Amber is Both an Object of Beauty and a Time Capsule of Ancient Flora and Fauna

 

Amber: Window to the Past – David A. Grimaldi (1996)

 

            Sunlight solidified.  That is how ancient man saw amber, initially discovered washed up on sea beds and beaches, reflecting the bright sun with its rich, often golden hues.  It must have seemed like such a magical material.  Sometimes completely transparent, sometimes opaque, this material came in a wide range of colors, from green to bright red, and possessed seemingly magical properties.  It felt warm to the touch, unlike other stones, and built-up static electricity. One of only two items used as gemstones that arise from natural, biological processes (the other being pearls), amber remains highly prized and very beautiful.  My fascination with amber has been lifelong, and because I am not fortunate enough to reside in an amber-rich location, I adore books such as this one by David A. Grimaldi, for they bring me not only a deep and considered history of the precious material itself, but also countless amazing photographs and reproductions from collections worldwide.  My jealousies abound.

            This wonderful book is divided into two sections, Amber in Nature, and Amber in Art.  The first chapter of the Amber in Nature section details exactly what is considered amber, its origins, and its properties.  True amber is very old.  Starting out as the resinous sap from a variety of trees (many of which are extinct), amber is created when this sap drips or falls to the ground and is covered by either water or oxygen-poor soil.  This allows the highly volatile chemicals found in the resins to either dissipate or break down while preserving the resin itself, sometimes for tens of millions of years.  Erosion and other factors work to bring up these deposits, oftentimes breaking off pieces and washing them away with the tide.  This is how early people found amber on beaches near ancient deposits.  In a world with very few transparent substances, it makes sense that amber was highly prized and divine.

            While prized for millennia for its gem-like qualities, in modern times the greatest value of amber lies in the inclusions found within.  Humans have always prized amber specimens with visible animals or plants trapped inside, often using these for jewelry or decoration.  Most did not know or understand how old the amber was, or the included animals and plants.  Scientists began to understand that the animals and plants in amber were sometimes tens of millions of years old, which led them to use the old amber collections for taxonomy purposes.  In even more recent times, the rise of scanning electron microscopy and other even better microscopes helped us see how much detail and preserved material was actually available within the amber itself.  Whereas most fossils found in rock strata are compressed, flattened through time and pressure, the fossils inside amber often retain their three-dimensional structure.  It has been found that the chemical composition of the amber not only sealed the specimens away from harmful oxygen, but the process of desiccation within the amber preserved many soft tissue organs, such as the brains, muscles and lungs of a hundred-million-year-old fly, all plainly visible under the microscope.  Amazing.  Even more insane is that individual mitochondria have been preserved.  These are some of the smallest constituents of any living animal’s cells.  I cannot imagine the glee and shock whenever a scientist first laid eyes on hundred-million-year-old mitochondria.  Those moments are truly singular, and are what scientist dreams are made of.

            Reading about the history of amber in art and decorative pieces was also enlightening.  While most amber is ancient, it is not an inert material.  Exposure to the atmosphere and bright lights can cause the usually shiny amber to be covered in cracks and crazed bits, rendering the outer “skin” of the amber opaque.  Because of this, many of the oldest art pieces do not glimmer or shine as they did originally.  If left alone, the amber would eventually crumble to dust.  Due to its fragility, amber was rarely used as a showpiece gemstone.  It did find much use in bead form, and as accent pieces for large, crafted items.  In fact, one of the most widespread uses for amber was in crafting rosary beads, meant to be touched one by one as prayers are recited.

            My fascination with amber has increased ten-fold due to this book.  It is a magnificent reference work and includes maps detailing the many places on Earth where amber is either found in situ or mined.  The closest location to me would be around El Paso, Texas, a 12-hour drive away.  Seeing as how I have family living there, I will someday go hunting for amber among the desert plants and animals.  If I am lucky my wife will come with me, although her loathing of dust may preclude such adventures.  Either way, this book entertained and enlightened me, and I highly recommend it to anyone seeking an expansive exploration of amber and its many uses.

Early Humans and their Fantastic Art Help Us Understand the Rise of Human Consciousness

 

The Mind In the Cave: Consciousness and the Origins of Art – David Lewis-Williams (2002)

 

            Yet again, my employment and its proximity to amazing books yields delicious fruit.  As a sojourner into the mind and an avid reader of books studying and exploring consciousness, I am always on the look-out for seminal works in this field.  This book is one such tome.  Reading countless references to it in other works spurred me to keep a mental note, should I ever come across this book at a bookstore of library.  I was ecstatic when I saw The Mind in The Cave while perusing the shelves at my workplace.

