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Apollo and Marsyas Toy Theater (Wayne Ferrebee, mixed media, 2015)

Apollo and Marsyas Toy Theater (Wayne Ferrebee, mixed media, 2015)

OK, I promised everyone a Halloween treat, and here it is.  This past year I spent some time (ahem, well, actually hundreds and hundreds of hours) working on an art toy–a 19th century-style miniature theater for action figures!  It is sized for four inch tall action figures because I grew up with Kenner’s “Star Wars” figures.  I made the toy with a jigsaw, a lathe, and plywood. I painted/drew the images with watercolors, color pencils, markers, and Photoshop!  Since I used Photoshop I can print eveything up and make as many as I like! However I haven’t finished scanning all of the backgrounds in yet and altering them (and I still have a couple more backgrounds I want to make).

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The proscenium arch shows the musical competition between Apollo and Marsyas, an evocative tale which reveals dark truths about art.  I have showed the contest instead of the outcome. On the left a nesting swan is left bereft because a cruel cupid has stolen her mate and shackled him to a chariot (he is flying away at the top). marsyas has heartbroken love and the muses behind him.  Apollo has his dead python and a cold white temple  The farms and cities of humankind can be barely glimpsed in the background behind them. Shears, a wineskin, shackles, and a flaying knife hint at the future.

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On either side of the stage are great mock-Egyptian columns which support the aristocrats and rich folks in the top boxes. The best seat in the house go to the state–which I have represented on one side as a beautiful princess and on the other as an evil inquisitor (although if you look closely you will see they are the same person). The orchestra is filled with musicians and music makers from around the world like a serpent player, the devil with his fiddle, a splendid lyrebird, a ponce with a triangle, a vaudeville ukulele player in pancake makeup, and a toy monkey with some cymbals.  
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The wings of the theater fold out to show all of society.  On the bottom are various groundlings like the shouting lout, the woman with her stupid iphone, my crooked ex business partner (with his vodka bottle), and a hungry walrus watching the fish tray above him. A couple of witches have slipped in without anyone noticing (Terry Pratchett would understand).  The middle level is filled with thieves, lovers, merchants, and clergy people.  The top level is filled with faceless shadow-folk on one side, and noble heroes on the other (notice the lady scientist, the luchador, and the martial arts master). The enraged colossal squid in the lower right was added expressly for this blog (although dedicated readers will notice many familiar elements).

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I have placed some action figures from my collection inside the theater to give you a sense of scale–and of the play operas you could invent with your own action figures and toys!

Clever viewers will note that this is really a fancy frame with footlights.  The real purpose is the interchangable sets–a collection of strange artworks featuring imaginary scenes from throughout history and the imagination.  There is an ancient churchyard in front of a medieval church (notice the undead form and the megaliths on the moor beyond).

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Here is French Colonial Timbuktu.  Effete er…elite officers ride by on a half-track as cobras and scorpions prowl the thronging marketplace.

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Regular readers will remember this seascape of adventure and excitement.  Perhaps it is showing a scene from the spice wars!

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I spent a long time drawing Hell. I was really afraid of hell when I was a child and I tried to capture some of those concepts in these horrible monsters and gruesome punishments.  It is unclear whether it is hell or Diyu (if there is a difference).  I wanted it to be beautiful in its depraved horror.  There are burning cities and red deserts yearning for water…but the aqueducts are broken. There are churches everywhere because I figure hell will be full of the devout.  After all, people who believe in Hell worship evil deities–gods who purposely created flawed spirits just to torture them forever.  But maybe I am just angry about being scared so badly when I was little.  I added pterosaurs because I like them, not because I think they were especially evil.

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My favorite scene is the garden aviary (pictured in the first picture at the top).  It is filled with beautiful flowering trees, spring bulbs, and birds from around the world.  I put the tropical jungle half-set in front of it (see the arborial marsupials), but it sort of blocks the scenic vista.  In fact I had all sorts of trouble photographing this.  I am a better toymaker than photographer.  Also some scenes are not finished (like the future city filled with post-humans and sentient robots, below).  I also left the secret door on the back unphotographed.  I will save it for a later day (but it is really cool and it also unifies the toy greatly). More to follow.  In the mean time get out there and enjoy Halloween (oh, and direct some traffic over here, if you have a moment–I have been working hard making things for you to enjoy!).

