Saturday, August 29, 2020

The Year of Living Dangerously
Annual Review

Marie-Therese Wisniowski


Preamble
For your convenience I have listed below the annual reviews that span the life of this blogspot.
It's Been An Exciting Year (2010/2011)
Another Cheer - Another Year (2011/2012)
Where Did The Year Go? (2012/2013)
The Year of the Horse (2013/2014)
Cold and Windy - But on the Dawn of Renewal (2014/2015)
A Time To Reflect - A Time To Select (2015/2016)
A Time to Remember (2016/2017)
To Be or Not to Be (2017/2018)
The Night Too Quickly Passes (2018/2019)
The Year of Living Dangerously (2019/2020)
Attempt The Impossible Since Failure Will Still Be Your Success (2020/2021)
A Year of Climate Extremes (2021/2022)
I Love A Sunburnt Country (2022/2023)
Australian Rules (2023/2024)


COVID-19
Let me say at the outset: my condolences to those of us who have lost a loved one, a relative or a friend due to the pandemic caused by COVID-19. This has been the year of living dangerously.

COVID-19 - a textile version of it! Make anything in a textile and what is feared becomes a force to be reckoned with.

Forget all those conspiracy theories! Covid-19 was most likely caused in the wet markets of Whuhan, China and due to the lack of rigorous oversight of health regulations of the wet markets, a virus was born. This is not the first time Western China has spawned a virus that has swept the world. What makes this virus so difficult to contain is that it occurred approximately near the Chinese New Year, where millions of Chinese ex-patriots went to China to celebrate the year of the Metal Rat and when they returned they unknowingly brought the virus to the rest of the world. Furthermore, what gives this virus an added dimension is because it is very infectious.

Year of the Metal Rat.
Note: There is no reason to blame your local Chinese community or overseas tourists. They are NOT to blame for the spread of the virus. Rather your government is to blame for its lack of biosecurity at its borders.

The world has known about the outbreak of viruses before. It has been with us even before the emergence of the black plague. However, we the public and authorities have learnt very little in order to contain a pandemic before a vaccine is available. We spend billions of our currency to prevent terrorist attacks and yet more people have died from this plague than from any terrorist event in the western world. We should divert some of this allocated money to ensure biosecurity at the borders. This is especially so in Australia, where our hygiene regulations are adhered to and as we are an island we import viruses from overseas and yet spend nothing on biosecurity. A virus is only a health threat after it reaches our shores, but prior to that it's a biosecurity threat.



I realize we all want a vaccine to be produced as quickly as possible to prevent us from catching the virus. However, let me be cynical. Every day I hear of a new promise of a vaccine and yet every day none is forth coming. I wish scientists would just shut-up! When I went to University my Professor would advise us: "You can only brag after I have marked you!"

A 3D print of a spike protein on the surface of SARS-CoV-2, the virus that causes COVID-19.
University of Iowa and University of Georgia are developing vaccine candidates based on the PIV5 virus expressing coronavirus spike proteins.
Credit: NIH

Our language has also grown because of the pandemic. We now use phrases such as: social distancing, self isolation, lock down, community spread, contact tracing, personal protective equipment (PPE), viral load, work-life balance, working from home and home school - just to mention a few!



Australian borders were closed to all non-residents on the 20th March 2020. Social distancing rules were imposed on 21 March and state governments started to close 'non-essential' services. 'Non-essential services' included social gathering venues such as pubs and clubs, but unlike many other countries did not include most business operations such as construction, manufacturing and many retail categories e.g. grocery stores.

In Australia, the number of new cases initially grew sharply, then levelled out at about 350 per day around 22 March, and started falling at the beginning of April to under 20 cases per day by the end of the month. Now we are undergoing a second spike, because people who have flu like symptoms still go to work, fearing a loss of employment as unemployment figures reach staggering highs.

As of 2 July 2020, 8,001 cases and 104 deaths had been reported in Australia, with the highest number of cases being in New South Wales.

The rest of this post is not so depressing and is in line with my previous Annual Reviews and so I know for many of you who have suffered, the following text may appear trivial. However, while we are currently living in abnormal times, normality will return to us since our grandchildren who will be born after this pandemic will ask those of us who have memories of it - What was all that about?


