Art – Page 17 – the heart thrills

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

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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.

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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

DREAM JOURNEY: PART II

Beijing, 24 November 2013

Back in May, I closed my post Dream Journey: Part I in Aquileia, in North-Eastern Italy. I said then that my wife and I would be continuing the journey. But somehow, I got distracted by other things. Now the days are shortening and the cold is beginning to bite …

No matter, let’s continue! Even in late Autumn the Mediterranean is beautiful. But we won’t be following my original plan for the second leg of the trip, which was to drive in our open-topped MG from Aquileia to Istanbul through the Balkans following the trace of the old Roman roads Via Gemina and Via Militaris. It’s too cold for that now. Instead, we’ll backtrack to Venice airport, drop off the MG in the airport’s parking lot for the next dream travelers to pick up, and take a plane to Istanbul.

No sooner said than done. With a click of the mouse we have arrived in Istanbul!

Wonderful city, Istanbul. Since time immemorial, a place of passage and trade between Asia to the east and Europe to the west, between the Black Sea to the north and the Mediterranean Sea the south. Where Jason and the Argonauts passed on their way north to find the golden fleece. Where the Persian King Darius I crossed his troops to chase after and subdue the pesky Scythian horsemen to the north. Where, more prosaically, grain ships from the northern shores of the Black Sea passed on their way south to bring their cargoes to the Greek city states and later to Rome. Chosen by Constantine the Great as the seat of his new capital of the Roman Empire. Later, capital only of the Eastern Roman Empire when the Empire’s western portion disintegrated and disappeared, and later still of the renamed Byzantine Empire. Conquered one thousand two hundred years later by the Ottoman Sultan Mehmed II, to become the capital of the Ottoman Empire, a role it played for another five hundred years. Set aside by Kemal Atatürk as capital of the new Turkey in favour of Ankara. In the last several decades, swollen to bursting by millions of impoverished migrants from Turkey’s eastern provinces. But still a lovely, vibrant city.

In this dream trip of mine my wife and I are only here to visit the city’s early christian mosaics, so we’ll ignore the Islamic splendours of the city …

the breathtaking views of the Bosphorus …

the fun of the covered spice bazaar …

the culinary delights of its restaurants …

No, we tell the taxi driver instead to take us straight to Hagia Sophia.

The edifice started life as the Basilica of Holy Wisdom in 537, was turned into a mosque when the city fell to the Ottomans in 1453, and finally became a museum in 1935. Other than the four slim minarets, it has remained pretty much the same on the outside over the last millennium and a half. The inside has changed more as the obvious signs of its Christian function were whitewashed over or removed and replaced with Muslim symbols. This process of islamicization, together with those natural processes linked to the passage of time – rot, mould, water ingress, along with an earthquake or two – has meant that most of the glittering mosaics which covered every inch of the vast interior have disappeared.

We are left with a few modest shards tucked away in various corners of the interior:

A gentle Madonna in the apse, but so high, so remote:

A stern Christ between Mary and John the Baptist:

The Emperors Justinian and Constantine humbly offering the Madonna the basilica and the city:

The Emperor Comnenus and Empress Irene with the Madonna:

The Emperor Constantine Monomacchus and the Empress Zoe with the Christ:

The Emperor Leo VI prostrate at the feet of the Christ:

And lastly, uncovered just a few years ago, a seraph:

(As I look more closely at his face

I cannot escape the notion that he is saying, “get me out of this stuff!”)

I cannot avoid a certain melancholy as I survey what is left and think of what it must have been. I am reminded of a story from the time of the Ottomans’ conquest of the city. It is said that when Mehmed II wandered around the Imperial palace originally built by Constantine, now lying ruined and abandoned, he murmured some lines from a famous Persian poet:
“The spider spins his web in the Palace of the Caesars,
An owl hoots in the towers of Afrasiyab”.

Still in a state of melancholy, I click the mouse, and my wife and I are now visiting another, much smaller, church in Istanbul, Kariye Camii (the Church of the Holy Saviour). It still has extensive mosaics, executed in early 1300s. We are entering the twilight age of mosaics; in fact, the church also has extensive frescoes, the medium which eventually triumphed over mosaics. Here are photos of some of the mosaics.
Up in its two small domes:

which give us an idea of what the dome of Hagia Sophia must have looked like.

Scenes of Christ’s Ministry:

Scenes from the life of the Virgin:

And finally the donor, the powerful Byzantine statesman Theodore Metochites, humbly offering his church to Christ:

(I like the hat!)

The church also has some wonderful frescoes. This one is my favourite, a fresco of the Resurrection

Such a dynamic Christ! So different from the stiff, awkward, reserved Christs of this period’s mosaics.

We come out into sunlight of the noisy street outside. It’s time to move on. The next leg of the journey will be in Greece.

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Blue Mosque: http://www.beautifulmosque.com/wp-content/uploads/2013/03/Sultan-Ahmed-Mosque-in-Istanbul-Turkey-1.jpg
Bosphorus views: http://www.wallpapersgalaxy.com/wp-content/uploads/2011/07/suleiman-mosque-in-istanbul-turkey-view-to-bosphorus.jpg
Spice bazaar Istanbul: http://images.fxcuisine.com/blogimages/turkey/istanbul/egyptian-spice-bazar/istanbul-egyptian-bazar-02-1000.jpg
Restaurant Istanbul: http://thumbs.ifood.tv/files/images/editor/images/top%20restaurants%20in%20Istanbul.jpg
Hagia Sophia-exterior: http://upload.wikimedia.org/wikipedia/commons/2/22/Hagia_Sophia_Mars_2013.jpg
Hagia Sophia-interior: http://powertripberkeley.com/wp-content/uploads/hagia-sophia-wallpaperhagia-sophia-interior-by–thesolitary-on-deviantart-cjcwsxkd.jpg
Hagia Sophia-apse: http://www.mosaicartsource.com/Assets/html/artists/lilian/mosaic_hagia_sophia.jpg
Hagia Sophia-Deesis: http://www.gradale.com/Media/Deesis.jpg
Hagia Sophia-Justinian and Constantine: http://upload.wikimedia.org/wikipedia/commons/0/06/Istanbul.Hagia_Sophia075.jpg
Hagia Sophia-Comnenus and Irene: http://www.turkey4travel.com/wp-content/uploads/2009/05/hagia-sofia-mosaic.jpg
Hagia Sophia-Zoe and Constantine Monomacchus: http://upload.wikimedia.org/wikipedia/commons/7/7f/Empress_Zoe_mosaic_Hagia_Sophia.jpg
Hagia Sophia-Leo VI: http://www.cambridge2000.com/gallery/images/P33112366e.jpg
Hagia Sophia-seraph: http://farm5.static.flickr.com/4089/4973697085_028b4ed969.jpg
Hagia Sophia-seraph-detail: http://i.telegraph.co.uk/multimedia/archive/01725/mysteries-2509_1725247c.jpg
Kariye Camii-Christ in the cupola: http://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Chora_Christ_south_coupole.jpg/800px-Chora_Christ_south_coupole.jpg
Kariye Camii-Virgin Mary in the cupola: http://upload.wikimedia.org/wikipedia/commons/thumb/0/00/HSX_Mary_genealogy.jpg/800px-HSX_Mary_genealogy.jpg
Kariye Camii-Christ’s Ministry: http://farm9.staticflickr.com/8069/8213661931_5653c8fd48_o.jpg
Kariye Camii-paying tax: http://upload.wikimedia.org/wikipedia/commons/a/a6/Meister_der_Kahriye-Cami-Kirche_in_Istanbul_005.jpg
Kariye Camii-theodore metochites: http://www.sacred-destinations.com/turkey/istanbul-kariye-chora-pictures/dedication-theodore-metochites-ccc-access-denied.jpg
Kairye Camii-fresco resurrection: http://www.vikiturkey.com/wp-content/uploads/2012/10/chora-museum.jpg

