Ai Weiwei at the Hirshhorn

patron reading book

A Hirshhorn patron perusing our Zodiac Head’s catalog

Ai Weiwei’s Circle of Animals / Zodiac Heads has been a popular attraction at the Hirshhorn since its arrival in April. Surrounding the fountain in the center of the Hirshhorn, the zodiac heads have an interactive appeal as viewers pose for pictures in front of their zodiac animal. Much like Western astrological signs, the Chinese zodiac signs also have specific characteristics and traits assigned to them – both good and bad.  A person’s zodiac symbol was (and is) culturally significant in many parts of Asia, where a person’s zodiac sign is sometimes seriously considered when entering a relationship.

This cultural significance is something that Ai Weiwei likes to utilize in many of his works to communicate his messages, often indicated by referencing objects that are almost synonymous with Chinese traditions and values. Continue reading

Ancient Chinese Bronzes at the Freer Gallery

Fangyi2 Fangyi3 Taibao The Chinese sage Confucius (551-478 B.C.E.) greatly esteemed the founders of the Zhou Dynasty, who lived five hundred years before. This is reflected in several of his sayings, including, "How weak I have become. For a long time I have not dreamed about the Duke of Zhou."

In 1046 B.C.E., the Zhou clan, led by their king Wu, had overthrown the corrupted Shang Dynasty and took power. When King Wu died only three years later, his brother, the Duke of Zhou, preserved the Zhou kingdom until his young nephew, Wu's son, reached maturity and could assume responsibility as King Cheng.

Bronze vessels in the collection of the Freer Gallery of Art are a link back to the early Zhou Dynasty. The vessel pictured at left was acquired by the Freer Gallery in 1930 and has almost matching inscriptions inside the cover and on the bottom. Because the inscriptions record that the vessel was cast for Nie Ling, a Maker of Books at the royal court of King Cheng, and mention services performed by Nie Ling for the Duke of Zhou's son, the vessel is sometimes called the Ling yi. Edward L. Shaughnessy's Sources of Western Zhou History: Inscribed Bronze Vessels notes that

"the inscription on the Ling yi immediately attracted the interest of Chinese paleographers, sparking a debate that led in great measure to the development of the periodization methodology in use today. On the one hand, mention of the famous Duke of Zhou, fourth son of King Wen (r. 1099/56-1050) and interim head of state after the sudden death of his elder brother King Wu (r. 1049/45 – 1043), suggested to some scholars that this vessel must date to the beginning of the dynasty, probably to the reign of King Cheng (r. 1042/35-1006). On the other hand, other scholars have argued that the vessel must have been cast at least two generations later, during the reign of King Zhao (r. 977/75-957), since the inscription commemorates certain ritual activity taking place in a 'Kang gong', presumably a temple dedicated to the then-deceased fourth king of the dynasty, King Kang (r. 1005/3-978). Because of the important role this debate has played in the history of Western Zhou bronze studies, and because the debate, which still simmers, influences the periodization of a wide range of other early Western Zhou bronzes, it seems appropriate here to review the main issues …"

Another bronze vessel in the Freer collection with links to the early Zhou is the Taibao gui. The inscription on this vessel commemorates the role of the elder half brother of King Wu and the Duke of Zhou, the Grand Protector or Taibao, in helping to suppress a rebellion against the newly established Zhou Dynasty.

The Freer-Sackler Library contains many useful resources for research on Chinese bronzes and inscriptions on them. For example, the multivolume set Jin Wen Zong Ji reproduces inscriptions from bronzes at the Freer and other museums around the world. These resources are all available for public use at the Library.

Mike Smith


Images, top to bottom: The Ling yi, Lid of the Ling yi with inscription, The Taibao gui


Selected Bibliography:

Pope, John Alexander, Rutherford John Gettens, James Cahill, and Noel Barnard. The Freer Chinese Bronzes, Volume 1 Catalogue. Washington, D.C.: The Freer Gallery of Art, 1967.

Shaughnessy, Edward L. "The Role of Grand Protector Shi in the Consolidation of the Zhou Conquest," Ars Orientalis 19 (1989): 51-77.

Shaughnessy, Edward L. Sources of Western Zhou History: Inscribed Bronze Vessels. Berkeley and Los Angeles: University of California Press, 1991.

Corn’s A -Poppin’

The Livingston Seed Company, Livingston's Seeds 1899 Annual, 1899, Back Cover. From the Libraries; digital collection, Seed Catalogs.

