Art – Page 17 – the heart thrills

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!)

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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!

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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:

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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.

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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

A CELEBRATION OF THE HUMAN FACE

Beijing, 25 May 2013

Many, many (many…) years ago, as a fresh-faced engineering undergraduate, I was introduced to the concept of the Random Walk. My memory is hazy now, but as I recall it had something to do with a way of modelling the behaviour of molecules in a gas. The idea was that molecules could be considered as little ping pong balls taking random paths as they whizzed around colliding with each other chaotically.

If I bring this up, it is because during the visit which my wife and I made two weeks ago to the Metropolitan Museum in New York I rather felt that we had unwittingly gone on a random walk of our own. I should explain that whenever we are in New York we always try to slip in a visit to the Met. It is really the most wonderful museum, with an amazingly extensive collection. We normally just go along and wander around in a rather purposeless way, but this time I decided to be slightly more ordered about it. I checked on the museum’s web site to see what exhibitions were on and drew up a list of those which sounded interesting. My list included, in no particular order, “Impressionism, Fashion, and Modernity”, “The Roof Garden Commission: Imran Qureshi”, “PUNK: Chaos to Couture”, “Photography and the American Civil War”, “African Art, New York, and the Avant-Garde”, “Street”, “Cambodian Rattan: The Sculptures of Sopheap Pich”, “Objects from the Kharga Oasis”, “Plain or Fancy? Restraint and Exuberance in the Decorative Arts”. A rich diversity, I think you will agree. Once arrived, we decided to visit these various exhibitions as the fancy took us, interspersed by two visits to the cafeteria. The result was that we criss-crossed the museum quite randomly, finding ourselves walking unwittingly through many different parts of the permanent collections and bumping into admirable pieces along the way.

So it was that at one moment early on in our random walk we found ourselves in the Cypriot Antiquities section – not a section I would normally have ever thought of visiting. And there, I suddenly found myself nose to nose with this statue.

He was someone from the 4th Century BC, I learned from the label, but my immediate thought was “Good Lord, it could be one of my children’s friends”, and suddenly the 24 centuries which separated us disappeared. This was no longer a piece of art to be studied respectfully but someone I could have known and passed the time of day with. In some muddled way, I decided there and then that as we walked the various corridors of the museum, I would take photos of some of the more interesting faces we came across, as a testimony to all that humanity lying just below the surface of paint and wood and stone and paper that surrounded us. Here is my resulting photo album, shown in the random order that I came across them:

A ruler from the area of Iran, 40 centuries ago. This one gave me goose-bumps because I have a copy of it buried in my warehoused stuff in Vienna.

A governor, by the name of Gudea, of the city of Lagash in Mesopotamia (I like the way he holds his hands):

Our random walk is bringing us into East Asia.

A bodhisattva from Shanxi province. A mere 15 centuries separate us. Is it unfair to say that he looks rather self-satisfied?

We jump forward 15 centuries, give or take, with this timid Korean scholar from the early 20th century:

A female horse rider, from the western reaches of the Tang Empire I would guess from her clothes, and very tired after a long journey I would think from the expression on her face. 13 centuries separate us.

A buddha from the area of Afghanistan when it was still buddhist, 15 centuries ago. Are we seeing the Greek influence which came from this area being conquered by Alexander the Great?

Those cupid lips! A bodhisattva from Shanxi province, 14 centuries back.

Our random walk is making us transition brutally to Medieval Europe.

A brooding Virgin Mary from 10 centuries ago.

A stern-looking saint (Saint Yrieix … who is that?), a face from 10 centuries ago.

A mourning Virgin Mary at the crucifixion from 6 centuries ago

Her mourning is German, sober and contained. This Virgin’s mourning, from the same period, is more Mediterranean. She is Spanish.

A rather foolish-looking bishop from 6 centuries ago.

The random walk is now taking us through the print and photo section.

A woman from the 1890s.

A woman from the 1930s. It’s a Pollock, which is intriguing.

Another woman from the 1930s, on the Paris boulevards.

We are suddenly back in the Cypriot section, although in a different room.

A man with a wonderful beard, from 27 centuries ago.

A woman staring death in the face, from a little later.

And now our random walk is bringing us to meso-America.

A pensive face from Mexico, 14 centuries ago.

An anguished face from 30 centuries ago, from Mexico again.

Suddenly, we lurch into Africa.