            I first became fascinated with prehistoric art as an art and art history student.  The images ancient humans drew, painted and etched into the walls of caves are amazing and as beautiful as anything created by us in the past thousand years.  Checking out books on the art found in the caves of Lascaux and Chauvet opened my mind to the vast stretches of pre-history lost to us, and to the inherent artistic sensibilities and beautiful works of our ancient brethren.

            While the actual images and artworks created by early humans are indeed beautiful and moving, David Lewis-Williams’ focus is not on them.  Instead, the author seeks to use these early artworks to explore the how they detail the rise of what we term human consciousness.  By a careful, deliberate, and wide-ranging analysis, Lewis-Williams weaves together the story of how modern humans, Homo sapiens, developed our specific mind/consciousness, and how it differed from our nearest ancestor, Homo neanderthalensis, who co-existed with Homo sapiens for quite some time in what is now Western Europe.

            It may be hard to imagine but the uproar caused by the discovery of ancient human artworks in caves was virulent, and for a time, it stifled the proper scientific and art historical study of the cave art.  In a world where people blindly believed what con-artist priests told them, the idea that the earth was older than 6,000 years old was seen as a blasphemy of the highest order.  Everyone “knew” that god created the world, and everything on it, very recently.  They “knew” this because it was told to them as irrefutable, divinely-inspired fact.  To think this was around one hundred years ago, after Isaac Newton, Galileo and Darwin, baffles me.  The human drive to remain ignorant and accept the simplest explanation, regardless of evidence or counter-evidence, drives me insane.  It took decades for anyone to take the primitive art seriously, for, much like in today’s world, you always have idiots and the willfully ignorant railing against evidence of deep time such as fossils, claiming them to be placed in the earth by their exceedingly stupid and malevolent god to “trick” us and to “test” our faith.  What a hopeless well of stupidity.

            David Lewis-Williams describes the many ways this knowledge was resisted and ignored.  Not only did people think the artwork found in the caves could not be as old as it seemed, but they also did not wish to allow that ancient man was the equal of modern man.  Humans have an innate need to self-aggrandize, and to consider the present day to be a pinnacle of sorts.  Many people still think this way.  They truly believe that the entirety of existence, the billions of years-old Cosmos, and the near infinite expanse of galaxies around us, was created by a god whose sole purpose in doing so was forging the human race in its image. 

Another obstacle was that humans always sought a superficial understanding of things, leaving them mostly ignorant.  It is in this way that many humans at the time, and even today, inferred that what Darwin posited when he proposed Natural Selection as the means by which life evolves on Earth was that us humans are the pinnacle of evolution, that the billions of years of preparation and shifting forms of life were all in anticipation of the masterpiece that is the human race.  This is as asinine, destructive, and egotistical an idea as any created by the human race.  It is the sole basis for much of the entrenched racism found in the world, for the ignorant and self-proud racists obviously put themselves at the top of creation, closest to god, while everyone else was “obviously” beneath them.  Seemingly sensible people would expound on how the “natural order” of things meant that anyone not of pale skin was closer to the animals than to divinity.  Even in a document created by enlightened minds, such as the US Constitution, the value of a non-white male was seen as 3/5 of what a white male was.  Systematic and entrenched racism spoils much of scientific discovery and human advancement.

            Having discussed the topic at length, and how the ignorance was overcome, the author explores the differences between the artwork created by Homo neanderthalensis and that created by Homo sapiens, and how this shines a light on the rise of human consciousness.  Using the data gathered by archeologists and anthropologists, Lewis-Williams differentiates between Neanderthal and Human consciousness in a very clear manner.  While the debate concerning whether consciousness is an inherent part of life still rages, it is plain to most humans that the living creatures around us exhibit self-awareness of a sort, and awareness of their environment.  It is clear that other animals plan, strategize, and experience a wide range of emotions, just like humans do.  What is also clear from neurological and neuropathological studies is that the other consciousnesses around us lack something we humans all share.  This is the ability to “see” ourselves in a detached manner, to self-analyze, and to understand that the current moment will, if certain actions are made, lead to specific outcomes in the future.  One of the key pieces of evidence for this is that for over three hundred thousand years, Neanderthals thrived without agriculture.  The sowing, care, and harvest of plants for food and other uses requires the ability to step outside of the immediate moment, and posit a future that exists solely in the imagination.  The seasons must be considered.  The appropriate soil and needs of the crop must be noted and remembered.  This is a purely human characteristic, something lacking in the neanderthal record.  There are very few Neanderthal burials found, and they are rudimentary.  Quite a big difference from the elaborate, and ritualized human burials of early man.  Lewis-Williams posits that early man, able to step outside of his immediate mind-state to experience all the higher-consciousness effects we take for granted, began to understand that life is temporary, that the world existed before, and will continue after, we die.  Neanderthal man did not have this capability, which seems to arise from our specific neuronal structure. 

