The Reigning Queen of Asian American Hollywood
Pacific Citizen,
News report, Lynda Lin, Assistant Editor
Posted: Feb 21, 2009
(Image: Tamlyn Tomita in 2008)
Tamlyn Tomita throws her hands in the air and confesses that the last few years have been a transitional time in her career. The actress, 43, who famously launched countless boyhood crushes as Ralph Macchio's love interest in "The Karate Kid, Part II," is starting to move into mom roles.
"I've been mom how many times this year or last year. Wow!" she exclaims with a laugh.
Let's see, there's the popular ABC series "Heroes," where last year she played Masi Oka's onscreen mother and George Takei's wife — despite in real life only being nine years older than Oka and 28 years younger than Takei. If there ever was any doubt that Hollywood is cruel, remove it now.
Because while sitting in the lobby of the Miyako Hotel in Los Angeles' Little Tokyo and talking community and history with the Pacific Citizen, she's still every inch as lovely as her "Karate Kid" Kumiko character and sophisticated as Waverly in "The Joy Luck Club." Occasionally flashes of spunky Kana, her 1994 role as the Japanese Hawaiian plantation worker in "Picture Bride" bubbles to the surface too.
"It's just a natural part of life," says Tamlyn, a Sansei who was born in Okinawa. "I won't be able to go up against actresses who are in their 20s anymore."
But she doesn't mind.
"It's just a matter of really taking delight in the roles that are out there and saying 'Oh my God! I'm a mother? No way!'"
And with over 20 years in Hollywood, while many other former young actors have fizzled (Hello, have you seen VH1's "Confessions of a Teen Idol"?), Tomita has been a steady force with a lengthy IMDB.com Web page to prove it.
In the last few months, television projects have been popping up non-stop: "The Mentalist," "Eureka" and maybe even "Heroes" again ("You never know!"). She names the projects between snaps of fingers and pauses to reflect.
"I've been very, very lucky."
'Karate Kid': 23 Years Later
After all this time, people still recognize Tamlyn in the role that launched her career. She could be walking down the street and hardened businessmen in suits would just melt remembering scenes from the film where Kumiko coyly dances in her kimono. They usually say, "You're that girl!" and maybe even start thinking about the chorus of Peter Cetera's "Glory of Love."
"It's cute, very sweet."
Before sharing screen time with other Japanese American legends like Pat Morita and Nobu McCarthy, Tamlyn was a history major at the University of California, Los Angeles and Little Tokyo's Nisei Week queen in 1984. From the beginning, her career and the community have always intersected.
The idea for Tamlyn to audition for the "Karate Kid" came from Helen Funai, another former Nisei Week queen. When she landed the role, Tamlyn's father, the late Shiro Tomita, said Funai had to be her manager.
"She basically mothered me through the first few years of my career. I wasn't alone."
Shiro, who was interned at Manzanar during World War II, was a Los Angeles Police Department officer who helped to form the nation's first Asian task force.
"I remember growing up and feeling that sense of community here in Little Tokyo."
Tamlyn's mother Asako, who is half Okinawan and half Filipina, experienced the other side of WWII.
"With English being her third language it was very difficult for her to tell her kids about what it was like growing up in the war on that side."
In the fourth grade when Tamlyn finally read a very abbreviated version of the U.S. internment of JAs in her schoolbook, she rushed home and asked, "Dad, did this happen to you?" In response, Shiro gave his daughter a copy of Estelle Ishigo's book, "Lone Heart Mountain."
It's partly her parents' influence that she says drives her to be an active community leader. She's been a Nisei Week host for the past eight years and a constant presence at community functions.
"It's that sense of trying to retain that sense of history and to pass along these ideas of what it means to be Japanese American."
This year during Nisei Week, Tamlyn brought her uncle as part of her "entourage" and had him sit in the thick of ondo dancers.
I said, "'Yeah, that's right. This is all our people.'
"Itinerant Actor"
"I think with actors unless we're super successful — like a Tom Hanks or a Julia Roberts — we're always itinerant workers. It's from job to job."
It's the kind of lifestyle that even after so many years makes Asako worry about her daughter. Even with the big budget splashy movies like "The Day After Tomorrow," Asako would ask, "Okay, what are you going to do next?"
In Wayne Wang's 1993 film "The Joy Luck Club," Tamlyn made history as part of the Asian Pacific American cast in the first APA film to be released into mainstream America. She still gets recognized as Waverly Jong, the grown up chess champion. Since then, Tamlyn has seen Hollywood evolve to include some more roles for APA actors.
"It does feel like it's opening up, but the bottom line to me still is that change is occurring slowly," she said.