VARY THE THEME!

Beijing, 19 October 2013

Anyone who visits China for more than a few days cannot fail to notice the many, many pairs of stone animals standing guard in front of any building which has pretensions to be something (although “something” can be no more than a second-rate noodle restaurant). Here is a typical pair of these animals, which my wife and I recently came across in front of the China National Philatelic Corporation.

The Chinese call these animals “lions”, which is really a bit of a joke. In today’s globalized world, where images of this iconic animal must surely have been beamed into every corner of every house on the planet, we all know that lions actually look like this:

One theory has it that the original model for these “lions” was the Asiatic lion, of which a few miserable specimens still linger on in the Indian state of Gujarat. According to this theory, some live samples were brought to China along the Silk Road from Central Asia or the Middle East some 2,000 years ago, as gifts, tribute or whatever. Artists copied them, and then the originals stopped coming. So the artists copied the copies, and then copied the copies of the copies, and … Anyone who has seen the film Multiplicity, where Michael Keaton makes copies of himself and then the copies make copies of themselves

knows what happens: there is a high loss of quality in the picture the further you get from the original.

A second theory is that actually the original model wasn’t a lion at all. It was a chow chow, which is a dog from this part of the world. It seems to have originated somewhere in northern China or Mongolia, or possibly in Siberia. I don’t know what readers think, but I’m not convinced that this

is the model of the above. Nor am I convinced that another ancient Chinese dog breed, the noble Pekingese (only members of the imperial family were allowed to have them), is the model

Such an irritating little dog, I’ve always felt, as it raspily yaps around your feet at some apartment door – a good, swift kick is what it deserves, but one has to be polite to the apartment owners. In any event, while it’s true that the Pekingese’s face has certain resemblances to my stone “lions” (and in fact it’s often called a lion-dog because of this resemblance), I rather think this is an example of convergent evolution: the sculptors went their way with their designs, the dog breeders with theirs, and one day someone said, “Ooh look, the Peke looks just like the stone lions!”.

A third theory, which I find quite convincing, is that actually the models for the Chinese stone “lions” are the stone lions which are often found outside Indian temples. See the following link for a further development of this theory, while here is a picture of one such Indian lion from Mahabalipuram:

It really does look quite similar, doesn’t it? I presume that proponents of this theory would argue that it is Buddhism which brought to China the idea of placing stylized “lions” at the entrances of temples and then with time they migrated to the entrances of any important building.

However the design came about, the fact is that this being China, where everything eventually became (and still becomes) formalized, codified and rigidified, these pairs of stone “lions” have been made in exactly the same way ever since the Ming dynasty. The key is that they look nearly exactly the same. Both have the same ritualized snarl on their faces. Both have the same mane of tight curls. Both have the same strong legs. Both are sitting on their haunches. There is only one important difference, fruit of a typical male chauvinism: the male is always – always – made with his paw resting on a ball (representing the male’s mastery over the world)

while the female is always – always – made with her paw resting on a cub which is playfully lying on its back (representing the female’s nurturing nature).

And sited as they are on either side of the entrance, their heads are always slightly inclined towards the enterer.

There must be literally millions of these stone “lions” scattered across the length and breadth of China, large, small, and every imaginable size in between. I swear, somewhere in China there must be a factory like this

that churns these damned things out by the thousands every day.

So tedious! So boring! Change, for God’s sake!

So you can imagine that it is with some small relief that I occasionally run across variations on this monotonous theme. Take this pair of “lions” which I recently came across in Beiing, in front of a restaurant.

How exciting! They are looking at each other and not the enterer.

Or take this “lion”, which I came across during my recent trip to Fujian.

Why, rather than glaring at you he really looks glad to see you! And he seems to be offering you the ball to play with. It could almost be a playful Pekingese (assuming those damned dogs play). What a refreshing site for sore eyes.

Or how about this pair of “lions”, which we bumped into in Hong Kong? They were outside some bank as I recall, and not even guarding an entrance. A wonderful postmodern take on the old, very tired stone lion design.

And now, I even see real lions! This picture was taken five minutes after the picture with which I started the post

It was sitting in front of a furniture shop as I recall.

So when will I see two giraffes guarding the entrance to some place?

Change, for God’s sake!

____________________________

pair of Chinese lions: my picture
Real male and female lions: http://farm4.staticflickr.com/3400/3189788124_26e25201fd_o.jpg [in http://www.flickr.com/photos/kenkeener1621/3189788124/%5D
Multiplicity movie: http://www.thefancarpet.com/uploaded_assets/images/gallery/4480/Multiplicity_41523_Medium.jpg [in http://www.thefancarpet.com/ActorGalleryPicture.aspx?mga_id=46948&a_id=714%5D
Chow chow dog: http://comps.canstockphoto.com/can-stock-photo_csp7744774.jpg [in http://www.canstockphoto.com/search.php?term=chow%20dog%20sitting&type=1%5D
Pekingese dog: http://www.dogbreedinfo.com/images19/PekingeseSissiePrincess11YearsOld1.JPG [in http://www.dogbreedinfo.com/pekingese.htm%5D
Indian carved lion: http://farm3.staticflickr.com/2036/2312684736_1f31c1a673_b.jpg [in http://bighugelabs.com/onblack.php?id=2312684736&size=large%5D
male Chinese stone lion: my picture
female Chinese stone lion: my picture
Huge industrial factory: http://thumbs.dreamstime.com/x/huge-industrial-factory-9265211.jpg [in http://www.dreamstime.com/royalty-free-stock-photos-huge-factory-image6897978%5D
Chinese stone lions looking at each other: my picture
Chinese stone lion in Fujian: my picture
Chinese stone lions in Hong Kong: my picture
Realistic stone lion: my picture
sitting giraffes: http://media.offexploring.co.uk/photos/pamandralph/photos/070212-11-DSC_0112.JPG [in http://blogs.statravel.co.uk/pamandralph/albums/uganda/10149717%5D

NOTES ON AUSTRALIA – ABORIGINAL ART

Beiing, 6 October 2013

My last post ended with us driving up King’s Highway towards Canberra. The only reason we were going there was to visit a couple of museums to look at their collections of indigenous art. There’s been a lot of brouhaha over the last thirty years about the new indigenous, aboriginal art coming out of Australia and I was curious to see what I would find in situ. I’ll say straight out that on the basis of what I’d seen before coming to Australia I was not a huge fan of indigenous Australian art. But I was willing to be persuaded.

