Art – Page 16 – the heart thrills

THEY HAVE TOO MANY SEEDS

Beijing, 26 August 2014

Suddenly, there are vendors on every street corner of Beijing hawking pomegranate juice.

As certainly as the appearance of vendors selling pineapples on Beijing’s streets is a signal that Spring is coming, so this new apparition is a sign that Summer is drawing to a close, with the pomegranate trees now heavy with fruit.

My wife and I have bought our cup of pomegranate juice. Peering down into that dark red liquid

I have as usual begun to ask myself questions about this fruit. It’s not from my basket of inherited foods. I never remember eating it as a child. Which is not surprising, really. It doesn’t grow well in the UK or France – certainly, my French grandmother had no pomegranate trees in her garden; peaches, plums, apples and pears, but no pomegranates. I have never eaten them in Italy either, even though they were brought to Italy during Roman times; their cultivation is limited to the far south.

That’s the thing, pomegranates are not a European fruit. I thought for a moment – given my previous discoveries – that they originated in China. But actually their historical tap root is sunk in Persia (today’s Iran), and the Himalayan foothills of the Indian subcontinent.

It’s been cultivated as a fruit for an awfully long time; they say it’s probably one of the very first fruits which we humans cultivated. And it caught on, being carried enthusiastically along the ancient trade routes. It was already being eaten in Jericho in 3,000 BC or thereabouts and in Cyprus some while later (in both cases, archaeologists found remains of the fruit in the cities’ ancient garbage dumps).

From the Middle East, it was but a hop, skip and a jump to bring the pomegranate to Greece in one direction and to Egypt in the other. This piece of fresco from a tomb painting in Egypt shows the delights of a private garden, with a pomegranate tree tucked away in one corner, no doubt a prelude of the delights which awaited Nebamun, the owner of this particular tomb, in the after-life.

Meanwhile, from their base in Lebanon, the Phoenicians carried the fruit to their overseas territories, notably Carthage. And it was from Carthage that the pomegranate arrived in Rome. Everything comes full circle in this picture, where a mosaic in the Roman style, laid down in the city of Caesarea in Rome’s near eastern province of Judaea (in what is now Israel)

depicts among other delights a pomegranate tree.

For their part, having welcomed the pomegranate into the homeland – the delights of the pomegranate are mentioned no less than three times in the Quran – the Arabs carried the pomegranate with them in their conquests of North Africa. Later on, the Muslimised Berbers of North Africa brought it to Spain. And it is in their palace of Alhambra in the city of Grenada, the last Muslim stronghold in Spain, that we find, weaved into the intricate designs on the walls, this pomegranate

To be found in the palace’s Golden chamber.

Perhaps it comes as no surprise to know that Spain is now Europe’s biggest producer of pomegranates.

Meanwhile, the pomegranate also travelled east from Persia, along the fabled Silk Road, through Central Asia and finally entered China through Xinjian. But after becoming one of the three blessed fruits of Buddhism, it also tumbled off the Himalayas and travelled into the heart of India, and probably from there it sailed, via the Maritime Silk Route, to south China and Southeast Asia. And from China it was but another hop, skip, and a jump for the pomegranate to be carried to Japan and Korea, where in truth it was appreciated more as a good candidate for bonsai-ism than for its fruit.

In passing, we should acknowledge that the pomegranate tree does have beautiful flowers

another reason that the ancients loved the tree, as evidenced by this other wall painting from Egypt

To be honest, I’m not sure I understand what all the enthusiasm is about. I mean, the juice is OK, but what I really like about a fruit is to sink my teeth into it. And all those seeds in the pomegranate

make that an unpleasant experience – bits of seeds getting stuck in my teeth, a sort of gritty munching experience, that sort of thing … I know the seeds are edible, but psychologically I’m not ready to crunch my way through a whole bunch of seeds. I’ll pick up a peach instead, thank you.

In my opinion, though, it’s precisely those seeds that made it so popular in the old days and encouraged its dissemination out of its Persian-Himalayan homeland. Not, I should clarify, because people liked to crunch their way through a pile of seeds 5,000 years ago (although maybe they did), but because those seeds were a potent symbol of fertility to those eaters. Remember one of the cardinal principles of sympathetic magic, which was potent then: if I eat something (or spread it on my skin, or wear it), I will absorb its powers. Clearly, all those seeds meant that the pomegranate was suffused with fertility. So it would be good to eat it, for instance, if I wanted to have lots of children. This old, old idea has been continued as a quaint custom played out in Greek and Armenian weddings

where at some point the bride breaks open a pomegranate and the seeds spill out (I’m sure I do not need to explain the symbolism of this). But this wish for fertility can be more generalized, and in this guise the pomegranate tree has been cast in the role of Tree of Life. Here, for instance, on this ancient Assyrian seal we see priests standing before a pomegranate as the tree of life, with the sun – another symbol of life – gently beaming down

And here we see the same symbolism woven into this carpet, made several thousand years later and several thousand kilometres away in the southern corner of the Chinese province of Xinjian.

Good ideas have staying power.

The fertility attributed to the pomegranate led to even more abstruse symbolism. Already in Egypt the pomegranate’s fertility transmuted it into a symbol of life after death: eternal fertility – which is why they liked having it represented in their tombs. Somehow, somewhere along the line, the pomegranate took on a similar symbolism for Christians, becoming a representation of Christ’s resurrection and promise of life after death. So here we have a pomegranate along with Christ in a Roman mosaic (again) from the 4^th Century AD, from, of all places, a small village in Dorset.

And here we have an incomparably more beautiful version from 1487 by Sandro Botticelli

Botticelli is telling us that both the Madonna and her child know of the suffering to come, but the pomegranate tells us that it will not have been in vain.

All of this doesn’t change the fact that pomegranates have too many seeds in them to make them a nice eat.

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Pomegranate presser: my picture
Pomegranate orchard: http://www.agritay.com/pomegranate2.JPG [in http://www.agritay.com/ie3.htm%5D
Pomegranate juice: http://www.simplecomfortfood.com/wp-content/uploads/2011/12/fresh-pommegranite-juice.jpg [in http://www.simplecomfortfood.com/2011/12/04/fresh-pomegranate-juice/%5D
Egyptian wall painting “Pond in a garden”: http://upload.wikimedia.org/wikipedia/commons/5/51/”Pond_in_a_Garden”_(fresco_from_the_Tomb_of_Nebamun).jpg [in http://en.wikipedia.org/wiki/Gardens_of_ancient_Egypt%5D (fresco from the Tomb of Nebamun, Thebes, 18th Dynasty).jpg
Roman bird mosaic: http://www.mapah.co.il/wp-content/uploads/2013/01/Bird-Mosaic-in-Caesarea-DSC-3039.jpg
Roman bird mosaic-pomegranate: http://1.bp.blogspot.com/_V0EJcthPaew/TPtykNgTYNI/AAAAAAAAHtM/FDksj7TzZA0/s1600/DSC00340.JPG [in http://pazzapazza2.blogspot.com/2010/12/bird-mosaic.html%5D
Alhambra-detail: https://c2.staticflickr.com/6/5178/5533757498_c68f320ab9_z.jpg [in https://www.flickr.com/photos/psulibscollections/5533757498/%5D (Alhambra: Cuarto Dorado, detail of stucco decoration, Date: 14th century, Alhambra: Cuarto Dorado (Golden Chamber), detail of carved stucco decoration with pomegranate motifs, 14th century, Nasrid period.)
Alhambra-cuarto dorado: http://myspanishadventures.com/wp-content/uploads/2012/08/IMG_4741.jpg [in http://myspanishadventures.com/the-alhambra/%5D
Bonsai pomegranate: http://1.bp.blogspot.com/_nruXh-jwU5o/S_nWTS_IdSI/AAAAAAAAWB8/L1sJwhwiWVA/s1600/pomegranate5222010.jpg [in http://bonsaibeginnings.blogspot.com/2011_07_01_archive.html%5D
Pomegranate flower: http://ladyofthecakes.files.wordpress.com/2013/06/p1010002.jpg [in http://ladyofthecakes.wordpress.com/2013/06/22/pomegranates-in-the-making/%5D
Egyptian wall painting pomegranate tree in flower: http://www.vashsad.ua/downloads/image/7396/main3.jpg [in http://www.vashsad.ua/landscape-design/styles/articles/show/7396/%5D
Pomegranate seeds: http://m.cdn.blog.hu/ga/gasztrobakancslista/image/pomegranate-photos-5111.jpg [in http://gasztrobakancslista.blog.hu/2014/02/27/20_granatalma%5D
Greek wedding: http://simerini.com.cy/files/imagecache/full_image/files/node_images/6/5/5/329655/1_______________________________________.JPG [in http://www.simerini.com.cy/simerini/politismos/agenda/329655%5D
Assyrian priests with pomegranate tree: http://tabloidenoticias.files.wordpress.com/2014/02/sumerio.jpg [in http://tabloidenoticias.wordpress.com/%5D
Khotan carpet: http://www.metropolitancarpet.com/assets/images/Khotan7.jpg [in http://www.metropolitancarpet.com/html/body_pomegranate__antique_oriental_rugs.html%5D
Christian mosaic Hinton St Mary: http://upload.wikimedia.org/wikipedia/commons/6/60/Mosaic2_-_plw.jpg [in http://en.wikipedia.org/wiki/Hinton_St_Mary_Mosaic%5D
Christian mosaic Hinton St Mary-detail: http://www.vanderbilt.edu/AnS/Classics/roman_provinces/britain/hintonst.marymosiac.JPG [in http://www.vanderbilt.edu/AnS/Classics/roman_provinces/britain/image16.htm%5D
Botticelli: http://4.bp.blogspot.com/-b-2sXs3aQeo/T-Yv5SWbaEI/AAAAAAAAAc4/tLnT8Advf0c/s1600/Botticelli.jpg [in http://aggiehorticulturegoestoitaly.blogspot.com/2012_06_01_archive.html%5D
Botticelli-detail: http://www.backtoclassics.com/images/pics/sandrobotticelli/sandrobotticelli_madonnaofthepomegranatedetail.jpg [in http://www.backtoclassics.com/gallery/sandrobotticelli/madonnaofthepomegranatedetail/%5D

SMOOTH ROUND GEMS

Beijing, 14 August 2014

There was a board game I used to play when I was young, I forget its name, but it had to do with pirates and their treasure. I suspect that the game was loosely based on Robert Louis Stevenson’s Treasure Island, which the boys of my generation had all read.