"There are more opportunities for roles that are not ethnic specific, but they're not leading roles."
Once in awhile, APA actors pop up in the peripherals of new films and television shows, provide some comic relief or added drama and then just disappear.
"We're just the seasoning. We're just the flavor still."
That's why she doesn't shirk from the label of community leader.
"You have to take it with the sense that by the fact that we're of a non-white face, it's a political statement. We're here to play. I'm going to sit at this table representing a whole group of people behind me. And I know there are people who would love to have the opportunity to speak and say something ... I happen to be very, very fortunate to have the opportunity to say what I need to say in order to propel our community and say, 'Hey, we're here! Count us!'"
In the recent politically charged presidential elections, whenever Tamlyn would hear pundits talk about "black and brown" ethnic communities, she would want to shout out "yellow!"
She leans forward and smiles. "Actually, I like to say 'golden.'"
"Despite the documented evidence of chess historian H.J.R. Murray, I have always thought that chess was invented by a goddess." George Koltanowski, from Women in Chess, Players of the Modern Game
Pages
Saturday, February 21, 2009
Asian American Queen of Cinema
The Reigning Queen of Asian American Hollywood
Pacific Citizen,
News report, Lynda Lin, Assistant Editor
Posted: Feb 21, 2009
(Image: Tamlyn Tomita in 2008)
Tamlyn Tomita throws her hands in the air and confesses that the last few years have been a transitional time in her career. The actress, 43, who famously launched countless boyhood crushes as Ralph Macchio's love interest in "The Karate Kid, Part II," is starting to move into mom roles.
"I've been mom how many times this year or last year. Wow!" she exclaims with a laugh.
Let's see, there's the popular ABC series "Heroes," where last year she played Masi Oka's onscreen mother and George Takei's wife — despite in real life only being nine years older than Oka and 28 years younger than Takei. If there ever was any doubt that Hollywood is cruel, remove it now.
Because while sitting in the lobby of the Miyako Hotel in Los Angeles' Little Tokyo and talking community and history with the Pacific Citizen, she's still every inch as lovely as her "Karate Kid" Kumiko character and sophisticated as Waverly in "The Joy Luck Club." Occasionally flashes of spunky Kana, her 1994 role as the Japanese Hawaiian plantation worker in "Picture Bride" bubbles to the surface too.
"It's just a natural part of life," says Tamlyn, a Sansei who was born in Okinawa. "I won't be able to go up against actresses who are in their 20s anymore."
But she doesn't mind.
"It's just a matter of really taking delight in the roles that are out there and saying 'Oh my God! I'm a mother? No way!'"
And with over 20 years in Hollywood, while many other former young actors have fizzled (Hello, have you seen VH1's "Confessions of a Teen Idol"?), Tomita has been a steady force with a lengthy IMDB.com Web page to prove it.
In the last few months, television projects have been popping up non-stop: "The Mentalist," "Eureka" and maybe even "Heroes" again ("You never know!"). She names the projects between snaps of fingers and pauses to reflect.
"I've been very, very lucky."
'Karate Kid': 23 Years Later
After all this time, people still recognize Tamlyn in the role that launched her career. She could be walking down the street and hardened businessmen in suits would just melt remembering scenes from the film where Kumiko coyly dances in her kimono. They usually say, "You're that girl!" and maybe even start thinking about the chorus of Peter Cetera's "Glory of Love."
"It's cute, very sweet."
Before sharing screen time with other Japanese American legends like Pat Morita and Nobu McCarthy, Tamlyn was a history major at the University of California, Los Angeles and Little Tokyo's Nisei Week queen in 1984. From the beginning, her career and the community have always intersected.
The idea for Tamlyn to audition for the "Karate Kid" came from Helen Funai, another former Nisei Week queen. When she landed the role, Tamlyn's father, the late Shiro Tomita, said Funai had to be her manager.
"She basically mothered me through the first few years of my career. I wasn't alone."
Shiro, who was interned at Manzanar during World War II, was a Los Angeles Police Department officer who helped to form the nation's first Asian task force.
"I remember growing up and feeling that sense of community here in Little Tokyo."
Tamlyn's mother Asako, who is half Okinawan and half Filipina, experienced the other side of WWII.
"With English being her third language it was very difficult for her to tell her kids about what it was like growing up in the war on that side."
In the fourth grade when Tamlyn finally read a very abbreviated version of the U.S. internment of JAs in her schoolbook, she rushed home and asked, "Dad, did this happen to you?" In response, Shiro gave his daughter a copy of Estelle Ishigo's book, "Lone Heart Mountain."
