Beyond its most basic tenets, Buddhism is not simple. It contains complicated psychological and metaphysical theories that are difficult to understand, except after long study. This posed a problem for monks bringing the religion to communities that had no previous experience with Buddhism's Indic background. In Tibet, propagation of the religion relied, therefore, on stories of the Buddha and his past lives, a form of literature called the jataka. Another method of propagating Buddhism was through art. In the 10th century, when Buddhism was experiencing a renaissance in Tibet, the Indian tradition paintings, called thangkas, representing buddhas and bodhisattvas were used as a teaching aids to convey complicated ideas and to serve as objects upon which one could focus one's mind in meditation. They were easily transported and could serve to set up a portable alter.
Ben Meulenbeld's Buddhist Symbolism in Tibetan Thangkas provides a fine introduction to the thangka and its common subjects. Moreover, it is a beautiful book with 37 colorful plates reproducing thangkas of a large private collection of modern works painted in the Kathmandu Valley in Nepal. The first chapter provides an introduction to the purpose and creation of thangkas, from their design through their painting and ultimately to their framing. The second chapter provides a brief description of the religious background of thangkas, particularly a recounting of the life of Siddhartha Buddha. It is illustrated with four thangkas. The third chapter is an extremely brief account of Theravada Buddhism. This is a Buddhist tradition that survives in Sri Lanka and in parts of Southeast Asia. As Tibet is not heir to this tradition, the chapter is brief and illustrated with only one thangka of the historical Buddha. Instead, Buddhism was brought to Tibet by Mahayana Buddhists. So the fourth chapter, on the Mahayana tradition is much longer and illustrated wigh 13 plates. This tradition laid great emphasis on the bodhisattva, an enlightened figure who forswears liberation in nirvana to help all other sentient beings attain enlightenment. Many of the thangkas in this chapter depict legendary buddhas and important bodhisattvas that make up a kind of pantheon of Buddhist personalities. The fifth and longest chapter deals with the Vajrayana tradition. It is illustrated with 18 thangkas. The Vajrayana tradition of Buddhism is now the dominant tradition in Tibet. The thangkas here depicted actual figures in the history of Tibetan Buddhism along with several other miscellaneous subjects including, the Wheel of Life, a Yogini, a Gathering of Saints, Kalachakras, Herukas, the Mandala of Yama, and two Kalachakra mandalas. The final chapter deals with paubas. These are like thangkas, but include with Hindu themes. It is short and is illustrated with only one pauba.
Most all of the thangkas follow a very standard rather symmetric design with figures seemingly placed on a two dimensional surface, usually in a cross-legged position facing forward. They hold or are accompanied by items that indicate their identity. In the case of the historical figures in the fifth chapter, the image is much more naturalistic. The figures do not face directly forward, but sit facing obliquely amid a naturalistic background.
The two greatest strengths of Meulenbeld's work are first, the explanations of the various legendary buddhas, bodhisattvas, and other beings in the Buddhist "pantheon." One is given a good understanding of their primary features and the symbolic objects and hand gestures that are characteristic of the being. Second, are the illustrations themselves. They are simply exquisite. Unfortunately, despite the folio format of the book, seeing the details of the illustrations requires strong lighting and a magnifying glass, and the reproductions are not as sharps as one would like. However, rectifying this shortcoming would involve printing the work in an over sized format using much more expensive reproduction technology. Consequently, having the work in a more manageable format is a compensating virtue.
Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts
Friday, October 28, 2016
Wednesday, March 6, 2013
The White House: An Historical Guide / Mrs. John N. Pearce [a.k.a. Lorraine Waxman Pearce] and William V. Elder III -- Washington, D.C.: White House Historical Association, 1963
Over the years, the White House has undergone numerous changes. Perhaps most dramatically was the complete gutting of the interior and subsequent steel reinforcement of the structure that took place duringTruman's administration. It has also accumulated a significant collection of furnishings, some of which are unquestionably outstanding historical pieces. The portrait of George Washington, painted by Gilbert Stuart and the President's desk, built from the timber of the H.M.S. Resolute come immediately to mind; but there are numerous more interesting and beautiful objects in the White House's collection. At the direction of Jacqueline Kennedy, the White House Historical Association took on the task of creating a guide to the history of the White House and its furnishings. Originally intended for children, it was quickly understood that the treasury of artifacts was too important not to address the work to adults. The result was a clear introduction to the history of the White House, illustrated by photographs of some of its most important possessions.