The Year of Living Dangerously
The number of categories on this blogspot keeps growing. They are as follows: (i) ArtCloth Textiles; (ii) Art Essays; (iii) Art Exhibitions/Installations/Talks; (iv) Artist Profiles; (v) Art Resources; (vi) Art Reviews; (vii) Book Reviews/Interviews; (viii) Craft and Quilt Fairs; (ix) Fabric Lengths; (x) Glossaries; (xi) Guest Artists/Authors; (xii) Guest Editors; (xiii) Opinion Pieces; (xiv) Resource Reviews; (xv) Prints On Paper; (xvi) Technical Articles; (xvii) Wearable Art; (xviii) Workshops and Master Classes (i.e. my students outputs).

Not all of these categories are present in any given year (e.g. Artist Profiles, Fabric Lengths, Workshops, Craft and Quilt Fairs, and Master Classes etc did not make an appearance this year). Also, judging a post by the one criterion - most amount of viewers - is not necessarily the smartest approach, since the length of stay might mitigate the former statistic. How often have you heard yourself say - oops I really didn't mean to google this hunk of a man when I searched for "loincloth!" Nevertheless, this one statistic makes matters so much easier for me and so it will be used as the final arbitrator, except when two posts differ by less than two viewers - I will then decree that both are winners!


ArtCloth Textiles
There are four posts dealing with ArtCloth in the 2019/2020 season and all of them are concerned with African textiles. I vividly remember when I went to South Africa, the clothes the Africans wore were stunning in color and big design motifs. If you go to the USA, some African Americans wear dark clothes reflecting their skin color and therefore defining that - Black Lives Do Matter. In subterranean Africa it's all about color - look at me - they are proudly proclaiming - look at me! It is not surprising that the number of visitors who viewed these ArtCloth posts were directly proportional to their length of stay on this site. Hence the two contenders are: Diversity of African Textiles and African Textiles: West Africa. With the former having twice as many viewers as the latter.

Northern Togo (a country in West Africa).


Art Essays
This was a very active category with seven posts in the 2019/2020 season alone. These essays were very diverse in nature from the artwork of individual artists to Japanese embroidery. The two vying for the top post were: The Art of Arthur Pambegan Jr and Paisley Patterns - Part III. It didn't surprise me that the latter nearly doubled the number of visitors who viewed this post compared to the former. There is something about Paisley Patterns that just enthuses so many visitors.

Comment: Sometimes the outline of the Paisley motif was made, not so much by its filling, as by the absence of the pattern immediately around it. This design gives a particularly good example of the 'voided' technique.
Paisley Patterns - Part III


Art Exhibitions/Installations/Talks
There was only one post in this category and that was "My Contribution to: The Lake Macquarie's Water Exhibition" The piece was titled, "Lake Macquarie: Timeless Creator of Life.".
Lake Macquarie Museum of Art and Culture is only a fifteen minute drive from my home. Lake Macquarie is the largest salt water lake in Australia.

My Artist Statement: The artwork highlights that Lake Macquarie has sustained life from the beginning of human occupation - from the initial Aboriginal occupation to its present day. Hence, the presence of trilobites and deconstructed fish shapes depicting an on-going living activity within the Lake that refracts from a conscious out-of-the-Lake observance. The lack of human form or activity on or in the Lake was consciously imposed within the artwork in order to emphasise the fragility of the Lake being inhabited, centres not on what exists within it, but rather on what exists outside of it.


Art Practice
There was only one post in the 2019/2020 season in this category namely: The Art of Jenny Kee - Part II. Whenever a post on Jenny Kee is on this blogspot the visitors come in droves. It is the color palette of her fabrics and the designs she creates that always excites the viewer.

Embroidered Cloth: Barramundi.


Art Resources
In the first week of every month (except January) an Art Resource is published on this blogspot. The Art Resources that are published just after the Annual Review are always the favourites to win, because they have a full year to gain an audience, whereas an Art Resource published in the month of the review only has a fortnight and so normally gains a much smaller audience.