            Even in the relatively short period where Neanderthal and Homo sapiens lived alongside each other in what is now Europe, a period lasting over 20 thousand years at least, it is evident that Neanderthals did not understand their Homo sapiens neighbors.  Interbreeding happened, as is now evident by the genetic testing showing that most European people have between 1-4% neanderthal DNA in them, something that none of the human populations in Africa have.  What did not happen is the migration of ideas and knowledge.  Neanderthal tools never improved once they mingled with modern humans.  They may have seen the proto-agriculture and animal husbandry practiced by early humans, but they did not assimilate it.  They also would have seen the burial rituals of early Homo sapiens, but they never assimilated the concept.  The author’s claim is that the Neanderthal were physically unable to do so, their brain structure preventing the development of higher consciousness.

            This ability to create metaphor and symbolism led humans to explore deep, dangerous cave systems, and to leave behind the amazing artwork we are in awe of today.  While too many people try to explain and analyze these images through the prism of modern art and art theory, the author instead seeks to understand the mental state of the cave artists themselves.  In this way he explores why the art was made, and how the caves were used for ritual purposes.  One of the enlightening parts describes how the entrances of these caves, the areas that may still get some outdoor natural light, were used communally by ancient man, not as living sites or shelters, but for communal ritual purposes.  The excavation of these caves shows that while they were used repeatedly, they were never a place for habitation, apart from purely temporary use as emergency shelters.  This flies in the face of the accepted and ignorant idea of the “caveman” that suffuses modern thought.  Ancient Homo sapiens built homes and structures, just like modern humans do.  The caves were, from the start, living symbols of the cosmos, the womb of the Earth Mother, and were used by the shamans and shamanistic humans for specific ritual purposes.

            The author posits that the artwork created in these caves should be seen as the end result of the neuropsychological effects which arise in all humans through either trance, ritual, or psychoactive substances. This hypothesis fits the data we have, and avoids the pre-judged dogma that most archeologists and historians bring to the study of ancient man, which presupposes that the reasons ancient man created the artworks is of the same motivation as that of a modern human creating art.  The fallacy that the author counters forgets that the world we currently live in is an aggregate of the collective human experience, and that the making of images to a current human is filled with suggestion and analogy of which ancient man would have never conceived.  Lewis-Williams explains how the imagery, from dots, dashes, chevrons and lines, to the representations of animals, or animal “spirits,” all arise from the workings of our extremely complex neurological processes. 

For the most part, the individual artworks were created in private and remained private.  Very few humans actually ventured deep into the caves themselves, for they were and are fraught with danger.  In this manner, Lewis-Williams suggests that the creation of art was done by those either designated as or seeking to be, shamans.  The artwork was not on public view, and was never intended to be communicative.  The primitive art, consisting mainly of a specific group of deified animals (bears, bulls, ibex, horses) served the shaman’s purposes, and not the tribes.   Comparing the types of images created by our ancestors with the images seen by those who hallucinate due to mental illness, or the use of psychoactive substances, is where the author truly shines.

It is this skill to imagine form, and find meaning in such forms, that modern Homo sapiens acquired or developed, and which the hominids predating Homo sapiens (Homo neanderthalensis, Homo habilis, Homo erectus) did not.  This innate ability we have, and which we cannot seem to find in any other creature, led us to create Art, and Language, the two greatest and most valuable developments leading to the modern world we all share.  The ability to think symbolically allows for anyone to enjoy art and literature, and for humans to pass on acquired knowledge and wisdom to the subsequent generations.  We all contain the inherent mental hardware which allows such thought, purely because of our shared humanity. The skill to imagine, to hold a thought for longer than the current moment, differentiates us from any preceding creatures, and make us unique.   I am so glad I found this book, and I cannot wait to explore more of our primate ancestry through the beautiful, exquisite artwork they created.

