FANTANIMALS In the Ancient's
Mind's Eye
A GLIMPSE INTO
THE FANTASTIC MINDS’ EYE
TS
CIEN OF THE EXOTIC AN
FANTANIMALS
written and illustrated by
Ali Selby
FANTANIMALS Copyright Š 2013 by Alison Selby All rights reserved. No part of the material herein may be used or reproduced in any manner whatsoever without written permission from the publisher exept in the case of brief quotations embodied in critical articles and reviews. For further information, please write: Alison Selby 4400 University Drive Fairfax, VA 22030 aselby@gmu.edu
To all of my art history professors, who taught me that art history can actually be entertaining!
CONTENTS PREFACE
INTRO
p. viii
SEEING THE WORLD THROUGH SYMBOLIST EYES
EGYPT
p. 1
THE MATERIAL WORLD IS MERELY AN ILLUSION
INDIA
p. 21
THE SUPREME MISSION FOR UNIVERSAL HARMONY
EAST ASIA
p. 41
INTRO
PREFACE Studying the ancient world and its art has always been a palate cleanser for me, for its meditative spiritual qualities probing into our consciousness. Suffice to say, I have always been interested in weird stuff, and I have a keen interest in the ancient lands, with their odd rituals and colorful mysticism, and dazzling imagery. So naturally, studying the fantastical art of exotic cultures is an obsession of mine, because of the strange other-worldly aesthetic quality it resonates, and its capacity to look beyond the perceptual. Something that relates all of these ancient visions with one another is the use of fantastic symbolism. Though often pegged as primitive, spiritual symbolism is a highly sophisticated tool, especially from an artistic and design standpoint. They empower the brain, acting with instantaneous
viii
| FANTANIMALISMS
direct contact to the right and left sides, probing deep into our consciousness. They are much more effective than linear language alone! What is so fascinating about the art of these exotic cultures, is the extraordinary imaginary creatures and stories they created. They are artifacts of ancient visions created by the minds’ eye. Whatever cannon is applied to them, to me they are all beautiful, elegant and mysterious; created from the soul, about the soul. These visually striking “fantanimals” continue to mystify us as they continue to pop up in fragments in the media, in the explosion of popularity in tattoos, or in front of Chinese restaurants (to name a few). I know many times I would come across them, I would think, “what the heck?” What were these ancients thinking? Were they hallucinating? Moreover, why do the
imaginative ancient visions still echo in today’s world? The enduring spirit of the ancients spreading through Asia to the far east is something that still leaves its healing vibrations. These distant lands were all so driven with the consciousness of the eternal moment. Combined with an awe and wonder for what encompassed their known universe, they commissioned art that best expressed this wonderful existence. This paved the way for highly imaginative spiritual symbols, all with the affinity for nature— something our society is so depraved of. Moreover, animals really do carry a wealth of wisdom, and are a well-spring of life. With my exploration of some of these popular “fantanimals,” I wanted to pursue this personal fascination of mine by giving viewers a fun glimpse into the culture and lore behind some
of these myths. With synthesizing traditional and digital technique in my illustrations, I revived these images with my own contemporary varnish. I hope to spark intrigue in their fantastic art history, and bring a new appreciation for the “palate cleansing” transcendental attitude of the distant cultures beyond the west. I wanted to illustrate how they are so distinctive and influential compared to the “scholarly tradition” of western philosophy. This is not another art history textbook, it is a light thought provoking collection of stories paired with whimsical colorful imagery to match the colorful cultural history behind them!
A.S. Fairfax, VA May, 2013
| ix
CREDIT: All Gizah Pyramids, taken by Richardo LIberato 2009, Flickr.
|1
Seeing the World Through Symbolist Eyes Ancient Egypt, one of the earliest civilizations of recorded history is home to truly unique expressions of “unequalled artistic genius.” 1 Of all the ancients, Egypt has left us the greatest legacy of art to study, unchanged for thousands of years. If you think about it, even Cleopatra was closer to our present day than the first dynastic pharaohs who commissioned the Great Pyramids! It is perhaps the greatest of all ancient civilizations, because so many others looked to them as a “repository of high knowledge and wisdom”2 When you begin to glimpse the magical and mythical art of Egypt, “shrouded in allegory and symbolism,”3 you cannot help but respond with awe and wonder. Their temples and structures— whose even earliest designs look extremely modern, arouse a kind of emotion that is very hard to
compare to anything else. This is because the Egyptians were mystics, and their art is based on an ancient knowledge that is very different from ours. It is based on an persistent obsession with the sacred science of immortality.4 The principles of this Egyptian science embodied in their temples, symbols, and structures, fused together science, mathematics, religion, philosophy and art. (Quite unlike today where all of these are separated.) When studying the art and motifs of Egypt, with their use of harmonic proportion, myth, and symbolism, the mind of the viewer cannot help but feel stimulated. They are all a means of elevating consciousness— something the modern world does bother with anymore because of all this artificial intelligence in our faces. Through the symbolic imagery, it’s almost as if the “ancient magic is transmitted from the art through our eyes.”5
|2
BACKGROUND
The Egyptian perfected the use of symbolism, which for them became the language of magic. For a strong visual impact, the Egyptians paired all of their imagery with hieroglyphs— that are said to “vibrate with the universe.” Essentially, hieroglyphs are like magic logos.6 We can sort of compare them to “icons on a desktop screen that have multiple folders,” (or in their case, meanings) within. They were endowed with a specific magical force to evoke an emotional response, and they still do!
It has been said by the Emmy award-winning Egyptologist John Anthony West, “if you don’t see the world through symbolist eyes, you don’t see Egypt at all.” From an artistic perspective, they really do speak to another realm of the brain more so than linear language. Symbols empower your mind, they speak to the right brain— what West describes as “the intuitive and the subconscious.”7 He says these symbols almost immediately “bridge of a kind of duality, between two different types of intelligence in the right and left brain,”8 and by bridging these two gaps it can allow the mind to “intuitively see, or wake up.”9 So rather than this primitive picture that some scholars have painted of Egyptian artistic motifs, the symbol is actually a very sophisticated means of conveying very complex meanings.
3
| FANTANIMALISMS
The Egyptian symbols weren’t just for visible purpose, they carried much more profound meanings— to aid in ritual meditation. They commonly used symbols of birds, animals, and plants taken from real life, and placed abstract meanings to them. For example, a bird flies, so it symbolizes spirit or the ethereal, and carries that message. Moreover, the forces of nature in the form of animal deities were “consequently objects of Egyptian worship.”10 Take the image of the Ibis and the Baboon on the right page: As the sun rose each day, the screeching of baboons greeted the Egyptians, the redfaced baboon, pictured right was a sacred animal, often associated with allowing the sun to rise. The baboon also came to symbolize intellect as they often appear to be thinking and pondering all day on their haunches in natural gaze.
IMAGES CLOCKWISE: “Bastet”, “Winged Scarab”, “Thoth Ancient god of Knowledge”, and “Falcon.” BELOW: Art prints created by Tiger House Arts. Retrieved from the artist’s hub on Etsy.com.
|4
OVERVIEW OF STYLISTIC IMAGERY
THE SCIENCE OF LIVING, BREATHING ORGANIC ART
A
SCIENTIFIC SYMBOLIST DECODER
THE FIBONACCI PRINICPLE The Egyptians built their structures and temples by an “invisible template that governed their society.”11 This is demonstrated in the geometry of the Fibonacci number, expressed as a perfect organic spiral that is balanced through growth and change of numbers. When the Egyptian architects carefully planned their monuments and artworks to cover the surfaces, they wanted to convey the principle of an ideal and actual organic growth that takes place in nature. Perhaps the best example of this principle is dedicated in the temple Karnak, dedicated to the god Amun (their god of invisible forces and laws of nature.) Pictured right is the entrance of the temple, flanked by a procession Ram headed Sphinxes an association of Amun. Fittingly, the spiraled horns on the Ram connoted to the harmonic continuous expansion expressed in the Fibonacci number— organic change over time Opposite page: Meenakshi Temple detail, Experiencing Darshan at the Meenakshi Temple by Vinoth Chardar;
5
| FANTANIMALISMS
ANIMAL HYBRID AFTERLIFE C
My soul is as free as a bird!
FLAT AND FRONTAL IDOL FOR WORSHIP
My neck hurts from sitting like this.
B
NO “ART FOR ART’S SAKE”
PERMANENCE!
CONCEPTUAL RATHER THAN PERCEPTUAL
B The Egyptains were utterly obcessed with immortality and the transformation of the soul. Their entire enduring culture was based on it. The figures are meant to be tailsmans of spiritual force, so that the deity or individual depicted can manifest through that image.
A The symbolism of the snake is essentaily universal to energy manifested in a wave or vibration, such as it moves through the ground or water. Evoking feelings of unity and duality for the Egyptains. Like how soundwaves are transported by music and touches our emotions.