“Harr, me hearties, pull strong, pull straight! Yohoho an’ a bottle o’ rum!” etc.

The purpose of the game was to capture the treasure, and like all good board games it had miniature treasure – miniature gold bars, miniature rubies, miniature diamonds, and so on. You stockpiled your treasure on islands, and you attacked each other to lay your grubby hands on everyone else’s treasure. I was fascinated by all that miniature treasure. I most lusted after the rubies. “Get in thar, lads, and grab t’ treajaye!”

This fascination of small boys like me with pirates and treasure was brilliantly tapped into by Hergé, the author of Tintin, who in two volumes caught the whole buccaneering spirit

and the subsequent hunt for buried treasure

Ah, look how that evil pirate Rackham the Red shows off his treasure to Captain Haddock!

And look how his great-great-great etc. grandson Captain Haddock’s head is sent spinning when he finally finds this treasure!

All that glinting gold! All those sparkling gems!

But I grew up, and grew more sensible, and found that I didn’t actually like sparkling gems (I still like gold, though …). I’m told that gemstones are cut and faceted to bring out their sparkle – or to use the correct language, their brilliance and their fire. Some fellow called Marcel Tolkowsky even went so far as to work out mathematically the best faceting to give gems so as to use the light’s reflection and refraction to maximize their fire and brilliance. But when I now look at my once-favourite rubies

or sapphires

or emeraldsor diamonds

I see nothing but cold, hard precision, stuff for the Rich Bitch.

This was forcefully brought home to me last Christmas when my wife and I visited the Metropolitan Museum of Art during what has become our annual visit to our daughter in New York. The museum happened to be holding an exhibition of the medieval treasures from the Cathedral of Hildesheim in Germany. At that time – we are talking the 1100s – people didn’t know how to facet stones, so gems were mainly polished and rounded into cabochons. Take a look at these photos to see what I mean.

Here is a bible cover.

This is a cross.

This a reliquary.

This a liturgical fan.

The rounded shape in a gem is so much more simpatico, I feel, warmer, more approachable, so much more like us. I mean, we’re sort of round – more round than faceted. OK, it’s all a bit fanciful, but it is true that cabochons are much more like all those rounded, smooth, coloured pebbles that I’m sure we all picked up as kids on the beach and dreamily turned over and over in our hands.

I was certainly an assiduous pebble collector, a habit which I have kept up all my life. Everywhere I have gone, I have collected stones smoothed by the passage of water. I am always looking for interesting colours, striking striations, or curious shapes. Every time I find myself on a beach, my eyes will automatically drop and scour the sand or pebbles for interesting stones (or shells, or any curious flotsam thrown up by the sea). Even here in Beijing, far away from any beach, I have my collection of smooth stones, collected here and there.

So you can understand that in my sensible adulthood I have not been so interested in Rich Bitch jewelry like this

preferring “ethnic jewelry” like this.

(there is also a small matter of the price tag, but we’ll put that aside for the time being)

I insert here a photo of a wonderful necklace I bought my wife some five years ago. It’s a string of red agate stones. Very pebble-like, don’t you think? You see it here gracing her wonderful neck. I bought it in a little shop in Vienna which specializes in Asian ethnic jewelry.

In these preferences I feel a bond with my faraway ancestors. But back, back we have to go, beyond the Romans

and the Greeks

where too much gold intrudes.

Beyond even the Egyptians, where silver gets in the way

We have to go back to the Celts two Centuries before Christ.

and even further back to our prehistoric ancestors, 4,000 BC in this case

and 2,600 BC in this case

I’ve always felt myself to be a bit of a Cro-Magnon man. I think my wife sometimes agrees …

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THE BOOK AS SCULPTURE

Beijing, 13 July 2014

As I mentioned in the postscript to my previous posting, I was in Budapest these last few days. One evening, in search of a restaurant, I came across this fountain:

As the pictures suggest, the fountain consists of a sheet of water moving as if it were the page of a book being turned. I rather like that idea. I didn’t notice it at the time, but I have since discovered that two venerable Hungarian universities, Eötvös Loránd University and Péter Pázmány Catholic University, both of whose foundations reach back to the 1600’s, are located across the street from the fountain. I would guess that the fountain is linked to them: aren’t Universities places which revere books? Maybe the fountain is telling us that books water our intellectual life. But that’s a bit too fanciful, perhaps.

My curiosity piqued, I started looking around for pictures of other sculptures where books play the lead role. And of course someone has already helpfully put together a gallery of such photos! It’s on a site called Book Riot, which promotes reading of book reading and writing about them, my kind of site. I have shamelessly lifted a number of their photos to put here. Most of them have obvious connections to book-related institutions.

Stacking books is clearly a popular design motif. Here’s a fairly straightforward stack in a sculpture in front of the Nashville public library

Here is another, a little bit more untidy and making the connection between books and children (which perhaps explains the untidiness of the stacking?). It adorns the public library in Coshocton, which is (and I had to look this up on Google Maps) in Ohio. The sculpture is composed of 100 books, each one representing one year of the library’s service to the community.

Here is another stack of books, this time from Berlin.

This particular sculpture no longer exists, alas. It was part of a set of six sculptures celebrating the football World Cup of 2006. After a few months, they were taken away, who knows where to. This particular sculpture, set up in Bebelplatz opposite Humboldt University, celebrated Johannes Gutenberg who invented the modern letterpress in the German city of Mainz in around 1450.

The stacking motif continues with this sculpture, although a spiraling twist has been given to the whole.

The sculpture is in front of Beijing’s Xinhua bookstore, although I must confess to never having noticed it.

Here, the stacking has turned into a triumphal arch, located in Atlanta, at Georgia State University.

This is a very obviously symbolic statue. It was created by the sculpture students at the University and is entitled “No Goal Is Too High If We Climb With Care And Confidence”. A visual metaphor dear to the hearts of many a University Professor, I’m sure.

This one, from Charlotte North Carolina, is quite different. Like the sculpture in Coshocton, it makes a connection between books and children, but here it becomes equivalent to playground equipment, showing books as something for children to play with, on, in.

As for Kansas City library, it dispenses with sculptures altogether and has just built the books right into its façade

Another approach to book-sculptures is to consider the book a brick to be used to build structures. The Czech-Slovak artist Matej Kren has created a number of such structures, a couple of which I have photos for. The first is in the Prague municipal library

I’ve not seen it, but I read that if you look inside you get the impression of an infinite tower. It seems that Kren has made clever use of mirrors to get this optical effect.

I don’t know where the structures in these other two photos are to be found

The last could easily be an old farm house in southern Europe somewhere. The following site shows a couple more such structures made with books by Kren and other artists.

This last photo brings me to another structure made with books, but of an altogether darker tenor. It is the Holocaust memorial in Judenplatz, Vienna, a memorial to the more than 65,000 Austrian Jews killed by the Nazis before and during World War II. On my way back from Budapest to Beijing through Vienna, and with the book fountain still fresh in my mind, I decided on the spur of the moment to quickly revisit the memorial before boarding the bus for the airport.

From far away, it looks like one of those squat, windowless blockhouses which dotted the battlefields of World War II. But when you get closer, you see something else.

You see that the walls of this blockhouse are made of shelves of books. But the books are facing outwards rather than inwards as would normally be the case on a shelf. So unlike the sculpture pictured above in Berlin’s Bebelplatz, we know neither the author nor the title of any of the books. The shelves of the memorial simply appear to hold endless copies of the same book, which can stand for the vast array of faceless victims. The choice of books as the design motif perhaps alludes to the idea of the Jews being a “People of the Book”. Fittingly, another name for this memorial is the Nameless Library. Around the edges of the structure are carved the names of the camps where Austrian Jews died

At the other end of Judenplatz is a statue of the writer Lessing, staring so it seems at the Holocaust memorial.

This is the same Lessing whose name appears on one of the spines of the sculpted stack of books in Berlin’s Bebelplatz, a photo of which I included earlier. A connection which allows me to segue into my next memorial, in that same Bebelplatz, a memorial to the campaign of book burnings, orchestrated by the German Student Union, which took place there and in 34 other German university towns in May 1933, shortly after the Nazis had taken power. The purpose was to ceremonially burn books by classical liberal, anarchist, socialist, pacifist, communist, Jewish, and other German and non-German authors whose writings were viewed as subversive to the new regime. Many came from Humboldt University’s libraries. The students first marched in torchlight parades “against the un-German spirit”. Some 40,000 people then gathered in Bebelplatz to hear Joseph Goebbels deliver a fiery address:

“The era of extreme Jewish intellectualism is now at an end. The breakthrough of the German revolution has again cleared the way on the German path…The future German man will not just be a man of books, but a man of character. It is to this end that we want to educate you. As a young person, to already have the courage to face the pitiless glare, to overcome the fear of death, and to regain respect for death – this is the task of this young generation. And thus you do well in this midnight hour to commit to the flames the evil spirit of the past. This is a strong, great and symbolic deed – a deed which should document the following for the world to know – Here the intellectual foundation of the November Republic is sinking to the ground, but from this wreckage the phoenix of a new spirit will triumphantly rise.

