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At its best, Chinese calligraphy is ineffably beautiful and seems to come from some transcendent celestial realm. Of course, in reality, such art doesn’t come from heaven at all. Instead it comes from distracted scholarly human beings carefully writing with bristle brushes sopping with India ink which, trust me, will not wash out of any textile. Indeed India ink stains most things other than the most impervious vitreous surfaces [sadly looks at black stipples, spots, and spatters on desk]. The Chinese attempted to coral this problem by manufacturing a class of small porcelain objects for the literati–exquisite brush rests! My favorite of these were made during the Ming Dynasty when handicraft cobalt glazed porcelain reached its aesthetic zenith.
Here is a little gallery of little Ming brush rests. I have great confidence in the authenticity of the first five of these rests which follow a familiar silk-road pattern (note the Persian and Arabic characters, which, I am told, say things like “brush stand” and “pen rest”). It is exciting to see how individual artisans take different directions with very similar designs and elements. Indeed, in the first two examples at the top, you can see how different glaze painters literally followed the same pattern (slavishly copying from a template was very common in the great Ming porcelain production centers–but the results strike our industrialized sensibilities as being quite markedly different).
The brush holders also exemplify how the glories of Ming ornamental design come from a mishmash of Chinese, Central Asian, and Middle Eastern sources. Even if the little stylized blue vines and flowers are clearly cobalt they still look realistic and seem as though they might wither if not watered or sprout additional buds.
Although these last two brush rests are different than the rest, the one above is pretty obviously a real Ming piece. The brush holder which seems out of place (and is not in the collection of the Met or the British Museum or the Liang Yi Museum) is the final one. I am of two minds about it. Although the super glossy porcelain has the look of real dynastic porcelain (along with some of the little brown spots and flea bites which are invariably found in actual handmade goods from Medieval China), there is something fishy about those ribbon-y scholars. I love the overall shape though and the the expressiveness of those escarpment rocks on the first and fourth peaks. I guess you will have to be the judge about the last one on your own.
The Chinese word for bat, “fu” (蝠) is the same as the Chinese word “fu” (福) for good fortune. Because the words are homonyms (indeed the characters are rather similar as well), Chinese art is absolutely filled with bats which nearly always represent best wishes for good fortune (although Zhang Guo Lao, the oldest and most eccentric of the 8 immortals, was said to have begun his existence as a primordial white bat of chaos).
At any rate, once you know what to look for, you start seeing bats everywhere in Chinese art and ornament. A particularly common motif is the wu fu, which features five bats representative of the five blessings: health, wealth, longevity, love of virtue, and a peaceful death. Various famous rebuses pair the wu fu with other geometric good luck symbols, and so we have the rebus of “Wu Fu Peng Shou” (five bats surrounding the symbol for longevity) or the Rebus of Wu Fu He He, which involves yet another complicated homonym (“he” means little round box, but “He He” was a goddess/fairy of nuptial felicity). When you see five bats surrounding a round geometric device (and now that you are looking for it, you WILL see it) you have chanced upon a rebus of Wu Fu He He.
Dear reader, I hope all of these fu symbols heap blessings upon you. May you know vigor, prosperity, old age, the love of virtue, and abundant benisons of all sorts! But I also hope that some of this fu transfers over to real bats. They are close cousins to us grasping, cunning primates, but the world we are making is bringing the chiroptera all sorts of problems! We will talk about that more in subsequent posts, but to finish this post, here is a peach fu vase of surpassing summery loveliness.
Yuan Jie (ca. 720 AD to 772 AD) was a poet, scholar, and politician of the Tang Dynasty. His intellectual and literary gifts allowed him to score high marks on the imperial exam which, in turn, allowed him to rise to high office. He helped finally suppress the An Lushan Rebellion (a dark era of insurrection and strife which left society in tatters). Although he rose to the rank of governor, Yuan Jie disliked his office and felt uneasy with his rank (and with the shallow fragile nature of society). As soon as his mother died, he resigned his rank. According to the sinologist Arthur Waley (who translated the following poem by Yuan Jie) the Chinese scholarly opinion of Yuan Jie at the end of the Ching dynasty was that “His subjects were always original, but his poems are seldom worth quoting.” Here is one of his poems (as translated to English by Waley) so that you may judge for yourself:
Stone Fish Lake
I loved you dearly, Stone Fish Lake,
With your rock-island shaped like a swimming fish!
On the fish’s back is the Wine-cup Hollow
And round the fish,—the flowing waters of the Lake.
The boys on the shore sent little wooden ships,
Each made to carry a single cup of wine.
The island-drinkers emptied the liquor-boats
And set their sails and sent them back for more.