It's partly her parents' influence that she says drives her to be an active community leader. She's been a Nisei Week host for the past eight years and a constant presence at community functions.
"It's that sense of trying to retain that sense of history and to pass along these ideas of what it means to be Japanese American."
This year during Nisei Week, Tamlyn brought her uncle as part of her "entourage" and had him sit in the thick of ondo dancers.
I said, "'Yeah, that's right. This is all our people.'
"Itinerant Actor"
"I think with actors unless we're super successful — like a Tom Hanks or a Julia Roberts — we're always itinerant workers. It's from job to job."
It's the kind of lifestyle that even after so many years makes Asako worry about her daughter. Even with the big budget splashy movies like "The Day After Tomorrow," Asako would ask, "Okay, what are you going to do next?"
In Wayne Wang's 1993 film "The Joy Luck Club," Tamlyn made history as part of the Asian Pacific American cast in the first APA film to be released into mainstream America. She still gets recognized as Waverly Jong, the grown up chess champion. Since then, Tamlyn has seen Hollywood evolve to include some more roles for APA actors.
"It does feel like it's opening up, but the bottom line to me still is that change is occurring slowly," she said.
"There are more opportunities for roles that are not ethnic specific, but they're not leading roles."
Once in awhile, APA actors pop up in the peripherals of new films and television shows, provide some comic relief or added drama and then just disappear.
"We're just the seasoning. We're just the flavor still."
That's why she doesn't shirk from the label of community leader.
"You have to take it with the sense that by the fact that we're of a non-white face, it's a political statement. We're here to play. I'm going to sit at this table representing a whole group of people behind me. And I know there are people who would love to have the opportunity to speak and say something ... I happen to be very, very fortunate to have the opportunity to say what I need to say in order to propel our community and say, 'Hey, we're here! Count us!'"
In the recent politically charged presidential elections, whenever Tamlyn would hear pundits talk about "black and brown" ethnic communities, she would want to shout out "yellow!"
She leans forward and smiles. "Actually, I like to say 'golden.'"
Mehen: An Ancient Egyptian Board Game
More info on Mehen. This Mehen board is from the British Museum, c. 2800 BCE. Sorry, I don't have the exhibit number or provenance saved in My Pictures and when I looked for it today, I could not find it archived at the British Museum's website. Drat! Doesn't this remind you of the "ALL SEEING EYE" with sun-rays coming out from it???
We don't know the rules - but we have examples of the playing pieces in several museums. The following information comes from P.S. Neeley's website on Mehen, where you can also download a version of the game:
‘Mehen’, which means ‘coiled one’ or as a verb, ‘to coil’, in ancient Egyptian was played on a spiral game board – most often explicitly in the form of a snake – with varying numbers of slots (playing squares), six sets of differently colored marbles (the playing pieces, with six marbles to a set), and six special playing pieces in the form of a dangerous, predatory animal – most often lions (but sometimes dogs or even hippos). It is the only multi-player ancient Egyptian board game known – the others were contests between two players (or teams), while Mehen could accommodate as many as six contestants. Strangely, it also seems to have ceased being played in ancient Egypt from just after 2000 BC. (during the early Middle Kingdom)...
The Petrie Museum (among others) has a collection of archaic lions that date to Naqada III (pre-dynastic and Dynasty "Zero"). (Image from Petrie Museum, from My Pictures).
According to P.S. Neeley, a form of Mehen may have survived into the early 20th century:
In the 1920s, anthropologists, explorers, and adventurers found a curious, spiral based, game being played by Baggara Arabs of the Sudan -- The Hyena Game (You can see the rules for this game in The Rules section of the help file). Tim Kendall writes: " In all essential details the "Hyena Game" seems to have been identical to Mehen. It was played on a spiraling track, employed stick dice of precisely the kind known from Archaic Egyptian contexts, and had two types of pieces, one representing a predatory animal. The only difference would seem to be that the ancient Egyptians allotted six counters to each player rather than only one." [But, see Piccione's comments, below]
Here are Dr. Peter Piccione's comments on Mehen from the old ANE Digest message/bulletin board:
From: "Peter Piccione" peter_piccione@memphis-orinst.uchicago.edu
Date: 30 Nov 1994 17:23:28
USubject: Re: Phaistos/games/duplicate Reply to: RE>Phaistos/games/duplicate
On 11/22 Dr. John Baker asked about the Phaistos Disk (Crete, 17th century BC),"can it have been some sort of table game?" As I recall, this possibility was mentioned and discussed at the Colloquium on Board Games of the Ancient World, held at the British Museum in September 1990. Timothy Kendall of the Museum of Fine Arts, Boston, presented a fine paper on the Egyptian game of *mehen* (entitled, "The Egyptian Game of the Snake"), and I think he may have noted the similarities between the game and the Phaistos Disk. Unfortunately, the proceedings of that symposium are still in press, and I don't know that a publication date has even been set yet (but that's another matter).