Then the students joyfully threw the books onto the pyre, with band-playing, songs, “fire oaths”, and incantations.

In Berlin, some 20,000 books were burned. Looking back at the stack of books which make up the sculpture put in this same square 83 years later, Heinrich Heine’s books were burned, as were those of Anna Seghers, Karl Marx, Heinrich Mann, and Bertolt Brecht. In all, the works of some 60 German authors and 25 non-German authors were consigned to the flames.

The memorial to this shameful episode consists simply of a glass plate set into the square’s cobble stones, below which are visible empty bookcases, enough of them to hold the total of the 20,000 burned books.

Next to it is a plaque, with a line from Heinrich Heine’s 1821 play Almansor: “That was only a prelude; where they burn books, they will in the end also burn people.” Heine was referring to the burning of the Muslim Quran by the Christian Inquisition in Spain. But looking back at the Holocaust memorial in Vienna’s Judenplatz, how prescient is that line! And the book burnings haven’t stopped, as a Wikipedia article eloquently shows.

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Budapest book fountain: my photos
The following five photos are from bookriot.com/2013/03/06/10-superbly-bookish-statues
– Nashville public library: http://bookriotcom.c.presscdn.com/wp-content/uploads/2013/03/nashville-public-library-book-statue.jpg
– Coshocton public library: http://bookriotcom.c.presscdn.com/wp-content/uploads/2013/03/centennial-statue-coshocton-public-library-317×1024.jpg
– Berlin Walk of Ideas http://bookriotcom.c.presscdn.com/wp-content/uploads/2013/03/berlin-book-statue.jpg
– Xinhua bookstore, Beijing: http://bookriotcom.c.presscdn.com/wp-content/uploads/2013/03/beijing-xinhua-bookstore-statue.jpg
– Brick book statue: http://bookriotcom.c.presscdn.com/wp-content/uploads/2013/03/brick-book-statue.jpg
Georgia Tech University, Atlanta: http://www.himalayanrestaurantct.com/article_images/best-bizarre-statues-or-public-art-in-atlanta.jpg [in http://www.himalayanrestaurantct.com/arts-culture/best-art-museums-in-atlanta-449.php%5D
Kansas city library: http://media.tumblr.com/tumblr_m37ijcSOnV1qc4g44.jpg [in http://callmeabsurd.tumblr.com/post/22000303273/beautiful-structures-made-of-books%5D
Prague city library: http://davidgutterman.files.wordpress.com/2011/11/book-statue-library.jpg?w=500&h=670 [in http://davidgutterman.wordpress.com/2011/11/16/prague-blog-7/%5D
Matej Kren-1: http://avisualjournal.files.wordpress.com/2011/09/artwork_images_425933222_663093_matej-kren.jpg [in http://avisualjournal.wordpress.com/page/43/%5D
Matej Kren-2: http://pitchdesignunion.com/wp-content/uploads/2010/10/book-cell-02.jpeg [in http://pitchdesignunion.com/2010/10/matej-kren/%5D
Holocaust memorial, Judenplatz, Vienna: my photos
Lessing statue Judenplatz: http://en.wikipedia.org/wiki/Judenplatz#mediaviewer/File:WienLessingDenkmal.jpg [in http://en.wikipedia.org/wiki/Judenplatz#Lessing_monument%5D
Bebelplatz book burning-1: http://upload.wikimedia.org/wikipedia/commons/2/2b/1933-may-10-berlin-book-burning.JPG [in http://en.wikipedia.org/wiki/Nazi_book_burnings%5D
Bebelplatz book burning-2: http://cdn2.spiegel.de/images/image-485121-galleryV9-ohuq.jpg [in http://www.spiegel.de/fotostrecke/photo-gallery-erich-kaestner-and-the-nazi-book-burnings-fotostrecke-95652-2.html%5D
Bebelplatz memorial to book burning: http://en.wikipedia.org/wiki/Nazi_book_burnings#mediaviewer/File:Bebelplatz_mit_Mahnmal_B%C3%BCcherverbrennung_Aug_2009.jpg [in http://en.wikipedia.org/wiki/Nazi_book_burnings%5D

GIFTS FROM THE GREAT

Beijing, 28 June 2014

The first time my wife and I went to North Korea, we were given the royal treatment – well, not royal since we were in a Socialist paradise, but out of the ordinary. We were taken to the place where the Great Leader Kim Il-sung was born. We were taken to the national museum which showed Korea’s glorious history from the earliest times up to the defining moment when the Great Leader (and his family) took over. And we were taken to the International Friendship Exhibition Hall outside of Pyongyang.

The point of this massive building was to show the people of North Korea, and ignorant visitors like ourselves, that contrary to what the cynical capitalists might say about the Great Leader being a political pariah he was actually very much loved by peoples from all over the world. As testimony to this blindingly obvious fact, the building housed the tens of thousands, maybe hundreds of thousands, of gifts which he had received during his reign, from the mightiest of mighty personalities (heads of state and suchlike) to the lowliest of the lowly (a local communist youth league from some benighted country, for instance). These are all lovingly laid out in high-end display cabinets which are spread out through hundreds of rooms over seven or eight floors. Someone with a tidy frame of mind, perhaps the Great Leader himself, had neatly divided all the gifts by geographical region of provenance (Africa, Asia, and so on). When we arrived, the guide asked us what region we wanted to visit. Much to her surprise, I plumped for Africa, continent of my birth. Rather disappointed she took us there, but once we had visited that part of the collection, she beamed her approval when we said we now wanted to visit Europe, obviously where we should have been the whole time.

The whole experience was totally surreal. The place was spotlessly clean, so clean, so antiseptic, that we were required to put on shoe-covers. We were there in early November, and it was nice and warm inside the Exhibition Hall, in stark contrast to every other building in the country which we had visited, which were cold and dank – the population was expected to save on precious imported fuel. The lights were motion-sensitive, so rooms instantly lit up the moment we walked in and blacked out the moment we left them (there wasn’t a single window in the place). All of this hoopla for displaying gifts which were really very, very ordinary and in some cases in embarrassingly bad taste. If I had been given these gifts, after thanking the giver politely and waving him off at the door, I would have promptly put 99% of them in the attic for future “recycling”. We had to keep reminding ourselves that the whole point of this grotesque exercise was to show the viewer – again and again, obsessively – that the Great Leader was adored by all the peoples of the world. As a grand finale to all of this, the guide ushered us into a large room with a diorama at one end of Korea’s famous Mount Paektu and a Mme Tussauds-like wax reproduction of the Great Leader standing in front of it with a benign, grandfatherly smile on his face. As we walked in, piped concert music swelled to a crescendo and the North Koreans who were with us bowed deeply (we stood there, not knowing quite what to do, shifting from foot to foot, rather like atheists in a church).

Apart from the discomfort we felt at seeing all this money being poured into a project of pharaonic proportions in a country where the people are dying of hunger, we were amazed by the strangeness, not to say the bad taste, of many of the gifts. I can understand that communist youth leagues might only be able to afford a cheap ashtray as a gift, but even the high and mighty gave odd gifts. How, for instance, did Madeleine Albright, US Secretary of State, arrive at the idea of giving the Great Leader a basketball signed by Michael Jordan?

Maybe President Carter’s gift explains it all: you have no idea what to give, so you choose the most colourless thing you can think of – in his case, literally so:

Or you become so desperate trying to figure out what to give that you end up giving something completely ridiculous, like the Sandanistas of Nicaragua, who gave the Great Leader a grinning alligator standing up, holding out a wooden tray of cocktail glasses.

The strange world of official gift-giving …

I was reminded of all this last weekend, when my wife and I visited China’s National Museum on Tiananmen Square. We actually went there to see if we could buy a copy of one of the Tang-era porcelain horses, to complement the copy of a Tang-era camel which we had purchased there a few years ago. Alas! The only one on sale was far too big for our modest dwelling. Disconsolate, we went around seeing what was new. Which brought us to a new exhibition of the official gifts received over the years by China’s Greats: Mao Zedong, Zhou Enlai, Deng Xiaoping, the recent Presidents and Prime Ministers, and other luminaries whose names meant nothing to me. The same general bad taste which assailed us in North Korea prevailed, although it wasn’t quite as bad as in the International Friendship Exhibition Hall. Either the cheap ashtrays had been quietly and sensibly “recycled” or people were more eager to be friends with China than with North Korea and were more careful about the gifts they made. Or both. But it still amazed us how much bad taste leaders of the world exhibit. I have to put it down to gift choosing being a decision made by a government committee somewhere, and we all know that government committee decisions lead to the Least Common Denominator, and the Great Person not having the time to check the gifts before he or she packs the bags, kisses the partner on the cheek, hugs the kids, pats the pet, and heads for the airport for the next official visit.

Luckily, though, in all this morass of dubious taste a few pieces stood out, pieces which we wouldn’t have minded keeping rather than storing in the attic for “recycling” etc. I note these here for posterity with photos taken with my iPhone.