On the shores of the Lake were jutting slabs of rock
And under the rocks there flowed an icy stream.
Heated with wine, to rinse our mouths and hands
In those cold waters was a joy beyond compare!
Of gold and jewels I have not any need;
For Caps and Coaches I do not care at all.
But I wish I could sit on the rocky banks of the Lake
For ever and ever staring at the Stone Fish.
While we sort things out here on Earth, let’s take a little break and check out how everything is going at a place which is so far away and yet so close–the dark side of the moon. Back at the very end of 2018 the Chinese Space Agency successfully landed a lunar probe on the far side of the moon (the first “soft” landing in that hemisphere ever). China has been diligently working on lunar exploration and, prior to this landing they had already launched a relay satellite named “Queqiao” into operational orbit about 65,000 kilometers (40,000 miles) beyond the moon so that their far-side probe would be able to communicate with Earth. Since the beginning of 2019, Chinese scientists have been exploring the moon’s dark side (which isn’t actually dark per se, but which is largely unknown to Earth’s inhabitants since the moon is tidally locked).
As the Chinese Yutu-2 rover was exploring terrain near the Von Kármán crater (a large impact site with a diameter of around 180 kilometers (110 miles)), the radio controlled vehicle found something interesting. The ground was covered in strange glistening green blobs which looked like something from H.G. Wells’ moon or from moon mission comic books of the 40s.
I couldn’t find a good photo, so I will use this fantasy illustration instead. Keen eyed viewers will spot salient geopolitical trends in the drawing.
Geologists and astrophysicists have been speculating as to the nature of these amorphous lumps (which stand out dramatically on the monochrome surface of the moon–not that that is evident in any of the photos I could find) and they now believe they have an explanation. The glossy lumps are probably a mixture of of pagioclase, iron-magnesium silicate, olivine and pyroxene. These minerals are known to be found on the moon thanks to NASA’s manned missions 5 decades ago. Speculation is that an intense impact melted them together into glass-like amorphous nodules of thesort which are foundin high energy events here on Earth (apologies to everyone who was hoping it was alien eggs or lunar bio-slime). There is still a mystery though: the regolith of the Von Kármán crater is not composed of these materials, so lunar scientists are still trying to understand where the glossy green rocks came from.
Today we are taking a peek at the future where new things are being built. Unfortunately, the United States has decided never to make (or even fix) anything ever again, so we have to look abroad for exciting (or just outlandish) new edifices. All of which is a way of introducing this incredible new stadium which is being built in China. Behold the concept drawings for the Guangzhou Evergrande Football stadium.
When I say “football” in this context, I don’t mean the American game of proxy warfare, but instead the accepted international name for soccer, a dull game which is sort of like slow hockey on a big grassy field. But who cares if the game is not worth watching? The stadium itself should prove to be so interesting that it will distract from the bland sporting spectacle.
An hour and a half of this
The Guangzhou Evergrande is designed in the shape of a sacred lotus, Nelumbo nucifera (a plant which we need to write about more). With seating capacity in excess of 100,000, it will take the crown of world’s largest soccer stadium from the Camp Nou Stadium in soccer-crazed Spain. If you are wondering what the grandiloquent name “Evergrande” means, it is the name of the real estate consortium building this giant concrete flower. I wish I could tell you more about the actual building of one of the mega stadiums (because I have a feeling that even the most general parameters are breathtaking), but alas, all I have is this picture of heavy lorries preparing for groundbreaking last week.
The stadium should be finished in 2022. Only time will tell if it turns into a beautiful world-famous landmark or if it is just another CAD torus with some fripperies on it. The lovable Chinese practice of building whimsical buildings which look like things makes me hope for the former, but the interchangeable tax-payer subsidized sports stadiums of the United States make me skeptical. We also need to know more about the lights which will be installed on it, because the 2008 Olympics revealed that the Chinese have a true flare for such things. Above all else, it is just a pleasure to see somebody actually working on something ambitious (even if it is a soul-devouring Chinese real estate consortium). Do you think we could learn to like soccer by 2022? I guess we will have to appreciate it as uhhh…novelty floral sculpture.
This picture certainly makes it look like it would be delicious if you ordered it at TGIFridays
Last week, the world met Bing Dwen Dwen, the official mascot of the 2022 Winter Olympics. He is one cute winter sports panda! I think the hosts of the upcoming winter Olympics did a fine job selecting him, however, when I wrote that post, I shamefully overlooked his companion mascot! At top up there is Shuey Rhon Rhon, a sentient lantern child who represents the 2022 Paralympic Games. According to the IOC press release “the name signifies warmth, friendship, courage and perseverance.”