On 11/23, Dr. Joanna Smith wrote that the game in question is the spiral-form "game of snake" (citing W. Decker, SPORTS AND GAMES OF ANCIENT EGYPT, 131-33). She then broached the subject of small inscribed clay balls found on Cyprus about which Dikaios earlier conjectured were marbles for gaming (P. Dikaios,ENKOMI 2, p. 516). These balls are clay and impressed with Cyprio-Minoan signs, meaning uncertain (E. Masson, STUDIES IN MEDITERRANEAN ARCHAEOLOGY31/1). Dr. Smith noted the similarity between these balls and small Egyptian gaming balls (viz. "marbles"), which were associated earlier with the "game of snake." Those balls are made of stone and are incised with decorative text. She described an illustration of an inscribed Egyptian marble in association with that game, published by G. Hart, ANCIENT EGYPT, p. 53 [middle left] (BTW, the source for this photo is noted on p. 64, "p. 53ml"). She quotes Hart's description of the marble, "the stone counters are sometimes carved with thenames of Egypt's earliest pharaohs."
My own extensive research into Egyptian board games and their religious associations has shed some light on the game of *mehen* (as the "game of snake"is properly called in Egyptian). The "mehen" is both the coiled serpent of that gameboard, as well as the proper noun, Mehen, denoting the specific serpent-deity embodied in the game. Regarding this game, note the following recent references:
Decker, W. and Herb, M. BILDATLAS ZUM SPORT IM ALTEN AEGYPTEN: CORPUS DERBILDLICHEN QUELLEN ZU LEIBESUEBUNGEN, SPIEL, JAGD, TANZ UND VERWANDTEN THEMEN.Vol. 1, TEXT, pp. 608-11, 633-42. Vol. 2, ABBILDUNGEN, pls. 355-59. Handbuchder Orientalistik. Abteilung 1. Der Nahe und der Mittlere Osten 14. Leiden: E.J. Brill, 1994.
Kendall, T. LEXIKON DER AEGYPTOLOGIE, ed. W. Helck and E. Otto. Vol. 5, 653-55.Wiesbaden: O. Harrassowitz. S.v. "Schlangenspiel" [in English].
Kendall, T. "An Ancient Egyptian Board Game among the Khababish?" In his"Ethnoarchaeology in Meroitic Studies." MEROITICA 10 (1984): 711-15.
Piccione, P. "The Historical Development of the Game of Senet and Its Significance for Egyptian Religion," 41-42, 217-27. Ph.D. dissertation,University of Chicago, 1990. [Available through University Microfilms]
Piccione, P. "Mehen, Mysteries and Resurrection from the Coiled Serpent."JOURNAL OF THE AMERICAN RESEARCH CENTER IN EGYPT 27 (1990): 43-52.
N.B., the still important seminal study (although outdated in certain conclusions and syntheses):
Ranke, H. "Das Altaegyptische Schlangenspiele." SITZUNGBERICHTE DERHEIDELBERGER AKADEMIE DER WISSENSCHAFTEN 11. Heidelberg: Carl Winter, 1920.
The archaeological and artistic evidence for the game of *mehen* is found only in contexts dating from the Predynastic Period through the Old Kingdom (perhaps as late as the First Intermediate Period). Later in the Saite Period, the play of the game is again depicted on the walls of two tombs, as part of the neo-Memphite revival--when Old Kingdom artistic motives and themes were temporarily revived for socio-political purposes.
The pattern strongly suggests that the *mehen*-game ceased to be played in Egypt after the Old Kingdom.
Representations in the tomb of Hesyre and various other mastabas reveal that 2-6 people played at any one time (probably forming 2 teams of 1-3 players ea.) Gaming pieces included: 6 sets of marbles (6 per player) and 2 sets of feline draughtsmen (3 couchant lions and 3 couchant lionesses), probably 1 set for each team. That the game quickly developed significant and deep-seated religious associations (if these were not actually original to the game!) is indicated by the game's occurence and function in the Pyramid Texts and Coffin Texts (q.v. Piccione, "Mehen," passim).
While marbles were an important component of the game, none have ever been found together with any *mehen*-gameboards. Thus, the photograph of marble and board in Hart's ANCIENT EGYPT represents a false assemblage, composed, no doubt, for illustrative purposes (a common practice in museum display). That marble does not belong to that *mehen*-board. Because marbles were also in popular use with games other than *mehen* (e.g., Petrie, NAQADA AND BALLAS, p.35, pl. VII [1]), their occurence in an archaeological context does not necessarily indicate the presence of a *mehen*-game, specifically.