In general, I feel that the Canadians did better than everyone else in their choice of gifts. Here is the one that Pierre Trudeau gave Zhou Enlai, a beautiful Native Indian double mask, from the style I would guess from the Pacific coast

while here is a small but lovely sculpture, also given by Pierre Trudeau but this time to Zhu De, of a seal carved in bone

This piece was given by Governor-General Romeo LeBlanc to Jiang Zemin, a beautiful carving in jade stone of what appears to be a merman dancing.

Keeping to the regional focus used in North Korea (the exhibition had the pieces laid out temporally), we can continue with North America, where the only other piece worthy of mention actually came from the same part of the world as the previous two, Alaska. It is a gift from that State’s Government to Deng Xiaoping, of an Inuit ice fishing, made of walrus bone

There was nothing else of note from the rest of the USA, or from Central America, so we can fly over to South America to land in Bolivia, where President Jaime Paz Zamora gave Yang Shangkun this lovely silver mask

and then to Brazil, where President Jao Baptista de Oliveira Figueiredo gave Deng Xiaoping this delicate gift of a silver crane with crystal feathers

(another Brazilian tried the same style some years later, but the result was not nearly as noteworthy)

After which I propose to fly over to Africa, which gave some of the best – but also many of the worst – gifts. Here are the best:

– a silver warrior riding his camel, from Niger, given by Head of State Seyni Kountche to Deng Xiaoping

– somewhat in the same style but on a grander scale, a brass horse and rider from Cameroon, given by President Ahmadou Ahidjo to Zhou Enlai

– a plate from the Republic of Congo, given by President Alphonse Massamba-Debat to Mao Zedong

– bust from Gabon, given by President El Hadj Omar Bongo Ondimba to Jiang Zemin

– and finally a gift from North Africa, a painting from Tunisia, given by Prime Minister Hedi Nouira to Zhou Enlai

Tunisia is close to Europe, so why not do a hop, skip and a jump north over the Mediterranean. There was precious little that was nice from there, though. The best was this glass bird, a curlew, from Finland, a gift from Prime Minister Matti Vanhani to Wen Jiaobao

(there was another Finnish gift in the same style, but unfortunately the photo came out blurred so I haven’t added it; the Swedes, by the way, also gave a gift in glass, of fish in this case, but of appalling taste)

The Belgians, through the good office of King Baudoin, made a gift to Deng Xiaoping of a small but beautiful statue of a sitting horse

while from Portugal came this gift from Prime Minister Jose Socrates to Hu Jintao of a silver plate with a lovely azulejo-inset of a boat in full sail

Which leaves Asia, from where there was even less than Europe. The best was this silver bowl with a glass liner of a lustrous blue, from Vietnam, a gift from the Government to Liu Shaoqi.

And that was it, as far as we were concerned. Really sad to see how little taste our Great Leaders have.

By the way, readers might be interested to know that, not to be outdone by his father, the Supreme Leader Kim Jong-il also built himself a hall, next to his father’s, to house his collection of rubbish … I mean, gifts. Luckily, we didn’t have to visit that one. No doubt Kim Jong-un, the current Supreme leader of North Korea, is currently hard at work with a team of architects designing his hall. Meanwhile, his people die of starvation and neglect.

______________

International Friendship Exhibition Hall: http://www.bestinsighttours.com/UpLoadFile/2013011818361673499.jpg [in http://www.bestinsighttours.com/ProductsView.Asp?id=44%5D
Kim present-basketball: http://i2.cdn.turner.com/cnn/dam/assets/130806190158-secretary-of-state-basketball2-horizontal-gallery.jpg [in http://www.cnn.com/2013/08/06/travel/north-korea-kim-gifts/%5D
Kim present-glass bowl: http://i2.cdn.turner.com/cnn/dam/assets/130806190133-jimmy-carter-gift2-horizontal-gallery.jpg [in http://www.cnn.com/2013/08/06/travel/north-korea-kim-gifts/%5D
Kim present-alligator: http://comtourist.com/images/large/north-korea-04/mt-myohyang-int-friendship-exhibition-04.jpg [in http://comtourist.com/mt-myongyang%5D
all other photos: mine

SCULPTURE AND NATURE

Beijing, 15 June 2014

My wife and I were watching TV with one eye the other day when the BBC passed a programme which caught our attention. It was about the Yorkshire Sculpture Park in the north of England. I think a few words of explanation are required for those readers who have never heard of this Park (our situation before watching the BBC programme). It was established back in 1977 in the grounds of a stately home the last of whose aristocratic owners (Viscount Allendale) had sold it to the local council after World War II, no doubt to save his financial skin (I mentioned the financial woes of the UK’s stately homes in an earlier posting of mine). The idea is a simple one: rather than displaying modern sculpture in open spaces in cities like plazas

or squares

or using the atriums of posh buildings

use the sweeping, open vistas of the countryside to display them. Here are some of the pieces at the Yorkshire Sculpture Park:

My wife and I agree on many things, and one of them is that modern sculptures are enhanced by being seen in a natural, organic setting rather than in the built urban environment. Personally, I think it has to do with the contrast between the dead surfaces of the sculptures and the much softer, living surfaces of the surrounding landscapes. It sounds a bit fancy, but the dead sculpture comes alive when in contact with organic life.

This was brought home to us very strongly when, 25 years ago, and on the advice of a friend who worked at the Metropolitan Museum of Art, we visited the Storm King Art Centre, which is an hour’s drive north of New York City, near the Hudson River. Here again, a few words of introduction. It’s really the classic American story (as much as the history of the Yorkshire Sculpture Park is the classic British story of modern times – decay of the old order and birth of a new one). A certain Mr. Ogden, after a successful career in the family business, purchased the land and property of Storm King and started collecting. He initially bought small sculptures which he exhibited around the house. At some point, he expanded out into the surrounding landscape, installing much bigger pieces. That’s it, in a nutshell. But the result – for us at least – was epiphanic.

In wonder we wandered along the rides mown through the grass, walking from one towering sculpture to another

from hilltops, we discovered long views across the surrounding landscape, where sculpture and land merged into one

we walked through glades in the woods, each with their own sculpture

we entered the woods to find smaller, more intimate sculptures scattered under the trees

we also found a sculpture-wall meandering through them

(better seen in this photo taken during the winter)

we turned our steps back to the house, discovering other smaller sculptures set down in more formal gardens around the house.

And finally, we entered the house and fell upon a sculpture which in all these years I have never forgotten: a group of robotic-looking statues with small motors making their jaws work up and down and with a closed-loop recording of voices quietly droning “chatter, chatter, chatter, chatter, chatter, chatter …” on and on, endlessly. Wonderful. Every time I find myself in one of those meetings where people blather on and on and on I recall this statue group with intense clarity.

So taken were we with Storm King that the very first time we went back to New York after an absence of fifteen years we made sure to find time to go up there. It cast the same spell over us – although sadly the chattering statues had vanished (smashed to smithereens, no doubt, by an employee crazed by their endless droning).

As I contemplate these photos, it occurs to me that many of the megalithic structures scattered across the face of Europe could pass as modern sculptures set down in the surrounding landscape. Stonehenge, the most iconic of all megalithic structures, is probably too much like a ruin to make this comparison

but Avebury, like Stonehenge located in Wiltshire, has something of the abstraction of sculpture parks

and how about Carnac, in Brittany?

or Badelunda in Sweden?

or the Ring of Brodgar, in the Orkney islands?

And even further afield, although not from the Mesolithic period, we have this intimate collection of upright stones in Toraja, Indonesia

Of course, the people who built these structures were not building sculpture parks, but I have to think that they too were stirred by the same feeling of connectedness between their standing stones and nature as we have between sculpture and nature. They attributed this feeling to a divine grace in the place, we simply enjoy the feeling.