A panda and a lantern may not seem like the world’s most natural mashup, yet they really are both emblematic of Chinese culture without being quite so nationalistic as classic 80s mascots like Misha the Bear and Sam the Eagle, who always seemed a bit like he was about to narrate how a bill becomes a law (“it passes the house and then is killed by Mitch McConnell…Screeee!”) Shui Rhon Rhon also has some nice fancy detailing, although the more I look at her, the more troubled I am by her timid demeanor and lack of a mouth.
The lack of a mouth might not be completely about social control though. The 2022 Olympics will take place in mid February…which is also the season of Lantern Festival (Yuan Xiao Festival), a holiday which celebrates deceased ancestors. Like the Olympics, The Lantern Festival aims to promote reconciliation, peace, and forgiveness. Yet, because of the holiday’s nature, the lantern girl has a dash of the other world to her (the dancing, flickering flames inside lanterns are famously symbolic of spirit).
What with all of the excitement over nine sided Venetian citadel-cities and neutron stars, we have been ignoring a big fuzzy lovable (and carefully-orchestrated) component of contemporary life: mascots. Fortunately, the planners of the upcoming Beijing 2022 Winter Olympics have made no such oversight and today (or yesterday in China?) they unveiled the Olympics mascot for 2022–a roly poly panda named Bing Dwen Dwen (pictured above).
Of course a professional ursologist (which is hopefully someone who studies bears and not just some sort of hissing urologist) might be perplexed by Bing Dwen Dwen’s oblong shape and strangely albescent color. This is not because he is a mutant bear or incorrectly rendered: Bing Dwen Dwen is encased in a full-body carapace of hardened ice (presumably to represent how cold and hard winter sports are). Likewise, the blood-colored heart on his paw is not to remind you that even the most adorable panda can be dangerous (which is true, by the way), but rather to represent the hospitality and bighearted generosity of the People’s Republic of China. Awww! Bing’s face is wreathed in fine lines of pure color which represent racers whipping around a track and advanced digital technology. To quote the official Olympics website, “The newly launched Olympic mascot resembles an astronaut, embracing new technologies for a future with infinite possibilities.”
Oh my goodness, how can it be SO cute?
The Olympics website also generalizes that pandas are deeply loved by people from all over the world…which is surprisingly true, actually. I think China made a good choice by selecting a supremely popular animal which is the exemplary archetype of all things Chinese. Leave the alien metal blobs for confused and divided nations. Let’s give an enthusiastic round of applause to the Guangzhou Academy of Fine Arts and Jilin University of the Arts, which chose Bing from a vast pantheon of 5800 aspirant mascots. These Olympic mascot contenders were submitted by designers from around the world who hoped to participate in the Winter Olympics without sliding face first down an ice mountain. I wish I had known about the mascot contest: what could be more representative of winter sport than an armless flounder? But I guess I will save that idea for when the winter games are held in Antarctica (which may soon be the only place cold enough for winter sports).
In 1899 Wang Yirong, director of the Imperial Academy, noticed that Chinese pharmacists were selling dragon bones with strange mystical characters written on them (according to a fairly believable account, he was suffering from malaria and the ancient bones were prescribed to him as a quack remedy for his illness). This began an investigation which ended with the discovery of an archaeological site near Anyang, just north of the Yellow River in modern Henan province. The site is now known as Yinxu (literally “the ruins of Yin”) the capital of the Shang dynasty. The Shang dynasty (ca.1600 to 1046 BC) was the first known Chinese dynasty to be supported by any historical or archaeological evidence (although there are stories an earlier dynasty, the Xie Dynasty, the Xie is believed to be a myth or a dream). The City of Yin flourished from 1300 to 1046 BC. It was a place of palaces, foundries, workshops, tombs, walls, and wonders. There are reasons to believe that, during its heyday it was the greatest city the world has thus far seen.
We will talk more about Yinxu in later posts, but for right now let’s get back to those mysterious dragon bones or, as they are now called, “oracle bones.” Oracle Bones were animal bones (mostly turtle shells & ox scapulaes) which were used by used by ancient Chinese shamans to predict the future. Querants would ask their questions which were then carved onto the bones. The diviner would apply a hot metal rod to the bone which would cause it to crack apart. Then the shaman would interpret the future through the cracks in the bone.
The characters written on the oracle bones are the earliest known Chinese characters, and thus it is during the Shang that written history begins in China. We have elaborate genealogies of the Shang Dynasty (and we know what sort of questions the rulers and the elite asked of their augurs). The oracle bone script is certainly more pictographic in nature than “modern” Chinese script (which is coincidentally quite ancient) however it was already stylized and sophisticated–able to convey the full range of the Chinese language. Considering its enormous complexity there must be earlier precursors, but they are still lost…as are too many of the precious ancient oracle bones. Imagine how much ancient history was made into vile tasting “medicinal” broth that did nothing at all (just like the scales of the poor pangolins)! Chinese culture is an ancient marvel, but ancient Chinese medicine is a monstrosity which needs to be stopped!