A West African woman, from a century ago.

A South African woman from just a few decades ago.

And finally as we are making for the exit, a small face on a German jug of the 16th Century catches my eye and camera.

_________________

Pictures: all mine

DREAM JOURNEY: PART I

Beijing, 8 May 2013

May is a good time to be in the Mediterranean. The weather is good, the temperatures not too high, the vegetation still green, and the flowers blooming. I feel restless, I want to be there. But it cannot be; the rent must be paid, as must the gas and electricity, not to mention the food, the occasional bottle of wine and other sundries. I must earn my living.

The internet is a wonderful thing though. Sitting on my living room couch in the evenings, navigating with my little black mouse and clicking my way through hundreds of internet pages, I can visit all the places I want to be in but cannot. So I have decided. Riding the surf of the web, my wife and I will take a trip I have long wanted to make: a visit to a string of sites around the northern rim of the Mediterranean which are known for their early Christian mosaics. In an earlier post I have alluded to my fascination with this art form.

It’s time to start. As I sit in front of my computer screen, I have to first wrestle with the question of what car my wife and I will travel in on this virtual trip we are about to make. With the freedom that comes from a trip in my imagination – no cost considerations, no considerations of practicality (is the boot big enough?) – I first think of taking a Smart; I like its cheerfully odd shape and I have never driven one.

But on further consideration, I plump for an MG convertible, and specifically a model which is as old as we are.

In my imagination we can have the roof down and enjoy the sun on our faces and the wind in our hair (although the only time we ever drove such a car in the real world it started raining and we had no idea how to put the roof back in position).

So here we are, comfortably ensconced in our little MG. Where do we start our journey? I pick Ravenna, because the city has one of the finest collections of early mosaics still extant. Actually, it’s a small miracle that there are any mosaics left at all, either in Ravenna or anywhere else. Over the millennium and a half that separates us from their creation, they have suffered from the ravages of religion: from outright hostility towards their symbolic potency, to their neglect through changes in artistic fashion. They have suffered from natural catastrophes like earthquakes and fires. And last but not least, they have suffered from the four horsemen of the Apocalypse – Conquest, War, Famine, and Death – sweeping repeatedly across the face of the land; every time the horsemen passed, not only did people die but the beautiful things they had created were destroyed. You only have to see what is happening to Syria’s irreplaceable cultural heritage in this time of civil war to know what I mean.

Ravenna sadly exemplifies what I’ve just described. It became the capital of the Western Roman Empire in 402 AD, when everything was beginning to fall apart there. In 490, it was put under siege for three years and finally captured by the Ostrogothic King Theoderic. In 540, it was captured by the Byzantines after a war with the Ostrogoths. In 751, it was captured by the Longobards after a long war of attrition between them and the Byzantines. In 774, to thank Charlemagne for taking Ravenna away from the Longobards and giving it to him, Pope Adrian I allowed Charlemagne to take away anything he liked from the city to enrich his capital in Aachen. Lord knows how much Ravenna lost, but it must have been a lot. Over the following centuries, lordship over Ravenna swapped hands many times as the papacy’s claim to Ravenna was contested by local families. Finally, in 1275 a local family, the De Polenta, made Ravenna their long-lasting seigniory, which gave the city some stability for nearly 200 years. Then from 1440 to 1527, Venice ruled Ravenna, although in 1512, during one phase of the Italian wars, Ravenna was sacked by the French. Thereafter, Ravenna again became part of the Papal States and stayed there, except for a short interlude during the French Revolution and Napoleonic Empire, until 1859, when it became part of the new Italian State. After that, apart from some bombing by the Austrians during the First World War, Ravenna knew peace. Truly, it is a minor miracle that we have any mosaics left after all this mayhem. And I haven’t even included the natural disasters which the city suffered along the way.

It’s time to start our journey and visit some of what is left. After clicking around a bit, I choose for us to drive up and park in front of the church of Sant’Apollinare Nuovo, where the mosaics date from the 6^th Century. Here’s what greets us when we enter the church.

On either wall of the nave, runs a line of men and women, saints and martyrs, processing solemnly towards the altar. My wife and I prefer to focus on the women principally because among them is the martyr who has our daughter’s name. It gives us a comforting sense of connection.

Originally, the two lines were processing towards a scene of stately splendour in the apse. But it is gone, victim to a desire to modernize; it was removed during renovations in the 16^th Century. The apse itself was so badly damaged by Austrian bombing during the First World War that it had to be rebuilt.