____________________________

Sculpture in cities-1: http://percivalhenry.files.wordpress.com/2014/03/52af841ee4b0b09acc808041-lost3f3f3f-1387234862071-flamingo.jpg [in http://percivalhenry.wordpress.com/2014/03/20/art-history-martch-madness-first-round-new-york-regional/comment-page-1/%5D
Sculptures in cities-2: http://upload.wikimedia.org/wikipedia/commons/2/26/Juilliard_School-Manhattan-New_york.jpg [in http://commons.wikimedia.org/wiki/File:Juilliard_School-Manhattan-New_york.jpg%5D
Sculpture in cities-3: http://i3.mirror.co.uk/incoming/article740970.ece/alternates/s615/A%20new%20sculpture%20on%20the%20fourth%20plinth%20in%20Trafalgar%20Square,%20central%20London%20The%20work%20by%20sculptor%20Bill%20Woodrow,%20entitled%20%27Regardless%20of%20History%27,%20%20shows%20a%20tree%20resting%20on%20a%20head%20and%20a%20book [in http://www.mirror.co.uk/news/uk-news/love-it-or-hate-it-bronze-rocking-741129%5D
Sculpture in cities-4: http://womenworld.org/image/082012/Paris%20-%20Beaubourg%20and%20Les%20Halles_1.jpg [in http://womenworld.org/travel/paris—around-town—beaubourg-and-les-halles-%28part-1%29.aspx%5D
Sculpture in cities-5: http://www-news.uchicago.edu/releases/06/images/cis/sculpture.jpg [in http://www-news.uchicago.edu/releases/06/060426.cis-photos.shtml%5D
YSP-1: http://www.yorkshireattractions.org/images/cms/attractions_21_3_large.jpg [in http://www.yorkshireattractions.org/visitor-attractions/21/yorkshire-sculpture-park%5D
YSP-2: http://upload.wikimedia.org/wikipedia/commons/0/0a/Yorkshire_Sculpture_Park_Caro_Promenade.jpg [in http://commons.wikimedia.org/wiki/File:Yorkshire_Sculpture_Park_Caro_Promenade.jpg%5D
YSP-3: http://antonyjwaller.files.wordpress.com/2012/06/nik_5931-copy.jpg [in http://antonyjwaller.wordpress.com/travel-articles/yorkshire-and-northern-england/the-yorkshire-sculpture-park/%5D
YSP-4: http://www.sculpture-info.com/upload/1008/image/Yorkshiresculpturepark.jpg [in http://www.sculpture-info.com/news-626/yorkshire-sculpture-park.html%5D
YSP-5: http://2.bp.blogspot.com/-6GgifPCMTc8/UgZKx2yojhI/AAAAAAAACDg/WYBKhXaNWp8/s1600/2+Buddha+and+Rob.JPG [in http://expertslife.blogspot.com/2013/08/picture-of-week-10-august-2013.html%5D
YSP-6: http://www.thomasharveydesign.co.uk/wp-content/uploads/2011/05/YSP6.jpg [in http://www.thomasharveydesign.co.uk/2011/05/09/yorkshire-sculpture-park-wakefield/%5D
YSP-7: http://news.bbcimg.co.uk/media/images/52104000/jpg/_52104252_7cbb7745-313f-43e9-8974-d144adf6c05f.jpg [in http://www.bbc.co.uk/news/entertainment-arts-13034363%5D
SK-1: http://brooklynimbecile.files.wordpress.com/2011/10/img_4256.jpg [in http://brooklynimbecile.com/2011/11/05/weekend-spread-storm-king-art-center/%5D
SK-2: http://3.bp.blogspot.com/-OWDq8YQCBog/UA6M17c9N6I/AAAAAAAAYI4/OqODfTIunKU/s1600/Mountainville_NY_A_Calder_Storm_King_AC_photo_S_Gruber_June_2012_+%2888%29.JPG [in http://publicartandmemory.blogspot.com/2012_07_01_archive.html%5D
SK-3: http://www.greenstrides.com/images-wp/Storm-King.jpg [in http://www.greenstrides.com/2013/07/10/sculpture-parks-can-inspire-your-own-garden-design/%5D
SK-4: http://4.bp.blogspot.com/-4sgNF1ufdU4/U4T1ul7DPRI/AAAAAAAAP8w/JzGsmMOY6No/s1600/Newman.jpg [in http://nycgarden.blogspot.com/2014/06/storm-king.html%5D
SK-5: http://i.vimeocdn.com/video/332835418_1280.jpg [in http://vimeo.com/48015694%5D
SK-6: http://inhabitat.com/nyc/wp-content/blogs.dir/2/files/2011/07/storm-king-boulders.jpg [in http://inhabitat.com/nyc/storm-king-art-center-a-summer-retreat-for-the-artsy-nature-loving-new-yorker/storm-king-boulders/%5D
SK-7: http://faeriemooncreations.blogspot.com/2010_11_01_archive.html [in http://faeriemooncreations.blogspot.com/2010_11_01_archive.html%5D
SK-8: http://4.bp.blogspot.com/_sVe9wO8fJls/S4zMOOgpUZI/AAAAAAAAEDo/IaUESi6KOGQ/s800/goldsw3.jpg [in http://lettuce-eating.blogspot.com/2010_03_01_archive.html%5D
SK-9: http://stormking.weebly.com/uploads/2/3/8/8/23889452/6893557.jpg [in http://stormking.weebly.com/permanent-collection.html%5D
SK-10: http://www.stormking.org/wp-content/uploads/2013/07/smith-lawn1.jpg [in http://www.stormking.org/collection-conversation/%5D
SK-11: http://eof737.files.wordpress.com/2011/09/img_2564.jpg?w=800 [in http://mirthandmotivation.com/2011/09/04/happiness-installation-art-at-storm-king/img_2564/%5D
Stonehenge: http://st-listas.20minutos.es/images/2013-06/362538/4049632_640px.jpg?1370571567 [in http://listas.20minutos.es/lista/maravillas-del-mundo-362538/%5D
Avebury-1: http://en.wikipedia.org/wiki/Avebury#mediaviewer/File:Avebury_Panorama,_Wiltshire,_UK_-_Diliff.jpg [in http://en.wikipedia.org/wiki/Avebury%5D
Avebury-2: http://en.wikipedia.org/wiki/Avebury#mediaviewer/File:Avebury,_West_Kennet_Avenue,_Wiltshire,_UK_-_Diliff.jpg [in http://en.wikipedia.org/wiki/Avebury%5D
Carnac-1: http://weadorefrance.com/es/images/w.800/h.600/c.1/d.guide_photos/sd./i.carnac-brittany-standing-stones-20130325.jpg [in http://weadorefrance.com/es/brittany-bretagne/g.31%5D
Carnac-2: http://media.tinmoi.vn//2012/02/27/4_28_1330310626_92_20120224114942_l6.jpg [in http://www.tktyt1haiduong.edu.vn/?p=888%5D
Badelunda, Sweden: http://upload.wikimedia.org/wikipedia/commons/d/d3/Badelunda_V%C3%A4stmanland_Sweden.jpg [in http://some-landscapes.blogspot.com/2011_10_01_archive.html%5D
Ring of Brodgar, Orkney: http://en.wikipedia.org/wiki/Ring_of_Brodgar#mediaviewer/File:RingofBrodgar.jpg [in http://en.wikipedia.org/wiki/Ring_of_Brodgar%5D
Toraja, Indonesia: http://tribudragon.files.wordpress.com/2013/03/2-tt-6.jpg [in http://tribudragon.wordpress.com/category/indonesia/%5D

SPRING IS IN THE AIR!

Beijing, 20 March 2014

It’s the first day of Spring! The day of the vernal equinox! The moment in the year when, after a slow climb out of the short days and long nights of the winter solstice, night equals day. From now on, the days will get longer and the nights shorter, until the summer solstice in the month of June is reached and the cycle reverses.

And actually, apart from cold astronomical considerations, today in Beijing it really was a spring day! A beautiful, sunny spring day! When I walked out of the apartment building this morning, the sun shone out of a blue, unclouded sky, but there was a chill in the air. When I left the office as evening drew in, the sky was still an unclouded blue, but now there was a soft breath of warm air on my cheek. Verily, I felt like Boticelli’s Venus stepping off her shell, with the zephyrs blowing over me

although I will admit that she has a considerably better body than mine.

Humming quietly to myself, I made my way home, pausing for a moment under the willow trees on which the zephyr’s warm breath had worked its magic, covering the branches with a light green furze.

Nature awakes from its winter sleep. Venus walks the land. Flora, goddess of flowers and Spring, follows in her wake.

_____________

Equinox: http://www.imd-corp.com/figures/ARIX0020.jpg [in http://www.imd-corp.com/formx_ind_display_flexible_getmethod.php?category=name&fname=%%5D
Birth of Venus: http://www.artble.com/imgs/9/b/3/416525/birth_of_venus.jpg [in http://www.artble.com/artists/sandro_botticelli/paintings/primavera%5D
Greening willows: my picture
Primavera: http://www.artble.com/imgs/6/c/a/616543/primavera.jpg [in http://www.artble.com/artists/sandro_botticelli/paintings/primavera%5D

SNOWY MOUNTAINS

Beijing, 8 February 2014

It was snowing when we got up yesterday, the first snowfall of the season – in fact, the first time there has been any precipitation, rain or snow, in the last four months in Beijing. The city was still quiet after the Chinese New Year, so it was with pleasure that I crunched my way to work through the deserted streets and along my piece of canal, with the small, grainy snowflakes floating down around me.

And dimly through the flakes and mist, I perceived a man on the other bank of the canal slowly going through the balletic moves of tai-chi. Magic …

It kept snowing fitfully all day and into the evening, becoming greyer and foggier by the hour. So I just hurried home after work, looking forward to a welcoming wife, a cheerfully lit apartment, a glass of wine, and a plate of pasta. We closed out the world and enjoyed two French detective thrillers before retiring to bed.

This morning, the clouds had been chased away along with the fog, and the sun shone down brightly. How different the world looked! There is nothing like a coating of snow under a bright sun and a clear blue sky to make even the most squalid cityscape look inviting. On our way to morning coffee and lunch, I took a couple of photos of the canal to record the event.

OK, let’s not get carried away here. Quite soon, all that fresh snow will turn into muddy slush, making a misery for us pedestrians as we pick our way round large puddles, warily avoid being splashed by passing cars, and stay ever alert for a hidden piece of ice under our feet . And even when the snow is still fresh, the view simply cannot beat a snowscape in the mountains. My wife is a good and enthusiastic skier, and when the children were young she liked to take them skiing in the Alps. I, on the other hand, dislike skiing, so it was always with a certain grouchiness that I accompanied them on these skiing expeditions. The traffic jams to get there! The crowds at the shop to hire the gear! The astronomic cost of the ski passes! The kilometric lines to get on the ski lifts! All those peacocks parading their latest ski gear! The morons who skied far too fast down the crowded slopes! The icy wind turning my face into a piece of numb codfish! But even grouchy old me could not avoid a smile when suddenly confronted at the turning of a path with vistas of virgin white snow softly pillowing rocky hill and dale and gathering protectively around the pine trees, while the mountains glittered behind against a backdrop of a deep blue sky.

