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More-often-than-not, Ferrebeekeeper has featured crowns from long ago.  We try to feature crowns from antiquity or the Middle Ages (since that is where monarchs belong) but, because the development of the world is halting and uneven, we have seen quite a few crowns from the early modern era and the nineteenth century.  After saying all that, here is a contemporary crown from the quasi-present.  This is a crown made of emeralds and black gold (which is “oil” in my book, but apparently mean something else to jewelers) which was famously worn by Queen-Consort Rania of Jordan in 2003.  The piece was designed by Solange Azagury-Partridge for the French jeweler Boucheron (who, as far as I can tell) may still hold the piece.  The tiara is in the form of a twining circlet of ivy. Since Rania is both famous and infamous as a fashion icon, the modern elegance of the piece suits her quite well. I tend to prefer crowns to be medieval and symmetric with lots of cabochon gemstones and heavy YELLOW gold arches & crosses, however this piece has an elven charm about it which lifts it above the ugly abstract minimalism of most contemporary pieces.  In fact, projecting backwards, I think it is a shame that more historical crowns don’t feature leaves, animals, insects or suchlike naturalistic details and ornaments.  For example, one of the best crowns, the raven crown, has embroidered skulls and raven heads and looks as awesome as it sounds.  Maybe Queen Rania and Druk Gyalpo, the Dragon King of Bhutan, should hang out more for reasons of pure bling (although the Dragon King is a reformer, whereas the jury is still out on the Hashemite Dynasty).

The Sphinx in the Carthaginian Charnel Yard (Wayne Ferrebee, 2021) ink and watercolor on paper

Today’s post features a little watercolor from the tiny moleskine sketchbook which I carry around with me all the time—but it is also a teaser for Ferrebeekeeper’s annual Halloween feature topic (previous topics have included the undead, the children of Echidna, flowers of the underworld, evil clowns, and flaying).  Anyway, the painting shows a Carthaginian cemetery with a great sinister oven in the background in the shape of Baal or Tanit.  Some officious Carthaginian priest is running around the monuments with a sinister wavy ceremonial knife and weird shrouded forms writhe in the background.  In the foreground is a disgruntled sphinx wearing the same expression as my housecat before she stalks out of the room or disappears to hide in her undisclosed secure location.   In the extreme foreground is a nightjar hidden among the weeds and wildflowers.   Glowing pink flowers of a numinous character hover in the stormy sky.  It is unclear whether they are ornamental or somehow connected with whatever story is being told.  

Today, for no discernible reason, I remembered a treasure of my childhood–a Star Trek coloring book from the 1970s for the awesome (but often-overlooked) Star Trek animated series which had Leonard Nimoy, William Shatner, and the rest of the original cast voicing the characters.  By its very nature, the animated series allowed for a much broader variety of strange alien lifeforms and mind-shattering outer space hijinks (which meant there were Kzinti and Phylosians and whatnot running around).

The coloring book (which my father brought home to cheer me up when I had a bad ear infection) was similarly awesome, with whole pages dedicated to crazy aliens. There was one particular 2 page spread with an entire alien ecosystem (!), which I often stared at longingly. But there was a problem: my 5 year old self did not have the fine motor control (nor the other requisite tools) to color these magnificent images in the fashion which they deserved. I tried coloring a lesser picture of some redshirts and junior officers, and it turned into a disaster of jagged mustard, orange, and puke colored wax expressionism (remember this was the 70s). There was no way I was going to deface those incredible alien worlds with such raw artistic incompetence.

“Captain, I very much fear that the ship is taking on unsustainable quantities of magenta. Also, our enlisted personnel have been bisected by a ‘goldenrod’ line”

So I didn’t color my favorite coloring book and I waited to get good enough to be worthy of it. But, alas, by the time I reckoned myself to be sufficiently talented to properly color the best pages (2009, maybe?), the book was long gone. I would like to make a joke about that janky seventies newsprint turning yellow and brittle over the decades, but I think my mom threw it away back in the day because I wasn’t using it (also, she not-very-secretly disliked Star Trek for reasons unknown & unfathomable). But even if the book had somehow survived up until now (when I finally have the French gauche and 300 sharpened Prismacolor pencils necessary for the assignment) would I color such a thing? Of course not! I can draw my own alien planets (and, cough, perhaps the illustration quality of this book does not entirely warrant the enthusiasm I had for it as a child).