(This book can be purchased here: https://www.thamesandhudsonusa.com/books/mind-in-the-cave-consciousness-and-the-origins-of-art-softcover )

An Overheard Conversation Leads to a Fabulous Book Detailing Postpunk Music and Times

 

Rip It Up and Start Again: Postpunk 1978-1984 – Simon Reynolds (2005)

 

             Yes!  Once again, a recommendation from a Library patron turns out to be amazing.  Overhearing a discussion between our Librarian and the patron in question, the words “Rip It Up and Start Again” rang in my ears.  I interrupted them to ask if the book had any relation to the Orange Juice song, which, by fortuitous occurrence, I had just listened to on my daily post-lunch walk around campus.  The patron stated that, yes, the books title was taken from the Orange Juice track, and that the book was a history of postpunk music, well-worth reading.  After a quick request through the Inter-Library Loan program, the book was in my hands days later.

            As a devoted music fan, specifically of the more subversive and transgressive music from the 80’s and 90’s, I had read plenty on the Punk revolution of 1977, and of all the progenitors to that scene, artists such as the Velvet Underground, The Stooges, The Ramones, etc.  While people to this day play and perform “punk” rock music of all types, the initial incandescence of Punk was extremely short-lived.  Between 1976 and 1978, the Punk scene rose and died, mainly in the UK.  The ideals of a return to simplicity, to the feel and vibes of the initial rock legends everyone idolized, were a reaction to the inherently bloated and self-important nature of what was seen as rock music in the 70’s.  The rise of anemic, glossy, adult-oriented “rock” coincided with an explosion in the complex, obtuse, and difficult music or “progressive rock” and the inflation of the rock superstar mentality.  This led to the seemingly-regressive ideals of punk rock.  It was no longer important to be a trained, expert musician, or to pose as an “artist” creating important music. 

            The initial death of Punk coincided with its appropriation by the record companies seeking new money-making material.  Most of the early punk bands self-released their music, which sold well enough, but once the fad of “punk” hit the suburbs, the record companies sought to cash in.  In the aftermath of all this, a new crop of bands appeared, seeking to move forward, not backwards, and to seek new ways of making music more resonant with their modern world than the throwback Punk music of the previous few years.  To them, the retro-worshipping stance of the early punks was invalid, for in seeking to make the sounds of the future they simply reiterated the initial rock sounds of the past.

            The 7-year period covered in this book was one of infinite creativity, cynicism, and wild musical exploration.  The adoption of synthesizers, the refutation of the standard bass, drums, and guitar set-up, and the plunge into atonality all contributed to create wholly new music.  Although I was too young to experience most of it, many of my favorite acts were heavily influenced by the postpunk bands.  Groups such as Sonic Youth, The Butthole Surfers, and Big Black were my bread and butter.  Reading about the bands and times that influenced them helped me understand my faves more.

            Books such as this one provide first-hand context for the bands and music of this time.  They also help shine a light on bands that otherwise would stay vague memories in fans minds.  I learned a lot about bands such as The Fall, KLF, Scritti Politti, The Mekons, and others whose records I had seen, or whose music I had heard praised by the bands I like, but have never explored sonically.  I also learned many new things about bands I have loved for years, such as Public Image Limited, Suicide, and the aforementioned Orange Juice. 

Much like the experience of reading Thurston Moore’s “Sonic Life,” this book transported me to a world I have only seen referred to or mentioned tangentially.  The bands and music scenes detailed within ‘Rip It Up and Start Again” attempted something original, to try and create new music without the oversight and control offered by the record companies, music attempting something new and modern.  It was these bands, not the punk bands, that paved the way for the DIY and independent music scenes of the 1980’s in the USA and UK, allowing home-grown networks of promoters, clubs, record labels, and independent bands to travel the country and answer to no one but themselves.  Too often, artists who do not make it into the mainstream culture are forgotten, and their contributions are ignored, or bypassed in favor of the cleaner, generic acts that normally populate the charts.  Simon Reynolds has done all music fans a great service by writing this book.  Highly Recommended.

(This book can be purchased here: https://www.penguinrandomhouse.com/books/291130/rip-it-up-and-start-again-by-simon-reynolds/ )

Mircea Eliade Guides Us Through Humanity's Use of Initiations' Rites and Symbols

 

Rites and Symbols of Initiation: The Mysteries of Birth and Rebirth – Mircea Eliade (1958)

 

            Sometimes the smallest books can be the most gratifying and educational.  This slim, 136-page volume (not counting the large Notes and Index sections) is loaded with extra jelly. Translated from the original French by one Willard R. Trask, Mircea Eliade’s writing shines as it explores and compiles our knowledge of Initiations, and the various rites and symbols used by all of humanity for this purpose.  It is an amazing piece of writing by the man who was Chairman of the Department of the History of Religion at the University of Chicago.