The two contenders for this category were: Progressive Shrinkage and Methods of Control and Knit-Sew or Stitch Through Fabrics. They were published within a week of each other, with the former being the winner by just an additional 15 viewers compared to the latter.

See - Thermoplastic Fibers - for more information about this post.


Art Review
There were three published posts in this category in the 2019/2020 season and the two most viewed were: Hawaiian Quilts - Part IV and Traditional Indian Textiles - Part II and the most viewed in this category was the latter by an additional 8 viewers.

Sindhi 'bandana' (tie-and-dyed) odhni, worn by the women of the Meghwal leather-workers caste of That Parkar, and made by the Hindu Khatri dyers of Khipro Sangar, Sind.


Book Reviews/Interviews
There was only one post in the 2019/2020 season in this category and it was my interview of Kalle Gayn about his novel - Reign of the Mother. Why wouldn't I interview him! After all he dedicated his novel to me, because I designed the front cover of his book and did the layout for him. Bias you say, and I answer, 'Of course!'



Guest Artists
There were two posts in this category and both posts had a common feature namely Robyn Werkhoven. As the second post appeared on the 22 August 2020, naturally the first post that appeared seven months ago had far more visitors and that post featured Eric & Robyn and the Mythical Beasts. Eric and Robyn Werkhoven celebrated a forty year artistic relationship. What I really love about their art is that it is totally original, kinky, quirky and so absolutely unique and therefore insightful.

Artists and Year: Eric and Robyn Werkhoven, 2017.
Title: Monkey Boys.
Technique and Media: Graphite pencil & oil pastel on paper.
Size: 42h x 30w cm.


Opinion Piece
There was only one post in this category in the 2019/2020 season and that was Art - Human Being's Greatest Invention.
Perhaps my last paragraph of this post sums it up.
Art is our greatest invention since it caters for our existential needs and is totally aesthetic in terms of our act of engagement when seeing it. It was so at the beginning of our existence, and it will be so when our existence in the universe comes to an end. Art is our greatest invention, since it is not attached to any psychological need for survival, but rather art is attached to a unique human desire!

They are said to be dated 47,000 years old, which puts them in the time span of the Neanderthal man, predating Homo-sapiens. These Australian rock paintings seem to suggest early encounters with spiritual beings in Dreamtime.


Prints on Paper
While most of the posts published on this blogspot are about textiles, some focus on my other passion namely, prints on paper. There were a half dozen posts in this category published in the 2019/2020 season. The two most popular posts in this category were only published a month apart and they were: The Creation of Hurricane Katrina – The Disruptor and European Illumination - Gothic Style, with the former having 50 more visitors. The winning post gave a stage by stage account of how the final fine-art print was constructed, layer-by-layer.

The final image of the final fine-art print of: Hurricane Katrina – The Disruptor. The print was created for the '40/40' exhibition which celebrated 40 years of the existence of the Newcastle Printmakers Workshop.


Resource Review
There was only one published post in the 2019/2020 season and that was Egyptian Museum Cairo - Part I. It is truly one of the great museums in the world. We were there when you could scale the pyramids and take in a breath taking view of the surrounds. There will be life after Covid-19 just as there was life after the Spanish flu and so it should be on your bucket list!

Prince Rahotep with his wife, Princess Nefert (Dynasty Medum).


Wearable Art
There were a number of posts on Wearable Art in the 2019/2020 season. The two outstanding posts in this category were: The History of the Obi, which was published on August 31, 2019, just one week after the last review and The Effects of Color on Your Appearance, which was published four months later. Naturally the winner was the former, nearly doubling the number of visitors compared to the latter.

The History of the Obi.

Saturday, August 22, 2020

Studio La Primitive Fashion Fantastic
Wearable Art

Guest Artist: Robyn Werkhoven


Preamble
For your convenience I have listed below all of the Guest Artists posts on this blogspot:
My Voice using Disperse Dyes on Cloth (Jennifer Libby Fay)
An Artistic Dialogue With My Immediate Environment (Lesley Turner)
The Art of Fascinators (Flora Fascinata)
Reality, Influence and Invention (Shirley McKernan)
The Mythical Beasts (Eric and Robyn Werkhoven)
Studio La Primitive Fashion Fantastic (Eric and Robyn Werkhoven)
The Art of Mary Edna Fraser: Poetic Landscapes


Introduction
Collaborative artists Eric & Robyn Werkhoven, exhibit under the title of Studio La Primitive. Both are award winning artists and have been finalists in major Australian art prizes. Their work has been selected for exhibitions nationally and internationally.