The only artist I know who has ever captured the beauty of mountains in the winter is the Austrian painter Alfons Walde. Walde was from Kitzbühel in the Tyrol, so he knew the Alps well. From the mid 1920s onwards, he painted a series of pictures of the Tyrolian Alps during winter. I show here a selection, starting with the first of his paintings I ever came across, in the form of a poster advertising a show of his works in Vienna. I still have that poster somewhere. It is his “Ascent of the Skiers”, 1931

Here we have “Steinbergkogel”, 1926

And here his “Meadows under Snow”, 1926

Walde also liked to paint the inhabitants of the Tyrolian villages. They still wore their traditional costumes back then. There’s still a faint echo of this in Austria’s traditional jackets for men and the dirndls the women wear. This is his “Auracher Church”, 1927-30

And this is his “Meeting”, about 1924

I will be frank. I wouldn’t mind owning one of Walde’s paintings. But I’m not a millionaire. The best I’ve managed is a print by another Austrian artist

But hope springs eternal. You never know, I may find a Walde in my attic one day.

______________________

pix in Beijing: mine
“Ascent of the Skiers”: Alfons Walde- Der Aufstieg der Schifahrer-1931: http://shop.alfonswalde.com/WebRoot/Store/Shops/es268867/50B4/8486/F7AD/8B37/3A2E/50ED/8962/9095/Aufstieg_der_Schifahrer_1080.jpg [in http://shop.alfonswalde.com/epages/es268867.sf/de_DE/?ObjectPath=/Shops/es268867/Products/PLW35%5D
“Steinbergkogel”: http://shop.alfonswalde.com/WebRoot/Store/Shops/es268867/50B4/CA47/6775/F975/A744/50ED/8962/CB5B/PLWT36-Steinbergkogel_1080.jpg [in http://shop.alfonswalde.com/epages/es268867.sf/de_DE/?ObjectPath=/Shops/es268867/Products/PLW36%5D
“Meadows under Snow”: Alfons Walde- Almen im Schnee: https://myartmap.com/sites/default/files/walde_2.png [in https://myartmap.com/user/5189/shop%5D
“Aucherl Church”: Alfons Walder-Auracher Kircherl-1927-30: http://www.austrianfineart.at/images/largeorig/Walde-Auracher%20Kircherl-Kat.%202001.jpg [in http://www.austrianfineart.at/detailtest.php?cid=297&lang=%5D
“Meeting”: Alfons Walde-begegnung: http://alfonswalde.com/cms/wp-content/uploads/2013/05/begegnung_1080_WZ.jpg [in http://alfonswalde.com/cms/?cat=16%5D
pic of the barn in the snow: mine

LANDSCAPES

Beijing, 26 January 2014

Last week, I went to visit a factory on the outskirts of Beijing which recycles waste equipment. They take old TVs, old computer monitors, refrigerators, air conditioners, and washing machines; if the regulatory conditions become right, they will also start taking mobile phones. They disassemble these old products and recycle the various components, having first properly separated them. It’s fascinating to watch the disassembly, which is the exact mirror image of normal manufacturing: the process starts with the whole product, which as it moves down the (dis)assembly line slowly comes apart, ending up back as its individual components. This is the future, my friends. All the products we make should be collected at the end of their useful lives, brought to factories like this one, and taken apart so that their component materials can be reused: “Circular Economy” is the tag for this.

But actually, I want to write about something completely different. After visiting the disassembly line and talking with the company management about its plans for the future, we were invited to lunch in the company’s canteen. As is customary, we were taken to a separate room, which contained one large round table and the usual Lazy Mary languidly turning in the middle. As we sat and chatted and picked at the dishes going by, my eyes wandered around the room. They fastened on this painting on the wall:

It was a welcome dash of cheerful green on what were otherwise rather drab walls. That being said, it was not much to write home about, a clearly amateur rendering of the scene, the sort of thing one could pick up for 1 euro at any flea market. And yet … there was something about it which sparked a faint memory. The memory fluttered indistinctly around in my mind as we said our goodbyes at the end of the lunch and headed back to the office. It was like having a grain of sand in one’s shoe, softly but insistently irritating. There was nothing for it, I was going to have to do some research when I got back to the office. Luckily, it didn’t take long to pin down the memory. What I had been looking at was a copy – or a copy of a copy of a copy … – of a famous painting by the French painter Camille Corot, Souvenir de Mortefontaine, painted in 1864 and now hanging in the Louvre Museum:

But that’s not where I had seen it first. That memory which I had been vainly chasing through the corridors of my brain was set in my grandmother’s house in London. She had a copy of the painting hanging on her drawing room wall, from where it would look down on me as I sat on the couch drinking my grandmother’s lapsang souchong tea. Strange how life is … an invisible thread loops through time and space, linking my grandmother’s drawing room in the 1960s, cluttered with family memories, to a rather drab factory canteen on the outskirts of Beijing in 2014.

For all the warm, fuzzy memories it evokes, I would not put this particular painting, in original or in copy, on my wall. Memories are one thing, taste another. I remember my grandmother saying once how much she loved Corot. Me, I find him cloyingly sentimental, his feathery trees irritate me, and the grey-green palette he used in this particular series of paintings – he did a number of such Souvenirs – grates on my senses. If I were going to have a landscape on my wall by a famous painter, I would much prefer any one of a host painted in the last five hundred years. I could easily live with one of Bruegel’s paintings of the seasons, his Corn Harvest say:

or why not a Constable, for instance his Wivenhoe Park:

or his Salisbury Cathedral (although calling this a landscape may be a bit of a stretch)

I could also happily live with one of the pre-impressionist works which were already being painted when Corot was painting Souvenirs de Mortefontaine, like this Pissarro, La Maison de Père Gallien à Pointoise, painted just two years after the Corot, but which already shows a more real, more vibrant world than Corot’s honeyed one

From the impressionist period, I could take a Monet landscape, like this one from a series he made of the fields around Argenteuil, Walk in the meadows around Argenteuil:

From a little bit later, one of Cézanne’s many proto-cubist paintings of Mont Saint Victoire in the south of France would be lovely:

as would one of Van Gogh’s whirling wheat fields like this one, Wheat field with cypresses

A pointillist landscape would do nicely too, like this Signac, Comblat Castle and the Pré:

I could even hang a fauvist landscape on my wall, like this one, The Turning Road, l’Estaques, by Derain:

or even, at a pinch, a cubist landscape like this one by Braque, Big Trees at Estaques:

But maybe I would eschew the modernist trends which I have been following up to now, and go for one of the paintings by the American artist Grant Wood, like this Young Corn, painted in 1931:

There are certain similarities to the Bruegel I started with, no?

But in the end, I wouldn’t need to put any of these paintings on my walls, because I already have my landscape painting, purchased in the Dorotheum, the Viennese auction house.

Maybe one day I will have grandchildren who will drink lapsang souchong tea with me, look at the painting, and ask themselves what on earth Grandpa sees in it.

_____________________________

Pic in the canteen: mine
Corot-Souvenir de Mortefontaine: http://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Jean-Baptiste-Camille_Corot_012.jpg/1024px-Jean-Baptiste-Camille_Corot_012.jpg [in http://fr.wikipedia.org/wiki/Jean-Baptiste_Corot%5D
Constable-Wivenhoe Park: http://upload.wikimedia.org/wikipedia/commons/thumb/1/15/John_Constable_-_Wivenhoe_Park%2C_Essex_-_Google_Art_Project.jpg/1280px-John_Constable_-_Wivenhoe_Park%2C_Essex_-_Google_Art_Project.jpg [in http://commons.wikimedia.org/wiki/File:John_Constable_-_Wivenhoe_Park,_Essex_-_Google_Art_Project.jpg%5D
Constable-Salisbury Cathedral: http://upload.wikimedia.org/wikipedia/commons/4/46/Salisbury_Cathedral_from_the_Bishop_Grounds_c.1825.jpg [in http://en.wikipedia.org/wiki/Salisbury_Cathedral%5D
Pissaro-Père Gallien’s house at Pontoise: http://uploads6.wikipaintings.org/images/camille-pissarro/pere-gallien-s-house-at-pontoise-1866.jpg [in http://www.wikipaintings.org/en/camille-pissarro/pere-gallien-s-house-at-pontoise-1866%5D
Monet-the Promenade Argenteuil: http://uploads7.wikipaintings.org/images/claude-monet/the-promenade-argenteuil.jpg [in http://www.wikipaintings.org/en/claude-monet/the-promenade-argenteuil%5D
Cezanne-Mont St Victoire-1887: http://upload.wikimedia.org/wikipedia/commons/d/d2/Paul_C%C3%A9zanne_107.jpg [in http://en.wikipedia.org/wiki/Mont_Sainte-Victoire_%28C%C3%A9zanne%29%5D
Van Gogh-Wheatfield with cypresses-1889: http://upload.wikimedia.org/wikipedia/commons/e/e8/1889_van_Gogh_Wheatfield_with_cypresses_anagoria.JPG [in http://en.wikipedia.org/wiki/Wheat_Field_with_Cypresses%5D
Signac-Comblat Castle and the Pré-1886: http://uploads3.wikipaintings.org/images/paul-signac/comblat-castle-the-pre-1886%281%29.jpg [in http://www.wikipaintings.org/en/paul-signac/comblat-castle-the-pre-1886%5D
Derain-The turning road: http://4.bp.blogspot.com/_0n9IExEpmh8/S_DnuJ6ZT8I/AAAAAAAAVk4/JCfVk6QJNws/s1600/The_Turning_Road_L_Estaque.jpg [in http://www.artistsandart.org/2010/05/andre.html%5D
Braque-Big trees at Estaques-1908: http://uploads1.wikipaintings.org/images/georges-braque/big-trees-at-estaque-1908.jpg [in http://www.wikipaintings.org/en/georges-braque/big-trees-at-estaque-1908%5D
Grant Wood-Young Corn-1931: http://uploads5.wikipaintings.org/images/grant-wood/young-corn-1931.jpg [in http://www.wikipaintings.org/en/grant-wood/young-corn-1931%5D
Pic of my landscape: mine

THE ARTIST AND THE SELFIE

Beijing, 19 January 2014

There is a phenomenon which my wife and I both agree is on the upswing in China, which is the taking of selfies. We are proud to know this word, by the way, which is so new that it hasn’t made it yet into the Merriam-Webster on-line dictionary – although the Urban dictionary, which is obviously hipper, does contain a definition: “pictures taken of oneself while holding the camera at arm’s length”. We might know what the word means, but it doesn’t mean that we approve. We actually find it sad to see young women (it seems to be preponderantly young women) taking photos of themselves. It is so narcissistic, we cry!