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The competition between Marsyas and Apollo on a Roman sarcophagus (290–300) marble

The competition between Marsyas and Apollo on a Roman sarcophagus (290–300) marble

The aulos was a woodwind instrument of classical antiquity.  The word is sometimes mis-translated as “double flute” but the instrument was not a flute, instead it had reeds–like an oboe or a clarinet.  In classical mythology, the aulos was invented by Athena, the glorious goddess of wisdom and favorite child of Zeus.  The first aulos made beautiful music, but it caused the goddess’ cheeks to puff out–which was at odds with her dignified self-image and caused the other gods to laugh.  In disgust she hurled the instrument down into the mortal world where it was found by the satyr Marsyas who picked it up and began to play melodies never heard before.   Marsyas became the first great aulos master.  He wandered through forests and fields on his two hooves playing the pipes in celebration of the pastoral and sylvan beauty he observed.
Apollo and Marsyas (John Melhuish Strudwick, 1879, oil on canvas)

Apollo and Marsyas (John Melhuish Strudwick, 1879, oil on canvas)

One day, Marsyas saw the radiant god Apollo playing his lyre (which, in Greco-Roman society, was the instrument of the aristocracy).  Lord Apollo was clad in the costliest raiment and equipped with the finest gold trappings.  He was inhumanly beautiful…dangerously beautiful.  Marsyas was overwhelmed: he was a crude goat-man, and Apollo was the god of music (and sunshine, and medicine, and prophecy).  At this juncture, Marsyas made a fateful choice–he decided to challenge glorious Apollo to a musical contest. The winner would be able to “do whatever he wanted” with the loser. Marsyas, a satyr (synonymous, in the classical world, with lust) thus imagined that he would “win” or “be won” no matter which way the the competition worked out.

Apollo and Marsyas (Pietro Perugino, late 15th century)

Apollo and Marsyas (Pietro Perugino, late 15th century)

Apollo grew oddly enflamed by the challenge and agreed readily–with one stipulation of his own.  The muses, the goddesesses of art, would judge the event.  Now the muses were daughters of Apollo, both figuratively and literally. To a disinterested observer the arrangement might smack dangerously of favoritism, but Marsyas was blinded by longing and besotted by hist art.

Apollo and Marsyas (Hans Thoma, 1888, oil on canvas)

Apollo and Marsyas (Hans Thoma, 1888, oil on canvas)

The two musicians set up beside a river and began to play.  Apollo played a complicated piece about laws and lords and kings.  It sparkled like sunshine.  It grew oppressively magnificent like the great gods of high Olympus.  It ended like glittering starlight in the cold heavens.  Next Marsyas played and his music was completely different–it spoke to the longing of the weary herdsman coming home at sundown.  It was about the mist rising from furrowed farmlands, about fruit trees budding in the orchard, and about the soft places where the meadows run out into the rivers.

Contest of Apollo and Marsyas, 350-320 BC from Mantineia. Part of the Base of a Sculpture,

Contest of Apollo and Marsyas, 350-320 BC from Mantineia. Part of the Base of a Sculpture,

The muses listened closely to the music and made their choice. “These pieces are played by opposite beings on dissimilar instruments.  The works have completely different subjects, but both pieces are perfect.  Neither is clearly “better” than the other.”  Sublime music had won the contest!

The Contest between Apollo and Marsyas (Tintoretto, About 1545 Oil on canvas)

The Contest between Apollo and Marsyas (Tintoretto, About 1545
Oil on canvas)

But Apollo was not satisfied.  There are two versions of the story: in one he turned his lyre upside down and played it as well as ever (Marsyas, of course, could not do the same with the aulos).  In the other version, Apollo played the lyre and sang (also impossible with the aulos).  “I have two arts, whereas Marsyas has only one!” he proclaimed.   The muses halfheartedly assented: Apollo had officially won the contest.

Apollo flaying Marsyas (Luca Giordano, 17th century, oil on canvas))

Apollo flaying Marsyas (Luca Giordano, 17th century, oil on canvas))

This was the moment Marsyas had planned for.  He was shaking with excitement as Apollo took hold of his unresisting form and shackled him to a tree.   Then Apollo picked up a skinning knife and started flaying the saty’s skin off.  Marsyas screamed and bleated in horror and pain, but Apollo kept cutting and peeling until he had removed the satyr’s entire hide.  Then the lord of music sat and watched while Marsyas bled to death, before hanging up the horrible dripping pelt in the tree and departing.  Vergil avers that the blood of Marsyas stained the river everlastingly red–indeed the waterway was thereafter named the Marsyas.

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Apollo and Marsyas (Bartolomeo Manfredi, ca. 1615-1620, oil on canvas)

The artistic thing to do, would be to leave the story as it stands–to let readers mull the troubling tale on their own. However I have been thinking about it a great deal…Every artist thinks about it a great deal.  Museums are filled with interpretations of the story by history’s greatest painters and sculptors.  There was a version of Apollo and Marsyas painted on the ceiling of the Queen of France (in that version, the skinning is done by underlings as Apollo languidly points out how he wants things done).  Since I have seen plenty of museum-goers blanch when looking at pictures of Marsyas and hastily turn away, I will provide some ready made meta-interpretations to start the conversation.