But the seventies Star Trek coloring book is still my favorite coloring book and, in retrospect, its lessons might outstrip the (treasured and hard-won) lessons of the coloring books which I did color. For not only did it teach us about exploration, equality, and the boundless strength of the human (and Vulcan…and Edosian) spirit, the coloring book also taught lessons about living life NOW, not in some abstract future where everything is perfect. Would I have been happy with the job I did coloring the Phylosians or Captain Kirk holding a paring knife? No, of course not! No matter what decade it is, I am never satisfied with my artwork no matter what form it takes. But at least I would have had the pleasure of confronting the challenge and learning from it and moving on. Now it will forever be trapped in the past, uncolored (unless I somehow find the images online…or buy an adult Star Trek coloring book…or go to a website where you can color this online right this moment). Sigh…

What really worries me is whether I have actually learned this lesson or whether I am leaving the best part of life to be lived on a day which never arrives.

You could change course NOW though

Shu Masks (ca. 1050 BC) gold mask in foreground, bronze head in back

Here is a 3000 year old gold mask discovered in the sacrificial pits of Sanxingdu (which are located in Sichuan (Szechuan)) in Southwest China. The mask was not made for humans but was meant to be worn by a bronze head which was also one of the numerous items deliberately interred in the pits by the Shu people back during the time of the Shang Dynasty. Although the Shang Dynasty is sometimes known as China’s first dynasty and is a time when the first definitive Chinese writings emerged (along with many of the typical hallmarks of Han civilization), the Shu kingdom was not part of the Shang civilization centered in Anyang (as explained by this nebulous yet informative map).

Uh, so who were the Shu people and why were they making these gorgeous stylized heads out of gold and bronze only to bury them among burnt offerings? Well that is a really good question which lacks a really good answer (although analogous instances of buried offerings and treasure in other cultures probably prove instructive). Ferrebeekeeper has blogged about the Shu society and artworks before, and this newly discovered gold mask does not add much to that previous account…except for beauty and wonder. Those will have to suffice until somebody digs up a more definitive answer!

Here is a fascinating status object from the deepest Congo. This is a ceremonial knife of the Mangbetu people, a tribe of approximately 1 million people who live in the northeast portion of the Democratic Republic of Congo. The Mangbetu people are historically famous for metalworking prowess, beautiful art, and elongated skulls (which were artificially lengthened by skull-binding during infancy). Early visitors were struck by the sophistication of Mangbetu politics, architecture, and crafts as well as by the breadth of their agriculture (which included diverse crop cultivation and cattle herding). These early historical accounts also remark upon the Mangbetu penchant for cannibalism (but such accounts are viewed with skepticism among prevalent schools of modern cultural scholarship).

A picture of the distinctive elongated skull favored by Mangbetu elites (circa early 20th century)

The ethnological history of the Mangbetu tribe is interesting and instructive. The Mangbetu language is Central Sudanic in character (as to a greater extent is Mangbetu culture), yet the people are Bantu and live in the northeastern part of the Democratic Republic of Congo. It is believed that during the climate crisis of the little ice age, Sudanic climate refugees fleeing south met a larger Bantu community migrating north and the two groups annealed (with the Sudanic people claiming group leadership). This cultural cross-pollination explains the Mangbetu’s political and technological strength relative to the other peoples of their territory (the Mangbetu conquered their lands and displaced or otherwise dealt with the original inhabitants).

Anyway, these knives were not weapons or tools, but rather ceremonial objects denoting power and status which could be exchanged for goods and services (I guess in the modern world we call such things “money”). As greater globalization reached the Mangbetu in the 19th and 20th centuries, they realized that their valuable ceremonial status knives were valuable to other people as well, and they began to mass produce more and more of them for trade. This means that many of these knives exist but that the quality is not always consistent with the refinement and beauty of early pieces.