But actually the phenomenon is not new, its amplitude is. New technology – the mobile phone with built-in camera – and its fantastic, phenomenal, global dissemination have allowed this. But the picture-makers of old – artists – have been making selfies for centuries now, since at least the Renaissance (in Europe anyway). They made selfies – self-portraits – to advertise their skills, or to allow them to exercise themselves without having to pay a model, or to comment on their or other people’s private lives, or in a more serious vein to explore their inner emotions. Anyone interested in the topic can go to the Wikipedia article on it. At the beginning, they seemed to be a bit shy (or maybe just cautious; prisons were nasty then), and rather than executing free-standing portraits of themselves they preferred to include themselves (and their friends, and even sometimes their enemies) in the role of modest bystanders in their paintings. Here, for instance, is a painting by Botticelli, an Adoration of the Magi, where the person on the extreme right in the yellow cloak and looking out towards the viewer is said to be the painter himself.

And here is a fresco, by Filippino Lippi, The Disputation with Simon Magus and the Crucifixion of Peter, where Lippi is the person on the extreme right of the fresco looking out towards the viewer from behind the pillar.

But after a while some artists were having none of this modesty. For instance, Velázquez put himself very obviously in what is probably his most famous painting, Las Meninas, which hangs in the Prado Museum in Madrid.

On the face of it, the painting is of the young Infanta Margaret Theresa, surrounded by her entourage of maids of honour, her chaperone, bodyguard, two dwarves and a dog. But actually, Velázquez is quite obtrusively in the painting too! You can’t fail to miss him standing behind the Infanta and working on a large canvas, looking out towards the viewer. Behind him, on the wall, is a mirror, which if you look carefully can be see to be reflecting a couple. These are the king, Philip IV, and his queen, Mariana of Austria. Aha! It is them that Velásquez’s is painting, while standing in a painting which he painted … All very clever – and quite cheeky on the part of Velázquez to put himself so central when there were all these kings, queens, and princesses around!

But in my opinion not as cheeky as Dürer, who in a self-portrait of 1500 portrayed himself as a wonderfully powerful Christ-like figure.

He was following a well-known type of painting, such as this one by the Flemish artist Jan van Eyck.

I’m always surprised by the sheer effrontery of Dürer comparing himself so obviously to Christ. And not to some meek and mild Christ either. The painting’s Latin inscription translates as “I, Albrecht Dürer of Nuremberg, portrayed myself in everlasting colours aged twenty-eight years”. Wow! Talk about someone being sure of his fame in posterity. I’m amazed that he didn’t get hauled in front of some ecclesiastical court for committing the sin of overweening pride with this painting, but apparently he didn’t.

And then there are those artists who used selfies to do a bit of character assassination. Take Cristofano Allori, an Italian painter I’d never heard of until my wife and I came across a painting of his a few years ago in the Queen’s Gallery in London. Well worth the visit, by the way; it houses part of the extensive royal art collection. The painting in question was Judith with the head of Holofernes

It’s a story from the Bible: Holofernes was a general sent by Nebuchadnezzar, King of Babylon, to wreak vengeance on various nations along the Mediterranean sea board for not having supported him. This included Israel. Holofernes is besieging a Jewish city, which is about to surrender. But it is saved when Judith, a beautiful Jewish widow, visits Holfernes in his tent, seduces him, gets him drunk and then while he’s sleeping cuts off his head. Many painters liked this subject, no doubt because of all the blood and gore; they generally painted Judith in the act of cutting off Holofernes’s head. But Allori’s take is different. There’s no violence here. The head is already off and the blood has stopped running. Judith is holding it as she would a trophy, staring all the while at the viewer with a complacently triumphant look on her face. Anyone who saw the painting at the time and knew Allori must have tittered. Because Allori painted himself as poor Holofernes while his model for Judith was his ex-mistress Maria Mazzafirri and the servant in the background helping Judith was Maria’s mother. Poor Cristofano, they must have said, that harlot Mazzafirri and that hag of a mother of hers really screwed him over, got their claws into his loot (look at that beautiful dress she’s wearing!) and then dumped him. Or maybe they thought, what the hell did the beautiful Mazzafirri see in that dolt Allori? Good for her, good riddance to bad rubbish.

Michelangelo also included himself in a very personal way in a number of his works, the most famous of which must be in the fresco of the Last Judgement in the Sistine Chapel.

In that huge drama, he painted his face on the flayed skin of St. Bartholomew (I have written about the flaying of this saint in an earlier post).

Scholars have debated the meaning of this since it was noticed in 1925. One scholar has suggested that Michelangelo was commenting on his extremely shabby and painful treatment (from his point of view) by the Pope and his minions during the painting of the Last Judgement. Amusing, along the lines of Allori’s painting, but I think other scholars are more correct when they see this as an excrutiatingly personal comment by Michelangelo on the precarious balance of his soul between salvation and damnation: it seems that the flayed skin is at an exact midpoint between the salvation of the Triumphant Christ and the horrified man who is about to be pulled into Hell. The poetry Michelangelo wrote at this time – he was also a good poet – speaks a lot about his fear for the salvation of his soul.

And suddenly the selfie is an ussie. The artist is speaking for us all.

Personally, I like more the selfie in Michelangelo’s sculpture The Deposition from the Cross, which is in Florence.

I saw the sculpture during my first trip to Italy when I was a University student (I have also mentioned this trip in an earlier post). The old man, presumably Joseph of Arimathea, is said to be a self-portrait.

A look of such sadness, such desolation he is giving the dead Christ! I was so struck by it that I remained transfixed in front of the statue. I stood there so long that someone in a group of tourists flowing by muttered to her neighbour “What’s he looking at?”

That look of intense sadness brings me to Caravaggio, who must be my most favourite painter. As I have mentioned elsewhere, I brought few books to Beijing, but one of these was the massive Caravaggio: The Complete Works by Sebastian Schütze, which I later complemented by Caravaggio: A Life Sacred and Profane, the almost detective story of his life by Andrew Graham-Dixon. Caravaggio included himself in a number of his paintings. Take his Martyrdom of Saint Matthew, one of a cycle of three paintings in the Contarelli Chapel of the Church of San Luigi dei Francesi in Rome.

The subject of the painting is the killing of Matthew, the author of one of the four Gospels. According to tradition, the saint was killed while celebrating Mass at the altar. And so we have the saint knocked to the ground, the assassin readying to deliver the fatal blow, an angel thoughtfully passing on to the saint the palm of martyrdom, and the crowd screaming and shouting and running about, the whole bathed in that chiaroscuro, that light and dark, for which Caravaggio is so famous. A great painting, although in my opinion not as good as the other two in the chapel. In any case, what interests us right now is the figure at the back, picked out by the light, seemingly making an escape but looking back at the scene. It is Caravaggio.

Why did he include himself like this? And why that look of intense sadness? Graham-Dixon suggests that Caravaggio is saying, “I am no different from these people, who stand there instead of helping Matthew, or even run away. I would have had no more courage than they. I, too, would have run away”.

So different, this look, from the expression we see on his face in an earlier painting, the Taking of Christ in the Garden of Gesthemane, which hangs in the National Gallery of Ireland in Dublin.

Caravaggio has painted the moment when Judas completes his betrayal of Jesus by kissing him in the Garden of Gesthemane, to indicate to the soldiers around him whom they should arrest. Caravaggio is the person holding the lamp at the back.

He is there to shed light on the scene, but he is also looking eagerly over the shoulders of the soldiers to get a better view. Such a wonderful metaphor for every painter, of all ages, trying hard to visualize the scene which they are planning to paint, and which they can see only darkly.

And so we get to the last of Caravaggio’s portrayals, painted late in his career. The subject is another decapitation which was very popular with painters, David’s killing of Goliath. Caravaggio himself did at least three versions of this story, more or less all of the same moment, when David grasps the head of Goliath. This last one, housed in the Galleria Borghese in Rome, is the darkest, the most tragic.

It is Caravaggio’s face we see in Goliath, as he was in the last years of his life, on the run from the law in at least two jurisdictions but also from enemies who had personal vendettas with him and were trying to kill him, desperately trying to have himself pardoned by the Pope so that he could return to Rome. It is said that Caravaggio intended the painting to be a gift to Cardinal Borghese who had the power to have him pardoned, a sort of “here is my head on a platter, please be merciful and forgive me”. And who modelled David, a David who strangely enough is not looking triumphantly at Goliath whom he has just overcome in battle, whose gaze rather is a mixture of sadness and compassion for his supposed enemy? One interpretation, which I like immensely, is that this is also Caravaggio, painted as he looked when he was a young boy! And so we have a scene where the young Caravaggio is looking on sadly at the old Caravaggio which he will become. Alas, this interpretation does not seem correct. More probably, the model is Caravaggio’s studio assistant, Cecco, looking on sadly as his master slowly falls to pieces before his eyes. And indeed Caravaggio died shortly thereafter.