Our first port of call on this voyage of discovery was the New South Wales Gallery of Art in Sydney, one of those Worthy Civic Buildings which I referred to in my first Australian post. We started by visiting the exhibition Sydney Moderns, whose poster picture was this painting of the Sydney Harbour Bridge (which I had a few things to say about in that same post).

Nice, but really this was just an outpost of European art. So then, after a quick salad on the terrace of the Gallery’s cafeteria, we headed for the Aboriginal and Torres Strait Art collection.

And I found myself having the same problem I’ve always had with aboriginal art.

It’s the dot thing. The dense array of dots and lines which make up the paintings leave me cold. It’s just … too much. My eyes wander over all those dots, and wavy lines, and circles, and what-have-you, and … that’s it, they just wander, and eventually slide off the painting. My appreciation is not helped by the often dull pigments which are used. Here’s a number of this type of painting, from the 1970s onwards (when it seems that this style burst onto the art scene) in the National Gallery’s collection in Canberra.

Woman’s fire Dreaming, by David Corby Tjapaltjarri (1971):

Untitled, by Timmy Payungka Tjapangarti (1989):

Wirrpi (Near Lake Macdonald), by Yala Yala Gibbs Tjungarrayi (1997):

Tupun Nguranguru, by Harry Brown and others (2012):

I can’t even get comfort out of the paintings’ spiritual content. There is a lot of talk of these paintings representing the spiritual dreamings of the artist, and we are invited to see in all those dots, wavy lines, and geometrical figures, dreams of rivers, hills, rocks, pools, and other elements of the landscape, or to see real or imagined animals, spirits, or ancestors, the whole sometimes representing tribal myths. But this is not my spiritual language. Give me a Virgin Mary and some saints and I can “read” the spiritual message. Aboriginal spirituality, alas, is a closed book for me, and will always be.

But all is not lost for me. There is Rover Thomas.

The first time I came across Thomas was a few years ago in Paris. My wife and I were there on our way to somewhere else, but we took a few days off to visit some new things which had been sprung up in the city since our last visit. One of these was the new Musée du Quai Branly, a museum which focuses on indigenous art, cultures and civilizations from all over the world (as one might guess, the core of the collection is a couple of colonial-era collections, but we’ll skip over that). Great museum, by the way, well worth a visit.

The museum has a section on aboriginal art from Australia. To be honest, it is not the most interesting part of the collection. But it did have a painting by Rover Thomas, River Ord, River Bow, River Denham.

Now that is a style which I can relate to! Clean, simple lines, on which my eyes can fasten and linger.

This is another Rover Thomas in the National Gallery in Canberra, Ruby Plains killing 1 (1990)

One of the things I learned in Australia is that Thomas is part of a group of like-minded painters from the Kimberley region. Here are a couple of paintings by Paddy Jampin Jaminji.

In passing, I should say that the first of Thomas’s painting, a bird’s-eye view of rivers in a landscape, brought a memory back to the surface, of a visit which my wife and I made a few years ago (maybe the same summer we visited the Musée du Quai Branly) to the Tate Modern in London. They were showing a painting from their collection by the Australian painter Fred Williams. I show it here.

Same idea, different approach.

Anyway, coming back to aboriginal art, in Sydney my wife and I came across another style of aboriginal art which we found quite congenial. These are paintings on bark. Here are a couple of examples from another museum we visited in Sydney, the Museum of Contemporary Art, from the period 1960-80.

So like I say, there is hope for me. I just have to ignore the dot paintings, even though they seem to dominate the market.

By the way, in Sydney’s Museum of Contemporary Art, we stumbled across these wonderful objects:

These are made by an aboriginal group called the Tjanpi Desert Weavers. Here’s a couple of photos of the artists making these objects.

Those last pictures of the desert part of Australia move me to finish with this coda. During my web surfing for this post, I discovered another school of aboriginal painting, from the 1950s, the so-called Hermannsburg School. The primary artist from this school was Albert Namatjira. Here is what seems to be a typical example of his style:

When I looked at this and other of Namatjira paintings – watercolours, actually, for the most part – I had a shock of recognition. My parents had a small painting in exactly this style! I have already mentioned that my father was really into genealogy. As part of his work, he discovered that a long-distant cousin had emigrated to Australia during the Gold Rush. Not from my father’s English side of the family, by the way, but from the French side! He then tracked down some of the man’s descendants, got into correspondence with them, and finally, when he had retired, visited Australia with my mother to meet them. One of them gave him the painting, which she had painted (she said; who knows, though, maybe it was an Albert Namatjira!)

____________

painting Sydney Harbour Bridge: http://media2.artgallery.nsw.gov.au/thumbnails/uploads/rotator_images/SYDMOD_980x400_SID50819.jpg.770x314_q85_crop.jpg
“Woman’s fire Dreaming”: http://artsearch.nga.gov.au/IMAGES/LRG/167747.jpg
“Untitled”: http://artsearch.nga.gov.au/IMAGES/LRG/181491.jpg
“Wirrpi (Near Lake Macdonald)”: http://artsearch.nga.gov.au/IMAGES/LRG/227909.jpg
“Tupun Nguranguru” : http://artsearch.nga.gov.au/IMAGES/LRG/223919.jpg
Musee du quai Branly: http://upload.wikimedia.org/wikipedia/en/archive/f/f2/20100310000626!Musee_du_quai_Branly_exterieur.jpg
“River Ord, River Bow, River Denham”: http://richardtulloch.files.wordpress.com/2012/06/rover-thomas.jpg
“Ruby Plains killing 1”: http://artsearch.nga.gov.au/IMAGES/LRG/147688.jpg
Paddy Jampin Jaminji-1: http://img.aasd.com.au/30313805.jpg
Paddy Jampin Jaminji-2: http://img.aasd.com.au/05502896.jpg
Fred Williams: http://www.tate.org.uk/art/images/work/T/T12/T12271_9.jpg
Bark paintings: my pictures
Tjanpi Desert Weavers: my pictures
Albert Namatjira: http://upload.wikimedia.org/wikipedia/en/1/16/Namatjira_Landscape.jpg

NOTES ON AUSTRALIA – SYDNEY

Beijing, 1 October 2013

G’day cobbers! My wife and I are just back from a short holiday in Australia – the first time either of us have visited the country.