Time to move on to the church of Sant’Apollinare in Classe, and in a couple of clicks we’re there. With much the same layout as the other Sant’Apollinare, and with mosaics from the same period, it is its mirror image: the mosaics in the nave have disappeared, victim to the depredations of the Venetians in the 15^th Century, but the apse glows with a magnificent mosaic, where the colour of grass dominates: a green and pleasant land for the Christian faithful.

This great expanse of mosaic colour makes me decide to visit the Mausoleum of Galla Placidia. So with a click, a hop and a jump we’ve gone from church to mausoleum and are gazing up at the wonderfully dark blue ceiling

There are other early mosaics in Ravenna, but it’s time to leave. We’ll see them another time.

Next stop: Venice.

As I gaze at Google Map trying to choose which road to take, I decide all of a sudden that it would be in keeping to follow the trace of the old Roman roads. To do this, I will rely on the Peutinger map. This is the only existing example of a Roman map of the Empire’s road network. It now resides in the Austrian National Library. It is actually a 13^th Century copy, made by an anonymous monk in Colmar in Alsace, of what was probably a 5^th Century original, itself a distant descendant of the original made by one Marcus Vipsanius Agrippa for the Emperor Augustus in the last years BC. It is so rare that it has been placed on UNESCO’s Memory of the World Register. This photo shows one section of the map, showing Italy from Rome to Sicily

Actually, I find the map very difficult to read; it is not to scale, it is not oriented the way modern maps are, and many of the place names mean nothing to me. So it is with considerable relief that I discover that someone has transcribed the Peutinger map onto a modern map. Studying this map, I decide we will follow the trace of the old Via Popillia, which once connected Rimini with Adria and the Via Annia. My intermediary objective is Fusina, just south of Mestre. I’m driving there because in this trip of my imagination I want to enter Venice the way it was meant to be entered before they built the causeway, by sea. And Fusina is the only place where you can catch a ferry into Venice from the mainland.

So we motor up to Fusina, and in my zeal to follow the trace of the old Roman road (I can already see my wife tapping her fingers impatiently at these signs of anal behaviour on my part) we do so through a complicated series of back roads which take us through a number of small towns and villages and finally along the SP (Strada Provinciale) 53, with us cutting down to the right at some point to get to Fusina. In my defence, the coastline between Ravenna and Venice has changed a lot since Roman times; the silt brought down by the River Po and a number of other rivers in this area has pushed the coastline out quite a distance. As a result, the road network in the area has changed considerably over the centuries. In any event, we’ve arrived; by the way, the website I just used informs me that we have travelled about LXXV Milia Passuum (75 thousand paces, or 75 Roman miles), which in Roman times would have taken us about VI dies (6 days) to walk. We park the car and wait for the next ferry; the timetable available online helpfully informs me that there is a ferry every hour on the hour, so I don’t suppose we need wait too long. No doubt there is a bar where we can sit down and have a cappuccino.

With a click we are on the ferry heading across the lagoon. As we get closer, we see this incomparable picture of Venice before us.

All too soon, it is time to get off at Zattere, to the south of the Canal Grande. We start threading our way through Venice’s maze of alleyways, crossing the Canal Grande at the Ponte dell’Accademia, and then after a sharp right in Campo Santo Stefano walking on to Piazza San Marco. Here, I stop and reveal to the reader that Venice is not actually our destination; we are going instead to the small island of Torcello to the north of the main island. It is true that the Basilica of San Marco is full of mosaics, but most of them are relatively modern, pale copies of the paintings of the time – and the church is always so horribly crowded with tourists! So we turn left in Piazza San Marco and head up to the north side of the island, to Fondamente Nova, where the municipality’s website helpfully informs me that I should catch the N9 aquatic bus. In my mind’s eye, when it arrives the bus is crowded with people going to the small nearby island of San Michele, the city’s graveyard. My wife and I squeeze on, and we wait patiently until after the stop at the graveyard and possibly also the following stop at Murano to be able to sit down. Then there’s a stop in the island of Burano before we finally get to Torcello.