Apollo and Marsyas from the ceiling of Anne of Austria's summer apartments (Giovanni Francesco Romanelli, ca. mid 17th century, fresco)

Apollo and Marsyas from the ceiling of Anne of Austria’s summer apartments (Giovanni Francesco Romanelli, ca. mid 17th century, fresco)

First, this story is a tale of masters and servants.  The lyre is the instrument of the rich.  It was expensive to own and required tutors to learn.  The aulos was the instrument of shepherds, smallfolk, and slaves.  The tale of exploitation is a very familiar one throughout all of history. It always goes one way: somebody gets fleeced.

The Flaying of Marsyas (Titian, ca.1570-76, oil on canvas)

The Flaying of Marsyas (Titian, ca.1570-76, oil on canvas)

Also this is self-evidently a tale of forbidden sexuality.  It was immensely popular with Renaissance, Baroque, and Victorian artists from the west because of the opressive mores of society.  By presenting this story as a classically varsnished picture, people could represent forbidden ideas about same-gender relationships which society would literally kill them for saying or acting upon.  Indeed the story’s ghastly climax represents exactly that!

Apollo and Marsyas (Giuseppe Cammarano,  19th century, print)

Apollo and Marsyas (Giuseppe Cammarano, 19th century, ink wash)

In a related vein, philosophers and writers interpret the story as “reason chastening lust.”  The former is more powerful than the latter: ultimately the mind subjugates the passions. Perhaps this is why the picture was above the queen’s bed–maybe the king commanded that it be painted there.  Yet the reason of Apollo does not strike me as at all reasonable.  If this is what rationality accomplishes, then reason is monstrous (and it often seems so in the affairs of men). I wish I could sit with Jeremy Bentham and talk about this. Utility and pragmatism oft seem as ruthless as cruel Apollo.

Apollo and Marsyas (Anselmi, 1540, oil on canvas)

Apollo and Marsyas (Anselmi, 1540, oil on canvas)

It is also a tale of artists and their audiences (and their art).  Marsyas does not clearly lose the contest.  His music is as beautiful as that of Apollo–maybe better.  However the game was rigged from the start.  Art is a mountain with infinite facets but the sun of fashion only shines on a few at a time.  The greatest artists are not necessarily appreciated or loved.  I can’t imagine a single artist who painted this story imagined themselves as Apollo. Unless you have personally rigged the game with money and power, it will not benefit you. You must prepare for operatic destruction at the hands of the world.  It is a terrible part of art.  The world’s inability to discern true worth is one of life’s most disappointing aspects.

Marsyas Flayed by the Order of Apollo (Charles André van Loo, 1735, oil on canvas)

Marsyas Flayed by the Order of Apollo (Charles André van Loo, 1735, oil on canvas)

Above all, it is a story of gods and mortals. For daring to step on the field with the divine, mortality is punished with the ultimate penalty–mortality.  I don’t believe in gods or divinity (people who literally believe in such things strike me as dangerous lunatics).  Divinity is a myth–but an important one which informs us concerning humankind’s ultimate purpose and methods.  We have strayed into vasty realms.  I’ll come back to this theme later but for now let’s say that the defeat of Marsyas reveals something.  Would you prefer if he just gave up and groveled before Apollo?  No, there would be no story, no striving, no art. There is a divine seed within his failure–a spark of the celestial fire which animates (or should animate) our lives.

Marsyas Flayed by the Order of Apollo (Charles André van Loo, ca. 1734-1735, oil on canvas)

Marsyas Flayed by the Order of Apollo (Charles André van Loo, ca. 1734-1735, oil on canvas)

Anyway, for putting up with this rather horrible week I have a Halloween treat for you tomorrow.  Remember, I am not just a moral and aesthetic philosopher but a troubled toymaker (and a lost artist) as well.  Happy Halloween!

The Martyrdom of Saint Bartholomew (Jusepe de Ribera,  1634, oil on canvas)

The Martyrdom of Saint Bartholomew (Jusepe de Ribera, 1634, oil on canvas)

Saint Bartholomew was one of the twelve apostles of Christ… Yet, considering the exalted company he kept, we do not know very much about Bartholomew.  Bartholomew means “son of the furrows” in Aramaic, which suggests he was possiblya ploughman…or at least descended from farmers (it is also funny to think that Bart Simpson’s name is originally Aramaic).  Bartholomew shows up by name in the gospels of Matthew, Mark, and Luke (the “Synoptic” gospels, which give roughly the same account of events) but he is replaced by Nathaniel in the enigmaticand iconoclastic gospel of John.

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Whatever the case, sources (such as they are) place Bartholomew at the Ascension–the Greek-myth style apotheosis of Christ, when the risen savior ascended bodily into heaven to assimilate with the divine.  Bartholomew’s story gets a lot more interesting thereafter.  While other apostles went west and north to spread Christianity to the Roman Empire, Bartholomew headed East, right out of the boundaries of the known world. Along with Saint Thomas, he is credited with bringing Christianity to India.  Along the way he is alleged (by varying sources) to have stopped to spread the faith in Mesopotamia, Parthia, and Lycaonia.