Dr. Smith asked about the significance of Egyptian marbles which happen to be inscribed. Actually these are very rare, given the large number of uninscribed marbles recovered in Egypt. Most of the known examples are published by Peter Kaplony, DIE INSCHRIFTEN DER AEGYPTISCHEN FRUEHZEIT. Supplement, pp. 28-31[1050-1052], pl. 2. Aegyptologische Abhandlungen 9. Wiesbaden: Harrassowitz, 1964. The specimen published by Hart, now in the British Museum, is incised with the name of King Aha.
The marbles of Kaplony's corpus are incised with the names of kings of the Archaic Period, specifically. They usually derive from the mastabas and cenotaphs of these kings and are probably inscribed as such to denote them as the property of their owners. The kings whose names are found inscribed on such marbles include: Aha (c. 3050-3016 BC), Djer (c. 3016-2970 BC), Wadji (c.2970-2963 BC), Anedjib (c. 2949-2897 BC), and Ninetjer (c. 2815-2778 BC). Uninscribed marbles have also been found in the tombs of these and other kings of the period. Other than this limited group of royalty, no other inscribed marbles are presently known to me (but that's not saying too much!). Note that the draughtsmen of other games (e.g., *senet*) are also rarely inscribed with the names of their owners (royal or otherwise).
These incised Egyptian marbles probably were associated originally with*mehen*-boards in the burials. To my mind, though, there is almost certainly no connection between the Egyptian incised marbles and Dr. Smith's inscribed balls from Cyprus. (BTW, despite Dikaios' suggestion that these balls are gaming pieces, I am not convinced they are marbles for gaming. There is nothing to suggest that they could not, otherwise, have been used in some fashion as counting stones, for divination and sortilege, etc.).
Whether or not the *mehen*-game was actually the inspiration for the Phaistos Disk of Crete or for stone slabs on Cyprus carved with patterns of coiling dots or for the Hyena Game of The Sudan is another more vexing question, and it is better kept for another discussion. Those interested should see S. Swiny, "Bronze Age Gaming Stones from Cyprus," REPORT OF THE DEPARTMENT OF ANTIQUITIESCYPRUS 5 (1980): 54-78 and Kendall's article in MEROITICA (cited above). However, because of chronological considerations--although I do not deny the possibility, I am far more cautious and hesitant than Swiny and Kendall in identifying such stones on Cyprus and games in the remotest backwaters of The Sudan specifically as *mehen* or as descendents of *mehen*.
Peter Piccione
Depictions of Mehen encircling the Sun God Re (Pharaoh incarnate) on the Royal Barque remind me of a fetus within a womb. I haven't done a study on the subject, but my guess is that the serpent-enclosed depictions of Pharaoh are older, and the depictions of Mehen as a serpent-headed male with a spear on the Royal Barque are much later interpretations of the ancient texts that New Kingdom Egyptians incorporated into tomb paintings of Re's journey through the "underworld", which those artists no longer perfectly understood.
Conserving Books: Not Just a Job
New Discoveries at Luxor
Eastern Zhou Horse/Chariot Burial
From cctv.com
Chariot and horse burial chamber excavated in Henan
Source: CRI
02-19-2009 08:52
The excavation of some Eastern Zhou period tombs that had ancient chariots and horses buried underground has been completed, an official from Luoyang's cultural relics office told Dahe Daily on Tuesday.
This is another latest uncover of ancient tombs following similar discoveries in surrounding areas in 2002.
The excavation site contains 29 tombs, including two imperial wooden chariots and two dead horses.
Field work for this excavation began in August 2008 and took archaeologists three months to finish. Many artifacts such as pottery, bronze weapons and jade were found despite the fact that most of the tombs had already been plundered by grave robbers.
The horses, laying back to back in an orderly arrangement, were evidently killed before the burial. The two wooden chariots had rotted away, leaving only dusts.
According to local archaeologists, this is also the first time a burial chamber with two horses and two chariots has been discovered in the Luoyang region.
The chamber is located beneath a restaurant undergoing renovation. The restaurant, Luoyang Jujia, plans to encase the burial chamber in an underground culinary museum.