The extent to which the building's interior was remodelled is somewhat surprising. One might, however, justify the expense by claiming that the President's house should, for the benefit of visitors and foreign dignitaries, remain relatively stylish and contemporary. On the other hand, a degree of classical dignity might also be appropriate. Upon reading The White House, one is left with a sense that a reasonably good balance has been met over the years up to 1963. Many of the features of the original structure remain, of course, but with any building that sees regular use, repairs and replacements are required now and then. These present opportunities to update the interior decorating styles. At the same time, pieces art and furniture have been retained and can be brought out of storage according to the taste of the current occupant. What is among the more satisfying consequences of these additions and changes, is that each occupant will leave behind something of their taste and time, making the building and its contents a reflection of the history of the country and the presidency.
The extent to which the building's interior was remodelled is somewhat surprising. One might, however, justify the expense by claiming that the President's house should, for the benefit of visitors and foreign dignitaries, remain relatively stylish and contemporary. On the other hand, a degree of classical dignity might also be appropriate. Upon reading The White House, one is left with a sense that a reasonably good balance has been met over the years up to 1963. Many of the features of the original structure remain, of course, but with any building that sees regular use, repairs and replacements are required now and then. These present opportunities to update the interior decorating styles. At the same time, pieces art and furniture have been retained and can be brought out of storage according to the taste of the current occupant. What is among the more satisfying consequences of these additions and changes, is that each occupant will leave behind something of their taste and time, making the building and its contents a reflection of the history of the country and the presidency.
Sunday, May 29, 2011
Dawn of Art: The Chauvet Cave / Jean-Marie Chauvet, Eliette Brunel Deschamps, and Christian Hillaire -- NY: Harry N. Abrams, 1996
After seeing Werner Herzog's film Cave of Forgotten Dreams, I was moved to check out a book about the Chauvet Cave. Dawn of Art: The Chauvet Cave was at my fingertips, so it filled the bill more or less well enough. The authors are the three spelunkers who discovered Chauvet Cave. The text is mostly an colloquial account of the day of their discovery and the efforts they made to protect the cave from damage before they revealed its whereabouts to the French authorities. The writing style clearly expresses the discover's excitement and their dedication to protecting what has turned out to be the oldest know painting in the world. Carbon dating indicates that the oldest images may have been created about 31,000 years ago.
The most thrilling aspect of the book is, however, the photographs of the artwork itself. There are eighty in all. The images are of extremely high quality, allowing the viewer to study the finest details of the work. The cave is decorated with images of rhinoceroses, lions, mammoths, horses, bison, bears, reindeer, aurochs, ibex, stags, a panther, and what is guessed to be a hyena. Among the most unusual depictions is a great horned owl that was etched into the side of the cave and a human figure with the head of a bison which according to the authors, "evokes the 'sorcerers' of Les Trois-Freres in the Ariege and Gabillou in the Dordogne," two other decorated caves. There are also a number of other animal figures that at the time of publication had not been identified with any particular species.
The art itself has, of course, a significant degree of stylistic similarities; however, many of the drawings are roughly executed and many are stylized, but an amzaing number show a remarkable realism and sensitivity to perspective and the anatomy of the subject. With the exception of a small number of etched figures, they are all drawn in black charcoal or red ochre. Many employ delicate shading.
Along with the art, a rich store of bones, mostly cave bear bones, were found in the cave. The authors provide some discussion of their significance, but the it's no surprise that these relics are little more than an interesting diversion from the main event.
This particular edition of Dawn of Art was published not much more than a year after the cave's discovery. Another paperback edition was released some five years later. While the work does a fine job showing us the art, one is left with a desire to read about the conclusions that art historians and archaeologist have drawn in the 17 years since the cave's discovery.
Herzog's film Cave of Forgotten Dreams provides a wonderful experience of the art as we view it in a large scale in a darkened theatre, but re-examining fine art book reproductions shows us what the film cannot and allows us to linger over specific images that repay close, extended attention.