Martyrdom of St. Bartholomew (Stefan Lochner, 1435)

Martyrdom of St. Bartholomew (Stefan Lochner, 1435)

However Bartholomew is most affiliated with Armenian Christianity.  Along with his fellow apostle, Saint Jude, he is credited with bringing the faith to Armenia in the 1st Century and the two are the Co-founders of the Armenian Apostolic Church. Armenia was also the site of his thrilling martyrdom.  According to popular tradition,Bartholomew converted Polymius, the king of Armenia, to Christianity. This infuritated the king’s brother Astyages, a devout pagan who thought that getting rid of the proslytizer would get rid of the faith.  Astyages had Bartholomew seized, crucified and flayed alive–which seems like overkill.  In some accounts the holy man was drowned or beheaded (maybe Astyages feared a Rasputin type situation and had Bartholomew crucified, flayed, drowned, and beheaded).  Armenia is not necessarily the center of the world in contemporary times, but it was a thriving society in the early medieval world.  There were huge cities filled with great cathedrals to Saint Bartholomew   Whatever the case of the real Bartholomew, popular imagination seized on the flaying aspect of this tale.  This death of Saint Bartholomew became favorite theme of artists  Michaelangelo even painted himself as Saint Bartholomew’s nightmarish skin in the last judgement.  There he is between heaven and hell in the saint’s flayed hand.  Will he be cast down and discarded of ascend as a saint?

Detail from "The Last Judgment" (Michelangelo Buonarotti, ca. 1535-1541, fresco)

Detail from “The Last Judgment” (Michelangelo Buonarotti, ca. 1535-1541, fresco)

Some scolars have noted a deliberate similarity between Bartholomew and the Greco-Roman demigod Hercules. Churches to the saint were often located on former sites of cult centers to the strongman. Additionally the two shared iconongraphy: Bartholomew frequently holds of wears his skin like Hercules wears the Nemean lion’s skin. There are even certainly weird parallels between the figures. Hercules transcended death through physical strength: excellence at fighting and a divine pedigree allowed him to rise to heaven.  Saint Bartholomew a normal man–a farmer–transcended mortality by spiritual strength–he shrugged off the most terrible death possible and joined Jesus in heaven (and in working miracles here on Earth).  Barthomew and Hercules even shared a doom caused throught the skin.  Barthomew was flayed, while Hercules was poisoned intracutaneously and ripped his own skin off.  It is a good theory, but it overlooks the even more straightforward Christian message of Bartholomew. He transcended his mortality through his association with Jesus. He shrugged off his human flesh and became part of the divine.  The raw power of the tale is instantly recognizable in the beautiful & horrible art.

Martyrdom of Saint Bartholomew (unknown artist, 17th century, oil on canvas)

Martyrdom of Saint Bartholomew (unknown artist, 17th century, oil on canvas)

In the middle of the 14th century China was convulsed with famine, plagues, drought, and peasant revolts.  The central government was made up of Mongol outsiders who were both unable and unwilling to do much about the horrors going on throughout the vast land.  Into this maelstrom stepped a penniless apprentice monk, Zhu Yuanzhang.  Within 16 years he made the most remarkable personal ascension in human history, rising by his own hand from beggar to officer, to warlord, to prince, to Emperor of all China.  He threw the Mongols from the country and founded the Ming Dynasty, arguably China’s greatest.   Zhu Yuanzhang took the reign name of Hongwu.  He is one of history’s most perplexing and divisive figures.  Indeed I have personally had great trouble with the Hongwu Emperor, which I will recount later on—I have a story which is about this guy…and about my writing and about our time.

The Hongwu Emperor was not a handsome fellow!

The Hongwu Emperor was not a handsome fellow!

But that is for later.  This is Halloween week—and our horrifying theme is flaying!  Zhu Yuanzhang’s story of rising to the throne is a Disney style tale. But alas it does not end with his coronation. When Hongwu had crushed every rival and consolidated the land under his rule, some bad things started to happen.  After defeating every real enemy, the Hongwu emperor started to see enemies who weren’t actually there among the ranks of his loyal friends and subjects. He had started life as an illiterate peasant and he imagined that the scholars were laughing at him.  He had known terrible privation and so he thought his ministers were stealing from him.  The Hongwu emperor believed that every person should be an extension of his will, and he saw people doing things he did not care for and acting in ways which were off-putting or alarming to him. He fell into the habit of micromanaging—a terrible fault for a manager.  He also fell into the habit of killing everyone around him and purging their families and retainers from existence (although my management handbook doesn’t actually list this as a leadership flaw—which tells you something about the problems inherent in human understanding of hierarchy).