In 2013 they established the successful Art and Literary online magazine – Studio La Primitive Arts Zine. As multi - disciplinarian artists in the visual arts this article features their journey into the world of fashion and textiles. The textiles like their paintings are full of vivid color, stylized design, and with themes expressing the human dilemma with a candid humour.

At present their latest work is a hand painted mantle to be exhibited in 'Stole: the Show', to be held at a Newcastle textile gallery, New South Wales, from 16th September to 1st November 2020.

Robyn is also exhibiting new work featuring her drawings and paintings titled, "Recent Work", with fellow artist, Sue Stewart, at Back to Back Gallery in Cooks Hill, Newcastle, from the 11th to 27th September 2020.


Mad Moment – Painting and Drawing Series at ‘Recent Work’ Exhibition at Back to Back Gallery.

Artist and Year: Robyn Werkhoven, 2020.
Title: Interior with Nude.
Media: Acrylic on canvas.
Artist Statement: The paintings are based on drawings from my visual diary, a return to vivid colour and stylized design.


‘Stole: the Show’ at Timeless Textiles Gallery
Curator’s Statement
A stunning and diverse collection of works by twenty three contemporary artists using the format of a Stole, a mantle worn around the neck that is found in many spiritual traditions. Artists and craftspeople will explore through a variety visual means the hopes and aspirations we carry on our shoulders as vulnerable and compassionate human beings.

Curator Rod Pattenden says: ‘People carry things upon their shoulders, their past, current responsibilities, as well as future hopes and aspirations. As frail humans we carry our lives on our shoulders, as well as the hopes and concerns we carry for others and our common future as the human community. These artist have taken up the challenge of visualising these burdens.’

This is an exciting opportunity to show off a range of work by practitioners working in diverse media, willing to explore an intimate subject matter that also investigates the nature of community, spirituality, politics, the environment and our common good.

Artists include Alexandra Banks, John Barnes, Margot Broug, Jan Clark, Catherine Croll, James Drinkwater, Penny Dunstan, Andrew Finnie, Peter Gardiner, Petra Hilsen, Sandra James, Sachiko Kotaka, Anne Kempton, Glenn Loughrey, Chris Mansell, Rod Pattenden, Giselle Penn, Wilma Simmons, Kris Smith, Braddon Snape, Richard Tipping, Robyn and Eric Werkhoven, and Graham Wilson. Curated by Anne Kempton and Rod Pattenden.

Artists and Year: Eric and Robyn Werkhoven - Studio La Primitive, 2020.
Title: FUN and FOLLY (full view of the mantle).
Technique and Media: Hand painted with fabric paints on cotton blend fabric.
Size: 50 cm w x 86 cm h (front); 50 cm w x 60 cm h (back).
Artist Statement:
The grand master’s mantle.
A one legged bird heralds the coming of the hunters.
Rounding up the beasts.
The ritual of people throwing the dice.
All in the game and name of wooing and scoring.
To come up with a feast and a story.
How clear it all seems in a blue, blue sky.

E&R Werkhoven © 2020.

Artists and Year: Eric and Robyn Werkhoven - Studio La Primitive, 2020.
Title: FUN and FOLLY (detail view of the front of the mantle).
Technique and Media: Hand painted with fabric paints on cotton blend fabric.
Size: 50 cm w x 86 cm h (front).

Artists and Year: Eric and Robyn Werkhoven - Studio La Primitive, 2020.
Title: FUN and FOLLY (detail view of the back of the mantle).
Technique and Media: Hand painted with fabric paints on cotton blend fabric.
Size: 50 cm w x 60 cm h (back).

Artist and Year: Alexandra Banks, 2020.
Title: Lost Time.
Technique and Media: Drafting paper, wool, soldering wire.
Size: 110 x 60 x 15 cm.