Torcello was a place of refuge in the troubled centuries after the collapse of the Western Roman Empire. It was here and in the other islands of the Venetian lagoon that people came to escape from the depredations of the passing waves of various barbarian tribes. Until the 12^th Century or so, it was a vibrant place with a significant population, but gradual silting of this part of the lagoon not only killed off the island’s more important economic activities but brought malaria to its inhabitants. So everyone left for Venice itself and now hardly anyone lives here. It is very peaceful, with just the church surrounded by vineyards.

This abandonment might well have saved the mosaics which we are about to see. We walk up the path from the aquatic bus stop to the church, go in, and find this in front of us

And turning around, this behind us

We have leapt forward some six centuries from Ravenna, with these mosaics being from the 11^th and 12^th Centuries. The style has changed, from one which in Ravenna still echoed the Roman styles to one which is much closer to that rigid style we call “Byzantine” as well as to what was later to become the medieval style. We walk forward to get closer to the mosaic in the apse, which is of the Virgin Mary with the infant Jesus.

I love this mosaic, with its gentle Madonna floating in a huge field of gold. I still remember well the impact it had on me the first time I saw it, a decade ago, on a late Autumn afternoon. The memory of that gentle face in its sea of gold has stayed with me ever since.

The mosaic on the back wall, a Last Judgement, is also spectacular, no doubt about it, but it doesn’t hold me as much. There are the usual scenes of naughty people being punished for their sins

The Middle Ages had a morbid fascination for this kind of stuff. But I find it all rather puerile. It always reminds me of the scary stories we used to tell each other in the dormitories at school after lights out, to give ourselves a delicious thrill of fright.

Onwards!

With a click of my mouse, my wife and I are back in Fusina, driving out of the car park in the little MG. We are now heading to Aquileia (79 Roman miles; 6 days’ marching). True to my promise to myself to follow the old Roman roads, I want to pick up the Via Annia, a major Roman road which linked Padova with Aquileia. We pick our way across the main road into Venice along the causeway and take the SS (Strada Statale) 14, which pretty much follows the trace of Via Annia. We bowl along, with the sun in our faces and the wind in our hair, passing Venice’s airport, and maybe catching sight to our right of Torcello’s tall campanile in the distance. We pass through Concordia Saggitaria, where we meet the Via Postumia, which ran across the whole of northern Italy from Genova to Aquileia, and on to Cervignano del Friuli. At Cervignano, we turn right onto the SR (Strada Regionale) 352 and a few Roman miles later arrive in Aquileia.

Poor Aquileia. During the Roman period it was an important city, guarding the eastern marches of Italy, which was the core of the Empire. A look at a map shows that any tribe from Central and Eastern Europe and beyond necessarily had to pass this way to enter the Italian lands, whether with peaceful intentions or not. When the Empire had its borders along the Danube River, Aquileia was the gateway to the rougher provinces of Illyricum, Dacia and Thrace that backed the frontier. As such, it was the starting-point of several important roads leading to this north-eastern portion of the Empire.

As the Empire’s western half collapsed and its borders were breached, the tribes did come, along those roads so helpfully built by the Romans. And the roads led to Aquileia, which was such a tempting target. It was first besieged by Alaric and his Visigoths in 401, who attacked it again and sacked it in 408 on his way to sacking Rome. Then it was attacked by Attila and his Huns in 452, who so utterly destroyed it that it was afterwards hard to recognize the original site. It rose again, a pale shadow of its former self, but was once more destroyed, by the Longobards this time, in 590. Today, it is just a quiet little village.

Aquileia’s loss was Venice’s gain. After each barbarian invasion, more of its inhabitants, along with those of smaller towns around it, fled to safety in the lagoon’s islands nearby, and so laid the foundations of Venice, but also of Torcello which we just visited, and of other lagoon towns.

We have come to visit the Basilica. From the outside it has all the look of a Romanesque church, and indeed it was built in 1031.

But when you go in, you find yourself in front of a vast mosaic floor, which quite takes your breath away

It was laid down in the 4^th Century in a building which was destroyed by Attila’s Huns and around which a new church was built six centuries later. In fact, the builders covered up the mosaic with a new floor, and it wasn’t until 1909, when this floor was removed, that the mosaics once more saw the light of day. The subjects depicted include symbolic subjects, portraits of donors, scenes from the Gospels and dedicatory inscriptions. I show just one detail of it.

These are even earlier than the mosaics we saw in Ravenna, and the Roman influence is clear. We could almost be looking at the mosaic floor of some vast Roman villa.