C Frontalism was designed in part by following a symbolic picture of the natural organic order, based on a grid. Every gesture and position of the image had a specific meaning. This stylized stiffness also displays more permanence.
|6
7
| FANTANIMALISMS
WILDLIFE
Above, is a rare gem and very peculiar satirical papyrus scroll, dating from around 1200 BC. Here, the roles of the animals are reverse with humans in scenes reserved for temple subject matter, and it appears to be a mockery of it! The animals though, are still “affectionately” illustrated, and colored with care, even in parody! Also pictured, an image of Annubis, one of the most recognizable figures of all, “the gaurd of necropolis.”
Egyptians were so fascinated with natural order and balance and all facets of their art reflected this. The processes of nature and wildlife was intertwined as a part of their religion. Animals were placed with dignity and respect— this can be seen in the precision and attention to detail in depicting wildlife in scenes on the temple walls. There is a feeling of kinship, honor and harmony with the nature and animals expressed by the artist. Even if the animals are portrayed as a source of food in hunting scenes, (which was essential for the soul of the deceased).
Theology In the dawn of recorded history, Egyptians gazed out in awe upon the heavens and the earth, with the understanding that it must be created by the supernatural. In turn, they devoted much of their time commissioning religious art
for temples to communicate with their polytheistic deities in search of expanded consciousness around the universe around them. Perhaps the most bewildering aspect of Egyptian aesthetic is animal hybrids of the deities. Animals themselves weren’t worshipped (until later times) they were principles of nature and of human nature. Often confused for the gods themselves, these hybrids, called “netchers” — or the spiritual essence of that god, are depicted all over. Each netcher was personified in anthropomorphic roles, and were vital to the teachings in the temple.12 They symbolized the various laws and forces that occur in the natural world. It wasn’t until later that animals were encouraged for worship because “divine association with animals” was recognized as more characteristically Egyptian. In the following pages some of these well known characters in myth will be featured and introduced.
IMAGE CREDIT, TOP: “Scene from Satyrical Papyrus,” 1100 BC, Thebes, Egypt; retrieved from the BritishMuseum.org. DETAIL: “Annubis” art print created by Tiger House Arts; retrieved from the artist’s hub on Etsy.
|8
IN CONTEXT
THE EXPANDED CONSCIOUSNESS The Egyptians took mysticism and ritual to the extreme, even believing that the very sounds uttered of words were “powers” unto themselves— not to be taken lightly. They were obsessed with magic, afterlife, and the pursuit of higher consciousness. Similar to Vedic Indian beliefs, Egyptians believed in reincarnation after death, where the Pharaoh would take the form of Osiris. Instead of Hell, the bad souls would be erased into oblivion; and the last path would be of salvation, (the path of Horus). From these beliefs, they continuously lived in a world of duality between the physical and spiritual. With
9
| FANTANIMALISMS
one foot in both worlds, they were captivated in opening the “third eye” (the pituitary gland that is activated at birth and death) “further promoting their independence of intellectual and spiritual powers.”13 Striving for higher consciousness, they believed that man and the cosmos were one. Moreover, the boundaries between religion and politics were blurred. It was pretty much their means of bolstering up the man in charge. Not only was the Pharaoh was seen as the symbol of human perfection or divine human form; he was believed as the intermediary between their gods.
[ HORUS [ restoration
The Osiris Myth The “cult of Osiris” which later came to be known as the “cult of the dead” dominated Egyptian religion the most, was also the oldest. The rich story of Osiris gives us a sense of enigmatic Egypt. A good comparison would be the Disney film, The Lion King, where the beloved benevolent king, Osiris, is murdered and cut into pieces by his jealous brother, Set. In turn, the king’s son (Horace) is exiled but eventually returns bringing peace and prosperity to all. Something very bizarre that Disney left out of their version of the story is the part of immaculate conception. of Osiris’ queen, the magical Isis. She retrieved all of the chopped up pieces of Osiris, and from that let’s just say she ends up conceiving their son.
Horus the falcon-headed hybrid, embodied by the Pharaoh, was considered one of the most important deities of Egypt; and he’s the oldest of them all. Horus’ origin comes from hunting and warrior tribes in predynastic Egypt. His story was one of trials, (where he was banished away by Set) and eventually rises to become king.) This is why each successive Pharaoh would ritually be represented as Horus, and the falcon imagery came to be regarded as royalty. The name “Hor” is derived from “the one on high” 14 or “the distant one.” His wings are the sky, and his right eye was the sun and the left eye the moon. It is this celestial allegoric imagery of wings that demonstrates the Egyptian belief in man and universe being intertwined as one. In legend, he is the son of the Egyptian deities Orisis and Isis. The falcon imagery comes from the story of his birth, where he appeared as a falcon soul who “flies beyond the stars and heavens past all of the other deities or souls who inhabited them.” 15 Just as falcons soar among the clouds and are able to dive down incredibly fast for its food and return back to the sun. The falcon description acts as a sort of beacon of hope, as he dives down to earth and back to the sun for restoration.
| 10
FANTANIMAL PROFILES
[ BASTET [ Nurturing Mother of Principle The beloved cat goddess, and counterpart to Sekhmet, Bastet was more gentle and domesticated than her dual lion-headed persona. Being a cat, Bastet was a symbol benevolence, good fortune, and happiness. Considered the daughter of the main deity Ra, she was also fierce and protective, especially of the hearth and family. According to Greek historian, Herodotus, celebrations to Bastet were the hit party of the entire year. He said hundreds of partiers toured down the Nile on boats, causing quite a scene to onlookers, binging on wine, dancing, and showing off privates— all in the name of this popular kitty. In fact, all felines fascinated the Egyptians, they were highly regarded with awe and wonder, and prized for their hunting skills. They helped to protect the grains from pesky rodents, which in turn helped to protect the hearth from disease, (carried by rats). You would think how it must have been lucky to be a cat during the time of the Egyptians because they were treated like royalty. It was punishable by death if you were to harm one. If a cat were to die, its family would go through such a period of grief they would shave their eyebrows to show their sadness. This is why we oftentimes see mummified cats, even providing mummified rats and mice in the tomb so the kitty would be taken care of in the afterlife. How sweet.
IMAGE CREDIT: Bast, 330-30 BC, bronze, Metropolitan Museum of Fine Art, NY. Retrieved from the Artstor image database.
11
| FANTANIMALISMS
[ SEKHMET [ Firey woman Unlike tenderly feminine counterpart Bastet, Sekhmet is regal and authoritative, the spontaneous fiery courageous version of the female entity. Look at how the female lioness lives, and this describes her traits— headstrong, quick of passion, and pure seductive power and pleasure. (Sometimes depicted with an erection because she is so active!) She is a protective, self reliant lioness. Sekhmet could cure disease as quickly as she spread it in the first place. Lioness are the hunters of the pack, symbolizing her power to nurture and provide. Sekhmet was called on by kings for help in battle,. Though her popularity didn’t rise until the 5th dynasty, (much later than her dual persona, Bastet) it was during Amenhotep’s III 30 year reign, a great period of peace and prosperity, that he commissioned two monumental statues of her a day, believing that it granted protection each day and night. Many of her statuary were carved of black iron rich diorite, fittingly symbolizing both fertility and death— another trait she is associated with. Unlike Bastet, she sports a red dress, which does connote to the obvious blood, fire, and vengeance. It also arose from another myth where apparently, on one of her tirades, Ra purposefully sought out to drunken her, (the only way he could calm that woman down!) IMAGE CREDIT: “Seated Sekhmet,” 1390 BC, granodiorite sculpture, Museum of Fine Arts, Boston. Retrieved from the Artstor image database.
| 12
FANTANIMAL PROFILES
[ SOBEK [ The Lord of Dark Water Needless to say, the life of the Egypt was completely dependent on the Nile— the land of deadly crocodiles! So it makes sense that Sobek became the symbol of death, and they fishermen would pray to him for protection against the deadly lizards. He was coined as being the unruly rebel, much like the Nile Crocodiles who would snatch you into chaos. Sobek became the strength that pharaohs would call upon before battle. Being associated with the Nile river, Sobek also was worshipped as a fertility god. As all crocs became prized for their correlation with power and fertility, it became popular to mummify the animal in tombs to protect the afterlife. Moreover, the temples of Sobek boasted meat-fed raised from birth crocodiles who were lavished with gold and jewels, believed to be the actual god incarnate!
13
| FANTANIMALISMS
[ TAWERET [ Hot Jewelry Item Taweret the upright hippopotamus goddess, can easily be distinguished by her large bosom, sporting the arms of the lion and tail of a crocodile— all things Egyptians greatly feared. This hybrid of crocodile and hippo symbolize both life and death. One thing that makes her different than the other Egyptian deities is that she is more of a household name. She was a very popular motif for amulets and jewelry for the ladies and children, as their protector especially during childbirth. Kids also sported her amulets to ward of snakes, crocs, and other pesky Nile predators. This makes sense because female hippos are very aggressive when guarding their young; and of course the her bulbous belly alludes to fertility, just as we see in other Neolithic cults.