2009 Aeroflot
Friday, February 20, 2009
Decorating...The Upstairs Bath
Friday Night Miscellany
A fascinating story I read earlier today at the Wall Street Journal. I know next to nothing about the world of art (as in paintings and sculpture), but I know what I like, and I like a lot of the "Old Masters" because their paintings at least are recognizable as people and things and animals and plants! LOL! So I'm a barbarian - but I do speak the Queen's English properly (for the most part). Anyway, darlings, when I spotted this person's phiz in the print edition of today's WSJ, my first thought was "My Goddess, that's a woman disguised as a man!" My second thought was "what happened to her face, ohmygoddess!"
Well, it turns out that he is - or was - not a she. He was a he - Harold Smith, who fathered at least half a dozen children, so I guess I cannot build up a proper fantasy about a "man" taking a great secret to her grave :) It's still a fascinating story - about an art heist and the people who investigated it, including Harold Smith, an iconic figure in the world of art - one of the best experts ever on recovering stolen art, who tried to track down the perpetrators and recover the stolen art. Really good stuff. I will read this book: The Gardner Heist" (Ulrich Boser) review by Guy Darst 2/20/09. Sorry - no link, but there is that photo of Harold Smith...
Harold Smith's face was disfigured by a decades-long battle against skin cancer. A lesson for all of us who think skin cancer is relegated to a mole or two that can be easily excised by a doctor's scalpel.Wednesday, February 18, 2009
Windows to the Soul of a Woman
Russian 15 Year Old Becomes WGM
Easter Island - More to the Story
Tuesday, February 17, 2009
Helen of Troy
2009 Aeroflot
The Art of Chess
China Tries to Stop Auction
Monday, February 16, 2009
Antiquities Theft in the U.K.
2009 Aeroflot
The Dolcinists: Condemned Greed, Gave Equal Rights to Women
Susan Polgar National Open for Girls
- Diamond Shakoor (OH) scored a perfect 7-0 to win the SPNO Primary Section, a Dell Laptop, a Digital Clock.
- Rebekah Liu (CA) scored a perfect 7-0 to win the SPNO High School Section, a Dell Laptop and a Digital Clock.
- Sayaka Foley (AZ) scored 6 points to win the SPNO Girls Middle School Section and a Toshiba Laptop.
- Kristen Sarna (TX) tied for 1st in the SPNO Elementary Section with Aiya Cancio (AZ)(in group photo). Kristen won the coin toss in the 5 minute Blitz Playoff for the Dell Laptop. She chose black and won the game. (Both girls qualify for the SP National Invitational for Girls).
In addition, Rebekah Liu and Sayaka Foley are the winners of the scholarships to Texas Tech University (each value at $36,000).
Congratulations to the winners/qualifiers of the 2009 Susan Polgar National Open for Girls. I am very happy to see so many girls playing chess and loving it!
Thanks to Texas Tech University and Texas A&M University-Kingsville for the scholarships! Thanks to sponsors Chess Emporium and the City of Peoria, Arizona! Thanks to the Susan Polgar Foundation for once again putting a wonderful event together. May it be even bigger and better next year.
Sunday, February 15, 2009
Bad Moon Over North Korea
Supporting Local Chess: Announcements
Susan Polgar's Texas Column
Lost and Found Treasure at the Met
Friday, February 13, 2009
Lost and found treasure at the Met
3,300-year-old artifacts on display at renowned museum.
By: Steve Humeniuk
Issue date: 2/9/09 Section: Features
(Image: From the Met Exhibit -
Nude female figure
Uluburun shipwreck
Late Bronze Age, ca. 1300 B.C.Bronze, gold; H. 6 1/2 in. (16.4 cm); Max. W. 2 3/8 in. (6.1 cm)
Bodrum Museum of Underwater Archaeology, Turkey, 52.7.95 (KW 3680)
One of the most valuable objects on board the Uluburun ship, this youthful female figure was cast in bronze using the lost-wax method and embellished with gold overlay. A tenon at the feet would have affixed it to a base (now lost). The gold collar highlights her elite status, while her nudity and gestures suggest her divinity—her clenched fist is ready to hold a scepter and the left palm is open in an act of blessing. Perhaps she represents the Canaanite goddess Asherah, a protectress of sailors, kept on board to guard against the very fate that befell the ship, its crew, passengers, and rich cargo.)
Texas A&M University's Institute of Nautical Archaeology was awarded the distinction of having artifacts on display at the Metropolitan Museum of Art in New York City.
According to Associate Professor of Anthropology Cemal Pulak, the artifacts are dated circa 1300 B.C. and are some of the oldest known artifacts discovered from a seafaring vessel. Pulak and Distinguished Professor Emeritus of Nautical Archaeology George Bass began recovering the artifacts from a sunken sea vessel off the coast of Turkey in 1983. After more than a year of excavating, Pulak took over the project and recorded every fragment of archaeological evidence until the excavation was completed in 1994.