The Hongwu emperor purged his oldest friends.  He purged his concubines.  He purged monks and scholars.  He purged merchants and financiers.  He killed lords and commoners, farmers and fighters. Fortunately he was a very gifted micromanager and he managed to make credible agricultural reforms and administer China largely on his own, but there were times when the business of China bogged down because every miniscule decision had to be reviewed by the emperor (and it is better if we don’t talk about his currency reform).  There was also a steep human toll, which became ever more dreadful as the emperor began to devise cruel new ways to kill people for imagined slights. It was almost as though he wanted to punish them for having their own will.

A historical reenactment of a scene from the Hongwu Court

A historical reenactment of a scene from the Hongwu Court

Hongwu was greatly concerned with propriety and morality.  He started to feel that the 5000 serving girls of the Imperial palace were behaving improperly with outsiders so he had them all flayed to death. He then had their skins stuffed with straw, and put on display as a morality lesson (the eunuch gatekeepers of the palace met the same fate).  Chinese scholars argue about this story, which was related by Yu Ben, an officer of Hongwu’s bodyguard who later penned a primary source account of what he had seen, but they reluctantly concede that Yu seems reliable.

Hongwu was able to get away with such acts because the Mongols had largely done away with any aristocracy who could oppose him (and Hongwu himself did away with his other competitors during the civil war…and then with his pogroms).  Additionally his reforms were successful: China became a better place to live in the late 14th century (although maybe not if you were too close to the court).  Yet this dark murderous madness left long shadows over Chinese history.  The Ming dynasty was probably the most autocratic of China’s dynasties (which is really saying something) and it consolidated a troubling new extreme of concentrating absolute power in the sole hands of the emperor.  This remains part of Chinese culture:  the Hongwu emperor was a great hero of Mao’s.  In China, you don’t even have the skin you live in, it belongs to the supreme human authority. Indeed, this may always be the case everywhere.  If some angry kingpriest, paranoid emperor, or tyrranical god comes along, a human skin is weak armor against their whims.

Dangit, this is not as fun as writing about the undead–who are, after all, fictional–although it certainly is interesting and thought-provoking in its own way.  But stay with me, there is a reason I chose this topic–a myth I have become fascinated by. Also I promised a special treat on Saturday! Additionally I promise it is not as dark and horrifying as Chinese history (although, admittedly, there isn’t much which is so troubling).

Neo-Assyrian Shock Troops

Neo-Assyrian Shock Troops

The Assyrians were one of the great palace civilizations of ancient Mesopotamia. As one of the first known civilizations, their culture came of age along the upper Tigris River in tandem with Sumer, Ur, and Babylon (Semitic kingdom states which blossomed along the pattern of ancient Eridu).  The old Assyrian empire was an early Bronze Age empire which lasted from 2025 BC-1393 BC.  The Middle Assyrians were united under a series of politically powerful king priests and flourished until the great Bronze Age Collapse—a century of chaos and horror which lasted from 1055–936 BC.  After this cataclysm, the shattered remnants of Assyrian society rebuilt along the same lines—but now they had a technological breakthrough—iron.  With strong political leadership they were well-positioned to utilize this innovation, and the Iron Age Neo-Assyrians were charioteers and conquerors.  Their armies set about building the greatest empire the world had ever known based around iron, axels, horses, and ruthless political hegemony.

Neo-Assyrian Gypsum wall panel relief showing Ashurnasirpal II hunting lions, 865BC – 860 BC.

Neo-Assyrian Gypsum wall panel relief showing Ashurnasirpal II hunting lions, 865BC – 860 BC.

Into this picture came Ashurnasirpal II, who ascended the Assyrian throne in 883 BC. Ashurnasirpal II was a great builder, thinker, and a reformer.  He moved the capital of the empire from Assur to Nimrud and erected a series of new walled cities.  He collected zoological and botanical specimens from all around the known world in hopes of furthering agriculture and fostering a deeper understanding of living things (presumably).  Alas, he was also a political theorist and he realized he could utilize horrifying violence as a political tool.  He reasoned that if he tortured and killed the entire population of one rebel city, other cities would not rebel (a theory which pretty much worked after the first vivid demonstration). History remembers him as a ghastly butcher, but he was also famed in his day as a mighty conqueror and an innovator.

Bas relief from the palace of King Sennacherib: Assyrian soldiers flay the captives of the conquered city of Lachish in 701 BC.

Bas relief from the palace of King Sennacherib: Assyrian soldiers flay the captives of the conquered city of Lachish in 701 BC.