[ BES [
[ ANNUBIS [
Creepy Infant Protector
The Necromancer’s Favorite
This creepy magical little dwarf (also the only deity shown in full face) was the protector and friend of infants and women. His ugliness and menacing ways were meant to scare away evil spirits and desert pests. His crazy antics had been a part of Egyptian wives tale for thousands of years. It was said that when a baby laughed or smiled, it was looking at Bes making funny faces. Women even sported tattoos of this creature to improve their fertility and er.. performance.
The jackal hybrid coined “the Master of Secrets”, those being the gruesome secrets of mummification, in charge of embalming and judging of the dead. Anubis was said to be able to guide souls through the psychic land of underworld. If you look at the habits of the jackal you will see how it represents these: firstly how the Jackal gobbles up corpses and turns it into living sustenance for itself (embalming); also being a dog, it is also capable of finding its way home through the darkness.
Sculptres Left to Right: “Sobek Relief,” Temple of Horace and Sobek, 181 BC; “Stauette of goddess Taweret,” 332 BC, glass; and “Cometic jar in the form of Bes,” 343 BC, egyptian blue; Cleveland Museum of Art. Retrieved from Artstor
| 14
FANTANIMAL PROFILES
s s e n k r da f o t serpen
There is one Egyptian deity so evil that for thousands of years, priests in Thebes recited spells daily to repel him— Apep, (or Apopthis by the Greeks) the giant demon serpent. As a snake, he was said to emerge from the oceans of Nun, the abyss. He was considered more powerful than any of their other gods; whose eternal goal was to cause chaos in his midst. So the very superstitious Egyptian people deemed it vital to consistently performs spells to overthrow Apep. Any kind of natural disaster, earthquakes and other storms, Apep would emerge from the ocean or a blackened thunder cloud and attack. Most of all, every sunset, the Egyptians believed this was Apep swallowing up the sun. He was said to forever be in a constant fight with their great solar diety Ra, and would wait until he went
15
| FANTANIMALISMS
to the underworld to attack from the ocean depths. Why would he attack? Jealously, of course; yet they believed Ra was never quite powerful enough to defeat Apep. And no matter how carefully the Egyptians studied the stars, solstices, and equinoxes, each time a solar eclipse would occur fear and panic would strike the entire civilization, fearing Apep had gotten the upper hand. Also, evil doers were said to have their souls cursed by Apep; and with all that in mind, his description is quite similar to the Christian teachings of Satan. Lucifer, who took the form of a serpent, is forever jealous of man and, like Apep is in a constant battle to curse souls and cause unrest.
| 16
AT A GLANCE
A PREHISTORIC SPHINX? The Sphinx , great monumental symbol of Egypt’s enigmatic culture stands and astonishing six stories high, and a city block long. The basic model of the Sphinx is a unique hybrid that is a flip flop from their netters. He has an animal (lion) body with a human head. This is meant to literally symbolize the power and ferocity of the lion with the mind (or head) of human control. Facing the east of the rising sun, it astronomically is precise to face the constellation of Leo that rises at the fall Equinox. While it isn’t certain if the Sphinx is meant to be a portrait of the Great Pyramid Pharaoh Khufu or is son Khafre, there still lies a deeper questions and myths. Egyptologist John Anthony West, with observations of geologist Robert Shop challenges us to ask about the uncanny erosion around the closing
17
| FANTANIMALISMS
of the Sphinx. Why there are telltale signs of water weathering in the fissures around the closure of the Sphinx. Could this mean that they was an even older civilization here? Is the Sphinx from an older descent of people of Africa?
IMAGE: Buried Sphinx at Giza complex, 1932, Boston Museum of Fine Arts; image taken from the Artstor image database.
SPEAKING OF
STARS All
of the Ancient cultures look to Egypt as being the beacon of wisdom and knowledge. Even God sent Joseph in the Old Testament to Egypt after his own brothers forced him out of Israel (probably because of their great teachings of hygiene and cosmetology, among other things). But it was especially the Greeks who admired them the most, as they stood in amazement among the Egyptian monuments, whose gods looked the same forever. Not to mention, Alexander the Great also took the title of Pharaoh. The conquests of Alexander the Great to Egypt contributed greatly to his Hellenistic world under one government, as knowledge traveled from one location to another. They copied many things from the Egyptians, like the obvious polytheism, mathematics, and stylistic statuary in their Archaic period. Another thing they borrowed from the Egyptians was the knowledge of astrology; moreover, making important government decisions related to the stars and procession of the seasons. This knowledge was passed much to the influence of Ptolemy, who was an Egyptian astronomer, mathematician, and geographer who lived around Alexandria. It’s funny to say that Ptolemy was actually not Greek, most likely Egyptian! The word Zodiac comes from a combination of Greek words meaning ‘circle of animals’. It is often told that the imaginary creatures that make up the seasonal zodiac are derived from the formations of the 12 constellations. However, it is argued that they come from the animals are employed to signify the traits of each position. All of the astrologers to pass pointed their fingers at Egypt has holding the keys to an “ancient sacred science.” The Greeks’ borrowed these animal signs from Egyptian polytheistic worship. Such as, the Greek’s Taurus was actually the Egyptian deity Apis, the Bull; the Sphinx lion (opposite page) was mapped out facing Leo at the equinox.
| 18
EGYPT VERSUS GREECE
The Mystic Beacon of Ancient Knowledge Egyptain deities, or rather netchers, were a clear distinction between our wordly human existence, which equates to otherworldy, immortality. Pictured right, the Ibis headed hybrid Thoth with Ammut, the crocodile headed, lion and hippo bodied underworld monster. Thoth was the scribe diety and messenger of the gods, (who came to be identified with Hermes in Greek mythology,) Also being coined as the mediator and upholder of justice, Thoth would decide whose soul would be fed to Ammut. Hell to the Egyptians was merely being gobbled up to inexistence, not pits of fire or torture for them. Permanence, permanence, permanence. A vast single kingdom, with iron control dictated by tradition and Pharaohs. Loved blocky stone statuary, and mathematically ordered reliefs. This strict cannon lastest for thousands of years.
IMAGE CREDIT: Satute of Psemmeticus, Dynasty 26, late period, 610 BC, graywacke, Metropolitan Museum of Art; retrieved from the Artstor image database.
19
| FANTANIMALISMS
EGYPT
V
KHAFRE It is no mystery that the Egyptians were obsessed with permanence. The heavy blocky stone statuary is a fitting indication of this. Depictions of the Pharaoh in statuary was a campaign of its own, (and a bit of sensationalism) that latest thousands of years. They were also the originators of showing the foot moving forward, symbolized man in motion, living man.
S
GREEK
KOUROS Like Egyptian statuary, the funerary figure is rigidly frontal with the left food in motion, the arms are held beside the body, with the fists clenched. Rigid and stylized, the Greek model is liberated from the blocky stone and his clothes! The Greeks were of a more worldy “temporary” existence; they were a cultured people who loved life. They wanted to capture things here in the now, like motion, and went on to further break away from the slab to become more lifelike. They wanted to be better than the Egyptians by standing out, literally!
The “Classical” Cradle of Western Civilization
Greek gods were carved to look like themselves— humans. It is incredibly lifelike, it mirrors us directly, alluding to a more temporary worldly existence. They smiled, they were young, athletic, attractive. The Greek afterlife is a dismal one, everyone was sent to Hades when you died and that was that. Oh, and you got to be greeted by the three-headed hell hound, Cerberus. He also makes an appearance in the Christian version of Hell in Inferno by Dante. Greece was made up of independent, free thinking citystates; which encouraged different viewpoints of the meaning of everything,promoting more stylistic changes in time.
IMAGE CREDIT: Kouros, Archaic Greece, 590 BC, marble, Metropolitan Museum of Art; retrieved from the Artstor image database.
| 20
CREDIT: The Lost Hindu Temple, by Trey RatcliямАe, Flickr
The Material Life is Merely an Illusion India is a majestic place, overflowing with rich and fertile land, sprawling rivers, tropical rainforests and vast mountains— giving rise to a culture of multiple identities and layers. The abundance of life, and the deep rooted belief that all is sacred is the heart of Indian culture. The spirit of India is unlike any other. Their ancient rituals are still practiced today, and connects their devotees with their deities, their myths, and their deep history. India’s recorded civilization is one of the longest, and its mythology “spans the whole of that time and more.”16 It is the motives of myth and religion that are the sole forces of India (or the old world)— who paved the way for the rest of south asia and far east. Their conception of worship involves pilgrimage to their sacred temples, appearing on the exterior like actual mountains and designed as if
they are “a living microcosm of the universe,”17 It was here where their gods took residence. This spirituality is the driving force of Indian art and aesthetics. The style of south Asian art is so unique to its own, due in part to its geographical barriers. The stylistic imagery is magical, mystifying, and at times down right puzzling. With its use of sensual lines, rich ornamentations, and intense colors; the goal is to express a delight in the world to their gods. India’s mythology and scared lore constitutes everything for them, and is still part of the living culture on every level of society.18 And its three great religions: Hinduism (which stems from Brahamisn and the merging of Aryan/Vedic gods), Buddhism and Jainism, all share the common belief that life is sacred and the material world is merely an illusion.
| 22
BACKGROUND
The concept of the temple and the Indian aesthetic is all about reaching a higher state of consciousness, (expressed in the image right). Viewing this art, meditating, and moving through temple spaces, viewers can make symbolic journey along spiritual paths, and transcend the material world of illusion, entering the transcendental realm of the Brahman— India’s most ancient source of religious inspiration. Which is coins their imagination including: Grandeur of scale, richness of imagery, and lofty flights of fancy. Multiplicity of options and possibilities; and delight in the richness of complexity. Ritual and karma are big hitters in India. So in meditation, the Indians “practice the act of visualizing the gods.”19 And the artwork commissioned “not only aids to meditation but they are products of it.”20 The use of icons are inextricably intertwined with the process. When the devotees are meditating in front of these images they believe that divinity is truly dwelling within. This explains why much of their aesthetic shows multiple limbs and faces, as if they are omnipresent; like the spiritual world is opened up to us ordinary morals. This icon devotion also extends to a uniquely Indian worship of animals. Fot the Indians, animals serve as a universal link to understanding. This may seem like mere childlike imagination to westerners, but ancient Vedic devotees saw divinity in animals.