OK, let me say right up front that I am indulging in some revolting ethnic typing here. No-one during our trip said either “g’day” or “cobber” to us. Maybe in the small part of Australia we visited – Sydney, the coast immediately to the south of it, Canberra, and the Snowy Mountains – people don’t use these expressions, but the fact is no-one said them. Sorry about that!

But they did use a number of expressions which sounded odd to my English ear. “No worries”, used the same way I would use “you’re welcome”, as in “thank you”, “no worries”. “See you later” at the end of a conversation, even if there was no chance in hell of ever seeing the other person again. “How’s it going today?” at the beginning of a conversation, where I would merely say “hello” – the Americans have the same habit; I’ve never known how to respond to this. They obviously don’t want to hear a catalogue of my ills, so should I just say “fine”, even if I’m feeling like death warmed up? And should I in turn ask them how it’s going for them? That seems the logical – and civil – thing to do, but the few times I’ve done it my American or Australian interlocutors have seemed rather startled.

Then there were words used in normal conversation which I’ve only heard as Australian exotica. Take “billabong”, for instance, which I’d only ever heard in the song “Waltzing Mathilda” (“Once a jolly swagman camped by a billabong, Under the shade of a coolibah tree” etc.). But after hearing several people talk about billabongs, I plucked up the courage to ask what they were exactly. (FYI, they are isolated ponds left behind after a river changes course; we saw many of them on the upper reaches of the Murray River – more on that later. Now I have to find out what a coolibah tree is ..)

And of course there was the accent. Though distinctive, it wasn’t that hard for us to decipher. But for several nights in a row I did try to figure out, through endless repetition with my mouth in various shapes, how the Australians were forming their O’s, as in “no” or “go”. My wife eventually ordered me to halt my dreadful drones, or else. The New Zealand accent is much harder to follow, as my wife and I discovered a few years ago when we visited that country. I quickly got into the habit of standing next to her whenever she asked a New Zealander a question, because there was a 99% chance she wouldn’t understand the answer whereas in my case it was only 60%, so I could step in to continue the conversation and not have us standing there smiling uncertainly at the responder.

If I start with these linguistic considerations, it’s because the language we heard during our trip typifies my feelings about Australia: so much was deeply familiar, yet so much was quite strange. This continuing counterpoint between the familiar and the strange accompanied us throughout our trip.

We started our trip in Sydney, emerging bleary-eyed from our overnight flight to a sunny, beautifully clear, fresh day, conditions which we had pretty much for the whole trip. Ah, those clear, intensely blue skies! After all the misty, foggy, smoggy days we had endured in Beijing, we couldn’t stop remarking with wonder on the blueness of the sky, and on the clarity, the sharpness of the air.

Our first port of call was – had to be – the Sydney Opera House down at the harbour. The path we chose to get there took us through the city’s botanic gardens: shades of Kew Gardens in London, so familiar to me after multiple visits there as a child with my grandmother. A familiarity made that much stronger by the Worthy Civic Buildings like Government House and the Art Gallery of New South Wales which lie along the gardens’ edges and which obviously belong to that class of British official buildings which clutter up Imperial London and dot the cities of the ex-British colonies. But the gardens also had a more exotic flavour, planted as they are with Australian species I had never seen before; look at this tree, for instance, with its shaggy bark. My wife and I gawked at it, never having seen anything quite like it. It’s a Prickly Leaved Tea Tree, by the way.

And look at these really odd birds, with their curiously curved long thin beaks, which populated the gardens.

They played the familiar role of pigeons in a park, padding cautiously around people sitting or lying on the grass and looking out for any crumbs or left-overs to pick up, as this photo by someone else amply demonstrates.

They went about their business in a much more dignified manner than pigeons, though; aristocrats fallen on hard times compared to pigeons’ scabby lumpen-proletarianism. I later learned that this is the Austalian white ibis.

To enter the gardens we first had to walk down Victoria Street, which was lined with magnificent plane trees – the familiar – but also rows of two-floor houses with verandahs running the length of the second floor – very foreign to our eyes.

My wife saw a resemblance to houses we had seen ages ago in Savannah, Georgia. To me, they had something of the Caribbean or the Latin American, or maybe the South-East Asian. Certainly not English. We saw similar houses in other parts of old Sydney. I wonder where their design came from?

This road threw up another delight, this flowering plant which we later saw in a number of other places.

My wife and I had never seen this plant before, but it reminded us powerfully of the flowering agave plant which we often see when we go down to the sea in Italy.

And so eventually, after these various detours, we came to the Sydney Opera House.

What a magnificent, magnificent building! All the more stunning because of its position in the harbour, its white sails, or wings, or shells, picked out against blue: blue skies above, blue waters below.

We came back to it again and again, with a ride on one of the harbour’s many ferries …

… with a concert one evening (where we were served up a strange medley of Wagnerian themes), which allowed us to see the building at night …

… and finally with a tour of the whole complex, where I discovered to my surprise that the shells are not plain whitened concrete as I had imagined but are covered with ceramic tiles of different shades of white, and with different degrees of shine, very beautiful to look at close up.

The Opera House is undoubtedly a marvel, alone worth the trip. It is truly unique, I cannot think of any building anywhere quite like it (incidentally, the story of its construction is also dramatic, full of clashes between huge egoes, of back-stabbings, of bad-mouthings, and of a final dramatic denouement; worthy of an opera). I cannot say the same of that other architectural icon in Sydney, the Harbour Bridge. Perhaps its construction was an engineering feat in its time (the 1930s), but I find all that criss-cross of thick, black iron bars horribly clunky.

It reminds me of Scotland’s Firth of Forth railway bridge

the ugly duckling to the later Firth of Forth road bridge, with its beautiful soaring lines of a classical suspension bridge.

Perhaps Sydney’s city fathers could consider a rebuild along the latter lines, or at least a make-over. I’m sure that with modern computing to help them refine the load calculations, engineers could get rid of half of that ironware and still have the bridge stay up. Just a suggestion.

I will pass over the rest of our time in Sydney, pleasant as it was. In a later post or two, I’ll come back to our visits to two of its museums when I mention our lightning visit to the Federal capital city, Canberra, and I’ll cover the rest of our trip.