            As Eliade differentiates at the start of this book, there are essentially two types of initiations.  Both seek to “kill” the previous version of the initiate, in order to rebuild, teach, and create a new human being. The most primordial type is the “puberty” initiation.  In this type of initiation, whether for a male or a female child, the purpose is to end the period of childhood, with its lack of responsibility and participation in adult society, and to “create” a full adult, capable of participating and perpetuating the sociocultural knowledge of the tribe.

            Male and female children are removed from their families for an extended period of time, ranging from several days to over a year in some tribes.  The earliest, simplest initiation rituals for boys consist of the separation from the mothers, whose children are then led away from the tribe by the shaman and elders.  The children are symbolically “buried” under branches and blankets, where they must sit and wait.  This is the time of symbolic death.  All around them, their male elders dance, ritualistically, and through the songs and dances teach the children what is happening.  They are experiencing a death, the death of their carefree childhoods.  They learn that in this death they are taken up to the abode of the gods, and private, secret knowledge is given to them.  This knowledge is what makes them new men in the eyes of their tribe, giving them a cosmology and reason for existence.  After a period of time, they are released from their “grave” and return to the world of their people, assuming the full role of an adult male in the tribe. Their mothers mourn them as if they truly died, for they no longer reside with their moms and aunts and cousins and sisters.  Instead, they now belong to the men of the tribe, until such a time as they themselves marry.  Most simple initiations function in this manner, with the exact details of the instruction and lessons given changing depending on the tribe.

            The more complex puberty initiations of men take on far more danger and pain.  There is the addition of deprivation, such as long days spent in the wild without clothing, or without fire or food.  There is the use of pain, or ritualistic surgeries, such as circumcision and scarification, or even the risk of death against animals or the elements themselves.  Whereas the simpler initiations explain the cosmology of the respective tribe involved, the more complex ones seek to recreate the cosmology, with the initiates taking the place of the initial hero who, through either the will of the gods or his own human intelligence, attains wisdom and knowledge equal to the gods and shares it with his fellow men.  These initiations help the men inculcate the new generation with the history and ancient truths of their tribe.  The young men who return from initiation are reborn as full humans, ready to participate in the world around them.

            The initiations of females differ from the initiations of males, both in method and purpose.  Females have a special clock which dictates their maturity, unlike men.  This clock being the initial start of menstruation.  Female initiations are even more secretive and esoteric than the male ones, for it was the ability of the females of any species to perpetuate life that provided humanity with its first taste of the infinite.  Women and their bodies were the initial symbols used to explain the world around us.  The world of women required a separate initiation. 

            The initiations of young women do not revolve around death and rebirth, but instead focus on attainment.  The onset of maturity is a time for celebration, and the young women are gathered together within a space reserved solely for females.  One of the greatest taboos in the world of tribal humans is that of a man entering the sacred spaces of a woman.  The punishments are severe and swift.  In many tribes, if a man interferes with the initiations of the women, the women have the right to kill that man in order to protect their secrets. 

            The young women are taught about their cosmology and how the universe/earth is a womb, producing the life seen all around.  They are taught to understand that the process of life is universal, which is evident after studying the animals and plants around them.  The initiates learn of their cosmic role in the process of life, and how to care for each other.  These initiations also helped bond all of the tribe’s women together, helping foster mutual altruism.  Women likely held the secret of biological procreation for centuries before males found out.

            One of the critical ideas that Eliade brings is that the rituals and symbols used during these initiations were not just mimics of the initial creation process, but were intended to manifest the sacred and allow the initiate to recreate the very events that created the world around them.  Each initiation is a recreation, literally, of the initial birth of our universe.

            The other type of initiation is that of the shaman.  There are three ways to become a shaman.  The first is when the elders or elder shamans choose an individual child (usually male, and the offspring of a shaman) to be taught and trained.  Another is when a child actively seeks to learn the ways and wisdom of the shamans, as if born to do so.  The third method is when the child’s mental state, attitude, and behavior is so erratic and bizarre that they are then pushed to shamanism so that they may learn to control their minds.  This last method is tribal human’s way of dealing with the mentally ill or unstable among them, allowing that person to have a place in their society, even if it is one removed from the day-to-day world of the tribe, such as the shaman’s.

