Tracing Islamic Art in Musée du Louvre

By: Yuhendra

Musée du Louvre exhibited 30 Masterpieces of Islamic Art from the Metropolitan Museum of Art in New York during 04-30-2005 to 04-24-2006. Those 30 masterpiece works displayed throughout the Louvre's other galleries of Islamic art. The amazing result was people could trace and notice the change of the long history of Islamic art.

The exhibition itself was a participatory action of Islamic Art Department of The Louvre's since Metropolitan Museum of Art in New York closed for a renovation. In this part the Louvre dedicated the exhibition to the works from the excavations at Susa (south-west Iran). These selection objects were from the archaeological site at Nishapur in eastern Iran found in the late 1930s and 1940s. Nishapur produced a wealth of discoveries like decorative architectural sculpture, ceramics, bronze, glass etc. And those finds have close relation to the rest of the Islamic world, including Susa, from the 9th to the 11th centuries.

Remarkable artistic works from the Metropolitan's collection seemed to complete the Louvre’s collection in describing the period of Islamic art. People could see an exceptional dish decorated with an eagle which was famous in Egypt during 10th-11th century.There were lustrous 14 centuries tiles from the Nasrid kingdom around Granada, Spain. There was an example of medieval Iranian ceramics showing strong tie with the arts of calligraphy, book-binding etc. There were also displayed the items of metalwork, like a perfume-burner, an ink bottle which were assumed made from Iran and Egypt in 14th and 15th centuries, together with elements of architectural decoration of India in late 16th century.

The juxtaposition of both the Louvre’s collection and the metropolitan’s ones were arranged in chronological order. Right after the entrance visitors were welcome by early works of Islamic art. There were calligraphy works on the stones and woods. Such work was a typical art of Islam in 8th – 11th century. According to the Louvre’s note, this period is the beginning of Islamic art changing. The Islamic world witnessed the rise of the caliphates of Cairo and Cordoba, while the eastern regions of Iran formed independent principalities. Freed from the constraints of antique models, the artistic canon evolves and is disseminated throughout the empire. New styles develop under the Fatimids in Spain and the eastern regions; ideas, objects, and artists move freely throughout the Islamic world, irrespective of political division (www.louvre.fr.\llv\eouvres\detail_period). Some popular works at the time were: Fragmentary Wood Panel (11th century), Cup with stylized bouquet (9th century), Stucco panel ( 9th century) and more.

Entering the new section of the exhibition would be seen the period of mid 11th to the late 13th century works. Art works is no longer expressed in wood and stones. Islamic artists tried to explore new materials. New decorative style and innovative techniques to the regions’ pottery and metalwork were found. The influence of Turks rule in Baghdad brought this innovation, while in far eastern the arrival of Mongols left the art works in more sober with rectilinear motifs. The distinguished works can be seen through; Lidded bowl made of Circa (1220), Dragon ewer (early 13th century), Stucco relief with a prince and two other figures (13th century)

The new episode of Islamic art could be seen in the next chamber displaying the dazzling items of metalwork. It demonstrate the opulence of the Mamluk court, 14th – 15th centuries which historically ruled Egypt and Syria, and maintained close contacts with the Mongols of Iran and the Christian courts of Europe. In this period, local arts root which was learn in the royal miniature-painting workshops was to become a common source of inspiration for artists throughout the Islamic world. Some works from this period are; a basin also known as the Baptistère of St. Louis (1320-40), Cup with floral decoration (1450-1500), Apothecary jar (14th century) which are most of them decorated with calligraphy.

Interesting and new step of Islamic Art could be seen in the room of 16th to 19th century period. As Gombrich explains in his book The Story of Art, Looking Eastwards, in Islam the making of images was forbidden. But, in this period, Islamic Art was influence by western art. Artist started to paint images as a part of their works. Even the official rulers in this period were happy to be portrayed by artists. Take a look at the painting at the left, the painting of idyllic meeting in the garden where young people in languishing poses and idealized beauty, converse with an old man, as a symbol of wisdom and youth. There was also Portrait of Fath Ali Shah made in Circa (1805). This work shows that artists at that time also counted on commission of royal family. The portrait of the second Qajar sovereign, (1771-1834), is an example of the use of typically European easel-painting technique, which appeared in Persia in the eighteenth century. This typical Islamic works were also inspired by the famous story tale and poet like Layli va Majnoun (Layli and Majnun) Majnoun which is recognized by Layla's dog page de "Layli va Majnoun", based on a poet of Hâtifi.