Artist and Year: Andrew Finnie, 2020.
Title: The Hamsa Stole.
Technique and Media: Printed digital painting on polyester.
Size: 15 cm x 254 cm (unfolded).
Edition: 15.

Artist and Year: Kris Smith, 2020.
Title: “Mantle of Light”.
Technique and Media: Digital design from elements of an original painting done on timber. Digital print on polyester stole.
Stole Size: 17 cm w x 238 cm h.
Installation dimensions (hanging stole): 50 cm w x 122 cm h.


The Journey
The fashion journey began with Robyn, who from a young age loved making clothes for her dolls and collecting fashion magazines, later avidly following the Parisian Haute Couture, admiring the works of Jean Paul Gaultier, John Galliano, and Alexander McQueen all known for their unconventional fashion designs.

Whilst studying Graphic Design in Sydney in the early 70’s Robyn would regularly visit iconic Australian fashion designer Jenny Kee’s shop Flamingo Park, in the Strand Arcade, Sydney. Admiration for Kees’ wonderful colourful and exotic fashion inspired Robyn to establish her own business and retail shop – Armin Designs, designing and selling unique hand printed and painted clothing from her Wollongong shop and various Sydney outlets, including High Lama in Bondi Junction and Sean and Sonia’s in North Sydney.

After a life style change, marriage and moving to Mt Georgica, Robyn produced a range of hand painted clothing for Who Wears the Pants, clothing store at Byron Bay in New South Wales.


Artists and Year: Dress design by Robyn Werkhoven. Images by Eric and Robyn Werkhoven, 2013.
Title: Dance Dress.
Technique and Media: Hand painted images and silk screened bodice and hem designs employing fabric paint on 100% cotton.


Artists and Year: Eric and Robyn Werkhoven, 2005.
Title: Studio La Primitive Kimono (front view).
Technique and Media: Hand painted images employing fabric paint on 100% cotton.
Exhibited in the Peter Berry Collection at Newcastle University in 2017.

Artists and Year: Eric and Robyn Werkhoven, 2005.
Title: Studio La Primitive Kimono (back view).
Technique and Media: Hand painted images employing fabric paint on 100% cotton.
Exhibited in the Peter Berry Collection at Newcastle University in 2017.

Artist and Year: Robyn Werkhoven, 2006.
Title: Dancers.
Technique and Media: Photo stencil images, silkscreened employing fabric paint on rayon.

Artist and Year: Robyn Werkhoven, 1975.
Title: Fantasy Bird.
Technique and Media: Photo stencil design, silkscreened employing fabric paint on cotton voile.

Later Robyn ventured into knitting her designs and other fashion accessories, hats and a range of unique necklaces. Robyn’s passion for jewellery and art, especially portraiture, led to a collection of unique hand painted pendants and brooches. The necklaces are strung with an exotic mix of beautiful glass and metal beads. The portrait series vary in themes including: Egyptian, Medieval, Pre-Raphaelite, 1920’s, Modern Japanese Graphics, and collaborative, contemporary paintings by Eric & Robyn. The necklaces are in private collections in Europe and the USA.

Artist and Year: Robyn Werkhoven, 1988.
Title: La Primitive Cardigan.
Technique and Media: Hand knitted cardigan employing wool yarn.

Artist and Year: Robyn Werkhoven, 1987.
Title: La Primitive Tabard (front view).
Technique and Media: Hand knitted tabard employing wool yarn.

Artist and Year: Robyn Werkhoven, 1987.
Title: La Primitive Tabard (back view).
Technique and Media: Hand knitted tabard employing wool yarn.

Artists and Year: Eric and Robyn Werkhoven, 2012.
Title: Studio La Primitive Sun Hat.
Technique and Media: Hand painted images employing acrylic paint on straw hat.

A portrait series of unique hand painted pendants by Robyn Werkhoven.

A themed series of unique hand painted necklaces by Robyn Werkhoven.