The most thrilling aspect of the book is, however, the photographs of the artwork itself. There are eighty in all. The images are of extremely high quality, allowing the viewer to study the finest details of the work. The cave is decorated with images of rhinoceroses, lions, mammoths, horses, bison, bears, reindeer, aurochs, ibex, stags, a panther, and what is guessed to be a hyena. Among the most unusual depictions is a great horned owl that was etched into the side of the cave and a human figure with the head of a bison which according to the authors, "evokes the 'sorcerers' of Les Trois-Freres in the Ariege and Gabillou in the Dordogne," two other decorated caves. There are also a number of other animal figures that at the time of publication had not been identified with any particular species.
The art itself has, of course, a significant degree of stylistic similarities; however, many of the drawings are roughly executed and many are stylized, but an amzaing number show a remarkable realism and sensitivity to perspective and the anatomy of the subject. With the exception of a small number of etched figures, they are all drawn in black charcoal or red ochre. Many employ delicate shading.
Along with the art, a rich store of bones, mostly cave bear bones, were found in the cave. The authors provide some discussion of their significance, but the it's no surprise that these relics are little more than an interesting diversion from the main event.
This particular edition of Dawn of Art was published not much more than a year after the cave's discovery. Another paperback edition was released some five years later. While the work does a fine job showing us the art, one is left with a desire to read about the conclusions that art historians and archaeologist have drawn in the 17 years since the cave's discovery.
Herzog's film Cave of Forgotten Dreams provides a wonderful experience of the art as we view it in a large scale in a darkened theatre, but re-examining fine art book reproductions shows us what the film cannot and allows us to linger over specific images that repay close, extended attention.
Tuesday, May 24, 2011
Cave of Forgotten Dreams: a film directed by Werner Herzog (2010)
On December 18, 1994, Jean-Marie Chauvet, Eliette Brunel Deschamps, and Christian Hillaier discovered a cave in southeastern France, now known as Chauvet Cave. Within it were numerous paleolithic cave painting. Carbon dating suggests that these paintings are thirty-two thousand years old, making them the oldest paintings in existence. The fragility of these paintings prompted the French authorities to immediately seal the cave entrance and prohibit entry by anyone except for a small group of scientists, archaeologist, and art historians. Acclaimed director Werner Herzog, however, received a special exemption from this prohibition in order to make his documentary Cave of Forgotten Dreams.
The film is a ponderous examination of the paintings and their significance. Prominent in the film is the awe that the paintings inspire in the film makers and the scientists alike. Herzog treats us to extended shots of the rapt faces of his party and their minders as they move through the cave. Eventually, it seems a clumsy trick to impress upon the film viewer the profundity of the art. It is, however, consistent with the attitudes expressed by the scientists who are interviewed for the film.
Two other film techniques succeed only partially. The hand held camera and minimal spot lighting that moves across the walls of the cave provides a rough imitation of how the art may have been seen when it as lit by paleolithic torches; however, it would seem some other technology might have been used to more accurately depict this impression. The images are also accompanied by an original score by Ernst Reijseger. As with the rapt faces of Herzog's crew, the music attempts to elevate the film's subject to a lofty spiritual plane, but it is too often overbearing and distracting. A more apt musical sound track might have made use of the simple flutes and percussion instruments that might have been in use by the painters' culture. Alternatively, the quiet of the cave itself may have been more effective than Reijseger's score.
Unsurprisingly, the most impressive aspects of the film are the paintings themselves. These are shown to greatest effect toward the end of the film. Viewing these paintings in a darkened theatre is far more effective than seeing tiny photographs in a handful of art books which up to now has been the best way for the public to see them.
Herzog's fascination with the spiritual significance of art and how it connects us to humans living tens of thousands of years ago is endearing and certainly thought provoking; however, more could have been achieved if he had provided us with a fuller explanation of what the painters' culture was probably like and more explanation of how the images came about. Perhaps the most fascinating interlude in this regard was when we are told that the work of a single artist can be found in various parts of the cave. We know this because some of the markings were made by a hand smeared with ochre. The pinky finger of this hand was distinctively crooked.
The film is being shown in both a 2D and a 3D version. Having only seen the 2D version, I cannot comment on the effectiveness of the 3D version, though it is purported that the 3D camera is better able to convey the contours of the cave walls which are integral to the art itself.
In all, Cave of Forgotten Dreams is a lovely chance to experience a most amazing archaeological discovery that would otherwise be unavailable. Herzog should be congratulated to taking on the project. It is well worth seeing, despite its shortcomings.