See ya later!

_____________

Ibis eating food: http://www.rudyrucker.com/blog/images2/au_ibistable.jpg
flowering agave plant: http://upload.wikimedia.org/wikipedia/en/7/75/Agave_at_Cape_Sounion.jpg
harbour bridge: http://www.ausmotive.com/images/MB-Sydney-Harbour-Bridge-crossing.jpg
firth of forth railway bridge: http://infohost.nmt.edu/~armiller/jpeg/firth3w.jpg
firth of forth road bridge: http://imgc.allpostersimages.com/images/P-473-488-90/38/3839/K3YYF00Z/posters/forth-road-bridge-built-in-1964-firth-of-forth-scotland-united-kingdom-europe.jpg
all other pictures are mine

CHIRPING CRICKETS

Beijing, 16 August 2013

Another phenomenon of this hot and muggy season is the crickets. Every tree, every bush, every blade of grass seems to host a multitude of crickets chirping like crazy. “Chirping” does not adequately describe the thunderous noise the crickets are making. Indeed, last weekend, when my wife and I were walking along a tree-shaded street, the noise in the foliage above our heads was so loud that we both instinctively looked up, half expecting to see a giant, four-foot cricket come tumbling down onto our heads.

A little navigation around my favourite fact-checking site – Wikipedia – has informed me that only male crickets chirp – or stridulate if one wants to be formally correct. They do so for one of four reasons: to attract females (“fairly loud”); to court a nearby female (“very quiet”); to chase off other males hanging around (“aggressive”); and to celebrate a bout of successful copulation (noise levels not defined). Since the noise they are currently making is so deafening, I presume we are witnessing either the first or the third of these stridulatory chants (I sort of assume – by extension of human behaviour – that post-copulatory stridulation will be merely a contented buzz). Not surprising, really, since Wikipedia informs me that crickets mate in the late summer. I presume that every male cricket in Beijing is currently hot under the collar and on the prowl.

Wikipedia has also corrected a fundamental misunderstanding on my part. I had always thought that crickets chirp – sorry, stridulate – by rubbing their legs together. Not so! They rub their wings together. One wing has a large vein – the “stridulatory organ” – which runs along the bottom of it and is covered with teeth. By rubbing the other wing along the teeth, our friend Cricket gets his chirp. And by holding his wings up and open when he does this, he gets a loudspeaker effect. Very clever.

I am moved at this point to insert a few photos of crickets, even though I know that my wife will not appreciate them much. Creepy-crawlies are not her thing and these close-ups of crickets make them out to be quite creepy-crawly.

I suppose one of the things that foreigners – or at least Western foreigners – in China find odd is the important role which crickets have played, and continue to play, in China as pets. To be honest, I personally find it very strange that anyone would want a cricket as a pet. Don’t get me wrong, I find it admirable for people to have small pets – I think it’s ridiculous, even cruel, to have large dogs as pets in a crowded city, for instance – but I think mice is about the smallest one should reasonably go. Having an insect as a pet seems frankly contrarian, especially since their life expectancy is low to very low: for instance, an adult cricket lives about a month before it kicks the bucket, shuffles off its mortal coil, runs down the curtain, and joins the choir invisible (as John Cleese memorably put it in the Monty Python skit about the dead Norwegian parrot).

But important they have been. Over the centuries, Chinese have lovingly built cages for their cricket pets, using materials which go from the most precious to the most humble:

Jade:

Ivory:

Ceramic (this particular version has some rather naughty pictures on it):

Ox bone:

Metal:

Bamboo:

There was even a cottage industry – controlled by the Emperor’s household, presumably because it was so lucrative – in growing special gourds to be used as cricket cages:

And of course crickets have graced Chinese scrolls:

The extraordinary thing is that crickets still play a role in Chinese life. Here is a picture I took outside some pet shops in Shanghai. This is a string of cricket cages, made of humble raffia or something similar

while this is a close-up of another string, in even humbler plastic, where you can see the crickets inside, waiting for their new masters.

The Chinese even used crickets to hold cricket fights. They still do.

This I have not seen yet. I wonder if English bookies could get into this game.

And with that, I wish you goodnight through the most famous cricket of all, Jiminy Cricket:

_____________________________

Green cricket: http://ezwebrus.com/wallpapers/insect/green_cricket.jpg
Brown cricket: http://www.marketwallpapers.com/wallpapers/1/wallpaper-3107.jpg
Cricket cages-jade: http://www.paulfrasercollectibles.com/upload/public/docimages/Image/h/j/p/Chinese-jade-cricket-cages-410.jpg
Cricket cage-9: http://img.carters.com.au/134198.jpg
Cricket cage-ceramic: http://www.christies.com/lotfinderimages/d48014/d4801435x.jpg
Cricket cage-ox-bone: http://image.made-in-china.com/2f0j00cvyQhwERqtga/Rare-Fantastic-Ox-Bone-Tiger-Design-Cricket-Cage.jpg
Cricket cage-metal: http://p2.la-img.com/1567/36700/15356320_1_l.jpg
Cricket cage-bamboo: http://www.asiantreasuries.com/cricket%20cage%20%282%29.jpg
Cricket cage-gourd: http://media.liveauctiongroup.net/i/11138/11502127_1.jpg?v=8CE71FC734C5BE0
Scroll with cricket-1: http://p2.la-img.com/1311/38039/16205516_1_l.jpg
Scroll with cricket-3: http://p2.la-img.com/179/30164/11744435_1_l.jpg
Cricket fighting: http://lh5.ggpht.com/-AVooPylAFsg/TrqrCxFnkwI/AAAAAAAARjY/A13FdWkEFfE/cricket-fighting-14%25255B3%25255D.jpg?imgmax=800
English bookies: http://www.teara.govt.nz/files/38947-ap.jpg
Jiminy Cricket: http://www.waouo.com/wp-content/uploads/2013/06/jiminycricket-236×576.jpg

TATTOOS: DO I OR DON’T I?

Beijing, 10 August 2013

Call me old-fashioned, but I don’t really get this new fashion of tattooing – or inking, as the new lingo has it. When I was young, it was only the “Working Class” who sported tatts, and even then it was the more rootless among them who indulged: the sailors, the soldiers, the truck drivers, the criminals.

But more and more now, especially when summer rolls around and people disrobe, allowing views of parts of their anatomy which they cover the rest of the year, I am struck by how many, primarily young, people are tattooed. This happened to me again in Italy just a few weeks ago when my wife and I were on holiday there. Walking around the streets and on the beach, I was struck by the number of tattoos that flashed casually into view, worn by people who were manifestly not from one of the professional categories I’ve just listed.