Portraiture, painting and drawing have become Robyn’s main focus over the years, except to collaborate with Eric Werkhoven on individual pieces for textile and wearable art exhibitions. In 2010 their designs were selected for a major show in Switzerland. The exhibition featured a collaboration between 15 Swiss designers and 15 international artists and was titled, Art and Fashion Event T-SHIRT CULT, presented by Lily in a Box.

Artists and Year: Eric and Robyn Werkhoven, 2010.
Title: Adventure into the Unknown.
Technique and Media: Hand painted images employing fabric paint on cotton.
Selected for and exhibited at Art and Fashion Event T-SHIRT CULT, presented by Lily in a Box, Switzerland.
Link to video of the event on YouTube: see - YouTube Movie

Artists and Year: Eric and Robyn Werkhoven, 2010.
Title: Adventure into the Unknown.
Technique and Media: Hand painted images employing fabric paint on cotton.
Selected for and exhibited at Art and Fashion Event T-SHIRT CULT, presented by Lily in a Box, Switzerland.

Artists and Year: Eric and Robyn Werkhoven, 2010.
Title: Dogs & Dancers.
Technique and Media: Hand cut stencil images or silkscreened employing fabric paint on stretch cotton. Selected for and exhibited at Art and Fashion Event T-SHIRT CULT, presented by Lily in a Box, Switzerland.

Robyn Werkhoven © 2020.

Saturday, August 15, 2020

Stripweaves (West Africa) - Part II[1]
ArtCloth

Marie-Therese Wisniowski


Preamble
For your convenience I have listed below other posts in this series:
Diversity of African Textiles
African Textiles: West Africa
Stripweaves (West Africa) - Part I
Stripweaves (West Africa) - Part II
Stripweaves (West Africa) - Part III
Stripweaves (West Africa) - Part IV
Djerma Weaving of Niger and Burkina-Faso
Woolen Stripweaves of the Niger Bend
Nigerian Horizontal - Loom Weaving
Yoruba Lace Weave
Nigerian Women's Vertical Looms
The Supplementary Weft Cloths of Ijebu-Ode and Akwete
African Tie and Dye
Tie and Dye of the Dida, Ivory Coast
African Stitch Resist
Yoruba Stitch Resist
Yoruba: Machine-Stitched Resist Indigo-Dyed Cloth
Yoruba and Baulé Warp Ikat


Introduction[1]
The Mande weavers of Sierra Leone and Liberia are reputed to be some of the first to use the strip weaving technique. They were certainly the first people in littoral West Africa to convert to Islam and it is possible that the strip weaving technique and Islam spread hand in hand eastwards from there.

Mandigo traders, Liberia.

Although the Mende (a sub-group of Mande) and other weavers of the region weave multi-colored cloths, their most famous cloths are relatively austere creations in black and white.

Mende girl, Sierra Leone.

Much has been destroyed in the vicious civil wars that have afflicted the region, but the weavers are once again starting to use their tripod looms.

Mende master-weaver working at his tripod loom (Bo, Sierra Leone).

The use of a tripod loom is unique to Sierra Leone and Liberia. As with most looms in the stripweaving genre, it is portable, an essential attribute in a region, where the population is scattered and the weaver has to take himself to his work. He is paid in kind, often in foodstuffs that he consumes on the spot. As observed in the town of Bo, the Mende weaver stretches out his warps 9-12 meters (30-40 feet) long, wound around two end batons that are tied to two stakes. He then commences work beneath the shade of a large tree or house. What is unique in this method is that the mechanical parts of the loom move along the warp as the weaving process progresses, rather than being in a fixed position (with the weaver winding on the finished web round a beam and drawing the unwoven thread towards him). The twin sets of heddles of the loom are suspended from the tripod. Leashes run down from them through the warps to two foot treadles that are merely short, stout sticks inserted into loops at the end of the leashes. The reed/beater lies on the warps and is equiped with a handle. As the weaver progresses, the reed and the tripod with its heddles, leashes and treadles merely moves down the warps. When enough cloth has been woven to complete the commissioned cloth, the weaver moves on to a new location.


Stripweaves(West Africa) - Part II[1]

Limbe boy's stripwoven cotton smock (Sierra Leone).