Anyway, the Neo Assyrians in general, and Ashurnasirpal II in particular feature in this week’s blog because they wanted their violence to be as gruesome as possible.  Threats and executions worked best if people were truly & utterly terrified.  Far beyond merely killing their enemies, the Neo-Assyrians needed to kill them slowly, painfully, and with real flair.  Their favorite methods for accomplishing this were spitting and burning (which is how they are remembered in the Bible). However their most hated enemies were flayed alive—which we know because we have pictorial evidence in the form of horrible bas reliefs.  Not only that, we have a direct quote from Ashurnasirpal II, who ponderously (but chillingly) said:

I have made a pillar facing the city gate, and have flayed all the rebel leaders; I have clad the pillar in the flayed skins. I let the leaders of the conquered cities be flayed, and clad the city walls with their skins. The captives I have killed by the sword and flung on the dung heap, the little boys and girls were burnt.

It is not exactly an idealistic political statement, but it has a real visceral power. And it did have real power: the Neo-Assyrians conquered the rest of Mesopotamia, and then the Near-East, and then Egypt itself.  They kept on moving using fast chariots to sweep away armies and terror to keep control. However, like so many conquerors they were trapped by their lifestyle.  The Assyrian kingpriest’s power came from building great temples to the Assyrian gods, he accomplished this with booty from conquest. When the conquest stopped the whole nightmarish system came tumbling down, and the enemies of Neo-Assyria quickly learned ways to defeat chariot armies. By the 7th century the victories began to dry up, and the empire collapsed in 627 BC. Today the Neo-Assyrians are remembered, not as cutting edge innovators, but as monsters—the first masters of the blitzkrieg and of mass terror sponsored by the state.

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A Flayed man holding his own skin (Gaspar Becerra, 1556, Etching)

A Flayed man holding his own skin (Gaspar Becerra, 1556, Etching)

It’s Halloween week already: the time when the spirit realm comes closest to the mortal world (well, according to ancient lore, anyway).   This is always a “theme week”, which Ferrebeekeeper devotes to a single topic which is sinister, magical, disquieting, and macabre.  In past year’s we have taken on dark subjects like the children of Echidna, the Flowers of the Underworld, the undead, and the realm of nightmares, but this year we are going back to the roots of civilization to examine an ancient horror.  Sadly, this ghastly topic is not a dark myth or an accursed dream, but an all-too real invention of human savagery.

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Flaying is a method of torture and execution, which was used in ancient times (and not-so-ancient times) to kill a person in the most terrible and painful way.  Of course hunters and animal farmers are familiar with flaying as stripping the skin off of a dead animal so that the hide can be cured as a pelt or a leather, and so that the animal’s meat can then be butchered for consumption (although this is more commonly known as “skinning” in English).  This is done with a knife or similar sharpened implement and farmers/hunters/chefs generally try to keep the hide as intact as possible. At some point in the depths of prehistory, some evil person first realized the same method could be used to cut the skin off of a living person.   Skinning more than a portion of a person is fatal.  Wikipedia blandly cites Ernst G. Jung, a famed dermatologist, writing:  “Dermatologist Ernst G. Jung notes that the typical causes of death due to flaying are shock, critical loss of blood or other body fluids, hypothermia, or infections, and that the actual death is estimated to occur from a few hours up to a few days after the flaying.”  How did Jung know that?  We want to know and yet clearly we also do not want to know. I found a lot of arguments online about whether modern medicine could rescue a flayed person.  I will summarize the upshot of lots of nightmarish dumbassery as “maybe… in perfect circumstances, but probably not.”

lelli-collection

At this point, if you are like me you are probably saying “GLAAARGH! What the hell? Why would anybody ever do such a thing? And why write about it? Why should I even think about such monstrous savagery? I am going to go look at pictures of cute little songbirds.”  That is a good point and those questions/sentiments are very pertinent, but you should not go to the cute animal site yet.

Here is a cute little bird to break the tension.

Here is a cute little bird to break the tension.

Flaying keeps cropping back up in human history, art, and myth.  It reveals something about us in a dark tale which stretches across millennia.  Mostly, of course, it reveals that we are very tragic and cruel animals, but that is a truth well worth remembering (assuming you can somehow not see it within the daily news).  Flaying also reveals some of our stagecraft for manipulating and controlling each other–which I will get into tomorrow with the story of the Neo-Assyrians.  Additionally there is a mysterious and otherworldly hint of true transformation within this topic—a suggestion of the butterfly, the cocoon, and true transcendence from the body—although admittedly this miracle which did not quite come off properly. We will get to this as we look at flaying in art and religion.