The Meijiang River is located in Hunan Province just to the northwest of Lianyuan City. The river features the classic picturesque landscape of China: karst gorges with vertical limestone mounts, mysterious cliffs, and ancient caves. The caverns and cwms of the region are home to many locally important spots with names which would not be out of place in “Journey to the West”: “Immortal Village”, “Avalokitesvara Precipice”, “Sutra Cave”, “Immortal’s Residence”, and “Incense Burner Mountain”.
The scenic valley would be an ideal vacation spot for landscape painters (if they could ever escape their dead end jobs), but it is hardly as famous as some of China’s other Karst landscapes like the vast South China Karst or the Li River. So why have I picked out this sleepy river to dream about as winter wears on?
Well it has been a while since we have featured a mascot post (although you shouldn’t forget that the 2020 Olympics are getting closer and closer). I don’t want to write about pig mascots (even if that would be perfect for Lunar New Year), but there is a different gluttonous animal which jumps instantly to mind when I think of China: a sort of feathered pig which features heavily here on Ferrebeekeeper.
I am of course talking about geese and the Meijiang River has a special mascot: a ten meter (30 foot) tall white inflatable goose! Here are some pictures of the giant floating toy, which obviously owes a debt to Florentijn Hofman’s famous inflatable ducks.
I guess there isn’t really much more to this post than the visual dynamism of the giant goose (which I like better than the huge bath ducks). It is a really good mascot though! How do you top that (especially as a small provincial river)?
What with all of the holiday excitement, we have failed to compliment the Chinese Space Program on their successful lunar landing. On January 3rd, 2019, the Chang’e IV spacecraft landed on the South Pole-Aitken Basin, on the far side of the Moon, and deployed the Yutu-2 Rover. Here is a stunning photo taken by the rover as it began its explorations of the lunar surface. The spacecraft is, of course, named after the beautiful and sad Chinese moon goddess, Chang’e.
To quote the Smithsonian magazine, “[the Chinese lander will] collect mineral and geological samples of the moon’s surface as well as investigate the impact of solar wind on the moon. The craft even has its own little farm, or lunar biosphere, aboard—the first of its kind.” This miniature ecosystem consists of some potatoes, a few Arabidopsis plants (this is a hardy and universally known laboratory plant), and some living silkworm eggs in a special 3-kilogram (6.6-pound) aluminum terrarium (or lunarium?).
I realized as I write this that I don’t even know the Chinese Space Agency’s name. It turns out it is the Chinese National Space Administration “CNSA.” Their logo, immediately above, is a flying blue chevron with, I don’t know, blue wheat, or something–it looks like somebody mimeographed the Federation logo. But who cares about their logo? [cough, Chinese space administrators, you could hire a graphic artist to make a space phoenix, a rocket tiger, or galactic dragon or something for about ¥150.00 and outshine everyone before you even leave the pad]. The CNSA are now doing things which have never been done. This is the first landing on the dark side of the moon (which is not really dark, but which goes by that conceit since the moon is tidally locked).
United States triumphalism over our amazing moon program has obscured the fact that the first moon landing happened 50 years ago. Nobody has been on the moon during my lifetime, and I am not young. NASA has responded to budget cuts and whiplash conflicting demands from different presidential administrations by concentrating on robot probes of the unknown edges of the solar system. That is smart, practical, and amazing. Yet some of the thrill and prestige that NASA had even during its silver age in the eighties and nineties is now wearing away.
Of course America doesn’t even really have a functioning government right now, so perhaps it is better that we have decided to abandon our own bright dreams of moon bases and Mars missions…but it saddens me that we are so politically deadlocked that we are not pushing harder to explore and build in space. All day, every day, billionaires tell us how scarce resources are and how much better the private sector is at allocating these precious resources (to super yachts, offshore bank accounts, and regulatory capture, apparently). Well, resources are not scarce in space. There is infinite real estate. There are whole planets worth of matter. There are wells of energy which create all of the energy humankind has ever used throughout all of our history within a picosecond. Hopefully the brand new accomplishments of CNSA will remind the American people of our true nature–as scientists, explorers, and visionaries. However if we are too fixated on the crimes and inanities of Individual Number 1 to pay attention to the universe, maybe the Chinese can build a floating colony on Venus. I, for one, am looking forward to seeing what they have planned next.
ferrebeekeeper 