Kpokpo prestige hanging, stripwoven on a tripod loom, Vai or Mende people (Sierra Leone).

Chequered cotton country cloth woven on a tripod loom (Sierra Leone).

Chief's stripwoven hammock, Mende (Sierra Leone).
Note: Before roads were built, a common form of conveyance was a litter or hammock carried by four strong men.

Country cloth woven on a tripod loom with supplementary weft motifs of birds and geometrical devices from Sierra Leone or Liberia.


Reference
[1] J. Gillow, African Textiles, Thames & Hudson Ltd, London (2003).

Saturday, August 8, 2020

Egyptian Museum Cairo - Part II[1]
Resource Review

Marie-Therese Wisniowski


Preamble
For you convenience I have listed below posts on this blogspot that featured Museums and Galleries.
When Rainforests Ruled
Some Textiles@The Powerhouse Museum
Textile Museum in Tilburg (The Netherlands)
Eden Gardens
Maschen (Mesh) Museum@Tailfingen
Museum Lace Factory@Horst(The Netherlands)
Expressing Australia – Art in Parliament House
TextielLab & TextielMuseum – 2013
The Last Exhibition @ Galerie ’t Haentje te Paart
Paste Modernism 4 @ aMBUSH Gallery & The Living Mal
El Anatsui – Five Decades@Carriageworks
The Australian Museum of Clothing and Textiles
Louisiana Museum of Modern Art
Nordiska Museet (The Nordic Museum)
Tarndwarncoort (Tarndie)
Egyptian Museum Cairo - Part I
Egyptian Museum Cairo - Part II
Masterpieces of the Israel Museum


Egyptian Museum Cairo - Part II[1]
The Old Empire (2700 - 2190 BC)

The Old Empire reigned from 2700 to 2190 BC. This period was preceded by various civilizations. They left behind dark red, fired and polished clay vessels decorated with white paintings of subjects from the animal world and then later, bright red fired clay vessels with red paintings of ships, and the rock pictures at Wadi Hammamat, Eastern Desert, Egypt.

Inscriptions at Wadi Hammamat, Eastern Desert, Egypt.

The palettes decorated in relief with votive offerings of the Kings, date from the year 3000 BC and the invention of hieroglyphs. The beginnings of the ordered reproductions in relief, according to established proportions, can also be dated to this period. Stone vessels and handicrafts achieved a magnificent golden age, even before the beginning of the Old Empire.

In the Cario Museum is a makeup palette that includes a pair of fantastic creatures, known as serpopards —leopards with long, snaky necks—who are collared and controlled by a pair of attendants. Their necks entwine and define the recess where the makeup preparation took place. The lowest register on both sides include images of dead foes, while both uppermost registers display hybrid human-bull heads and the name of the king. The frontal bull heads are likely connected to a sky goddess known as Bat and are related to heaven and the horizon. The name of the king, written hieroglyphically as a catfish and a chisel, is contained within a squared element that represents a palace facade.

The Narmer palette is one of the earliest historical records from ancient Egypt and the first written document. It records King Narmer’s victory over Lower Egypt, and so was the first pharaoh of a unified Egypt.

King Djoser (3rd Dynasty) had the first memorial building, the Step Pyramid, built by his master-builder, Imhotep, in the region of Saqqara; a little later, the pyramids of King Cheops, King Chephren and King Mycerinus (4th Dynasty) were constructed. The 5th Dynasty heralded the introduction of the Sun Cult as the national religion.

Step Pyramid of King Djoser, Saqqara, Egypt (3rd Dynasty).

Perhaps an illustration of the art of the period is the cross-legged scribe holding a papyrus scroll. It's a portrait of a high official very much aware of his dignity. The irises of the eyes of the 50 cm (20 inches) high limestone figure are made of inlaid crystal; the green outlines of the eyelids are made of copper and a bronze stud represents each pupil.

Limestone statute of a scribe with papyrus roll.

Prince Rahotep and his wife, Princess Nefert (Dynasty, Medum)
The limestone figures are 1.2 m (48 inches) in height.

