There were no Phoenicians, so we aren’t going to find them. Simply put, that is Josephine Quinn’s thesis in this pioneering study.
Jurrick Oson is a big man, forty-six years old, with muscles bulging inside his bright purple sleeveless T-shirt. He was raised to work around nets, fish, tides, and weather, and his skin is leathery from a lifetime at sea. His boat had always been moored at the end of a dirt track, with shacks and small stalls on one side and the gently lapping sea on the other. It was a colorful, chaotic old vessel, painted in yellows, greens and blues, and she plied her trade as such boats had done for thousands of years.
Excerpted from Asian Waters: The Struggle Over the South China Sea & the Strategy of Chinese Expansion by Humphrey Hawksley
It’s always been a pleasure to handle a Folio Society book, and having three of them at one time, all on Asian themes, was even better.
The internet was supposed to have delivered China into freedom by now. But that optimistic consensus has been proven wrong so far. In their books, academics Rongbin Han and Margaret Roberts, attempt to explain why.
Wu Changshi 吳昌碩 was an extraordinary artist and a major force in late-nineteenth- and early twentieth-century Chinese art. A true literatus in a changing cultural landscape, he combined the traditional scholarly arts with popular subject matter in a manner that would revolutionize painting. The following series of “views” represent an accumulation of forays into an understanding of Wu Changshi (also pronounced Wu Changshuo, 1844–1927).
The Teatro Dom Pedro V is a gem. Built in 1860, it both looks like and is a traditional theatre, with gold-fluted columns, plaster molding and orchestra pit. It is, for better or worse (and in many ways better), small with fewer than 300 seats. One can hardly think of a more idyllic place in which to perform opera, yet this Easter weekend production of an opera buffa double bill was the first there in several years.