23
| FANTANIMALISMS
“Who could tell what was the store of wisdom before the face of the ape, or the coiled up snake of the forest?”21 The Brahmins, or ancient priests who acted as spiritual intermediaries between the two worlds, contribute to the mysteries of wildlife and nature as the staple of their rituals. Their indistinct mantras, (which were passed down before human speech and still used today) are reminiscent of bird sounds. This is living proof that India’s culture has evolved from praise to animals and the natural world. As the gentle ideas of Buddhism and Jainism came into play, their teachings of reincarnation, by the way of the Jataka tales further encouraged the empathy for nature. These stories of the Buddha’s past lives, (to which Aesop’s fables are derived) were passed down verbally and then later on visually.
IMAGES CLOCKWISE: “Indra mounted on Airâvata,” 1638, illuminated manuscript, Artstor.org; “Shri Krishna Braids Radha’s Hair in the Grove of Vrindavan,” watercolor on paper, Kailash Raj; ExoticIndiaArt.com; “Monkeys in Sugriva’s Grove at Madhuvana,” 1653, illuminated manuscript, Artstor.org; “Varaha Avatar of Vishnu,” and “Painting Her Lover” Retreived from ExoticIndiaArt.com.
| 24
OVERVIEW OF STYLISTIC IMAGERY
MEENAKSHI TEMPLE
A
SCIENTIFIC SENSUAL LINES
DARSHAN The art or India revolves around the concept of Darshan, (meaning sight, vision, or to see in ancient Sanskrit). It is an act of devotion by simply looking at their icon (or artifact) with pure feelings of adoration, and processing it in their mind— which for them is instantaneously uplifting, almost like a drug. This act of “looking” can be personal in private, it can mean touching the object, or simply to looking upon anything related to the divinity, (it doesn’t matter who or what). The senses of the viewer are all touched by a spiritual exchange. Oftentimes, we see sculptures of icons and other artifacts paraded through public procession to the temple, where people bring offerings like flowers to adorn them. You have to imagine the wave of excitement— the colors, sounds, smells, and sights that fill the air. This is all a part of the Darshan.
Opposite page: Meenakshi Temple detail, Experiencing Darshan at the Meenakshi Temple by Vinoth Chardar
25
| FANTANIMALISMS
CIRCUMAMBULATION MEDITATIVE
STYLIZED EXTREMELY DETAILED
B
C
TRANSCENDENTAL B Hindu homes all have a dedicated shrine to their icons. They believe that these are living gods today in the midst of their home; so they want imagery that best embodies the multiplicity and omnipresence of that god, to aid in meditation.
A Whether it be sculpture or miniature folk painting, the imagery is so animated and natural in its depictions of everyday life, is observed and shown with such care to detail. They love to thoroughly explore and observe the environment around them, which extends to the attentive nature of their painting.
FULL OF LAYERS AND LIFE India is full of spirit, and on carvings or illustrations, the artists stove to convey this inner essence. Life celebrated by richness and the delight in a multiplicity of layers and senses. The highly the stylized nature helps to express its spirit, bringing the imagery to life. C
| 26
2 3E A GSYIPAT
LOVE OF NATURE
IN CONTEXT
27
| FANTANIMALISMS
Compassion
Above are details of beatiful miniature Mughal and Rajput style paintings where Hindu legends were popular themes. The top shows the eight armed goddess Durga riding a lion killing demons. The artist tried to capture her sharp compusure against the foes. The image detail is more of a folk style painting of the popular monkey prince, Hanuman. Here he is carrying Rama and Lakshmana on his shoulders displaying his super-human strength and size growth.
Mentioned prior, one of the more auspicious qualities of India’s great empires is their moral treatment for all living creatures. The ethical principles of Buddhism shaped India to become the first civilized society that took notable strides in the protection of the animals. People were encouraged to become vegetarians. The teaching of Buddhism that lead to habitation of wild animals was dramatically influenced by Mauryan emperor, Ashoka. This great ruler, very ahead of his time, vastly expanded the territories of the Indian empire. Though he conquered many of them through fierce bloodshed, he was sickened by the carnage and decided to practice nonviolence, for solace. He practiced the Buddhist ideals of compassion, tolerance and truthfulness, not so much seeking religious but civic morality. Ashoka believed that “animals, men, and even the demons were an integral part of the system of life and have equal
rights for existence.”22 He had the first animal hospital built; and even had water irrigation systems and dams constructed for their benefit, declaring: “The greatest thing we can do is to protect all living things”. Forest refuges allowed people to walk and live in company of animals. These creatures were not solely revered for their beauty but as a means of gaining understanding.. In turn, Ashoka’s basis for politics, dharma (right conduct), enabled for Buddhism to spread most vastly throughout Asia.
animal worship One thing that is at times unsettling to us in the west are temples devoted to animals! (Like the Karni Mata rat temple in Rajasthan, where people even eat the rats’ food believing to bring good luck!) Why rats? This is because Hindus believe that god is present in all things, or in reincarnation. So animals are regarded as sacred. For example, the cow: They provide milk, help sow the ground, and make it fertile, represents the giving nature of life.
IMAGE CREDIT, TOP: “Lion-Riding Durga Killiing Demons,” watercolor painting on paper, by Kailash Raj; DETAIL: “Hanuman Carries Rama and Lakshmana on his Shoulders,” water color on patti, by Rabi Behera
| 28
IN CONTEXT
GULLIBLE OR JUST PLAIN STUCK? Since its beginnings, 5000 years ago, India’s ancestral religion secured the doctrines of caste, so much that even the government couldn’t interfere. It first came about from the Brahmin influence, priests who could read the ancient Skanskrit text of the Ramayana, (where most of India’s fantastic creatures and stories came from.) Writer Valmiki, who can be comparable to the Greeks’ Homer, tried to capture the realization of an ideal society, describing a caste system. And by using the archaic Aryan language of Sanskrit, (only Brahmins could understand) this reinforced the myths and stories
29
| FANTANIMALISMS
behind these motives. There were four strict castes, obviously the Brahmans, the warriors, laborers, and the “untouchables,” (the worst of the worst). These castes are strict and you’re pretty much stuck; unless, if you were a woman you could change only through marriage. If you were a male, you were born into your caste and you had to follow the behavior of it. The caste breeds alienation, but it is still functioning even today. Buddhism and Jainism developed out of a reaction against the caste system. However, the notion of karma, “the fruit of actions bears inevitable fruit in another life,”23
keeps the caste steadily going, as its devotees hope to do as many good acts and rituals as they can.
OUT WITH THE OLD IN WITH THE NEW One thing to note, is that in early Indian art, you won’t see any portraits of emperors or even deities. This was because it wasn’t until much later that anthropomorphic representation had become accepted, (there was a sense of vulnerability on the part of the individual being depicted and the artist creating the image— their karma was at stake). Ashoka used his stylistic lion capitals, instead to denote his royalty. The lions, are purposefully unrealistic, as they are intended to be more of a political emblem. They are not indigenous to India, and imagery is more reminiscent of Persian art.