After admiring the mosaic floor and visiting other mosaics in the baptistery, my wife and I leave and walk around the ruins of the Roman town. As I click around, I am in a melancholy mood. So much destroyed, and for no purpose. We see the remains of one of the Roman roads that led out of the city.

The road beckons. After a rest, we’ll continue our journey north-eastward, from whence came the tribes which destroyed Aquileia.

(Readers who are curious to know how this dream trip continues can hyperlink here to the next leg of the journey)

______________________

Smart car: http://www.kinghdwallpaper.com/wp-content/uploads/2013/03/Smart-Car.jpg
MG car: http://www.msmclassifieds.co.uk/autoclass/stock-images/fliw8myjsf/oilhekvry4/fb173nj5q1.jpg
4 horsemen apocalypse-Durer: http://mcalmont.files.wordpress.com/2013/01/dur_4horse.gif
Sant’Apollinare Nuovo-1: http://apah.lakegeneva.badger.groupfusion.net/modules/groups/homepagefiles/49961-87537-58717-18.jpg
Sant’Apollinare Nuovo-2: http://classconnection.s3.amazonaws.com/256/flashcards/1016256/jpg/22early_christian_and_byzantine_%28student%291351736386614.jpg
Sant’Apollinare Nuovo-3: http://upload.wikimedia.org/wikipedia/commons/f/fd/Meister_von_San_Apollinare_Nuovo_in_Ravenna_002.jpg
Sant’Apollinare in Classe-1: http://upload.wikimedia.org/wikipedia/commons/thumb/f/fd/Sant%27Apollinare_in_Classe,_Ravenna.jpg/1280px-Sant%27Apollinare_in_Classe,_Ravenna.jpg
Sant’Apollinare in Classe-2: http://pixdaus.com/files/items/pics/9/49/73949_68edee7b4d49d43caa20681b9709f5bd_large.jpg
Mausoleum Galla Placidia: http://www.cittadarte.emilia-romagna.it/images/galleries/ravennaintro/ra-mausoleo-galla-placidia-mosaico-volta-celeste.jpg
Peutinger map segment: http://libweb5.princeton.edu/visual_materials/maps/websites/thematic-maps/qualitative/peutinger-table-map-1619.jpg
View from the ferry: http://farm9.staticflickr.com/8149/7667954390_2eafc258f6_h.jpg
Torcello aerial view: http://www.venicenews.info/Resource/TorcelloAerial.jpg
Torcello-1-front: http://venezia.myblog.it/media/00/00/1215490241.jpg
Torcello-2-backwall: http://d1ezg6ep0f8pmf.cloudfront.net/images/slides/a2/8812-torcello-cathedral-nave-looking-west.jpg
Torcello-3: http://farm7.staticflickr.com/6094/6362159351_0d3fe8a136_z.jpg
Torcello-4-last judgement detail: http://4.bp.blogspot.com/-wKvqFMTU-O8/TuyBuW4hnqI/AAAAAAAAAg8/-L3J_V80UC4/s1600/Last+Judgment+Torcello+Tweede+plaatje.jpg
Aquileia Basilica exterior: http://upload.wikimedia.org/wikipedia/commons/8/87/Basilica_Aquileia_1.JPG
Aquileia Basilica floor-1: http://img11.rajce.idnes.cz/d1102/7/7156/7156708_b33224f9e53bf0956558a717bbf58ec8/images/Aquileia_-_Basilica.jpg
Aquileia Basilica floor-2: http://static.turistipercaso.it/image/f/friuli/friuli_qhjf9.T0.jpg
Aquileia Basilica floor particular: https://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Aquileia,_storia_di_giona,_pavimento_della_basilica,_1a_met%C3%A0_del_IV_secolo.jpg/800px-Aquileia,_storia_di_giona,_pavimento_della_basilica,_1a_met%C3%A0_del_IV_secolo.jpg
Aquileia Roman Road: https://lh5.googleusercontent.com/-QkR-yVgM57g/SOy7HQQg_OI/AAAAAAAAYB4/7b6E9opcEuo/w819-h549/Aquileia+-+Roman+road.jpg

MY CRUISE OF FIRSTS

Beijing, 5 April 2013

My previous post about chocolate Easter eggs led me to take a page from Charles Dickens and I allowed myself to be visited by the ghost of Easters past. He took me back through memories of previous Easters, some very pleasant and others not so much. One in particular has stayed with me, the Easter I passed on a cruise in the Mediterranean when I was 14.