High Fashion by Jean Paul Gautier

High Fashion by Jean Paul Gautier

If you can stay with me, this week ends with a fun surprise on Halloween (which I have been working on for a long time and saving for you)…but there is some pretty dark territory to get through before then.  Gird up your loins (no seriously, you may want to tie something protective around your flesh), tomorrow we are going back to the age of chariots and horror to spend some time with the neo-Assyrians.  Aaaagh!

l'Écorché

l’Écorché “The Flayed Man” ( Jean-Antoine Houdon, 1767, cast)

ZOOOIDS - Underworld II (Robert Steven Connett, 2009, Acrylic on canvas)

ZOOOIDS – Underworld II (Robert Steven Connett, 2009, Acrylic on canvas)

Here is an amazing painting of fantastic glistening underworld creatures.  I greatly admire the artist, Robert Steven Connett, a self-taught contemporary painter who crafts baroque landscapes of dark lifeforms and gleaming spirit-things.  At their best his works come together to portray life as an interwoven web of symbiotic appetite and need—a phantasmagorical ecosystem of amalgamation and ingestion.   It is as though Giger were a gifted mycologist or invertebrate zoologist.  As far as I can tell, Connett has made few inroads in reality, where art is controlled by a click obsessed with fatuous celebrity and tiresome naval-gazing deconstructionism.  However he has created his own strange markets online (in much the same way that he builds his own imaginary underworld ecosystems).  It almost gives a person hope.

I realize this has been an art-heavy week…but I will make it up to you next week when, in celebration of Halloween, we have a whole week dedicated to a unifying theme of macabre terror.  The Halloween themes of years past–the children of Echidna, the Flowers of the Underworld, even the spiritual and ontological horrors of the undead–raised no eyebrows on the internet, so I am ratcheting up the dreadful violence this year.  Steel yourself for the frightful flesh-cutting terror…uh, and for more art too I guess.

Black Mamba (Dendroaspis polylepis)

Black Mamba (Dendroaspis polylepis)

I have been putting it off forever, but Halloween is rolling in and we need the A-list material… let’s talk about the black mamba (Dendroaspis polylepis).  Not only do black mambas have the scariest & sexiest name in herpetology (and maybe beyond), they fully live up to their fearsome reputation.  Black mambas are among the fastest snakes in the world—indeed they may be the fastest (it is apparently difficult to make deadly poison serpents run on a treadmill).  Their venom is a horrifying cocktail of neurotoxins including an exceedingly effective dendrotoxin which attacks the ion channels which allow nerve cells to communicate with muscles.

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Black mambas are diurnal ambush hunters.  They inhabit a giant swath of sub-Saharal Africa from the northern Sahel down to Namibia and Mozambique in the south (although they are absent from certain deserts and rainforests within this vast territory). The snakes live on small intelligent mammals like hyraxes and bushbabies…but surely they must eat other creatures as well.  In turn mambas are preyed on by the fearless yellow mongooses, snake eagles, and cape file snakes–which are seemingly immune to the poison.  Africa has some really intense inhabitants.  It goes without saying that people kill them too, out of dread.

Speaking of which, according to lore, black mambas are highly aggressive and attack with no provocation, but this does not seem to be borne out by evidence.  Knowledgeable herpetologists assert that black mambas are wisely afraid of humans (we are, after all, the most terrifying invasive aggressive species from Africa) and they try to flee us when possible.  Still if you happen upon one of these snakes it might be wise to avoid it rather than trying to impress it into submission with a list of our atrocities. They can strike with extreme speed and sometimes bite multiple times (which is bad news considering that a person bitten even once can keel over in less than 45 minutes and nearly all untreated bites are fatal).

This albino black mamba is not clarifying anything, but is strangely endearing

This albino black mamba is not clarifying anything, but is strangely endearing

In gentler moments mambas mate once a year in early spring.  Females lay clutches of 6-17 eggs which hatch in about ninety days. Baby black mambas emerge from their eggs with fully functioning venom glands, so don’t pick up the baby snakes no matter how cute they are (?).

[contemplates photo, passes out]

[contemplates photo, passes out]

Black mambas are not black! They are diurnal hunters and are thus the nondescript color of dust or contemporary office furniture–the better to blend in to scrublands, forests, and grasslands which they inhabit.  Their name comes from the insides of their mouths which are indeed as black as Goya’s nightmares. I knew a girl in junior high school who said “Oh mamba!” when she was impressed, which I thought was really endearing.  The word is apparently Nguni in origin (although the snake is more broadly known than the tongue it is named in).  Mambas are elipsids–close relatives of cobras.  The other species of mamba are arborial, but black mambas stay closer to the ground.  Black mambas seem to have faintly mocking smiles–so at least they are enjoying themselves [citation needed].

ssssmile!  You only live oncce.

ssssmile! You only live oncce.

Mastiff Bat Vessel (Moche, 50-200 AD North Coast, Peru, Earthenware)

Mastiff Bat Vessel (Moche, 50-200 AD North Coast, Peru, Earthenware)

Longtime readers will remember that Ferrebeekeeper has a great fondness for the magnificent art and pottery of the Moche, a civilization noted for sophisticated agriculture, ultra-violence, and, um, magnificent art and pottery. The Moche lived in the rich coastal lands of what is now northern Peru. In the past we have written about their art of sea monsters and human sacrifice, and of waterfowl. Today we look at Moche bat-themed art.