The film is a ponderous examination of the paintings and their significance. Prominent in the film is the awe that the paintings inspire in the film makers and the scientists alike. Herzog treats us to extended shots of the rapt faces of his party and their minders as they move through the cave. Eventually, it seems a clumsy trick to impress upon the film viewer the profundity of the art. It is, however, consistent with the attitudes expressed by the scientists who are interviewed for the film.
Two other film techniques succeed only partially. The hand held camera and minimal spot lighting that moves across the walls of the cave provides a rough imitation of how the art may have been seen when it as lit by paleolithic torches; however, it would seem some other technology might have been used to more accurately depict this impression. The images are also accompanied by an original score by Ernst Reijseger. As with the rapt faces of Herzog's crew, the music attempts to elevate the film's subject to a lofty spiritual plane, but it is too often overbearing and distracting. A more apt musical sound track might have made use of the simple flutes and percussion instruments that might have been in use by the painters' culture. Alternatively, the quiet of the cave itself may have been more effective than Reijseger's score.
Unsurprisingly, the most impressive aspects of the film are the paintings themselves. These are shown to greatest effect toward the end of the film. Viewing these paintings in a darkened theatre is far more effective than seeing tiny photographs in a handful of art books which up to now has been the best way for the public to see them.
Herzog's fascination with the spiritual significance of art and how it connects us to humans living tens of thousands of years ago is endearing and certainly thought provoking; however, more could have been achieved if he had provided us with a fuller explanation of what the painters' culture was probably like and more explanation of how the images came about. Perhaps the most fascinating interlude in this regard was when we are told that the work of a single artist can be found in various parts of the cave. We know this because some of the markings were made by a hand smeared with ochre. The pinky finger of this hand was distinctively crooked.
The film is being shown in both a 2D and a 3D version. Having only seen the 2D version, I cannot comment on the effectiveness of the 3D version, though it is purported that the 3D camera is better able to convey the contours of the cave walls which are integral to the art itself.
In all, Cave of Forgotten Dreams is a lovely chance to experience a most amazing archaeological discovery that would otherwise be unavailable. Herzog should be congratulated to taking on the project. It is well worth seeing, despite its shortcomings.
Monday, February 28, 2011
Bookbinding & Conservation by Hand: A Working Guide / Laura S. Young -- New Castle, DE: Oak Knoll Press, 1995
There are a lot of published handbooks on bookbinding and repairing damaged books. The ones I have looked at seem pretty similar and Laura Young's handbook is no great exception. It is, however, among those that are fairly complete in the coverage of bookbinding, but less complete in the coverage of book repair. In any case, it is admirably informative and readable, including several photographs and numerous clear drawings that illustrate various techniques.
There are chapters on book structure, binding styles, equipment, and materials; but the heart of the book describes various techniques for assembling and binding a book from scratch. In the course of this, one comes to understand the component parts of a book and can recognize how minor damage might be repaired. A later chapter provides more explicit advice on conservation methods, but even here, the treatment is brief and insufficient to give one confidence that one might not do more harm than good in repairing a book.
Young is fairly good about not expecting the reader to be acquainted with bookbinding jargon, but the novice reader might do well to have on hand a glossary of bookbinding terminology. ABC of Bookbinding: A Unique Glossary with over 700 Illustrations for Collectors and Librarians (also published by Oak Knoll Press) is a good choice.
Interestingly, YouTube offers a number of valuable videos on bookbinding and repair that may well make handbooks of this sort obsolete.
There are chapters on book structure, binding styles, equipment, and materials; but the heart of the book describes various techniques for assembling and binding a book from scratch. In the course of this, one comes to understand the component parts of a book and can recognize how minor damage might be repaired. A later chapter provides more explicit advice on conservation methods, but even here, the treatment is brief and insufficient to give one confidence that one might not do more harm than good in repairing a book.
Young is fairly good about not expecting the reader to be acquainted with bookbinding jargon, but the novice reader might do well to have on hand a glossary of bookbinding terminology. ABC of Bookbinding: A Unique Glossary with over 700 Illustrations for Collectors and Librarians (also published by Oak Knoll Press) is a good choice.
Interestingly, YouTube offers a number of valuable videos on bookbinding and repair that may well make handbooks of this sort obsolete.