Another artist whose powerful self-portraits have always fascinated me is the Mexican painter Frida Kahlo. I must say, she was almost obsessed with herself, self-portraits making up a very large proportion of her oeuvre. Here is one of them

but there is one self-portrait of hers which stands out above all the rest and which I find truly gut-wrenching, Henry Ford Hospital.

She painted it shortly after her second miscarriage, when she realized she would never be able to have the children she so desperately wanted. You see her lying in the blood of her miscarriage on her bed in the Henry Ford Hospital in Detroit (the city in the background; her husband, the Mexican painter Diego Rivera, had been given a commission there by Edsel Ford). Above her floats the baby she has just lost, a baby boy. Also floating around her are a female torso, showing the anatomical parts linked to having children, her fractured pelvis, fruit of an accident she suffered when young and which made it impossible for her to have children, medical-looking equipment used during the miscarriage, an orchid which Rivera had given her, and a snail, depicting the slow pace of her miscarriage. All are linked to her by umbilical-like bloodlines.

I finish with a self-portrait by Käthe Kollwitz, a German artist who was active before and after the First World War. It, too, is about the loss of a child, but this time of a child born. Her younger son Peter was badly wounded in the first days of the war and died in her arms a few months later. She created this woodcut just after his death. It is of her and her husband, distraught at their boy’s death

After the war, she distilled this image into a pair of statues, Grieving Parents, which stand in the German War cemetery at Vladslo in Belgium (I have written an earlier post about these cemeteries).

The two figures are based on Käthe and her husband Karl

They represent all the parents of the young men buried in the cemetery

although it is said that Karl is gazing directly at the tomb of his son Peter.

To parents like us with children still of age to be called up, incredibly moving.

POST SCRIPTUM

A few weeks ago (June 2014), I saw with great pleasure that my favouritest of favourite cartoonists in The New Yorker magazine, Roz Chast, had made the same connection as I had between the modern selfie movement and artists’ self-portraits

______________________________

ROCKS IN THE GARDEN

Beijing, 4 December 2013

The Chinese have a a strange relationship with rocks. Go to any self-respecting Chinese garden and somewhere in the twists and turns of its paths you will come nose to nose with a fantastically twisted rock standing there waiting to be admired.

The Forbidden City in Beijing has a specimen which is (of course) very large

while a number of the famous gardens in Suzhou have examples more to the human scale.

Admire them they do, the Chinese. When they catch sight of one of these rock sculptures, they will normally break into oohs and aahs, and end up – inevitably, in today’s culture in China – taking a group photo in front of said rock.

The fascination with these rock sculptures extends to internal spaces. It is very common to come across smaller (and sometimes not so smaller) versions in Ministries and other public buildings. Even in the intimate space of the scholar’s study, it was almost de rigeur for the scholar to have a small rock sculpture such as this one

sitting on his desk, among the brushes, ink stand, rice paper, and the rest of his scholarly paraphernalia.

This is not a dead art form. Chinese sculptors are continuing to create these rock sculptures, as this photo from an outdoor exhibition in Chicago attests (in this case, though, while the design principles remain the same, rock no longer seems to be the medium)

I have to assume that Chinese garden designers, like their English counterparts, were bringing the natural landscapes around them, suitably tamed, into their gardens. In the case of the rocks, the landscapes in question must surely be the karst landscapes which are common in many parts of China. This is one such landscape in Yunnan, known as the Stone Forest and famous enough to have been listed as a UNESCO World Heritage site.

(on an aside, I should note that it was visited by Lisa, of whom I have written earlier, during a trip which she took to Yunnan some six months ago; predictably, her photos of the trip included a large number of her, or her traveling companion, or her tour group, standing among the rocks)

I have to say, I don’t like these rock sculptures. I find the sheer froth of all that twisted stone to be just too much. Those whorls, those curlicues, those knobs, those piercings, the sheer grotesqueness of it all … Ugh!

This fascination with large rocks has taken on a modern twist. It has become a sign of class for any organization with pretensions of social or economic significance to have a large rock placed before its important buildings, with its name carved on it in classy Chinese characters. These rocks tend to eschew the flowery style, opting instead for a massive ponderousness which no doubt is meant to signal the solidity and power of the organization in question.

I don’t like these sculptures any better. They are just big and heavy with no redeeming features that I can see – the Chinese will sometimes get excited about the script, either because it adheres to the classical cannons of beauty for Chinese characters or because they are copies of some famous Chinese person’s script, but all that leaves me cold.

So you can imagine the relief and pleasure I felt when my wife and I came across this

in the courtyard of a museum in Suzhou, which was designed by the architect I. M. Pei (he of the East Wing of the National Art Gallery in Washington D.C.). Here at last was a rock sculpture in China which I could relate to, spare, simple, clean of line, yet able to evoke beautifully its subject, a range of mountains in the distance.

It is that same spare style which made me fall in love so many years ago with Japanese rock gardens which my wife and I visited in Kyoto during a trip to Japan. Here are pictures of some of the more beautiful of these gardens.

When I saw these gardens, I vowed that some day, somewhere, I would make my own rock garden. I had to wait 15 years before I got my chance, in Vienna, in a corner of the large balcony which wrapped itself around our apartment. I bought the small stones in a garden store, I found two largish stones in the woods around Vienna (I nearly bust a gut carrying them to the car and then up the stairs to the balcony), and I strategically placed two small plants (also bought in the garden store) behind these stones. I cut saw teeth into a plywood plank to make a rough rake, and then I lovingly raked the small stones around the large stones to create a vision of ripples around rocky islets. The result was really not bad, even if I say so myself.

But we left the apartment, and with death in my heart I had to abandon my rock garden. But some day, somewhere, I’ll make another one, to contemplate it in my old age with peace in my heart.

____________________

Rock sculpture in the Forbidden City-2: http://www.annapoynter.net/pictures/China/IMG_2011.JPG [in http://www.annapoynter.net/Holidays.html%5D
Rock sculpture Suzhou-1: http://farm4.staticflickr.com/3016/2901558799_c71f5ea4d5_z.jpg [in http://www.flickr.com/photos/orangenation/2901558799/%5D
Rock sculpture Suzhou-2: http://upload.wikimedia.org/wikipedia/commons/e/ef/20090905_Suzhou_Lion_Grove_Garden_4502.jpg [in http://en.wikipedia.org/wiki/Chinese_garden%5D
Rock sculpture Suzhou-3: http://static.panoramio.com/photos/large/2984134.jpg [in http://www.panoramio.com/photo/2984134%5D
Scholar’s stone: http://www.mrlei.com/images/134/1.jpg [in http://www.mrlei.com/item.php?cat=rock&lang=%5D
Stone forest Yunnan: http://31.media.tumblr.com/54195fa03584bc1fbc2a488da1fb12d9/tumblr_mhd5vjD4wl1s2zxumo5_1280.jpg [in http://viajes-por-el-mundo.tumblr.com/post/41747655074/viajes-por-el-mundo-capitulo-81-karst-de%5D
Rock in front of building-1: http://2.bp.blogspot.com/_pxr81FiVJcw/SsHJAmLcQEI/AAAAAAAAAQU/6bdhavyfVu4/s320/IMG_1209.JPG [in http://tainanchineseclass.blogspot.com/2009_09_01_archive.html%5D
Rock sculpture in Chicago: http://2.bp.blogspot.com/-yHQ9FxAo-ZQ/TW0pQdVNXkI/AAAAAAAAcUM/LodlhBZ5_y8/s1600/LI-sculp-MP-007b.jpg [in http://chicago-outdoor-sculptures.blogspot.com/2009_04_01_archive.html%5D
Rock landscape Suzhou IM Pei Museum: http://www-tc.pbs.org/wnet/americanmasters/files/2010/03/full-rocklandscape.jpg [in http://www.pbs.org/wnet/americanmasters/episodes/i-m-pei/image-gallery-of-the-suzhou-museum/1570/%5D
Kyoto Nanzenji rock garden: http://www.lexaloffle.com/img2/jrg1.jpg [in http://www.lexaloffle.com/jrg.htm%5D
Kyoto Ryoanji: http://famouswonders.com/wp-content/uploads/2009/11/Ryoanji-Rock-Garden.jpg in [http://famouswonders.com/ryoanji-rock-garden/]
Kyoto Ryogen-in rock gardens: http://images.fineartamerica.com/images-medium-large/ryogen-in-zen-rock-garden–kyoto-japan-daniel-hagerman.jpg [in http://fineartamerica.com/featured/ryogen-in-zen-rock-garden–kyoto-japan-daniel-hagerman.html%5D
Kyoto Tofukuji rock garden: http://4.bp.blogspot.com/_bWbsTZVSaLw/S8uzFo1o2mI/AAAAAAAAAO4/tq11td38q3I/s1600/april-13+141.jpg [in http://kyotofreeguide-kyotofreeguide.blogspot.com/2010_04_01_archive.html%5D
Kyoto Totekiko rock garden: http://muza-chan.net/aj/poze-weblog2/totekiko-garden-ryogen-in-temple-kyoto-big.jpg [in http://muza-chan.net/japan/index.php/blog/smallest-japanese-zen-rock-garden-japan%5D