Consider the stats. According to a survey quoted in an article in the Guardian, in the UK’s over-60s (the age group of which, alas!, I am nearly part) a little less than 10% have a tattoo, whereas in the 16-44 year-old group it’s nearly 30% – men and women combined. In the US, the figure climbs to 40% in this last age group. Tattooing is, as they say, going mainstream.

Of course, tattooing does have an honourable history. Our poor friend Ötzi, the Neolithic man found frozen to death in a glacier high in the Alps

carried 57 tattoos, no less. They were mostly simple lines and dots, like these ones along his spine

and he probably had them done for some therapeutic value.

That was 5,000 years ago. 2,500 years ago, a Scythian chief who was buried in the permafrost was sporting considerably more elaborate designs on his arm.

while British children who didn’t stare out of the window while the history teacher droned on and on will know that when Julius Caesar made his military foray into the British Isles in 54 BC, he found people who liked to paint, perhaps to tattoo, themselves blue: “All the Britons dye themselves with woad, which occasions a bluish color, and thereby have a more terrible appearance in the fight” JC tells us in his book Gallic Wars. So this is what my ancestors looked like …

For a history nerd like myself, it’s also fascinating to know that Ahmad ibn Fadlan, a 10th-century Arab who travelled up the River Volga and met the Vikings in their kingdom of Rus, described them as tattooed from “fingernails to neck”

The usual spoilsports, the Christians, came along and banned the practice of tattooing in Europe, seeing it as a pagan practice (to be fair, the Jews had prohibited it even earlier). So in Europe at least, tattooing died out until the late 1700’s, when James Cook – and his sailors – discovered New Zealand and the tattooed Maoris, and reintroduced the practice (more history nerdism: the English word “tattoo” was actually introduced by James Cook, who was anglicising the Polynesian word “tatau”). Here is a picture of a Maori chief from Cook’s period:

and a later one of another Maori chief, when the practice was dying out among them:

Not surprisingly, given the source of the reintroduction, sailors were at the vanguard of tattooing among the working class – by the late 1800s, 90% of the British navy was tattooed – but I have been astonished to discover that European royalty also had a penchant for getting inked. The very staid King George V

sported tattoos of the cross of Jerusalem and a dragon, while two of his sons and a bunch of wannabe European royals followed suit. Even the British aristocracy was into the game. It seems that they liked to congregate in the drawing room after dinner and, over the port and cigars, show off their tattoos to each other.

So actually it was only us prim and proper Middle Classes who didn’t have tattoos …

OK, let’s step back now from the social class stuff which so permeates discussions of tattooing, and let’s ask ourselves these questions: Are tattoos pleasant to the eye? Does tattooing enhance a person’s beauty?

Let’s immediately forget about the little dolphins below the ankle (David Cameron’s wife) or the little sharks on the foot (Martha Swire, the Cathay Pacific heiress), or the little kittens on the bum (Emma Parker Bowles, niece of the other Parker Bowles), or the little stars spangled down the back (Rihanna)

These are just cute pictures. I don’t see how having them tattooed permanently on you enhances the look of your skin or of you in general, especially if the onlooker cannot, or can hardly, see them. I mean, I can’t ask the PM’s wife to lift her leg, or Emma Parker Bowles to drop her pants, so that I can take a better gander at their dolphins and kittens, now, can I? And if I can’t do that, why bother having them? I am looking at this from the perspective of beauty … titillating your lover is another issue.

Actually, I have a problem with the idea of tattooing any kind of picture on one’s skin. Look at this photo of Angelina Jolie:

Does it enhance Ms Jolie to have those pictures on her? Do those pictures look better on her skin than on a wall? Personally I think not, in both cases. Her arms just look dirty to me and the pictures do not get better by being on the curved surface of her arm.

So let’s focus on abstract designs, which is what the Maoris had on their faces, and the Samoans had on their nether regions:

Here’s a couple of photos of abstract designs, all on men I have to say, although I can’t see why they wouldn’t work on women:

I really don’t like those heavy sleeves in the first picture (as you can see, I am picking up the language of the tattoo parlour), they just make the arms look dirty. As for the others, I guess they aren’t too bad, even allowing for the fine pecs, or whatever those muscles are called, which the models have in abundance. But do they really make the men (in this case) look more handsome? I’m not convinced; those are really strong, in-your-face colours and thick lines. Maybe thinner lines in more discrete colours, a fainter blue or red? Perhaps the Ancient Britons’ woad will make a come-back …

But at the end of the day (and this post), I really have to ask myself, if you don’t live in Samoa or some other nice South Sea island where you can go around all day more or less without any clothes on, so that your next-door neighbours can admire your designs as you walk by; if you live instead in coldish Europe where you’re covered in clothes all day, and where if you take them off in public they bundle you off to the nearest psychiatric hospital, what’s the point?

And why don’t we do it the way the Indians and others do it at weddings? Use henna, draw beautiful designs on yourself which are ephemeral

and try out other designs at the next beach party: beach party, because you can take – most of – your clothes off and parade your new fancy designs which can be in more places than just your hands.

Just a thought.

And finally, with all due respect to the Maoris, please don’t touch your face. In 330 AD, the Roman Emperor Constantine the Great banned the practice of tattooing the faces of convicts, gladiators, and soldiers because, he said, the human face reflected “the image of divine beauty, and should not be defiled.” I couldn’t agree more.

______________________________

Tatooed sailors yesteryear: http://www.akirabodyart.com/images/content/1/c20_0040-sailors-tattoo-web.jpg
Tattoo on a street: http://www.rosesfanees.it/wp-content/uploads/2013/06/IMG_3571.jpg
Tattoo on a beach: http://2.bp.blogspot.com/_0GG_6fSKfBI/TITqWrghiOI/AAAAAAAAAYQ/m2JEHxwIVzo/s400/tatuaggio_2.jpg
Ötzi iceman: http://www.age-of-the-sage.org/archaeology/otzi_iceman_2.jpg
Ötzi tattoo: http://www.freetattoodesigns.org/images/tattoo-history.jpg
Scythian tattoo: https://upload.wikimedia.org/wikipedia/en/a/a6/Scythian_tatoo.jpg
Maori Chief 1784: https://upload.wikimedia.org/wikipedia/commons/d/d4/MaoriChief1784.jpg
Maori Tutukino: https://upload.wikimedia.org/wikipedia/commons/4/45/Tukukino%2C_by_Lindauer.jpg
George V: http://upload.wikimedia.org/wikipedia/commons/e/ee/George_V_of_the_united_Kingdom.jpg
Rihanna’s back tattoo: http://cdn04.cdnwp.thefrisky.com/wp-content/uploads/2012/09/10/rihanna_tattoo10.jpg
Angelina Jolie’s tattoos: http://www.tattoodesignsidea.com/wp-content/uploads/2013/05/Anglina-Jolie-Tattoo-Designs.jpg
Traditional Samoan tattoos: https://upload.wikimedia.org/wikipedia/commons/9/99/Traditional_Samoan_Tattoo_-_back.jpg
Tattoo design-1: http://photovide.com/wp-content/uploads/2013/01/Tattoo-Designs-07.jpg
Tattoo design-2: http://cooltattooidea.com/wp-content/uploads/2013/07/pics-of-tattoo-designs-sz6ztmti.jpg
Tattoo design-3: http://www.lotonuu.com/images/samoan-tattoos/samoan-body-Tattoo10.jpg
Tattoo design-4: http://samoantshirts.com/images/tattoo/samoan%20tattoos.jpg
Tattoo design-5: http://tattoodesignsmag.com/wp-content/uploads/2013/03/Best-Tribal-Tattoo-Designs.jpg
Hennaed hands: http://www.inkuphoto.com/wp-content/uploads/2012/07/nj-wedding-photographer-nyc-wedding-photographer-boston-wedding-photographer-indian-hindu-sikh-inku.jpg