"I started the excavation and started the first few phases and then turned it over to Cemal," Bass said.
The artifacts are included in an exhibit "Beyond Babylon: Art, Trade and Diplomacy in the Second Millennium B.C."
The artifacts came from a wreck, the Uluburun promitory, where 20 tons of raw materials and artifacts were found.
"The Uluburun shipwreck is part of the Late Bronze Age," Pulak said. "It is one of the wealthiest [shipwrecks] ever found."
Ten tons of copper ingots and one ton of tin ingots were recovered. These metals had a special significance to the Bronze Age. "An ingot is a way of pouring metal to be shipped," Bass said. "They had the perfect ratio for forming bronze."
The potential of the metals found on the ship to be melted into bronze is what makes the Uluburun shipwreck important to the study of the Bronze Age. Bass said they had enough raw metals on the ship to conceivably fuel an army.
Other valuable discoveries included the oldest book ever discovered, the only gold scarab ever recovered in honor of Egypt's famous Queen Nefertiti, the largest collection of Canaanite jewelry and the earliest dated collection of glass ingots. "What made it unique is that they had items from all over the world at the time," said Keith Randall, associate director of communications and marketing.
Evidence of this is not only found in the wide array of raw materials that were recovered, Bass said. Also in the hippopotamus teeth, ostrich egg shells and elephant tusk that were excavated from the site - reinforcing the belief that items from the wreck originated in places like Africa, Syria, Cyprus, Greece and northern Europe.
"The ship originated from somewhere in the East Mediterranean," Pulak said. "It shows the nature of the trade at the time."
With more than 100 items on display, the artifacts of the Uluburun wreck are the most prominent items in the exhibit. Pulak said archeological pieces from different sites are also on display at the Metropolitan Museum of Art to portray parts of the middle and late phases of the Bronze Age.
"To be able to have objects of your research displayed at the Metropolitan Museum is a great thing because it is one of the most prominent museums in the world," Pulak said.
Bass said A&M graduate students conducted the majority of the excavation. "I think that the Metropolitan Museum of Art is one of the world's greatest museums, and to have our artifacts on display is a tremendous achievement for both A&M and the Institute for Nautical Archaeology," Bass said.
Bass founded the Institute for Nautical Archaeology in 1973 before becoming affiliated with A&M in 1976. "He's kind-of a legend at A&M," Randall said. "And he's kind-of a legend in the underwater excavation world."
Pulak credits Bass as the "Father of Underwater Archaeology." "In 1960, Bass was the first person to excavate a shipwreck as per underwater excavation standards," he said.
The Institute for Nautical Archaeology is a nonprofit organization that focuses on research and excavation. Pulak said the organization donates recovered artifacts to the countries where the pieces are found.
The artifacts are on display with permission from the Turkish Ministry of Culture and the Museum of Underwater Archaeology in Bodrum, Turkey. "Our philosophy is to acquire information," Pulak said. "All artifacts belong to the world. In a way, it is a gift to mankind and humankind in general, and the information is then published and available to the world."
Egyptian Treasures on Display
From Columbus Local News
Art museum takes wraps off ancient Egyptian 'treasures'
* Demetrios the mummy highlights the collection of artifacts on display at the Columbus Museum of Art this weekend through June 7.
By EILEEN RYAN
Published: Monday, February 9, 2009 9:17 AM EST
(Image from Columbus Museum of Art Exhibition Gallery: Queen Neferu having her hair done)
Ancient Egyptians who sought to defeat death by surrounding themselves with objects to protect them in the next world could hardly have imagined what form their immortality would take in this one.
They'll live on at the Columbus Museum of Art's exhibit "To Live Forever: Egyptian Treasures from the Brooklyn Museum," which opens Saturday, Feb. 14.
The exhibition includes objects that range in date from 3500 B.C. to A.D. 100. It includes stone and wood sarcophagi, amulets, stone sculpture and statues, canopic jars that were used to store the body's major organs, two dog mummies and a human mummy named Demetrios.
Along with his mummy is a portrait of Demetrios, allowing visitors to see how he looked when he was alive.
"It's really quite impressive to have this mummy who's named," said Dominique Vasseur, the museum's curator of European art. Preservation of names was important, as well as preservation of bodies, because of the spells that protected ancient Egyptians in the afterlife, he said.
"Your name was important, and the fact that we know the names of these particular coffins -- there is the idea that they are alive, at least in our minds."
The exhibition "is really about the afterlife and the tomb and the procedures and processes an Egyptian would go through to guarantee life in the afterlife," Vasseur said.
