"Children at Play" (Chinese Art)

"Children at Play" Exhibition, Freer Gallery of Art, April 2010. Last year I saw this exhibition and I thought these paintings 齊白石 (Qi Baishi) were just so charming I had to post about them on this blog. The painting on the left (c. 1930) is called 夜讀圖 ("Studying at Night"), and the one on the right (also c. 1930) is 送子師從 ("Taking the Son to School"). The paintings seem quite sympathetic toward the child's plight.

Incidentally, the name 齊白石 is a pseudonym. The self-taught artist was known for landscape painting (among other things), and 白石 literally means "White Stone," suggesting snow-covered mountains.

For more about the artist and his legacy, see here.

Guide to Arabic Calligraphy

Guide to the Arabic alphabet, "Calligraphy of the Islamic World," Sackler and Freer Gallery of Art, 2007. This pamphlet offers a chart providing information on the letters of the Arabic alphabet and it also allows you to trace the proper strokes in order to write السلام عليكم (As-Salāmu `Alaykum = "Peace be with you"). I'm not exactly sure if the chart of letter forms is all that useful, since Arabic letters (as I understand it) must change their shape depending on where they appear in a given word.

(For more on calligraphy in Muslim cultures, see this online exhibition. To see another chart of the Arabic alphabet with cute animal pictures, see this earlier post.)

Jibberish Scripts (Hebrew? Greek?)

A holy child writes in a book in this detail from Bernhard Strigel's Saint Mary Salome and Her Family in the National Gallery of Art (click image to enlarge). I was intrigued by the appearance of the writing in this book, which looks to me like jibberish script. At first I thought these letter-forms were approximating Hebrew, but if that's so then the writing is going in the wrong direction (i.e., the pen is moving left to right, as one does when writing Latin and other languages; Hebrew should go from right to left).

When I took another look at the entire painting online (see image and description here), I realized this child actually identified as SANCTV. IOHANES EWAN. (Saint John the Evangelist) - and his Gospel was actually written in Greek. But the writing doesn't look very much like Greek either.

I guess it doesn't really matter whether the writing is "supposed" to be Greek or Hebrew. It looks like the artist was much more interested in representing the "idea" of a holy writer rather than conveying the accuracy of any particular script. (For another creative use of script in a religious painting, see this earlier posting about upside-down Latin.)

I'm sure I could find other examples of jibberish script throughout the NGA if I really looked around, but here's a similar example from a painting I saw in the Museo dell'Opera del Duomo during a visit to Siena:

I don't remember who this figure is or even the name of the artist, but it's another intriguing example of visually stylized script that lends an aura of authority. Whether it's meant to represent Hebrew or Greek, the symbols here look to me a lot like a older form of Arabic numerals.

Chocolate-Covered Fortune Cookies?!

I saw this quality Valentine's Day themed product for sale today: chocolate-covered fortune cookies, complete with red "Chinese takeout" shaped box. Each fortune apparently has a romantic theme. The character 愛 (love) is written on the box in reasonably legible traditional script, but for some reason it has been rotated counter-clockwise by 45 degrees.

At least this company knows better than to use a stereotypically pointy "Chinese take-out menu" font (for some examples of this, see here). That being said, I do think it's rather odd that the white tear-drop shaped portion of the yin/yang symbol becomes the "dot" in the letter "I" as well as the apostrophe.

P.S. The origin of the fortune cookie is disputed (see here), but as far as I know it is not actually a Chinese invention.

P.P.S. I have not purchased, nor have I tasted, these cookies.

Muse of Poetry (National Gallery of Art)

Calliope (muse of heroic poetry), as sculpted Austin Pajou (c. 1763), in the French Neoclassical style. The name for Calliope comes from the Greek Καλλιόπη (Kalliope, or "beautiful-voiced"), and she is conventionally depicted holding a book or tablet.

In this detail, we see that the sculptor has chosen to show her holding an open book. On these pages are a Latin inscription. The first 3 lines on the left-hand page read CALLIOPE REGI/NA HOMINVM / DIVVMQVE (Calliope, Queen of Humans and Gods). The "queen" form of address is an allusion to Horace, whose Latin poetry refers to Calliope as regina, or queen (Carminae, III.iv.2). National Gallery of Art, West Wing.

To read more about this sculpture (including a full transcript of the Latin inscription), see here.

Trans-Atlantic Poetry (Navy Memorial Metro)

Two poems are inscribed all the wall in part of Ocean Piece, an artwork by Jorge Martin (1995). As far as I can tell, the artwork honors trans-Atlantic navigation and exploration. On the left (Western?) side of the artwork is an excerpt from Walt Whitman's poem "The Prayer of Columbus." The lines read:

All my emprises have been fill’d with Thee, 
My speculations, plans, begun and carried on in thoughts of Thee, 
Sailing the deep, or journeying the land for Thee; 
Intentions, purports, aspirations mine—leaving results to Thee.
  
O I am sure they really come from Thee! 
The urge, the ardor, the unconquerable will, 
The potent, felt, interior command, stronger than words, 
A message from the Heavens, whispering to me even in sleep, 
These sped me on.
  