Wednesday, October 6, 2010
The Lord of the Rings Sketchbook / Alan Lee -- Boston: Houghton Mifflin Co., 2005
Peter Jackson's series of movies based on The Lord of the Rings was nominated for thirty Academy Awards, winning seventeen. All three movies were nominated for Best Art Direction and the third movie, "The Return of the King" won in this category. Much of the art in the movies was based on the drawings and and paintings of Alan Lee. Work on the movies was, however, not Lee's first effort to depict Middle-earth. By the time of the release of "The Fellowship of the Ring," Lee's vision of Middle-earth had become widely known among Tolkien fans. So by hiring him to work on the films, Peter Jackson ensured that a large portion of his audience would leave the theater thinking, "That's exactly how I pictured it." It was as if a film of Alice in Wonderland would have John Tenniel involved in its art direction.
The Lord of the Rings Sketchbook is a fine collection of work by Alan Lee which takes the reader through the story of The Lord of the Rings by presenting sketches of critical images, including characters, buildings, landscapes, locations, armour, props, and more. Accompanying the sketches are brief paragraphs in which Lee explains his art or elaborates on the subject that image depicts. Lee also provides a peak behind the scenes of the making of the movies.
The book does not have any great pretensions. It neither provides any deep insight into Tolkieana nor does it treat Lee's art as more than story board illustrations. It is nevertheless an enjoyable romp through Middle-earth and Peter Jackson's movies.
The Lord of the Rings Sketchbook is a fine collection of work by Alan Lee which takes the reader through the story of The Lord of the Rings by presenting sketches of critical images, including characters, buildings, landscapes, locations, armour, props, and more. Accompanying the sketches are brief paragraphs in which Lee explains his art or elaborates on the subject that image depicts. Lee also provides a peak behind the scenes of the making of the movies.
The book does not have any great pretensions. It neither provides any deep insight into Tolkieana nor does it treat Lee's art as more than story board illustrations. It is nevertheless an enjoyable romp through Middle-earth and Peter Jackson's movies.
Wednesday, March 25, 2009
The Art of Buddhism: An Introduction to Its History and Meaning / Denise Patry Leidy -- Boston: Shambhala, 2008.
The Art of Buddhism is a beautiful and informative stroll through the history of Buddhist sculpture, architecture, and painting. The narrative follows a rough chronological order, but by the 6th to 8th century, the spread of Buddhism followed too many different paths to permit a single story. Consequently, Leidy begins describing the art of particular geographic regions chapter by chapter.
Leidy explains many of the subtle features in Buddhist art that help the reader (or viewer) to understand what personalities are represented in the art. She notes that continuity in the art forms across different regions roughly matches the continuity of Buddhist doctrine. For example the sinuous forms of early Indian sculpture appear in Southeast Asian sculpture just as the Theravada doctrine spread from early India to Southeast Asia. Along the way, she explains some of the difference between various schools of Buddhism.
The book is beautifully illustrated, with a photograph or diagram on nearly every page. Unfortunately, they are often too small to really display the full beauty of the art. Indeed, the book's 10" x 7" format makes even the largest images small. Nevertheless, the selection of paintings and especially sculptures are sometimes breath taking.
Leidy explains many of the subtle features in Buddhist art that help the reader (or viewer) to understand what personalities are represented in the art. She notes that continuity in the art forms across different regions roughly matches the continuity of Buddhist doctrine. For example the sinuous forms of early Indian sculpture appear in Southeast Asian sculpture just as the Theravada doctrine spread from early India to Southeast Asia. Along the way, she explains some of the difference between various schools of Buddhism.
The book is beautifully illustrated, with a photograph or diagram on nearly every page. Unfortunately, they are often too small to really display the full beauty of the art. Indeed, the book's 10" x 7" format makes even the largest images small. Nevertheless, the selection of paintings and especially sculptures are sometimes breath taking.
Wednesday, July 2, 2008
The American Woodland Garden: Capturing the Spirit of the Deciduous Forest / Rick Darke -- Portland, OR: Timber Press, 2002
This is a really wonderful book. Darke's hundreds of photographs of America's Eastern Woodlands are stunning, even though he does not appear to rely on lab or digital techniques to enhance the images. They seem true to the eye. His text really makes you appreciate the forest as a living place that changes from season to season and develops over the years. The last half of the book is essentially a brief encyclopedia of native woodland plants listed according to their Latin names. It's an excellent resource.
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