The Indians, with their ritual mysticism, love storytelling, and people used this for centuries to pass down their ancient Vedic (Veda=truth) foundations. Whether it was alienating or not, the rural villages kept the traditions alive without question. Buddhism gained more popularity, to counter the extremity of the Brahmans, sparking a newfound interest in Hinduism as the major religion. From Buddhism, they accepted the concepts of rebirth and karma. Somewhere along these lines the expanse of other territories and influence of neighboring countries soon encouraged
anthropomorphic depiction. In turn, oral and written storytelling was replaced by visual narratives and universal motifs. Accepting the new traditions was established in part by “identifying the new gods with the old ones.”24 Soon styles and stories overlapped.. and multiplied! In the following pages, we will introduce some of the very exotic imagery of the Indian animal symbolism that paved the way for other south Asians and beyond to pass on! IMAGE CREDIT: ABOVE, Transcendental painting by “Brahma Templeman”; retrieved from his online portfolio
| 30
FANTANIMAL PROFILES
[ GARUDA [ MYTHICAL BIRDMAN AND AN AIRLINE! Garuda is an immortal mythical bird man that appears in both Hindu and Buddhist lore. He is described as having an overwhelming amount of luminosity emanating from his body. He is so big and strong that his talons are able to pick up an elephant, with the ability to cause hurricanes from beating his wings. He is the vahana, or vehicle of the Hindu deity Vishnu— the only individual who is able to subdue Garuda. Different artistic representations of him appear all over India, Thailand, Indonesia, and Bhurma (to name a few). His imagery is very popular around south and east Asia (there’s even an airline that assumes his name) to ward of snakes, bites, and poisoning.. He gets his nickname “the devourer” from this connotation. This makes sense, as in the natural world snakes and birds of prey are sworn enemies in a number of cultural contexts.
31
| FANTANIMALISMS
[ NAGA [ MAGICAL SERPENT GAURDIANS The Naga, meaning snake in Sanskrit, makes its presence in each of the three major religions in India and neighboring countries. Nagas are semi-human serpentine nature spirits, often depicted with multiple heads originating back to the ancient Indus Valley civilization. They are frequently depicted with multiple heads, and have the magic to change shape, (like how snakes shed skin!) Many times in iconography, the multiple heads of Nagas will adorn the head of their sacred figure, like a halo (a pretty scary one at that). This is because the Nagas are often associated with life-giving water. They are said to lurk in the underworld and aren’t benevolent spirits, but are menacing guardians of Hindu temples and treasure. They are a common motif around doors, windows, and walls of temples; sitting around the seat of the deity, standing guard! The Hindus “honor� the Naga by worshipping snake icons and replicas. A fun little fact in their lore is that Garuda hates Nagas and loves to eat them, despite that his own brother is one!
| 32
FANTANIMAL PROFILES
[ Airavata [ [ NANDI [ SEVEN TRUNKED White Elephant When we picture India, one of the first images to pop up is the Asian elephant, the so called powerhouse of India. They love elephants so much, they decorate patterns and motifs on a number of surfaces and decorative objects. The myth and intrigue from the elephant originates in the Vedic age. They embody steadfastness, physical and mental strength. A fun fact is that chess actually came from India, (they played it to sharpen their battle skills). The elephant was selected as their most potent piece. “This power reflected the unstoppable nature of the elephant, whose fearsome presence decided the outcome of battles of imperial India”26. More than physical power, elephants are considered to bring good luck and prosperity. The story behind Vedic god Indra’s (think Zeus) white elephant is one of the first examples of the animal’s most important and depicted role in Indian art: the vehicle of the deity. In the legend, the white elephant appears before Indra from the “churning of the milky ocean”26; earning the animal special connotation to rain-bearing clouds.
33
| FANTANIMALISMS
Shiva’s Constant Companion It is well known that Indian’s strongly admonish us in the west for eating beef, as the cow is the symbol of the earth’s fertility. Where even the poorest people starve, they still consider it sacrilege to kill for food. Cattle offer milk and are valuable for harvest, after all. Like a loyal friend, sculptures of Nandi stand erect, lovingly facing the temples to Shiva. Hindu deities are almost always depicted with their animal or bird vehicles, (vahanas). Some animals are “worshipped beyond the connection with gods and goddesses [as] free standing statues represented as heroes themselves”27 Shiva’s vehicle, Nandi (or bull) is a common subject for Bronze sculpture. He faithfully stands like a rock, in its independent space facing Shiva’s main shrine. Idols of Nandi would be carried publicly in procession for the sake of Darshan. Nandis symbolism for masculinity, physical power, and fertility is a clear association with Shiva, the setic. The bulls affiliation gives nod to not only Shivas character but also his ability to burn away evils ensuring renewal.
[ MAKARA [
[ HANUMAN [
MAGICAL WATER GAURDIAN
Japanese Fox on Fire
The Makara is a very curious creature. He is well known in many parts of Asia, found anywhere Buddhism thrives, but he was actually, originally a Hindu beast. Depicted in front of temples, coming out of the water, “source of life from which purity and perfection sprang.”28 Identifying the most with a crocodile, Makara is a hybrid creature, with the trunk of an elephant, tusks and ears of a boar, eyes of a monkey, scales of a fish, and even feathers of a peacock. In Indian legend, they live paradise waterways, controlling rain patterns and guardians giving life-energy to its rivers, and water incessantly flows from its mouth, signifying a continuous cycle of creation and perennial source of life.29 Fittingly, he is the vahana of the sacred Hindu river Ganges god, Varuna. The Hindu’s identified his spiraling Makara-fishtail with the astrologic sign of Capricorn.
He is loved all over India as the monkeygod who so faithfully served one of their main Hindu gods, Vishnu, (the blue guy). From this association, he encapsulates the perfect servant. In the Hindu lore, he was born of a wind god and sun goddess. How he came to have a monkey face is blamed on his mother. She was considered too vain about her looks so she was cursed with the monkey mug. Still loved by all, Hanuman had inherited some pretty helpful traits, including great agility and speed. He moves, runs and flies, at the speed of the wind. He’s also able to shape shift and change his size at will, “he can become so tiny that he could get into any room through the keyhole; and expand into such an enormous figure that he could carry a whole mountain on his back.”25 Hanuman is a very popular superhero’s sidekick to storytellers, as he symbolizes the loyal servant and the diffuser of evil. He still continues to be one of the most common images in Hindu shrines.
| 34
FANTANIMAL PROFILES
g
Ganesha
anesha is the most notable and popular Hindu deity of them all. Why? Well firstly, because of his “loveable” appearance— with his distinct elephant head with one tusk, (truly south Asian) and his fat chubby child-like body, and multiple limbs. Artists like to often depict Ganesha facing the viewer head on, so they can see eye to eye, (and they feel a strong kinship and emotional connection to him this way. He is believe by these devotees that his gut is from overindulging in the sweets and offerings they leave for him. He is not a deity that people fear, but one that is comical, silly, clever, positive, and loving and devoted to his family. He is the remover of obstacles, and avid worshippers acknowledge him “at the beginning of every undertaking, whether it be a journey, writing, building,” etc. He is also a god of wisdom, and is considered a scribe. He was “born” to the Hindu deities, Shiva (the blue setic with the lioncloth) and Paravati. The elephant head, has a silly myth behind it. Just like any other married couple, Shiva got enjoyment out of teasing Paravati and would scare her often when she tried to have some privacy in taking her bath. At one point,
35
| FANTANIMALISMS
during one of her baths she took the soap and mixed it with oils to form a little man, sending him out to keep gaurd. Shiva, a very volatile figure saw this, was angered and cut off the head of her little gaurd. She was so overcome with grief, he went out and cut oft the head of the first thing he saw— lo and behold the elephant man. Another reason he is so popular is that Ganesh is often depicted in “loving family scenes” (including cremating dead bodies and severed heads). The Hindu storytellers must have had a great sense of humor. Where he got his connotation to cleverness and intellect stems from other silly myths, where he outwits his more handsome athletic brother. (Brains versus brawn) Funny enough, Ganesh has the vahana of a rat, which is a strange image of a fat elephant-child man teetering on a rodent. Why though, was the elephant head chosen? It’s hard to say, the myths sort of leave that out. It is known that the elephant is a beloved indigneous animal for the south Asians. In fact, the Indian elephant was used as a primary battle engine for over two thousand years across the subcontinent and was valued by rulers far above horses.
| 36
AT A GLANCE
ANCIENT STUDY OF CYCLES
MUGHAL INDIA
A
ncient cultures like the Egyptians and Indians may have been onto something that we don’t consider. These distant civilizations may seem overtly ritualistic, but they were not primitive by any means. It’s hard to ignore their uncanny knowledge of astronomy, geometry, architecture, and plumbing systems. It’s also hard to ignore that man appears much more skillful and intelligent 5000 years ago than the dark ages, (just 1000 years ago). The Ancient Indus Valley Indians were no strangers to studying the stars, (like all of the other old civilizations) and they developed their own stunningly unique procession of ages called the Yugas. These are long term “chronology structures which allows us to time man’s pattern here on earth over long periods.”30 Just as the earth turns on its axis, with
37
| FANTANIMALISMS
the procession of seasons, the ancient Indus Valley Indians say there are even longer ages, the Yugas. They studied an ascending and descending cycle of 12 thousand years, broken into four periods; Kali Yuga, Dwapara Yuga, Treta Yuga, and Sata Yuga. The Greeks’ adaptation, (much easier to pronounce) of the four periods are: Iron, Bronze, Silver and Gold. These Yugas describe the level of intelligence or consciousness of mankind at the time. Each having specific characteristics, the Iron age is when man is only aware of material objects, “that which he can see, feel, and touch thought his five senses.”31 Clearly, lacking of spiritual consciousness. The very bottom point of time, or the start of the Kali Yuga, is arguably 500 AD which was around the very last fall of Roman culture. Today
we are said to be in the Dwapara Yuga/Bronze age, because we are more aware of things around us, like electrical molecules. Yet, we still have “dark material tendencies that still influence our age.”32 The ancient Indians would say we use only about 50 percent of our intellectual capability today. Maybe there’s some truth to that, as we are so consumed with artificial intelligence and getting machines to do the thinking for us; and we are less in tuned to spiritual. Perhaps this is all fantasy, as the Yugas seem stunningly long but maybe the ancient Indians want us to be more in tune with nature, just as they were!