MY ART COLLECTION

Beijing, 3 August 2013

I was in Vienna a few weeks ago – it is always good to show your face from time to time in Headquarters to remind your colleagues that you still exist – and my wife accompanied me because we had decided to go on vacation at the same time. Since we had a free morning, we decided to visit the Leopold Museum.

The museum is part of a very nice urban recovery scheme which the Austrian government undertook some ten-fifteen years ago. There being no imperial horses to house anymore, the old imperial stables had fallen on hard times. So the city decided to turn the stables into a Museums Quarter, made a deal to purchase the art collection of a certain Rudolf Leopold, and built two art museums on the premises, one for his modern art

and one for his contemporary art

(is there a deeper meaning to the colour scheme of the museums’ cladding?)

For those readers who plan to visit Vienna, the Quarter is just across the road from the Kunsthistorisches Museum, the country’s premier museum of fine arts, which houses the old imperial collection. This is a truly fantastic collection, which alone is worth a visit to Austria. One of my favourites there is Caravaggio’s “Madonna of the Rosary”.

As for the Leopold Museum, it has a great collection of early 20^th Century Austrian, German and Central European art. I particularly like its collection of Egon Schieles. The very first time my wife and I went to Vienna, back in the early 80s, we stumbled on Mr. Leopold’s collection, hung at that time in a cramped house somewhere in the outskirts of Vienna. His Schieles knocked my socks off as they say. I particularly remember this one.

With the art from these fantastic collections almost spilling out onto the pavements of Vienna (and I haven’t even mentioned the Belvedere or the Albertina or the smaller collections), it’s not surprising that it is here that I started my own – very, very modest – art collection. The spark that lit the fuse was the Dorotheum.

Wonderful, wonderful place, the Dorotheum. It’s an auction house, but the marvelous thing about it is that it has two whole floors where the price is fixed and you can buy the articles on the spot. Which is great, because auctions make me nervous; I only went to one auction at the Dorotheum – where Mr. Leopold was present, by the way – and the speed with which the prices levitated (on a particularly nice painting by a Hungarian artist) gave me palpitations. These two floors have more the feel of a jumble sale, full of horrible stuff, but where you feel – you know – that the piece of your dreams is just behind that dreadful cabinet in the corner. And in the spirit of a jumble sale the prices in these parts of the Dorotheum are – relatively speaking – affordable.

My first piece of art was hanging in a corner, in the dead end of a section dedicated to carpets.

When I first spied it behind the carpets, it was woebegone, sagging in the middle, dust covering its frame. But it cried out to me: “Take me! Take me!” That riot of flowers and fruit against that cubist-type background of mountains! That river, with the small town on its bank! The happy people! It had to be mine!! But the price made me hesitate – it was 400 euros or thereabouts. And it would need fixing and cleaning. I dithered and dathered, I went back a few times, I was like one tormented. Eventually, my wife took over and gently pushed me towards the purchase.

They say that the first murder is the most difficult; after that, it gets easier and easier. I think it’s the same with the purchase of art. In relatively short order after that, I purchased, always at the Dorotheum, this gouache, a naïf view of the Seine in early 19^th century Paris:

(the apparent sun in the background is actually my camera’s flash)

This aquarelle, an 18^th Century view of Kashmir:

(same comment about my camera’s flash)

This oil painting, of a tramp ship ploughing its way through the waves:

(I bought it because it reminded me powerfully of the poem “Cargoes” by John Masefield, whose last verse is:
“Dirty British coaster with a salt-caked smoke stack,
Butting through the Channel in the mad March days,
With a cargo of Tyne coal,
Road-rails, pig-lead,
Firewood, iron-ware, and cheap tin trays”)

This aquarelle, by the same artist, of fishing boats off the coast of Britain:

This print, of a barn half buried in the snows of Upper Austria:

It was just as well that we left for China. My wife was becoming anxious about how the art was slowly invading the walls of our apartment; she has always preferred bare white walls and generally uncluttered internal vistas. I could not bear to have these sitting in the dark of a warehouse in Vienna waiting for us to come back. We took them all down to Milan, where they hang in our apartment. I took the photos above a few weeks ago, when we passed through.

The wonderful thing about these pieces is that they have allowed me to also unfurl my passion for history, giving me an excuse to dig around into their past. For instance, the Dorotheum claimed that the first painting was a view of Dürnstein, north of Vienna on the Danube (and in whose Castle Richard I was kept prisoner for a while). But after revisiting the place, I am convinced that this is not so; the banks of the river are not that steep on both sides. The picture framer who cleaned and fixed the painting was also not convinced of the appellation. He thought it was the upper Moselle River; a visit there is on my to-do list. As for the gouache, it was sold to me by the Dorotheum as an urban landscape in northern Belgium. Not so! For reasons which I won’t go into here but have to do with research I did on that shop on the right hand side of the painting, I am convinced that it is a view of the Seine River in Paris, looking upstream from Pont Notre-Dame, one of the bridges linking the Île de la Cité with the Right Bank. For its part, the view of Kashmir was, according to the Dorotheum, a view from western China (which is why I bought it; I already knew then that I would be going to China). Research on my part quickly showed me that actually it is a well-known view of a rope bridge near Srinagar. Really, the Dorotheum is doing some very sloppy work here – but it’s more fun for me.

With the Dorotheum no longer just a few subway stops away, the collecting passion has slowed – the apartments are smaller too. We have bought a piece or two, which when we take them back will remind us of our stay in China, rather like those old English colonels who came back from the Empire with bits and bobs of native paraphernalia, which they would proudly display in their retirement home at Bournemouth.