My English grandmother had decided that she would like to go on a cruise but wanted company. So she took me and my older brother along with her. It was a wonderful trip, one of those golden-hued memories that each one of us has. Easter itself was celebrated without much fuss and bother in Brindisi, in southern Italy – we were just a few Catholics among a sea of Anglicans and so were packed off to a small room on the ship and a local priest was brought in for the occasion. A surf through the web tells me that Easter occurred on April 14, two weeks later than this year. We were already towards the end of the cruise. There were a couple more stops in what was then Yugoslavia and is now Croatia, at Split and Dubrovnik, and then it was back to Venice where we had boarded ship. Before Brindisi, we had visited Olympia, Crete, Athens, Istanbul, Ephesus, and then finally Rhodes before starting back (there was also a visit to one of the smaller Ionian islands but I no longer remember which one).

For me, this was a trip of many firsts (well, the whole trip was a first but there were certain things which were more first than others, if you get my drift).

It was my first trip to Venice, one which my wife and I have repeated many, many times, sometimes with the children, first from Milan when we lived there and then later from Vienna. What I fell in love with that first time and keep going back to is not the grand theatricality of St. Mark’s Square

or of the laguna, which the cruise ship sailed down as we left Venice

No, what always bring us back is the humbler Venice, the alleys and lanes (it’s hard to talk of streets when there are no cars) far away from the tourist haunts, which widen and narrow with no apparent rhyme or reason, which loop and re-loop over narrow canals, which suddenly bring you, blinking in the light, into small piazzas teeming with life.

We spent the afternoon before setting sail wandering around, map in hand – a map is always necessary in Venice, although my wife is not really of that opinion: ask people the way, that’s her motto.

The cruise also took me on my first visit to classical ruins. England and the parts of France I was then familiar with don’t have any Roman ruins to speak of; an odd crumbling wall here and there is about the sum of it. Here, we had a feast!

Olympia

Knossos

Mycenae

The Acropolis in Athens

Cape Sounion

Ephesus

Actually, it was more a surfeit than a feast. To be very honest, after I’ve seen three broken columns and five fallen walls the experience begins to pall. Many decades later, when I got to know Shelley’s poem Ozymandias I could relate to all these ruins and many others I have seen since all over the world in a different way:

I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away

But, in all this blur of broken stone one memory stands out, etched for ever more in my mind: wildflowers growing in profusion among the ruins of Olympia. A search of the web shows that I am not the only traveler to Olympia who has been struck by the flowers there:

The trip was also my first real exposure to Greek sculpture. My grandmother had taken me a few times to the British Museum but somehow we always seemed to end up in the section of the Egyptian mummies – at least, that’s all I remember of those early visits. But the visit to the National Archaeological Museum in Athens was a real eye-opener for me. Two pieces I remember particularly well. One was the statue of Zeus (or is it Poseidon?):

Look at that face!

Speaking of faces, the other piece that impressed itself on me was the gold mask which Schliemann dug up in Mycenae (our Greek and Latin teacher had often quoted the phrase “I have gazed upon the face of Agamemnon”, said to have been uttered by Schliemann when he first set eyes on the mask)

Another notable first on this trip was my exposure to Byzantine mosaics, in the cavernous interior of Hagia Sophia in Istanbul.

This started an interest – an obsessive interest, my wife might observe – in early Christian mosaics, which I have tracked down in various parts of the Mediterranean basin since then.

Istanbul was the site of yet another first, my first exposure to Muslim architecture, in the form of the incomparably beautiful Sultan Ahmed Mosque.

Since then, I have been lucky enough to admire Muslim architecture in all its wonderfully different variations in many parts of the world – even here in Beijing, where it has taken on decidedly Chinese characteristics.

Iran and Central Asia await me still …

On a lighter note, the cruise was the first – and probably last – time I saw the foxtrot being danced. Every evening a three-man band played in the dance room. It started with oldies, and a retired English Major and his wife were assiduous dancers. As the band started up, they would step out, glide through a number of foxtrot numbers, and then retire to the bar.

They looked surprisingly like this picture, just somewhat longer in the tooth.

After they had left, the tempo changed and us young things would take over the dance floor and dance the night away. Well, I didn’t. I was far too shy. I would look on enviously at the elder young things. At last, one took pity on me and led me to the floor to dance my first modern dance. Another first …

Last, but definitely not least, it was on that cruise that I first set eyes on the Mediterranean. It was love at first sight.