Roller Summer Sunset (Wayne Ferrebee, 2021) ink and watercolor on paper

Labor Day is over. Another summer is dying away. I wanted to celebrate the summer (it is my favorite season!) without giving into the elegiac feelings of fall, so I drew this sunset drawing of merriment in Central Park. As always my muse is the incomparable Lillian Newberg, doyenne of the resurrected New York roller disco scene (would that I could participate–but I can no more dance…or walk…or stand still…on roller skates than I can fly like Superman). Around her are strange & mysterious circus folk with hotdogs and ice cream, while a rather splendid toucan preens at the treeline. The sloth is not a roller skater either, but at least he can drag himself to the party on a skateboard. A langur turns the magical disco jack-in-the-box, while various angelic folk fly around the heavens as per their wont. The scene is delightful except for the tragic sentient lemon and the rubber chicken (which has been accidentally discharged from a novelty cannon). The snake represents moral choice whereas the flounder suggests that our appetites will always be lurking in the immediate foreground of anything we do. I don’t know what is up with that fancy garter belt. Somebody probably dropped it there by accident and it has nothing to do with the larger parable…

The Soybean Field (Wayne Ferrebee, 2021) Watercolor on paper

One of the great pleasures of traveling is new things to draw and paint…except, of course, for when artists travel back home, in which case they get familiar subjects with which they have wrestled for a long time. Such is the case with the subject of today’s featured drawing (which I actually drew last Wednesday). Here is the soybean field on my parents’ farm which lies just to the north of their house and farmyard. Perhaps a soybean field does not sound particularly exciting to you (as opposed to crops of known beauty such as winter wheat or sunflowers), however I have always found its mid-tone blue green to be alluring and weirdly mysterious. When you look at the entirety of the fields, all decked in this same viridian, the effect is something like a green three dimensional lake. And even if the wind does not ripple the soybeans quite as majestically as it plays upon the wheat, there is a similar wave effect (albeit one which is completely beyond my ability to capture with watercolors). I have painted or drawn the soybean field many times, and I feel like August was right time to do so (with everything looking fulsome and verdant). I also got to include the apples on the tree (which was literally breaking beneath their weight), a single wandering pilgrim goose, the purple cone flowers in the field by the pond, and a few pink wisps in the clouds from sunset, which was on its way. Of course the picture sadly fails to capture the true beauty of the scene (although maybe I got a little closer to capturing the allure of the soy), but it was certainly a delight to sit and look closely at this scene which I have been watching for 40 years.

Hi everyone! Kindly forgive me for the terrible paucity of posts during the last week. I am back home, visiting my family in the rural fastnesses of old Appalachia/the post-industrial hinterlands of the Ohio Valley. It is so beautiful out here in August, when great cumulus clouds blow up over the soybean fields and oakwoods. Anyway, expect some pictures and posts about country living when I get back to my workstation in Brooklyn. In the meantime here is a drawing from my little moleskine sketchbook to tide you over.

Naumachia (Wayne Ferrebee, 2021) watercolor and ink on paper

This is my vision of the fearsome naumachia, the naval gladiatorial combat of the ancient Greco-Roman world. In order to sate the Roman audience’s lust for novelty (and, um, blood, of course), the masters of the ancient games would sometimes flood the amphitheaters and host miniature ship battles on these tiny lakes. In my version there are some sea monsters thrown into the mix (and a saucy sea goddess sitting on the proscenium arch with a eurypterid in one arm and a merbabe in the other). In the upper left a port city carries on the commerce of the time, while the ruins of the even more ancient world can be seen in the upper right. In the lower right corner of the painting, citizens stumble around a peculiar lichyard with a tall mausoleum. Prdictably the pleasure garden in the lower left corner is quite empty. Perhaps it is for exclusive use of the nobles (or maybe I forgot to draw anyone in there). Why didn’t I at least include a peacock or some other ornamental garden beast? Last of all, a group of celebrity heralds, ringmasters, and spokespeople direct the attention of the audience from center stage. They could almost be mistaken for the game masters…and yet there is something curiously pupeetlike about them too, isn’t there? Who is really directing this theater of maritime carnage and for what purpose?