IMAGE CREDIT: ABOVE, Transcendental painting by “Brahma Templeman”, Left, a diagram of the Yuga world cycles, retrieved from: world-mysteries.com in John Anthony West’s article titled, “Consider the Kali-Yuga.”
| 38
INDIA VERSUS ASIA
“LIFE IS SUFFERING”
MORAL: Path of discipline and self-denial, free of attachments to people and possessions. DIETY:
The setic, Buddha
PATH TO NIRVANA:
39
Renounciation
| FANTANIMALISMS
BUDDHA
V
S
HINDU “A DELIGHT IN LIFE”
MORAL:
Multiplicity of layers and options.
DIETY: Multiple dieties, with multiple heads and limbs. PATH TO NIRVANA:
Darshan and
follow the caste.
| 40
CREDIT: Scenic Pagoda, 2011, taken by Eustaquio Santimano, Flickr.
The Supreme Mission for Universal Harmony Emerging in the far east, rose another enduring vision of life, unique to itself. For them their purpose of life and culture was a moral order, “sustained by virtue, ritual, and reverence for ancestors.”33 Only in Asia have their cultural beliefs managed to endure to modern times. Like the Egyptians, not only did the Asian civilizations marvel at their cultural past before them, they were mystics in their own right. Ancient Asian cultures had long been performing rituals to worship and gain the wisdom of their ancestors— something that is still present in their culture today. Like the other ancient civilizations, the Chinese too believed in reincarnation after death, and “if sustained by sacrifices, the ancestors’ souls could bring good fortune and wisdom”34 This notion is still present in Asian culture today
as their respect for tradition and morality molded to the streams of Buddhism, Daoism (and Shinto in Japan) and Confucianism. For the Chinese in particular, Confucianism guided their public life, and Daoism and Buddhism guided the spiritual. These spiritual beliefs echoed into the distinctly east Asian reverence for nature in its art. Highly mystical and deeply rooted, east Asian aesthetics all highlight the expressionism of interconnected energy and life. For the Chinese, this was described as the two vital forces of nature: Yin and Yang. The Japanese believed in Shinto, focusing on the essence and spirit of things. Like the Indians, Buddhism also paved the way for the affinity for nature, a sense of oneness and sympathy for plants and animals alike. From this, symbols and motifs give way into fanatical magical energetic designs— as if they were a spiritual the force and nature themselves.
| 42
BACKGROUND
Like all of the ancient cultures, east Asian civilizations deeply honored sacred places. They too, erected temples and structures rivaling the beauty of the other heavy-hitters. The distinctive architecture we see in places like China conforms Feng Shui, the mystic belief Earth is affected by spiritual forces. The buildings and structures are inspired by the natural splendor of landscape, and a dazzling energy radiates from them. Their art exudes with life and force— its qi within.
Where India prospered in spirit, China and the rest of the far east cherished order, hierarchy, and their past. They sought ethical stability, peace, and universal harmony. Along with natural geographic barriers and three distinctly Asian concepts, a strikingly individual aesthetic unfolds. This came from the three great streams of inspiration: Buddhism from the south, Daoism (or Shinto in Japan), and Confucianism. Emerging as unmistakably Chinese, are the diverse animal hybrids with the auspicious energies that surround them. As stated previously, Buddhism acquainted people with the idea of personified animals. Adapting from many of the Buddhist tales, (myths of his past lives) this stimulated ideas and imagination of animate things of nature. Karma connected them with
43
| FANTANIMALISMS
these creatures, with the concept of “transmigration, where mankind is only one of the manifold phases.”35 They believed that reincarnation could be linked with celestial beings, plants, animals, and even goblins and demons! From these teachings stems a feeling of sympathy and oneness for them. Buddhism also elaborated on Shinto in Japan, where they worshipped the Kami (or spirits of animals and inanimate things). Moving a step beyond India, Daoism in China also supplied additional material for fantastic creations. This further propelled the east Asian imagery to carry a force of its own, unseen before. The magical physical surroundings of the far east encouraged the personification of nature, “and imagination played freely.”36 They marveled at the natural landscape and tried to capture its life and energy.
IMAGES CLOCKWISE: Mandala of Shakyamuna Buddha, Tibet, Chinese New Year Dragon taken by , Lightning on Mount Fuji, from the series 36 views of Mount Fuji, Katsushika Hokusai, 1823, woodblock print. MusĂŠe Guimet, Paris, France; Credit: ArtStor Image Library. BOTTOM: Snow on Mount Fuji, Porters Climb Uphill, Katsushika Hokusai
| 44
OVERVIEW OF STYLISTIC IMAGERY
FORBIDDEN CITY: THE NINE DRAGONS
VIGOR & FLOW HARMONY
A
CONNOTATIVE TRADITIONAL
B
THE NUMBER NINE Nine was a heavenly number to the Chinese, said to evoke infinity (as a series of three, heaven, man and earth). The number 9 also signified male and female, (the number 4 being female and male being 5). This number is depicted all throughout royal architecture and art, (seen in the detail of the Nine Dragons on the right page). The emperor, known as the dragon, embodied this holy number; and the royal family always featured nine dragons on their garments. Even more interesting, is that the Chinese dragon is actually a hybrid of nine tangible animals, said to have 81 scales, (9 x 9). The Forbidden City, Beijing, the epicenter of China, was for them the center of the universe. It is the heritage of Chinese humanity. When you first center the gates, you can’t help but feel captivated by the powerful vitality of the great nine dragons that greet you. Opposite page: Nine Dragons Gateway detail, Beihai Park, Beijing, China; 1662, Qing Dynasty, Glazed ceramic relief. Retrieved from the Artstor Image Library.
45
| FANTANIMALISMS
GOOD LUCK CHARMS PROTECTION C
Lucky cat!
FENG SHUI!
The Chinese symbols, (which had a heavy hand in fluencing the visual symbolism in its neighboring lands) are so vast, that their letters eventually formed puns. I.e. Koi fish began to mean plenty and abundance. These puns in turn made their appearance all over art and decorative objects. B
SUPERSTITION C The idea of good fortune isn’t just a cute idea. Many east Asian still believe they are under the control of supervision of certain animal spirits. So nobody knows when and where evil spirits might appear. To counteract this, many like to decorate themselves with lucky charms for good fortune and protection.
2 3E A GSYIPAT
VISUAL PUNS!
A The visual tagestry of convolluted patterns is not created solely for decoration. Every little detail is added for balance and harmony. It is meant to be attuned to the flow of life, and the artist’s qi emanates from his hand. This concept is a product of Dao, and the counteracting of Yin and Yang.
| 46
IN CONTEXT
47
| FANTANIMALISMS
Menacing Art
To the right, is a reoccuring Japanese symbol called a Daruma Doll. It comes from the story of a foreign (note the bushy hair) founder of Zen Buddhism. He supposedly meditated so deeply staring at a wall for nine years, he lost the ability to use his limbs (hence, no arms or legs). It has come to be a highly popular Japanese tailsman of granting wishes. The dolls are often shown with one or no pupils colored, as they are filled in when the wish is granted!
By the use of rich imagery and detail, east Asian artists were able to heighten a sense of movement and “menace.”37 Because of the religious influences, depictions of hell were popular themes. Capturing the fanatical turbulence and vulgarity of hell was used as a means of social control in China. Stemming into Japanese territory, Buddhism loved to often use these decoratively presented cautionary devices; featuring strange caricatures, mockingly depicted with faces distorted by emotion and pain.
and mythology. The Chinese implemented a strict cannon for art, described as a “sympathetic responsiveness to the qi, (or spirit) of the artist.”38 Stressing the natural importance of feng shui, “to go with the force of nature, yin and yang.”39 These mystic forces and energies also lends itself to why many people were (and are) so superstitious. The Chinese are very superstitious people, as we see in rural villages, where they still accept traditions without any questioning. They are always searching for omens, seeking fortune tellers, or studying the seasons to advise in making decisions.
