Just around the corner from Rome’s Pantheon, on the Via di Sant’Ignazio, is the famed Biblioteca Casanatense. Among its precious books and manuscripts is an album of 76 striking watercolours made in Goa around 1540, the work of an anonymous Indian painter for an unknown Portuguese patron.
Writer and editor Mu Shiying declared 1934 the Year of the Magazine, marking a dramatic rise in Chinese pictorial magazines, modeled on American publications like Life and Vanity Fair.
Despite the apparent global ubiquity of coffee culture, tea, rather than coffee, is the most popular beverage apart from water. Yet as the authors of Tea is for Everyone: Making Chinese Tea Accessible explain, Chinese tea is still not very well known outside Asia, despite tea having originated there.
One of the sloppier—and disturbingly frequent—critical lapses on either end of the ideological spectrum is to confuse modernization with Westernization. Some 20 years ago, Leo Ou-fan Lee’s Shanghai Modern sweepingly linked Eileen Chang’s novels, Ruan Lingyu’s films, jazz music in the dance halls, and graphic design in advertising and popular magazines not as local knock-offs of Paris and New York but rather a distinctly cohesive expression of an unprecedented cosmopolitan Chinese sensibility.
The amount of ink spilled on the 12th-century temple complex Angkor Wat might not fill Tonlé Sap Lake, but it sometimes feels like it might. This Khmer Empire monument dedicated to Vishnu is a UNESCO world cultural site, a global must-see on tourists’ bucket lists—and is the only archaeological monument featured on a national flag. Yet Michael Falser still finds a lot to say.
A common saying in China is: “The Sichuanese are not afraid of hot chiles; no degree of heat will frighten off the people of Guizhou; but those Hunanese are terrified of food that isn’t hot!” From this old saw, one might be forgiven for thinking chiles native to China. In The Chile Pepper in China, historian Brian Dott seeks to show how “foreign” chiles were introduced and explores how vital they became to these regions’ identity, with spiciness linked to the energy of “revolutionary men and passionate women”.
Mention Japanese film and responses will likely range from the 1950s Golden Age to today’s panoply of genre movies. The variance has less to do with conflicts between artistry and populism—even Kurosawa famously trafficked in samurai—than with context and perspective. International acclaim, whether past or present, offers only a limited vista on a country’s internal cinematic life; to make full sense of Japan’s giant dinosaurs, yakuza gangsters and animated princesses, you need someone well-placed on the ground. Someone like Mark Schilling.