______________________

Venice-St Mark’s square: http://www.instablogsimages.com/1/2012/04/25/sunset_on_st_marks_square_image_title_upyro.jpg
Venice-Lagoon: http://cdn2.vtourist.com/4/3990973-looking_back_from_the_water_bus_Venice.jpg
Venice-calle-1: http://renaissancerules.files.wordpress.com/2011/01/venice-2009-294.jpg
Venice-calle-2: http://picasaweb.google.com/lh/photo/Vx_htYT8ClwJ1DwCpMcy1A
Venice-calle-3: http://www.cepolina.com/photo/Europe/Italy/Venice/Venice-mix/3/Venice-street-narrow-calle-rill.jpg
Venice-calle-4: http://farm2.staticflickr.com/1265/5186001188_065ec8a290_z.jpg
Olympia: http://images.fanpop.com/images/image_uploads/Olympia-greece-585497_1024_768.jpg
Knossos-palace: http://ant3145crete.wikispaces.com/file/view/Knossos_1.jpg/68392549/Knossos_1.jpg
Mycenae-lion-gate: http://www.civilization.org.uk/wp-content/uploads/2012/02/Mycenae-Lion-gate-028.jpg
Athens-acropolis: http://www.limotaxi.gr/wp-content/uploads/2010/10/athens1.jpg
Cape Sounion: http://www.grisel.net/images/greece/sounion11.JPG
Ephesus: http://historyoftheancientworld.files.wordpress.com/2012/09/theatre2.jpg
Olympia-wildflowers-1: http://farm3.staticflickr.com/2245/2331955314_1629efb4ab_z.jpg
Olympia-wildflowers-2: http://farm3.staticflickr.com/2380/2331125289_93eb068ca2_z.jpg
Olympia-wildflowers-3: http://www.touringtykes.com/wp-content/uploads/2010/02/olymipia-flowers.jpg
Athens-statue of Zeus/Poseidon-1: http://upload.wikimedia.org/wikipedia/commons/6/67/Bronze_statue_of_Zeus_or_Poseidon.jpg
Athens-statue of Zeus/Poseidon-2: http://cdn.arstechnica.net/wp-content/uploads/2011/11/zeus_or_poseidon_national_archaeological_museum_athens-4ecd0b1-intro.jpg
Athens- Gold Mask “Agamemnon”: http://hernandopages.com/agamemnon.jpg
Istanbul Hagia Sophia-interior: http://hansmast.com/images/istanbul/hagia_sophia/IMG_1846_Enhancer-IMG_1857_Enhancer-2.jpg
Istanbul-Hagia Sophia-mosaics-1: http://www.mosaicartsource.com/Assets/html/artists/lilian/mosaic_hagia_sophia.jpg
Istanbul-Hagia Sophia-mosaics-2: http://www.sacred-destinations.com/turkey/istanbul-hagia-sophia-photos/slides/imperial-entrance-mosaic-c-hbetts.jpg
Istanbul-Hagia Sophia-mosaics-3: http://www.turkey4travel.com/wp-content/uploads/2009/05/hagia-sofia-mosaic.jpg
Istanbul-sultan ahmed mosque: http://www.viitoaremireasa.ro/images/articole/large/2084/Istanbul-Orasul-care-se-intinde-pe-doua-continente-5.jpg
Beijing mosque: http://www.chinadaily.com.cn/cndy/attachement/jpg/site1/20080815/000802ab80450a0f185656.jpg
Foxtrot: http://ssqq.com/archive/images/foxtrot.jpg
Mediterranean Sea-3: http://1.bp.blogspot.com/-4O6DVn4JTeQ/UG6WCS6K7yI/AAAAAAAAFaQ/NHquXzafTsA/s1600/43923144.jpg

PIZZA IN SAN GIMIGNANO

Luang Prabang, 18 February 2013

Some fifteen years ago, my wife and I decided to spend our summer holidays in Tuscany. We rented a house in a small village near Radicondoli (or “Radihondoli” as the locals pronounce it). The marvel of this village, which caps a hill, is that there is no through road so that there are few if any cars in the village’s streets. For the first – and last – time in their lives, the children could play outside in the road without constant anxious parental supervision.