Philosophy Chinese greatly influenced many of their neighbors, just as the Indian style inspired them. And the underlining focal point of all Chinese thought was to seek harmony on earth. The mystic teachings of Dao, (“the way”) was a means of achieving this goal— and the driving force for their symbolism
IMAGE CREDIT: DETAIL, “Floating World,” a tattoo print by Juan Manuel Piranha, Flickr.
| 48
IN CONTEXT
CHINA: PAINSTAKING PERFECTION When we imagine Chinese art, it’s hard not to think of the lofty paintings by the literati of calligraphy, or the deeply personal monumental landscapes. Yet, it is their court art that shows us another depth into the Chinese culture. Vigorously rich, auspicious imagery of imaginary hybrids appear all over the temples and kingdom— like the emperor’s dragons, pictured in the previous pages. Such as the Pharaoh was considered a divine human being, to the Egyptians, the Chinese revered their Emperor the same. Their version of the divine Pharaoh was the Yellow emperor, or
49
| FANTANIMALISMS
“Son of Heaven” who came to reside in the Forbidden city. This extremely presumptuous royal complex was not only deemed the center of China, but the center of the universe! With this prideful attitude, their art was central to establishing the perfection, order and superiority of their nation. Painting and sculpture developed out of scholarly tradition, and nothing less than flawlessness was ardently administered. It was a life or death situation! On the flip side, you could be a talented artist and come from nothing and build your status. Hard work and talent could move you up society. This attitude is still apparent
in the “stereotypical” over-achieving hard working Asian morale. The artists who created the swirling divine patterns that decorated the palace strictly conformed to China’s over-the-top standards. Every single color, spiraled stroke or woven pattern that made up the multicolored filled backgrounds were not arbitrarily picked. Every little detail “conformed to what was deemed proper, auspicious, and conducive to [universal] harmony and prosperity.”40 Feng Shui! IMAGE: Dragon at the Vancouver Opera, Taken by Roland Tanglao, 2005
JAPAN: A PORTRAIT OF DUALITY Oftentimes, Japanese art is pigeon holed as a pale and weak imitation of Chinese art, “the only difference is being one of quality.”41 But really, from Chinese beginnings developed art that was uniquely Japanese. Rather than all of the distracting opulence, they focused on other things. Of course, when you imagine Japanese art it is impossible to deny its essence of nature, they always loved the charming and soothing aspects of it. They followed Chinese conventions but added their own “innocent vision of perfection and simplicity… with a great ability to fuse the new and old.”42 Their
aesthetic has this interesting duality where it can combine a sense of serenity and turbulence at the same time, (whether this describes their vigorous illustrations of the Buddhist demons or the more modern Anime). The Japanese are gentle people, but they still love their violent manga and tv shows! Moreover, the Japanese had very different ideas of perspective and composition that the Chinese, with a more satirical touch. They took the Chinese style and exaggerated it, and made figures look more geometric, or line work and brushstrokes more playful. They liked exploring asymmetry
and deeply personal grotesque figures. Rather than Daoism, a distinctly Japanese inspiration for their aesthetics is Shintoism— a combination of nature and ancestor worship. They believed that the landscape around them was filled with spirits, or Kami. This garnered an acute curiosity to portray the essence of natural landscape with mythological stories of the spirits IMAGE: The Barocade Bride in Suo Province, Katsushika Hokusai, woodblock print 1830. Retrieved from the ArtStor Image Library.
| 50
FANTANIMAL PROFILES
[ FU DOG [ A DOG THAT’S SUPPOSED TO BE A LION The one animal that has become a kind of symbol of China and all Chinese things, the lion.. er dog! As the growth of Buddhism permeated through the fabric of China and Japan, this gaurdian made its appearance in front of its temples. Except, it doesn’t really look like a lion at all! With its cuddly curly hair, a dog collar, always in pairs— the misconception is that they aren’t really [fu]dogs. The Chinese weren’t really familiar with lions, as they aren’t indigneous to the country. This explains why not only why they have a pug-like appearance, but also their lack of gender distinction. Thus, the stylized lion came to be refered to as Bhuddist Dogs. The dogs of fu stood in front of Buddhist temples, not intentionally trying to look ferocious, (they were peaceful monks, afterall). Regardless of the misconception, the spread of the gender-neutral dogs, er lions in front of royal temples and palaces steadily grew. All along, they continued to be referred to as lions, because the Emperor commissioning them was unfamiliar with the appearance of a lion, discreetely avoiding the reference of dogs. These Buddhist Fo dogs in turn made their way to Japan, remaining quite popular. The Chinese name, Ri Shi (meaning auspicious lion) is the root of the American mis-pronunciation, Shitzhu!
51
| FANTANIMALISMS
[ KIRIN [ BENEVoLENT uNICORN This mythological beast is both popular in Chinese and Japanese mythology. Though he is fierce looking, it’s actually a benevolent creature, said to live in the world of Yin. His footsteps are soundless, and he never walks on green grass, (to avoid crushing and harming insects, ofcourse). He is a hybrid of a unicorn, deer, horse, and fish, with a powerful horn intended to banish evil spirits. He was a popular motif for military rank badges, as it symbolizes courage. It wasn’t until the rise of Confucianism and Buddhism in the first century, AD that the Qilin became a tame animal, who only appeared during times under peace and prosperious rule, as the unicorn was said to bring good fortune and justice. He began to make appearances in court artwork, (to reflect on their fair and just system); on judges’ garments, and during wedding ceremonies. The Japanese also adoped this beast, in a more deer like version, (pictured). Incidentally, the word Kirin has come to mean “giraffe” in modern Japanese language, which is where they believe the idea may have stemmed from, (hence, why the creature is sometimes pictured with two horns like the image shown.)
| 52
FANTANIMAL PROFILES
53
| FANTANIMALISMS
[ TURTLE [
[ SUN WUKONG [
GOOD FORTUNE
CHINESE MONKEY KING
The dragon turtle makes its appearance quite commonly all over marketplaces and restaurants, usually sitting on a pile of money. The turtle itself has deep roots in Chinese folklore, said to bring longevity, wisdom, and improving career and fortune. But this isn’t just any typical turtle, he has the hybrid of a dragon, alluding to protection, courage and good luck. With the combination of hybrids, this creature is a popular collectible in Chinese culture because it combines the two energies of the associated animals, allowing for good feng shui! The story behind the dragon head is actually comical. The Chinese felt that a turtle head an insulting connotation, (we’ll leave it up to you to figure out exactly why).
Sun Wukong, or the Monkey King, may be more familiar to our modern culture as the basis for some famous Animes. He is one of the most popular mythological characters for east Asians, and is also a Daoist deity. His story comes from the Ming dynasty’s epic, Journey to the West. In the story, he is a monkey born from a mythical stone, who becomes the king of a his clan of monkey followers. He was discovered and loved by a Daoist monk who trains him to become a powerful warrior with magical powers. Once he acquires these powers, he adventures to exotic India to retrieve Buddhist Sutras, the first of many quests he embarks on He is such a popular character for his comical cunning personality, wreaking havoc to any evil-doers that step in his path. Since then, the Monkey king came to symbolize the playful prankster in all of us.
[ ONI [
[ KITSUNE [
JAPANESE DEMON
Japanese Fox on Fire
The Japanese Oni demon, a common motif of Buddhism is still very popular in theater and art. The demons are big, dumb and hideous, with long noses, or horns, and scraggily beards. They act as Buddhist cautionary devices, and reside in Hell tormenting sinners. Their highly grotesque features are a caricature of the Chinese Tang style. The exaggerated features of course are to not only portray to their demonic-ness but also stem from their use as masks. At Buddhist festivals, performers had to project their emotion and character over long distances.
Japanese has a somewhat similar temperate climate to north America. They experience fall and winter, with forests that decorate the landscape, so it’s no wonder that foxes make their appearance often, as the messengers of and guardian of Kami spirits. In Japanese legend, the fox (or Kitsune) are crafty mischievous shape shifters. They can use their powers for good or evil, often getting into trouble! They are frequently depicted having up to nine tails— displaying the fox’s age and rank, per se. They grow more powerful with age, and additional tales will grow from their body after each century. Once they acquire nine tails (at 1,000 years old!) they have the power of infinite vision. Foxes are a popular motif on masks, smiling with red slit eyes. This stems from the Shinto lore where the magical fox was the messenger for their agricultural goddess, Inari; (Shinto messenger spirits are white.) The fox is a popular figure to adorn temple gates and doors to ward of evil demons, (kimon in Japanese)— even becoming a cult object of its own!
| 54
FANTANIMAL PROFILES
THE GREAT DRAGON OF THE EMPEROR
C
entral to China is the image of the five-clawed great dragon; it is the most notable (and popular) of all imaginary beasts. Eastern dragons, (unlike western) are benevolent teachers of “supernatural wisdom.”43 Considered the yang symbol of vigor, the dragon is said to protect the people, give rain, drive away evil spirits and bring good fortune. This description associates these supernatural and benevolent powers with the holy emperor. Dragon imagery was the epitome of court art. Rich patterns and motifs of the fiveclawed dragon decorated the royal palace, clothes, pillars, utensils, and virtually any other surface. Many times, the dragon is surrounded by flames, an artistic device often used in Buddhist art to portray magical powers. More commonly though, clouds and waves accompany him; more fitting for Asiatic dragons, who are attributed to weather patterns. The beautiful imagery of the serpentine dragon rising out of the sea is intended to symbolize the mighty (and in their eyes, divine) emperor as he unites the heavens and earth. Following the principles of Feng Shui, the dragon is often accompanied with a countering Yin element, symbolized
55
| FANTANIMALISMS
by the Phoenix. This pairing came to portray the union and love between the emperor and his queen, since becoming a popular wedding motif. The serpentine dragon took its original form from the Neolithic tribes, who most likely were influenced from south Asian roots. It was the Han dynasty has come to shape our conception of the Chinese dragon. They had tails, the long body, with the dog like face. Tang dynasty Literati scholar, Wang Fu, (and self proclaimed expert on dragons) described the proper custom of the dragon: “the head like that of a camel, with eyes of the devil, ears of an ox, and horns like a deer.”44 Moreover, the neck of a snake, feet like paws of a tiger, claws of an eagle, eventually a beard and whiskers were added, too.
| 56
FANTANIMAL PROFILES
CHINESE FENG SHUI ANIMAL ZODIAC
RAT
OX
TIGER
The Rat is respected and considered a courageous, enterprising person, they can always find a solution and can take care of themselves, no prob. They have a keen sense of observation and are among the most fit of all the Animal signs to survive any situation.