Rahotep held high offices under King Snefru as the High Priest of Heliopolis and also as commander-in-chief of the army; his wife was a member of the court. As her name Nefert, indicates, she was known as 'the beautiful one'. In the scene above she wears a white, close-fitting gown, a brightly coloured necklace or collar, a wig reaching down to her shoulders and a headband of floral design. The prince is dressed in a short apron and wears an amulet on a chain about his neck. The short moustache appears to have been the fashion during the 5th Dynasty.

In Rahotep and Nefert we have a beautiful representation of a couple - in accordance with artistic convention, the male and female figures are differentiated by the application of a darker or lighter color. The eyes are made of inlaid quartz in both figures and hieroglyphs are painted on the cube-shaped seats.

In contrast to other ancient peoples, the Egyptian women occupied a higher and more assured position. Women enjoyed similar rights to those of their husbands and in the cult of the dead, the woman had also the right to an eternal life. In images generally, she is depicted by her husband's side and more importantly, is of the same size.

The pharaohs were equals of the gods. The name 'Pharaoh' derives more in recent times and was hardly used prior to 1000 BC. Sometimes the king is shown wearing a headcloth, sometimes with the high White Crown of Upper Egypt, sometimes with a cloth headdress and uraeus or with a blue crown, or as the 'Ruler of Both Lands' with a double crown, consisting of the 'Red Crown' of the Delta and the 'White Crown' of Upper Egypt. In addition to this, the falcon headed Horus is assigned to Chephren - a rare representation.

The green stone representation of King Mycerinus between two goddesses, which was found in the 'Valley Temple' near Giseh, is smaller, about 98 cm (39 inches) high.

King Mycerinus between Goddess Hathor and the Goddess of a Province (Dynasty Giseh).

The King stands emphatically in the centre of this group of three figures. The figure of the god-king, with his ceremonial beard and royal apron, his left leg slightly forward, stands in sharp contrast to the Goddess Hathor, with the solar disc between the cow's horns, and the Goddess of a Province on the right, both of whom have slightly pleasant-like, even a vegetative effect. Manly strength and dignity are expressed by the King's bearing. In the image below, we have a self-assured, but more modest bearing in the figure of Ateti. Humbler and more submissive, with his gaze turned towards the spiritual world, a figure of the priest of the Dead and Ka-Aoer, priest and high state official, known as the 'village magistrate', or 'Sheik-el-Beled' affords the contrast of his corpulence to the youthful figure of the wooden statue of the young man.

Painted false door (limestone) from the tomb of Ateti (Dynasty Saqqara).

Sycamore wood statue of the Sheik-el-Beled (Dynasty Saqqara).

Wooden statute of a young man (Dynasty Saqqara).

Among the figural representations, the working men and women, such as the maid-servant brewing beer are representations that do not surprise.

Woman brewing beer; painted limestone statuette (Dynasty Saqqara).

The extraordinary aspect of the representation of the dwarf Seneb, is that, in spite of his deformity, he reached a high position and achieved a title and high offices. Would this be the case today? Hardly! The Egyptologist Professor Wolf points to the difficulties of combining within a group-sculpture around the dwarfish Seneb, his normally built wife and two children, difficulties which the sculptor has overcome in a masterly, and at the same time, in an original manner.

Dwarf Seneb with family (Dynasty Giza).
Note: How they are seated gives them a physical as well as psychological equality.

Thanks to various representations, and not least to the excellent reliefs from mastabas (the private graves of officials), we know a good deal about the life and habits of Ancient Egypt. These reliefs depict masterly scenes of secular life and we not only recognize musicians (middle section of image below), but also the flute and the harp, the instruments that were then in common use. Besides the harp, the oldest instrument, we recognize the lute, later the lyre and trumpet. A double oboe and a double clarinet were as well known as drums, tambourines, rattles and other instruments. The flute, for instance, consisted of a reed.

Scenes of a feast; tomb of Net-heft-ka (Dynasty Saqqara).
Note: the musical instruments in the scene and the dancing movements.

Music gladdened the hearts of the gods and humans alike, thousands of years before it gladdened the hearts of the modern era.


Reference:
[1] P.P Riesterer,Egyptian Museum Cario, 5th Edition, Lehner & Landrock, Cario, 1995.