Fortunately this is a fantasy of the ancient world and the maritime devastation, pointless posturing, and savage competition have nothing to do with the way we live now…or DO they? [sinister chord]

On an unrelated note, I will be on vacation a bit longer. I truly apologize for how few blog posts I have posted lately and I solemnly vow to do better when I return from the countryside rested and refreshed. For now, check out my Instagram page, and I will see if I can find a fresh act to throw into the amphitheater for your delectation while I am gone. Perhaps the great science-fiction author, Dan Claymore, can once again tear his vision away from the dark world of the near future and take the helm. Or maybe I can find a skipper…er… author with entirely fresh perspectives (and a different moral compass) to sail Ferrebeekeeper to uncharted realms. So prepare yourself for anything…or for nothing at all.

The Olympics games continue in Tokyo and I wanted to put up a brief post to honor the festival (before going off to watch some more of the drama on television). This year’s Olympic controversies have featured plenty of questions about appropriate costumes, which strikes me as funny, since the original ancient Greek games were a largely nude affair. However, even in the ancient games there were exceptions. This 5th century Attic vase shows one of the most grueling non-nude events–the hoplitodromos–the race in armor.

A red-figure vase depicting an athlete running the hoplitodromos by “the Berlin Painter”, ca. 480 BC (collection of the Louvre)

Participants wore a heavy bronze helmet, metal greaves, and carried a heavy wooden shield (which was issued by the game organizers so as to prevent cheating). The hoplitodromos was thought to be so fundamentally different from fully nude footracing that no athlete could win at both, however, the greatest Olympic champion of classical antiquity, Leonidas of Rhodes, proved such opinions wrong by winning the premier short races and the hoplitodromos for 4 Olympics in a row.

The point of today’s post is not really to rhapsodize about Leonidas of Rhodes (whose glory remains undiminished after 2200 or so years), and to enjoy this exquisite red-figure vase by “The Berlin painter” an unknown master artist whose work still remains, even if his name has not survived. Of course, the Berlin painter was not really from Berlin (although his work wound up there), but was an Athenian of the golden era. Whatever his story was, he certainly knew how to portray the fatigue and the emotional pressure faced by ancient athletes competing in the armor race (we know that the figure on the vase is an athlete because he has neither sword nor cuirass…nor even a loincloth).

Jupiter and Ganymede (Roman, late 3rd century) mosaic

Yesterday’s post about the solar system’s largest moon, Ganymede, begs for a follow-up post about the myth of Ganymede. Ganymede was an adolescent Trojan prince known for his supreme comeliness. For some reason, the young prince was out slumming as a shepherd (which is a thing princes do in myths but not in real life) and this twinkish coquetry drove all-seeing Zeus into a lather. Overcome by lust, the king of the gods assumed the form of a giant eagle and grabbed the pretty prince up in his talons and carried him off to Olympus (leaving Ganymede’s distraught hound dog baying at the clouds). At Olympus, in the halls of the gods, Ganymede became the cupbearer (and favorite male concubine) of Zeus/Jupiter and was thus granted immortality and a sort of second-rate godhood. The whole tale is a sort of a gigolo apotheosis (although classical artists did not always portray Ganymede as a willing captive).

For various reasons, all sorts of artists have been attracted to the tale over the years. The magnificent sky-god eagle and the beautiful nude prince do indeed make for a really dramatic tableau. Yet my favorite visual representations of the story are Roman, like this gorgeous relief.

Abduction of Ganymede (unknown Greco-Roman sculptor, AD 140-150), marble relief

As slave-owning masters of the world, the Romans knew the ambiguous joys of love-by-command and somehow there is always a wistful hint of coercion and mortal sadness in Roman versions of the tale (perhaps the Greek sculptors forced to carve these pieces had some commentary of their own to add). For example, in the matchless piece above, the beautiful Ganymede wears a Phrygian cap (which was a cap from Phrygia, a conquered Roman province in Greece…but also the universally understood symbol of a manumitted slave). Now, that I come to think of it, Jove’s eagle was the symbol of the Roman Empire.

Ganymede feeding the Eagle (Roman, late first century), Marble

Of course, there is more than a hint of mortal sadness in the tale anyway. We mortals have a name for when the gods snatch away our favorite people and carry them off up to dwell in cloudtop palaces forever. Maybe this is why the Ganymede theme appears again and again in Roman sarcophagi and funerary art.

Here is an example which was carried off by the English at the height of their Empire and placed in the British Museum!

Ye Olde Ferrebeekeeper Archives

October 2021