Ox people are the most stable and persevering; being tolerant folks with a strong character. Not many people could equal the resolution and fearlessness the Ox exhibits when deciding to accomplish a task or an objective; Oxen will always succeed through hard work!
The Tiger is a highly independent and rebellious personality, said to be lucky vivid, lively and engaging, (paired with hot-headedness.) They are unpredictable, but make great leaders.
Western: Sagittarius
Western: Capricorn
Western: Aquarius
CAT
DRAGON
SNAKE
Rabbits (or cats) are distinguished, diplomatic and well-mannered. They are private yet friendly individuals who enjoy the company of a group of good friends. They are always seeking harmony in all they do.
Dragons are the favorite sign for the Chinese, and said to always be successful, but these people must be free and uninhibited. They are fearless in the face of challenge, feisty and gifted with power and luck.
The Snake is the intuitive, introspective, refined and collected of the Animal Signs. Contemplative and private, the Snake is not outwardly emotional. The Snake will plot and scheme to make certain things turn out exactly as they want them to.
Western: Pisces
Western: Aries
Western: taurus
57
| FANTANIMALISMS
HORSE
GOAT
MONKEY
Exciting and extroverted, vivid and animated, the Horse is the life of any party he attends. He is bursting with energy, always looking for the next place to kick up his heels and hang loose. He entertains friends and strangers alike with his humor and appeal.
Sheep are easy going and relaxed people. They enjoy carrying on with life in their own quiet, individual way, content to be in the middle of it all rather than to be leading it. Sheep are easygoing and relaxed, happy to be going with the flow, and are artistic souls.
Monkeys are curious and clever people who catch on quickly to most anything. Monkey people generally can accomplish any given task. They are fun but cunning pranksters who like to be in on everything, and refuse to grow old.
Western: Gemini
Western: cancer
Western: leo
ROOSTER
DOG
BOAR
The Rooster is a flamboyant personality, feisty and obstinate. Outwardly confident, the Rooster is also a trustworthy, hardworking individual. He’ll tell it like it is with no qualms or reservations.
The Dog is a giving, compassionate personality. He offers kind words, support and advice to friends and family. He is a listener, always available to lend an ear or a shoulder to a friend in need. Honest, faithful and sincere to the end.
People born under the sign of the Pig enjoy life and all it has to offer, including family and friends. They are honest and thoughtful and expect the same of other people. They are a great role model for others, and want to do everything right.
Western: virgo
Western: libra
Western: scorpio
| 58
EAST ASIA VERSUS SOUTH ASIA
V BATTLE OF
“BUDDHA”
CHINA’S FAVE SAINT
DISPOSITION: DIET:
Always smiling
Accepting all donations
SPECS:
Bald, proudly displaying large gut through robes (to be rubbed...)
IMAGE CREDIT: Laughing Buddha, 2006, taken by Thomas Hawke, Flickr.
59
| FANTANIMALISMS
STHE BULGE
buddha SOUTH ASIAN ASETIC
DISPOSITION: DIET:
Always starving
Fasting on one grain of rice
SPECS:
Coiled bun, many times shirtless, and depending on the day ribcage or spine through the stomach may be showing.
IMAGE CREDIT: Buddha head, 2006, taken by Thomas Hawke, Flickr.
| 60
NOTES ChAPTER 1: EGYPT 1 Robert L. Tignor, Egypt during the Old Kingdom (Princeton: 2011), 23-50. 2 Richard H. Wilkinson, Symbol and Magic in Egyptian Art (London: Thames and Hudson, 1994), 7-36. 3 Wilkinson, Symbol and Magic, 16. 4 John Baines, Leonard H. Lesko and David P. Silverman, Religion in Ancient Egypt: Gods, Myths, and Personal Practice (New York: Cornell, 1992). 6. 5 John Baines, “Literacy and Ancient Egyptian Society,”Man, September 1983, 572-599. 6 Baines, “Literacy,”576. 7 John Anthony West, Magical Egypt: The Invisible Science. Cydonia 2001. DVD. 8 John Anthony West, Magical Egypt, 25:00.
ChAPTER 2: INDIA
CHAPTER 3: East asia
16 Hermann Goetz, The Art of India: FiveThousand Years of Indian Art (New York: Greystone, 1964), 9.
33 Michael Wood, narr. The Mandate of
17 Goetz, The Art of India, 29.
34 Michael Wood, Mandate of Heaven,
18 Michael Kapman ORiley, Art Beyond the West (New York: Calmann and King, 2002), 61-62.
35 Masaharu Anesaki, The Mythology of
19 Veronica Ions, Indian Mythology (New York: Peter Bedrick, 1987) 6-8.
Heaven. BBC Video, 2007. DVD.
3:00.
All Races: Japanese, (Concord: Rumford, 1928) 312. 36 Masaharu Anesaki, Japanese, 220.
20 ORiley, Art Beyond the West, 60.
37 Sherman E. Lee, A History of Far
21 Ananda K. Coomaraswamy, Myths of the Hindus and Buddhists, (London: George G. Harap: 1912)
Eastern Art (New Jersey: Prentice Hall,
22 Mitra, Sudipta. Gir Forest and the Saga of the Asiatic Lion. (New Delhi: Indus, 2005) 40-44.
West, (London: Calman and King, 2002) 136.
1994) 286-7 38 Michael Kampen ORiley, Art Beyond the
39 John Reeve, Japanese Art in Detail (Harvard: 2006) 62.
9 Wilkinson, Symbol and Magic, 178.
23 Veronica Ions, Indian Mythology (New York: Peter Bedrick, 1987) 8-11. 24 Ions, Indian Mythology, 11.
10 Veronica Ions, Egyptian Mythology (New York: Harper and Row, 1982), 7-21.
25 Ananda K. Coomaraswamy, Myths of the Hindus and Buddhists, 68.
41 Sherman E. Lee, “Contrasts in Chinese
11 Corinna Rossi, Architecture and Mathematics in Ancient Egypt, (Cambridge: 2004) 67.
26 Chatterjee, Gautam. Sacred Hindu Symbols. (New Delhi, 2001) 20.
Aesthetics and Art Criticism: 21, (1962)
27 Ananda K. Coomaraswamy. “Animals of Indian Mythology.” Journal of the Royal
42 John Reeve, Japanese Art in Detail
28 Ananda K. Coomaraswamy, Myths of the Hindus and Buddhists,331.
Chinese Art in Detail, (Harvard, 2006) 68.
29 Ananda K. Coomaraswamy, Myths, 332.
Races: Chinese, (Concord: Rumford, 1928)
12 John Baines, Leonard H. Lesko and David P. Silverman, Religion in Ancient Egypt: Gods, Myths, and Personal Practice (New York: Cornell, 1992). 30. 13 Richard H. Wilkinson, The Complete gods and Goddesses of Ancient Egypt (London: Thames and Hudson, 2003), 12-16. 14 John Baines, Leonard H. Lesko and David P. Silverman, Religion in Ancient Egypt: Gods, Myths, and Personal Practice (New York: Cornell, 1992). 15-16. 15 Baines, Lesko, and Silverman, Religion in Ancient Egypt, 15.
30 Walter Cruttenden, Descent. Cydonia 2001. DVD. 40:00. 31 Walter Cruttenden, Descent. Cydonia 2001. DVD. 45:00. 32 Walter Cruttenden, Descent, 48:00.
40 Carol Michaelson and Jane Portal, Chinese Art in Detail, (Harvard, 2006) 87.
and Japanese Art,”The Journal of 3-12.
(Harvard: 2006) 87-8. 43 Carol Michaelson and Jane Portal,
44 John C. Ferguson, The Mythology of All 12.
This single volume was designed and hand bound by Ali Selby. The text is set in 9 pt Aller Light with Bebas, Alta Haas Sand bold, 400 ml bold, Samarkan and Gang of Three for display. Printed on a digital press in the spring of 2012. Designed and bound at George Mason University, Fairfax,Virginia.