October is National Popcorn Popping Month.

Popcorn was first discovered thousands of years ago by the Native Americans in the United States. One of the oldest forms of corn, evidence of popcorn from 3600 B.C. was found in New Mexico. The English who came to America in the 16th and 17th centuries learned about popcorn from the Native Americans.—Wikipedia

Whether you pop yopur corn in a pan on the stove, or use an air popper, or wait to buy yours at the movie theater, popcorn is always a welcome treat.

During the Great Depression popcorn was comparatively cheap at 5-10 cents a bag and became popular. Thus, while other businesses failed, the popcorn business thrived and became a source of income for some struggling farmers. During World War II, sugar rations diminished candy production, causing Americans to eat three times more popcorn than they had before.—Wikipedia

Elizabeth Periale

Chinese Popcorn Hammer

Ren Xiong’s Illustrations of Knights at Arms

Ren Xiong's Illustrations of Knights at Arms
The author Jin Yong is beloved and famed in the Chinese speaking world for his popular martial arts novels, perhaps as famous there as J.R.R. Tolkien is in the English-speaking world.

Numerous movies, tv dramas, and video games have been based on his novels such as the The Legend of the Condor Heroes and The Smiling, Proud Wanderer.

Some later editions of his novel The Ode to Gallantry are appended by Jin Yong's essays about his favorite martial arts or knight errantry stories from traditional Chinese literature. Also included are Qing dynasty illustrations he selected depicting the various characters from the stories. Where did these illustrations come from originally?

It turns out that classic Tang and Song Dynasty stories were collected in the Ming Dynasty to form the first Chinese anthology exclusively dedicated to knight errantry, the Jianxia zhuan. A young Qing dynasty illustrator, Ren Xiong (1823-1857), produced a series of four albums of character illustrations based on traditional Chinese tales, one each on immortals, worthies, lofty scholars, and the martial arts heroes of the Jianxia zhuan. Scholar Roland Altenburger notes, "All four sets are regarded highly by critics for their unconventional, even provocative artistic approach . . . the 33 character portraits illustrating Jianxia zhuan, in particular, became a lasting attraction to posterity and a publishers' favorite. Even nowadays, they are frequently being reproduced." These Ren Xiong Jianxia zhuan illustrations are the ones Jin Yong selected to accompany his essays.

Reproductions of all four sets in the series of Ren Xiong's illustrations, together with other background and research material, can be found today at the Smithsonian Institution's Freer-Sackler Library, where they are available for public use.—Mike Smith

Ren Xiong's Illustrations of Knights at Arms
Ren Xiong's Illustrations of Knights at Arms

Selected Bibliography: 

Altenburger, Roland. Jianxia zhuan (tales of knights at arms): on the formation and tradition of the classical anthology of knight errantry-stories. Asiatische studien, Vol 54, no. 2 (2000), pp. 303-348.

Ren, Xiong. Ren Weichang jian xia zhuan xiang. Shanghai: Shanghai shu hua chu ban she, 1986.

Liu, James. The Chinese knight-errant. London : Routledge & K. Paul, 1967.

International World’s Fairs and Expositions

Masterpieces of the Centennial International Exhibition illustrated . . . Earl Shinn, Walter Smith and Joseph M. Wilson. Imprint: Philadelphia: Gebbie & Barrie, [1876-1878], p. cxlvi (vol. 3) ("Main Building – Central Avenue looking West").


International World’s Fairs and Expositions have been popular cultural events since the 1851 Crystal Palace Exhibition in London. The opportunity for visitors to see and experience new technologies, products, peoples, and ideas had a tremendous impact on the people who attended these world-wide events in Europe, North America, and Asia.

These fairs are of particular interest to Smithsonian researchers and to scholars from outside the Institution. They use the Libraries' World’s Fairs collection of original print editions or microfilm copies that include official reports by contributing organizations and government agencies or exhibition guides and maps given to visitors, to understand their impact on the modern world. Many of these unique publications came to the Smithsonian from people who had attended particular fairs or who collected literature from the many fairs that were held in the 19th, 20th and now 21st centuries.

The latest international fair, World Expo 2010, just opened in Shanghai, China. Should you or someone you know attend this latest world’s fair, please consider the Smithsonian Institution Libraries as a potential home for the published material that may be available at this newest World’s Fair.

—Chris Cottrill and Jim Roan

World's Fair links:

World's Fairs and Expositions Resources

World's Columbian Exposition of 1893