            Most cultures keep their shaman separate.  They live in privation, do not take part in hunts, and rarely interact with the rest of the tribe.  The shaman’s life is spent fine-tuning their connection to the divine, whether through prayer, fasting, drug use, chanting, or any other such method.  It is this rigor which allows them to commune with the spirit world, detect malicious entities causing harm or illness among the tribe, see the far past and the far future, and travel out of their bodies to what mystics refer to as the Astral Plane.  The shaman is feared as much as he is needed.  Their respective initiation ceremonies shed light on this.

            Whereas in puberty initiations the initiate spiritually “dies” and is “reborn,” the shamanistic initiate is instead fully recreated.  The shamans speak of how, during their initiation, their skin, muscle, and sinew are stripped away, leaving just a skeleton, which their god then re-creates, adding new material until the shaman is reconstituted as a new type of being, one capable of existing in the profane, material world (symbolized by his keeping his initial skeleton), and in the supernatural divine world (symbolized by the new organs, muscle, and skin grafted onto him by the gods).  Once recast as a shaman, they climb the World Tree, the Axis Mundi, and have access to the upper worlds of the gods and the lower worlds of demons and spirits.  Shamanistic initiation is mentally traumatic, and some initiates do not make it back from their foray into the divine.  Recreating the mythical death and rebirth of their god’s/universe’s creation has that effect on some people.

            I found this book fascinating, and resonant to my previous readings on the topic.  By focusing solely on initiations, Mircea Eliade avoids discussions of theology, allowing the reader to think about initiations as a continuing human endeavor.  Eliade describes how, even after the advent of revelatory religion, and monotheism, initiations for other organizations/groups continued to use the framework described above, that of a symbolic death, and a rebirth into a new state of being, a more truly “human” state.  Anyone with knowledge of the Masonic initiations into their 3^rd degree will see the correlations.  Books such as this provide us with knowledge that expands our minds, and helps us understand that human consciousness is an ongoing process, constantly drawing from the deep wells of our past shared humanity, and providing deeper and richer meaning for our lives.

(This book can be downloaded and read here: https://archive.org/details/dli.ernet.6032/page/n9/mode/2up )

Major Arthur de Bles Explains How to Tell Who is Who in Classic christian Art

 

How to Distinguish Saints in Art by Their Costumes, Symbols, and Attributes – Major Arthur de Bles (1925)

 

            Our modernity prevents us from understanding the meanings and messages behind most of the christian artwork used as the foundation for western fine art. A visit to any large museum will expose one to dozens, if not hundreds, of exquisitely painted images, each one portraying moments in the lives of christian deities, saints, and martyrs.  From a time when reading itself was kept from many of the common people, these images helped to foster religious beliefs and feelings in those who viewed them.  Despite widespread illiteracy, the people who viewed these artworks understood them based on their communal knowledge of the life stories of Jesus, his family and friends, his followers, and the many saints and martyrs upon which the stories and legends of the christian church rest.  This great book helps explain and instruct on how to look at these artworks to better understand them and the times in which they were created.

            This is a reference work, and because of that, it is not something that most people would read straight through.  I am not most people.  I adore reference books.  The more data the better!  Arthur de Bles worked on this material for a long time.  This is evident in the exhaustive and engrossing information contained within.  Not only does the author explain in detail the specific visual cues and symbols utilized in religious paintings, but he immerses the reader in the times these paintings were created.

            The first distinction that Arthur de Bles shares is between the two main types of christian religious art.  The first kind is “narrative.”  These images describe specific moments from the Bible, including the many apocrypha books, as well as historic events relating the lives of the people from the Bible and the many saints and martyrs that followed.  For example, a painting which shows Joseph and Mary being turned away from shelter, and having to rest and birth Jesus in a manger, is a narrative painting.  The details included would correlate, at least in the artist’s or patron’s mind, with the actual events described.  The Bible tells of how a group of shepherds saw the bright star signaling Jesus’ birth, and went to pay homage.  There are many paintings showing this “adoration of the shepherds,” and they include sheep, the shepherds, a manger/stable, and the holy family. 