The other wonder of this village is that it is situated in some of the loveliest countryside, and is close to some of the loveliest urban landscapes, that Tuscany has to offer. One of the latter, world-renowned and justly so, is San Gimignano.

One day, we decided that it was time to visit San Gimignano. We thought we could leave our son, the older of our two children, alone in the village in the company of his summer friends, but we felt it would be prudent to take our daughter, who must have been seven at the time, along with us. To keep her company, we offered to take one of her friends along, an offer gratefully accepted by her parents. So off we went, swooping and looping over Tuscan hill and dale, seeing the towers of San Gimignano appear, disappear and reappear around every corner, slowly growing ever taller.

We finally arrived, found a parking not too far away – a minor miracle – and walked up the main street

to the piazza where San Gimignano’s main church, the Collegiata di Santa Maria Assunta, is located. That was where we were starting our visit.

When you go into the church, you are immediately struck by the wonderful frescoes on either wall.

For anyone like me who has been brought up a Christian it is easy to understand the layout: one wall – the left wall, of course – has a series of scenes from the Old Testament, while the right wall has a series of scenes from the New Testament. You can walk down one side, following the stories as you go along, appreciating the artist’s take on each story. Here, for instance, is the story of Moses crossing the Red Sea, frozen at the moment where the Pharaoh’s troops are drowned

Whereas here, on the right-hand wall, is the story of the dead Lazarus coming back to life

And the whole is teaching us the grand story of the Fall of Man and his redemption through the risen Christ.

As I walked along the frescoes, with my daughter and her friend tagging along, I realized that these pictures meant nothing to the two girls, neither of whom had been brought up a Christian. So I began to tell them the stories, using the painted scenes as the backdrop and giving the tales as dramatic a twist as possible. The other tourists must have thought I was a little nutty but the two girls seemed quite taken. I realized for the first time what these frescoes were really for: to tell the Bible’s story to a largely illiterate population. In effect, because they had never read the bible, my daughter and her friend were illiterate. I’ve since learned that there is a term for a cycle of frescoes like this: the Poor Man’s Bible. A well-chosen phrase.

When we left, I was highly pleased with myself and the somewhat theatrical show I had put on for the girls. I will skip the rest of the visit, although I will note that we had a rest at lunch where the two girls ate a Pizza Margherita and drank a coke. That evening, when we got home and we were gathered around the table for dinner, I prompted my daughter to tell her brother about the scene in the church. “Tell your brother the big thing about today,” I suggested. She looked at me a minute and then said, very carefully,“At lunch, we had a pizza and a coke.”

Which goes to show … what? That food for the stomach is more important than food for the mind? No, probably the lesson is, don’t think you’re such a smarty-pants.

By the way, the reason why I’m telling this story will become apparent in my next posting.

_____________________

San Gimignano from above: http://www.hotelilponte.com/writable/public/tbl_galleria/grande/v961b38120234375.jpg
San Gimignano in distance-1: http://farm3.staticflickr.com/2097/5796974869_0245323ed1_z.jpg
San Gimignano in distance-2: http://farm1.staticflickr.com/109/270633269_1e347d3ea5_z.jpg?zz=1
San Gimignano in distance-3: http://www.ideaweekend.it/imgs/weekend/sangimignano.jpg
Via San Giovanni-1: http://imgc.allpostersimages.com/images/P-473-488-90/24/2425/C8JXD00Z/posters/fraser-hall-via-san-giovanni-san-gimignano-tuscany-italy.jpg
Collegiata San Gimignano external-1: http://25.media.tumblr.com/tumblr_may8bh9sVs1qcwmkyo1_1280.jpg
Collegiata San Gimigano-interior-1: http://1.bp.blogspot.com/-ySDga5CAd1Y/UBFg45AiSmI/AAAAAAAAEcg/vAGNRhz14zw/s1600/IMG_7815.JPG
Collegiata San Gimigano-interior-2: http://farm3.staticflickr.com/2148/2241957275_58d27be89f_z.jpg?zz=1
Old testament scene-1: http://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/SG_OT_304_Crossing_the_Red_Sea.JPG/800px-SG_OT_304_Crossing_the_Red_Sea.JPG
New testament scene-1: http://upload.wikimedia.org/wikipedia/commons/thumb/9/9c/SG_NT_Raising_of_Lazarus_Lippi_Memmo.JPG/744px-SG_NT_Raising_of_Lazarus_Lippi_Memmo.JPG