"To Live Forever" is divided into four sections that will show visitors Egyptian beliefs about the afterlife, including papyrus fragments of the Book of the Dead; the mummy; the tomb and the objects that were placed in it; and how those objects would have differed from the tomb of a wealthy Egyptian to that of a one who wasn't wealthy.
The painted wooden sarcophagi may be the most fascinating items in the exhibit, Vasseur said, "just in their scale and in all the visual information that is painted on them."
Children, especially, are going to be amazed by the mummy itself, he said. "It's not too often you actually have a person and you know they're in there."
"To Live Forever" gives Central Ohio residents a rare opportunity to experience such a fine collection of Egyptian art, Vasseur said.
"Egyptian culture fascinates us because, in one respect, it seems so understandable," Vasseur said, though it is essentially an extinct culture. "It had a formative nature on subsequent cultures. A lot of underpinnings of our own world and belief system came out of Egypt."
Residents can fuel their undying fascination with ancient Egypt until the exhibit closes June 7. Admission to the exhibit is $10 for adults; $8 for seniors 60 and older and students 18 and older; $5 for children ages 6-17; and free for museum members and children 5 and younger. For more information, call 614-221-4848 or visit the Web site columbusmuseum.org.
Treasurer Trove! Indian Coins Discovered - and Sold
Treasure Trove! Rare Roman Coins
New Book About the Antikythera Mechanism
From the Huffingtonpost.com
Dan Agin
Author/Neuroscientist
Posted February 14, 2009 11:21 PM (EST)
Book Review: Tackling the Mystery of a 2,000-Year-Old Computer
The trouble with the history of ancient civilizations is that they've left us debris, and from the piles of bits and pieces we try to reconstruct who the people really were and how they lived.
The usual line about the ancient Greeks is that they were good talkers and philosophers and sculptors and sailors but miserable scientists and technologists. Except, of course, for Archimedes, who outclassed everyone of his time in science and engineering.
Most popular historical lines about antiquity sooner or later get revised. In 1901, halfway between Crete and the Greek mainland, Greek sponge divers discovered an ancient Greek sunken ship off the rocky island of Antikythera. From that ship came statues, pottery, glassware, jewelry, coins--and also a corroded lump of bronze later separated into three corroded pieces. The pieces lay around for most of the 20th century, until in the 1970s they were subjected to x-ray analysis that shocked archaeologists and historians alike. The pieces contained the remnants of an elaborate device, a system of 30 cogwheels laid on cogwheels, and after much study the consensus decision was that the Antikythera Mechanism, as it came to be called, was in fact an ancient analog computer.
Jo Marchant, a British science journalist, has given us a fascinating new book about this ancient Greek device (Decoding the Heavens: A 2,000-Year-Old Computer--And the Century-Long Search to Discover Its Secrets. Da Capo Press, 2009.) In ten chapters of clear prose she lays out the background, discovery, and analysis of the Antikythera Mechanism, an intriguing journey into science, archaeology, and history.
There are intellectual consequences of the existence of the Mechanism, and some of the consequences may require revisions of certain views of the history of antiquity. Technology and science can never really be separated, since one produces the other. Science produces new technology, and new technology produces new science, which in turn produces new technology, and so on, and so on. It's one reason why it's so difficult to predict the science or technology of the future. It's also one reason why when we look at the technology of the past, we need to ask about the science that had to exist to make that technology possible. The current view of the Antikythera Mechanism is that it was used to predict eclipses and to track the paths of the Sun and Moon through the zodiac--and maybe even to track the movements of the five planets known at that time. The current view is also that no device of such technological sophistication appeared again until a thousand years later. The question that confronts us is simple: Where are the records of the science that had to exist more than 2,000 years ago in order to produce the technology implied by the device? Was Archimedes involved? We don't know.
Jo Marchant's book is an intelligent account of what is apparently the world's first analog computer. The book and the story are well worth your time.
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Who's to say the mechanism was of Greek manufacture? It could have come from Alexandria, India or China. The knowledge needed to construct the mechanism was probably lost during one of the times the Great Library at Alexandria was burned - or it may have been destroyed thousands of years before with the mysterious artifact surviving as an item of curiosity in some ruler's treasure house. Whenever barbarians take power, they attempt to destroy the knowledge base of those who came before - thus the destruction of libraries and book burning. The saying "knowledge is power" is more true today than ever before. It is the reason the Roman Catholic Church did not want people to learn to read and it was against the laws of several kingdoms to own the Scriptures! It is the reason the Mullahs insist that only they have the authority to interpret the Qoran. It is the reason repressive regimes around the globe attempt to control the internet and do control content in newspapers, magazines, television and radio.