            Other examples of narrative religious painting may show the martyrdoms of early christians.  For example, many paintings show the crucifixion of St. Peter, who, as the legend says, was crucified upside down in deference to Jesus, who was crucified the “normal,” way.  Paintings such as these helped to share the stories from christianity with the general population, many of whom could not read, not to mention the many who were not ALLOWED to read the Bible because the Roman Catholic church loved to keep regular people ignorant and subservient to their sacerdotal lackeys.  In fact, in many of the poorer nations, Roman Catholics today continue to provide church services in Latin, in order to keep the parishioners from actually understanding what is happening, thereby remaining in awe of the priest and his fancy mumbo-jumbo.  Pathetic.

            The other type of christian religious painting is the “devotional” one.  In these artworks, the purpose is not to tell a historical tale, or to describe events.  Devotional artworks are meant to be understood internally, as visual representations of the goodness of the saints, martyrs, religious figures, etc.  Paintings of Mary, holding the infant Jesus, surrounded by angels, saints, and other representations of the divinity, are innumerable.  In these artworks, the intent is to strengthen the religious ardor of the viewer, by symbolically portraying the goodness of someone such as Mary or John the Baptist, or by symbolically rendering the strength of will and faith needed to endure the horrible tortures and deaths of the christian martyrs.  Devotional images are meant to inspire religious fervor, as opposed to the narrative religious paintings which seek to instruct on facts and details.

            Once de Bles describes these types, he divides the rest of the book into sections detailing specifically the visual clues and symbols used in art for the holy family, and the prophets and saints in the Bible.  Other sections explore the symbols and imagery used to depict the many saints and martyrs of the early christian church.  Each topic is heavily illustrated and annotated, allowing the reader to seek these artworks out in person, or to look for further resources with which to study these pieces of art history.

            One thing that Arthur de Bles makes perfectly clear, is how few of these artworks were created because the artist themselves was a deeply religious and devotional person whose personal faith insisted that they paint religious pictures.  Most of the tens of thousands of paintings and images included in this book were commissioned by either churches, religious orders, wealthy bishops, or rich and powerful men seeking to curry favor with the “Lort,” or to at least look like devout, faithful christians.  It is an old trick, covering and surrounding oneself in the symbols and images of faith, all the while ignoring the actual commandments of that faith and behaving like a fucking waste of humanity.

            In a very real sense, every religious image is propaganda, selling the idea that the faith depicted is the one that is true and real, to the exclusion of the others.  Images of martyrs cannot help but inculcate an ignorant, illiterate population into admiring the martyr’s devotion and faith, and, in return, to consider themselves as beneath these saints, as someone nearly irredeemable whose soul can only be saved by the intercession of some priest or church.  It is the oldest scam in the word, and differs not at all from a tribal shaman covering themselves in dung, ingesting psychoactive substances, and scaring the general crap out of their tribe, all to make sure they behave and fall in line with whatever the shaman/priest wants the people to believe.   The idea that a “picture is worth a thousand words” is very true, and it is used to this very day by despots, tyrants, and wastes of humanity in order to control the people with fear.

            Books such as these, crammed full of information, are invaluable.  They provide us with a means to understand the past, while allowing us to learn the details which those in power seek to keep from us.  Information is freedom.  Knowledge is freedom.  Ignorance is the easiest way to keep someone enslaved.  Always look to see who is out there seeking to educate and inform, and who is out there trying to indoctrinate and control.  This is the easiest way to differentiate good from evil in this world.

(This book can be downloaded and read here: https://archive.org/details/howtodistinguish00debl_0 )

Hermann Kern Takes us Into, and Brings us Back Out of, the Labyrinth

 

Through the Labyrinth: Designs and Meanings Over 5,000 Years – Hermann Kern (1982)

A fascination with the story of Daedalus and his ill-fated son Icarus began early after reading a book on the Greek myths, likely found at the local library (Alief Public Libraries for the WIN!). The idea of a genius engineer forced to create a labyrinth in which to imprison King Minos’ step-son, and the story of what befell him and his son as they tried to escape, struck a nerve. As a youth, the simple lesson that a child must pay heed to his elders, especially his parents, when it comes to dangerous matters of life and death, was what drew attention. This was Icarus’ folly, that of a young man too carefree when he should be careful. It resulted in Daedalus’ tragic loss of his son, all because Icarus did not pay attention.

