed saints holding crosses). The casket was most likely made as a gift for the Cathedral of Bari, and demonstrates Norman Sicily’s multicultural exchange and religious co-existence. These two objects sum up the story of this exhibition, which …
From the dawn of civilization to the present day, human hair has seldom been worn in its natural state. Whether cut, shorn, curled, straightened, braided, beaded, worn in an upsweep or down to the knees, adorned with pins, combs, bows, garlands, extensions, and other accoutrements, hairstyles had the power to reflect societal norms. In antiquity, ancient hairstyles and their depictions did not only delineate wealth and social status, or divine and mythological iconography; they were also tied to rites of passage and religious rituals. Hair in the Classical World, now on view at the Bellarmine Museum of Art (BMA) in Fairfield CT, is the first exhibition of its kind in the United States to present some 33 objects pertaining to hair from the Bronze Age to Late Antiquity (1500 BCE-600 CE). The exhibition takes the visitor on a rich cultural journey through ancient Greece, Cyprus, and Rome, in an examination of ancient hairstyles through three thematic lenses: “Arrangement and Adornment”; “Rituals and Rites of Passage”; and “Divine and Royal Iconography.” In this exclusive 2015 holiday season …
Despite the popular appeal of the legendary city of El Dorado, our collective understanding of ancient Colombia’s history remains largely obscured by the advanced civilizations of Mesoamerica and the Andes. A new exhibition at the Los Angeles County Museum of Art (LACMA) in Los Angeles, CA, however, reveals that ancient Colombia’s past is far older and more diverse than is apparent in documents written by Spanish conquistadores. Drawing from LACMA’s impressive collection of ancient Colombian artifacts, Ancient Colombia: A Journey through the Cauca Valley offers fresh perspectives on the material culture and indigenous history of Colombia’s native peoples. In this interview, James Blake Wiener of Ancient History Encyclopedia (AHE) speaks to Dr. Julia Burtenshaw-Zumstein, a Post-Doctoral Curatorial Fellow in LACMA’s Art of the Ancient Americas department, about this exciting new exhibition, which juxtaposes colonial Spanish documents with recent archaeological finds.
There are hundreds of great history blogs out there and we could write about them all day! These are the 10 history blogs Ancient History et cetera’s blog editor follows on a regular basis.
The urge to find a single explanation as the cause for such calamitous events seems to come from a modern human need for an easy explanation as often as possible. The decline of the Late Bronze Age civilizations of the Mediterranean and Near East has puzzled historians and archaeologists for centuries. While many have ascribed the collapse of several civilizations to the enigmatic Sea Peoples, Professor Eric H. Cline, former Chair of the Department of Classical and Near Eastern Languages and Civilizations at George Washington University, presents a more complicated and nuanced scenario in his new book, 1177 BC: The Year Civilization Collapsed. Professor Eric H. Cline speaks to Ancient History Encyclopedia’s James Blake Wiener about his new title and the circumstances that lead to the collapse of the cosmopolitan world of the Late Bronze Age in this interview.
Power and Pathos: Bronze Sculpture of the Hellenistic World underscores the power, prestige, and pre-eminence of ancient sculpture during the Hellenistic Era. This blockbuster show, which opened at the Palazzo Strozzi in Florence, Italy this spring, is the first major international exhibition to assemble nearly 50 ancient bronzes from the Mediterranean region and beyond in a single venue. Prized over the centuries for their innovative, realistic displays of physical power and emotional intensity, the sculptures of the Hellenistic world mark a key and important transition in art history. In this interview, Dr. James Bradburne, the recently departed Director General at the Palazzo Strozzi, introduces James Blake Wiener of Ancient History Encyclopedia (AHE) to the finer points of the exhibition.
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.