Crescent-Shaped Ornament with Bat, C.E. 1 - 300 (from the Brooklyn Museum)

Crescent-Shaped Ornament with Bat, C.E. 1 – 300 (from the Brooklyn Museum)

Double lobed whistling bat sculpture (Ca. 450 - 800 A.D.) the bat makes a chirping/whistling noise when water is poured out and air is blown in

Double lobed whistling bat sculpture (Ca. 450 – 800 A.D.) the bat makes a chirping/whistling noise when water is poured out and air is blown in

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Gold Bat Ornament (Moche)

Gold Bat Ornament (Moche)

Bats were beloved subjects of much pre-Colombian art (I owe everyone a post about the bat in Aztec art and myth). Although they were great artists, the Moche were scary people who were always sacrificing and garroting and flaying (more about that next week) and excarnating and hanging corpses everywhere. Yeesh… Perhaps unsurprisingly, the bats of Moche art are scary creatures with grimacing monster teeth and near-human expressions of malice and grief.

Early Intermediate (Moche IV), Mochica Molded stirrup-spout vessel, A.D. 500–700 Ceramic with red and white slip North coast, Peru

Early Intermediate (Moche IV), Mochica Molded stirrup-spout vessel, A.D. 500–700 Ceramic with red and white slip North coast, Peru

Moche IV ceramic stirrup spout bat form effigy vessel

Moche IV ceramic stirrup spout bat form effigy vessel

Sadly we don’t know precisely what place the bat held in Moche mythology. In fact we don’t know anything about Moche mythology except what we can intuit visually. However there are lots of bats to visually interpret and it seems like a safe bet that they had a chthonic underworld meaning (as they do in Western art and culture). These bats are demons and monsters born of the dark night-side of the human spirit.

Moche Vessel (Early Intermediate period) Bat demon

Moche Vessel (Early Intermediate period) Bat demon

Probably Moche (?) AD 200-500

Probably Moche (?) AD 200-500

All of these grimacing fanged bats with bared claws and anguished eyes make me think of the Moche people themselves—caught up in their centuries-long game of bloody worship and savage status. I wish I could help them, or even understand them, but they are gone. All we have are their skeletons and their beautiful dark art.

Moche - Pair of Gilt Bat Appliques. Loma Negra, Peru.

Moche – Pair of Gilt Bat Appliques. Loma Negra, Peru.

Gold Nasal Ornament with bat (Moche)

Gold Nasal Ornament with bat (Moche)

New York City from Bus Window (Wayne Ferrebee, 2015, color pencil and ink)

New York City from Bus Window (Wayne Ferrebee, 2015, color pencil and ink)

This weekend I took a trip up to Kingston, an old colonial town up the Hudson River.  I was visiting to see a friend’s art gallery, One Mile Gallery, (which you should check out when you are in the region–but more on that in later posts).  I took the bus a hundred miles up the river and jumped out, prepared to walk through a few blocks of quaint historical district–but the actual walk was more like a five mile hike through fields and ravines, past old stockades and cement factories (and strip malls).  Additionally I unknowingly visited on the day when the townsfolk reenacted the 1777 burning of their town by King George’s redcoats!  The whole trip had a very spooky autumn feel and I highly recommend Kingston (although if you visit you should maybe plan better than me and not run through the forests at night as the first snows arrive).

Hudson Valley from Bus Window (Wayne Ferrebee, 2015, color pencil and ink)

Hudson Valley from Bus Window (Wayne Ferrebee, 2015, color pencil and ink)

Anyway here are four drawings I made on the trip.  The first two were on the busride on the way up.  There is New York City seen rising like a twisted lovely dream above the marshes and suburbs of New Jersey.  Next we see the bucolic Hudson landscape blurring from the bus window.

Kingston (Wayne Ferrebee, 2015, color pencil on paper)

Kingston (Wayne Ferrebee, 2015, color pencil on paper)

This is a drawing of the historic cemetery at Kingston.  I took certain liberties since I was rushing through and I drew in the details on the bus.  The green statue guy is George Clinton, the fourth Vice-President of the United States.  Finally on the bus ride home, I became enthralled by the same picturesque Hudson Valley clouds that have beguiled so many artists over the years.  Hopefully you enjoyed the sketches from my little autumn mini-trip.  I’ll get back to real posts tomorrow and we’ll start leading up to next week’s Halloween themed week of horror and dread!

Hudson Valley Sky in Autumn (Wayne Ferrebee, 2015, color pencil and ink)

Hudson Valley Sky in Autumn (Wayne Ferrebee, 2015, color pencil and ink)

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