By me, and these, the work so far accomplish’d (for what has been, has been); 
By me Earth’s elder, cloy’d and stifled lands, uncloy’d, unloos’d; 
By me the hemispheres rounded and tied—the unknown to the known. 

On the right (Eastern?) side of the sculpture - across a gentle bulge, which seems to me to evoke an ocean wave - is an excerpt from "Occident," a work by the Portuguese poet Fernando Pessoa. These lines read:


With two hands - Deed and Fate
We have unveiled in the same gesture, one
Raises the flickering and divine torch
While the other draws the veil aside.

Whether the hour was ripe or it owned
The hand that tore the Western veil,
Science was the soul and Audacity the body
Of the hand that unveiled it.

Whether the hand rose the glittering torch
Out of Fortune, Will or Tempest,
God was the soul and Portugal the body
Of the hand that bore it.


This artwork was a gift from the Lisbon Subway to the DC Metro (see this website for more). The oceanic and transportation-themed artwork is indeed fitting for its location: the Navy Memorial metro station.

Pocahontas Portrait

Painting of Pocahontas, after a Dutch engraving, National Portrait Gallery. Known by many names, this Native American woman supposedly saved the life of English colonist John Smith; she later converted to Christianity and moved to England, assuming the name Rebecca Rolfe. The inscription states this is how she appeared at age 21 in the year 1616, and the Latin inscription around the border reads "MATOAKA ALS REBECCA FILIA POTENTISS. PRINC. POWHATANI IMP. VIRGINIAE ("Matoaka, alias Rebecca, daughter of the most powerful prince of the Powhatan Empire of Virginia"). 

To find out more about Pocahontas and this painting, see this US Senate website. For more on the original 1616 engraving upon which this painting is based, see this Smithsonian site. For more on Pocahontas and her perception on both sides of the Atlantic, see here.

For more about iconic Native Americans with multiple names, see here and here.

Translating Names (National Statuary Hall Collection)

One of the most interesting features of the US Capitol is the National Statuary Hall Collection, which consists of 100 statues (2 from each state in the union). A particularly diverse group of statues populates the Capitol Visitor Center, reflecting the multicultural heritage of the nation.

On the left (above) is King Kamehameha, who (according to this official description) "united all the inhabited islands of Hawai'i under his rule." The pedestal of the statue reads KAMEHAMEHA I (i.e., King Kamehameha the First), but his full Hawaiian name is apparently much longer. On the right (above) is the Native American woman most commonly known as Sakagawea (or Sacajawea). In selecting this statue, the North Dakota legislature honored the woman they called Sakakawea as a "traveler and guide, translator, a diplomat, and a wife of mother" who was so crucial in the expeditions of Lewis and Clark.

Another figure worth mentioning here is Sequoyah, a Native American who represents the state of Oklahoma. The official description refers to him the "inventor of the Cherokee alphabet," but the writing system he developed is technically a syllabary.

(For more on Sequoyah, see my previous posting.)

Other statues in the collection depict figures from far-flung points of origin: e.g., Spanish missionaries Eusebio Francisco Kino (AZ) and Junipero Serra (CA); Quebec-born settlers Jean-Baptiste McLoughlin (OR), Jason Lee (OR), and Mother Joseph, née Esther Pariseau (WA); a French missionary, Father Jacques Marquette (WI); a Dutch-speaking Belgian known as Father Damien, born Joseph de Veuster (HI); and more Native Americans: Sarah Winnemucca (NV-Paiute), Po'pay (NM-Tiwa), and Washakie (WY-Shoshone).

Sequoyah, Inventor of Cherokee Writing System

This painting by Henry Inman at the National Portrait Gallery depicts the Sequoyah (d. 1843), the inventor of the Cherokee writing system. The script in Inman's painting doesn't look as well-executed as it could be; perhaps this is because Inman's work based upon a lost painting by Charles Bird King (King's painting was destroyed in a fire at the Smithsonian Castle).

This engraving, also based upon the lost King painting, seems to do a better job re-creating the Cherokee script. Sequoyah himself signed his name as ᏍᏏᏉᏯ (Ssiquoya), but you can see here that he was also known by the English name of George Giss or Guess.

This postcard, which erroneously calls the syllabic writing system an "alphabet," at least gives you a good sense of the sounds that the signs represent. For more about the Cherokee syllabary and language, see this page.

To read (or hear) more about this painting, see this NPG blog posting. You can also read about the statue of Sequoyah in the National Statuary Hall Collection (see the next posting for more).

FDR's Minimalist Monument (National Archives)

It's very easy to miss this simple monument on the north side of the National Archives. This memorial is dedicated to Franklin Delano Roosevelt, and for a presidential monument this one is not very grand or informative.

As it turns out, that's exactly what FDR wanted. Note the second "explanatory" plaque that has been erected in front of this memorial (click to enlarge and read the text).

It seems funny that this plaque both honors and disrespects his wishes. FDR did get his modest form of commemoration - but the plaque itself goes beyond FDR's instructions, turning the president's humility into something worth of commemoration in its own right.

There is, of course, a huge and complex FDR Memorial on the National Mall - which, I suppose, adds to the irony (see here and here for more).