As an adult, reading more and more on the Greek myths, and about the idea of the labyrinth, the focus turned to the labyrinth itself. An understanding of it as allegory grew. My employment now affords the great pleasure of wandering through labyrinthine shelves (see what I did there?), each stocked with all manner of art books. Upon one of these meanderings this large book called out to me. It may be an innate skill, or perhaps the oft-rumored Library Angels really do exist, but sometimes an amazing tome will just fall in my lap. Such was the case with this book, Hermann Kern’s exhaustive, immersive, and deeply informational masterwork on labyrinths worldwide. It is packed with thousands of illustrations and photographs, and translated into English from the original German. Exceedingly awesome.

 As Hermann Kern carefully explains, over thousands of years the ancient symbol/idea of a labyrinth morphed and degraded into our currently accepted meaning, that of an intricate maze, with endless dead-ends, false passageways, and walls meant to disorient anyone inside. This idea is a disservice to the labyrinth, making it seem more of a trap, or a tool for torture and subjugation, which is evident by the time Plutarch wrote of his story of King Minos and the Minotaur. The original idea of a labyrinth was not a maze of dead ends, but a long, winding, singular path to a center. To exit a labyrinth, one must retrace their steps back through the entire thing. There are no shortcuts, and the journey in and out is where meaning is found. Labyrinths may be one of the oldest meditative tools created by humans.

Mr. Kern starts with, and reiterates throughout, the essential feature of a Labyrinth as opposed to a maze or spiral. As stated above, a labyrinth is a single path, convoluted and winding, leading to a central area within it. This is the center of the labyrinth. Once at the center, there is nothing to do but turn around and retrace your steps back through until you reach the initial entrance. This differs greatly from mazes, which may or may not have centers, and which feature countless wrong turns, dead-ends, and misleading paths. One can get lost in a maze. One cannot get lost in a labyrinth. It is this specific trait that makes the labyrinth so useful as a tool of introspection, initiation, and ritual.

The origins of the labyrinth are lost to time. What is known, and what Mr. Kern describes so well, is that the initial labyrinth was of a very specific form, what is now referred to as a Cretan Labyrinth. This very specific shape, carved in stone, has been found in many places, but is associated with Crete due to the Greek Myth discussed above. A critical aspect of the labyrinth, and its use, is called the “Thread of Ariadne.”  The Greek myth tells of how the hero Theseus entered the labyrinth, faced and killed the dreaded Minotaur, and escaped with his life. He did so by using a fine thread given to him by the Cretan princess Ariadne, which he unspooled as he entered the labyrinth and which he spooled back up as he found his way out of the labyrinth. The Greek myth tells of how Theseus then rescued Ariadne and took her away from Crete. This is a retcon of a sort, as the initial “thread” of Ariadne was simply the path taken by the labyrinth itself. Many of the oldest labyrinth images show a red line, the symbolic thread, coursing its way through the bends and twists until it arrives at the center. As a true labyrinth has no dead-ends, or meanders, there is no need for a literal thread, as told in the story of Theseus.

In the shamanic/mystical sense, the thread of Ariadne is the same thread woven by the fates when a human is born. This thread tells the story of one’s life, which lasts just as long as the Fates allow, one of them tasked with cutting off the thread marking our point of death in this world. In a labyrinth, this thread of life symbolizes the return to the womb, to the primordial beginnings, and then the return trip back to our experiential world. To walk into a labyrinth is to retrace your steps back to your creation, and to leave the labyrinth is to be re-born. The human exiting the labyrinth is not the same human that entered it. This is a deep philosophical point made visible and interactive by means of the labyrinth, which is why many of the old sanctuaries and cathedrals of Europe contain labyrinths inside. They wanted the parishioners to reflect on the journey to Christ and the rebirth afterwards, as they walked the path of the labyrinth to the center (Jesus) and back.

Apart from their mystery, meaning, and use, labyrinths themselves are just beautiful. Many of the great cathedrals contain exquisite labyrinths, tiled as perfectly as any Roman mosaic. Hermann Kern’s exhaustive search also includes many proto-labyrinth carvings whose creators are lost to us. It also includes images related to labyrinths, such as the cup and ring marks, or the many spirals, found throughout paleolithic locations. Kern differentiates between these seemingly related symbols and those of a true labyrinth, providing details and historical context for everything. Because of his rigor in collecting the data, this book has become the seminal resource for those seeking to study the history and purpose of these designs. I am very thankful that it was translated into English, and would love to find a copy of this magnificent reference work for my own personal library. Thank Mario that my workplace affords me access to such wonderful books. I have been fortunate to visit a couple of labyrinths located in my home of Houston, Texas, USA.  More will be sought and I will walk the Thread of Ariadne again.