[HN Gopher] Breaking the image: a 12th-century Ai Weiwei?
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Breaking the image: a 12th-century Ai Weiwei?
Author : CrouchEndTiger
Score : 31 points
Date : 2024-11-02 06:29 UTC (4 days ago)
(HTM) web link (keithamcgowan.blogspot.com)
(TXT) w3m dump (keithamcgowan.blogspot.com)
| aardvark179 wrote:
| I was very confused by the HN headline because it subtly changed
| the capitalisation of the original. Ai Weiwei is quite different
| to AI Weiwei.
| CrouchEndTiger wrote:
| Woops - an auto-correct error, I'm afraid
| jprete wrote:
| I had the same question! For other readers, Ai Weiwei is an
| artist: https://en.m.wikipedia.org/wiki/Ai_Weiwei
| feverzsj wrote:
| Or it's written by AI whose name is Weiwei.
| dang wrote:
| Fixed now, and I've added Ai Weiwei to the title caser so he
| should not be replaced by AI in the future. Thanks!
| dash2 wrote:
| The article seems to be arguing that this 12th century artist
| thought about their art in just the same way as contemporary
| artists. That seems unlikely somehow.
| PittleyDunkin wrote:
| If anything can cross such large barriers of time and culture,
| it's artists' drive to create.
| vessenes wrote:
| I'm trying to parse the 'shocking' part of the Adam and Eve
| image. I think I understand pretty well why Ai Weiwei's Han vase
| piece got the reaction it did, and what he was trying to do with
| it. But, I can't help but feel our essayist here is holding back.
|
| I'd be interested in some art historian's perspectives on this --
| is there some controversy on the idea that this is a painting of
| a tapestry? If so, what's the implication? What's the _shock_
| part? I guess he's perhaps trying to help us see it as a similar
| image of 'breakage' in which case, what, is this tapestry itself
| supposed to be hung in God's or the devil's house in the
| hamptons? Maybe the essay is just a bit of insider baseball, but
| I feel like I missed the hook.
| wruza wrote:
| Getting art is in a large part being overly impressible and
| seeing things. One guy may create a joke under some influence
| and thousands will interpret it through time as something
| daring mind-blowing meta-deepness. Humans just tend to do that.
| You swap water with wine, tell a couple of very cool stories
| and millenia later like wat??
| ArtHeresy wrote:
| Hi, thanks for your interest in my blogpost! It's great how
| much this forum seems to have warmed to the theme of my
| project. It's like giving a paper, and then the questions seem
| to anticipate where the research will go next This is my first
| piece looking at the actual paintings. The Courtauld Institute
| puts a conservative estimate of thirty-nine on the number of
| individual scenes at Hardham: if you include the images which
| have been lost to architectural alterations it's in fact well
| over fifty. Plus there are two more ensembles at Coombes and
| Clayton from the same artist. So there's a wealth of material
| waiting to be reassessed. I'm not intentionally holding back,
| just going with the sequential blogpost format. Eventually it
| will, I hope, come together as a guide book to the three
| churches. atm it will build as an open access resource to help
| folk enjoy the frescos. In the end it's religion, so not always
| easy to put your finger on why a someone might find something
| so repulsive, although poor Germanos II's meltdown is typical.
| That's why I'm going to use a few posts to unpick what's going
| on with the trompe l'oeil 'Deception' scene, starting with
| Greco-Roman antecedents, before looking at how these same
| ancient ideas were taken up by the Wachowski Sisters in their
| screenplay for The Matrix (1999). Do come back to find out
| where what the Hardham artist was up to!
| KaoruAoiShiho wrote:
| CMV: Johnny Somali is the Ai Weiwei of our times.
| morbicer wrote:
| OK, I'll bite. Did Weiwei assault anyone? I am not aware of
| such instance. Somali is just a hooligan, not controversial
| artist.
| ginko wrote:
| Isn't Ai Weiwei the Ai Weiwei of our times?
| countrymile wrote:
| I've not seen this particular mural, but if you ever find
| yourself near an English country church in the middle of no where
| you will most probably find it unlocked, and inside, an ark of
| art built up over generations (now, often, sitting uncared for).
| Originally the the catholic churches would have been brightly
| coloured with statues and stained glass. The reformation led to
| the smashing of the glass and statues. You will find baptismal
| fonts with the faces of the saints chiselled off. And the
| whitewashing of walls. Occasionally you'll stumble on wall
| paintings discovered whilst stripping the plain white paint off.
| Duffy's "the stripping of the altars" provides a rich overview of
| the church before and during the Tudor reformation.
| andrepd wrote:
| Religions like to do that :( Early Christians (catholics) did
| the same to Greco-Roman temples all across the ancient world.
| ArtHeresy wrote:
| Thanks for your interest in the post! Hardham is definitely
| worth a visit if you're out and about near Arundel, Chichester,
| the wonderful Roman villas of Fishbourne and Bignor, etc. The
| Hardham frescos c. 1100 are some of the oldest in Britain.
| Their whitewashing happened within decades of their creation,
| so about 400 years before the Tudor reformation. The blog looks
| at the circumstances that may have caused this obliteration. Do
| come back for find out more about the murals and their artist.
| countrymile wrote:
| It's really quite fascinating, thanks for the link.
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