__________________________

Leopold Museum: http://de.academic.ru/pictures/dewiki/76/Leopold_Museum_%28Vienna%29.jpg
MUMOK: http://upload.wikimedia.org/wikipedia/commons/e/eb/Museum_Moderner_Kunst_Stiftung_Ludwig_Wien.jpg
Caravaggio: http://www.christusrex.org/www2/art/images/carav18.jpg
Egon Schiele: http://kellypahl.files.wordpress.com/2011/11/2.jpg
Dorotheum: http://static3.kleinezeitung.at/system/galleries_520x335/upload/3/6/3/2430195/dorotheum030810apa726.jpg
the rest are my pictures

DOG DAYS IN BEIJING

Beijing, 27 July 2013

It’s already dog days in Beijing, with the mercury climbing into the high 30s Centigrade. This weather brings out these strange extraterrestrial beings onto the roads

which on closer inspection turn out to be women riding cycles while wearing special UV-protective sun visors and covering every bit of exposed skin.

As for the pavements, they host the somewhat odd spectacle of women sheltering below umbrellas under cloudless skies.

The reason is the same in all cases: the desire to protect delicately pale skins from suntan. Chinese women have a fetish for pale skins, not only shunning the sun but also spending large sums on products which claim to whiten their complexion.

The purpose, of course, even if these women don’t realize it, is to distinguish themselves from their sisters toiling in the fields under the broiling sun and getting a tough, leathery skin for their pains – the peasants, in a word. Despite communist-era claims to the contrary

every Chinese knows that life as a peasant is not particularly pleasant

which is why China’s rural people escape to the cities the moment they have half a chance, and why city folk look down on their rural cousins.

We who come from cultures which have been worshipping the sun for at least sixty years and have proclaimed far and wide the beauty of a tanned skin

can titter at this Chinese phobia of a darkened skin, which sometimes really goes to extraordinary lengths

But we should remember that before this sun-loving period of ours our genteel women also avoided the sun, for much the same reason. I am indebted to the blog “It’s About Time”, in a section devoted to parasols in Western art (from which I also got some of the photos below), for the following quote from Randle Cotgrave’s 1614 Dictionary of the French and English Tongues, where the French word ombrelle is translated “An umbrello; a (fashion of) round and broad fanne, wherewith the Indians (and from them our great ones) preserve themselves from the heat of a scorching sunne; and hence any little shadow, fanne, or thing, wherewith women hide their faces from the sunne.” Like the Chinese women I see on the Beijing streets today, for centuries our great ladies liked to walk outside screened from the sun, as these paintings from different periods attest:

Fragonard:

Copley:

Goya:

Manet:

Monet:

Renoir (I had the luck to see this particular painting at the Met in New York a few months ago):

Seurat:

Valloton:

the American painter Mars:

Are we so right to love a tan? Of course, the snobbish element of having a pale complexion is to be abhorred, but I’m not sure tanning is such a wonderful idea either. I must admit to being biased on this topic; I have a fair skin which burns rather than tans and I’ve always disliked being in the sun. But the rise in skin cancer incidences and deaths is vertiginous in many of those countries where people routinely cook themselves on a beach all summer. It is made that much worse by the thinning of the ozone layer, which is allowing in far more harmful UV than used to be the case. Which explains this public health ad from Australia, one of the hardest-hit countries: many people with fair skin, a strong outdoors culture, and located far south where the ozone layer is thinnest.

The Slip Slop Slap campaign is another attempt by the Australian government to combat skin cancer:

Looking at that, it seems to me that maybe our Chinese sisters aren’t so wrong in their sun shunning antics after all.

_____________________

woman with sun visor-1: http://s1.djyimg.com/i6/5100409191528.jpg
woman with sun visor-2: http://images.nationalgeographic.com/wpf/media-live/photos/000/123/cache/fashion-shanghai-motorcycle_12361_600x450.jpg
Chinese women under umbrellas: http://blog.chinatraveldepot.com/wp-content/uploads/2012/07/103-1024×768.jpg
Skin whitener ad: http://gaia.adage.com/images/bin/image/large/Nivea91008b.jpg?1221045176
Propaganda poster: http://chineseposters.net/images/e11-992.jpg
Rural woman: http://chinadigitaltimes.net/wp-content/uploads/2008/10/13china01-6501.jpg
Sun tan lotion ad: http://file.vintageadbrowser.com/l-2sxa9y5hxoogx7.jpg
Facekini: http://www.ecouterre.com/wp-content/uploads/2012/08/qingdao-china-sun-protection-mask-facekini-2-537×402.jpg
Fragonard: http://farm3.static.flickr.com/2475/4438032996_d685b495fb.jpg
Copley: http://2.bp.blogspot.com/-7FFaKUq3lgs/Th6koRKMutI/AAAAAAAArNs/2WRM4y4ZwUs/s640/p%2B1763%2Bc%2BJohn%2BSingleton%2BCopley%2B1738-1815%2BMary%2BTappan%2BMrs%2BBenjamin%2BPickman%2BYale%2B%25282%2529.jpg
Goya: http://www.aparences.net/wp-content/uploads/goya-parasol-vert.jpg
Manet: http://1.bp.blogspot.com/_CvDCiEFbNy8/TGlqCaT0tMI/AAAAAAAAWls/cEdFU0kuto4/s1600/p+%C3%89douard+Manet+%281832-1883%29+Woman+with+a+Parasol+1881..jpg
Monet: http://www.chinaoilpaintinggallery.com/oilpainting/Claude-Monet/The-Walk-Woman-with-a-Parasol.jpg
Renoir: http://www.renoirgallery.com/paintings/large/renoir-lise-with-parasol.jpg
Seurat: http://farm5.staticflickr.com/4037/4367819565_d255f31c2d_z.jpg?zz=1
Vallotton: http://2.bp.blogspot.com/_CvDCiEFbNy8/TH8YPdMzVyI/AAAAAAAAXno/iOmadhyVbOI/s1600/F%C3%A9lix+Vallotton.+%281865+-+1925%29.+On+the+Beach+Sur+la+plage.+1899..jpg
Mars: http://3.bp.blogspot.com/_CvDCiEFbNy8/TJezx5Y-UgI/AAAAAAAAY1g/HY7j9dPmqIg/s1600/Ethel+Mars+%281876+%E2%80%93+1956%29+Nice.jpg
Australian ad-1: http://www.abc.net.au/reslib/200812/r320709_1428893.jpg
Australian ad-2: http://lavaleandherworld.files.wordpress.com/2013/02/slip-slop-slap-legenda.jpg?w=600