Some artists also made controversial works like a painting of Adam and the angels. This painting would seem as an illustration of Ishaq Nishapuri's Stories which the basic source was the Koran. In that painting, Adam was seated on a throne, an aura of fires around his head marking his status as a prophet, receives the homage of all the angels. Or the most divisive one, the painting of The angel Gabriel reveals the eighth surah of the Qur'an to Muhammad Siyar-i Nabi (Life of the Prophet")made around 1595. As the matter of fact, making a picture of prophet Muhammad is forbidden. But the artist found a solution by covering Prophet Muhammad’s face by a veil. This page is from a "Life of the Prophet" in six volumes, ordered by the Ottoman sultan Murad III (1574-1595) from the calligrapher Mustafa ibn Vali. It was created in the naqqashkhana (imperial workshop) led by the painter Lutfi 'Abdullah. The complete work contained 814 minatures. This one depicts a key episode in the revelation of Islam: the divine messenger Gabriel places in the hands of the prophet Muhammad a page on which is written the 41st verse of the seventh surah of the Qur'an (www.louvre.fr.\llv\eouvres\detail_notice).

The exhibition showed vividly the steps of Islamic arts. It is understood that, art is developing and even the western art was also adopted by Moslems artists. Those works are remarkable and have historical values.

Photos; yuhendra

A Queen's day or A Queers' day ?

By: Yuhendra.

...Geef mij maar Amsterdam
Dat is Mooier dan Parijs...

That happy song expressing how the Dutch love Amsterdam and proclaiming that the capital city of Holland is even more beautiful than Paris was loudly sounded from audio system set in some bars and side streets in Amsterdam on last Queen's Day, April 29. Hundreds people from other cities coming over with orange attributes over their bodies sang to jingle those familiar lyrics. Some of them marched with hands on each other shoulders.
This view was a part of jovial attractions in some streets and quarters in Amsterdam during the day that Dutch people call Koninginnedag. As the story goes, Amsterdam becomes most wanted place to visit on Queen's day. In truth, that liberal city offered more for those who wanted to have fancy celebration. Free markets with an abundance of various goods; from antique to made-in-China products, were everywhere. Sudden street artists performing multicultural shows gave the impression it was a place for a multi ethnic community. Restaurants spreading tasty international food aroma through their windows were ready to fill starving groupies' bellies. For those who like to swing and dance, loud electronic musics around the streets and parks were played on the stages. Well, just name it, Amsterdam got it!
What an unlucky coincidence for last April 29 the weather was being unfriendly. It was still cold with around 7-9' C. It was little bit sunny sometimes but the wind blew freezing air. As a matter of fact, Queen Beatrix decided to keep the holiday based on her mother, Queen Juliana's birth day which is on April 30 or 29 (if April 30 is on Sunday) due to the fact that her birth day, January 31, is in winter season. She considered it is not possible to have outdoor festivities during cold season.
And yet, the celebration must go on, no matter if Queen Beatrix herself had to go out with an umbrella avoiding rain to address the people. On that big day, in unexpected weather people could still laugh out loud enjoying the party as seen in Amsterdam.
In a mean time, a big flock of male gathered and made their own group. Noticing their custom and their gesture, apparently people would be absolutely sure they were a bunch of gay people. They were dancing under a stage bridging two buildings on Reguliersdwarsstraat following the rhythm of techno music. There were banners naming a gay magazine with a picture of semi nude six-packed young men. Free brochures of up-coming gay events were handed out and spread to the crowd by gay bars workers. Some gay couples hugged and kissed each other. Those who met new friends or addressed old colleagues initially traded furtive mouth kiss. They did not feel bothered by a few hetero couples joining the triumph of the glee. In attire few people of that minority group were also distinguishing. They were so dare to wear unusual clothing that people would stare and take a look at them and understand they were queers. It would be obvious if there are three guys, one of them in tight t-shirt with big capital letter written “SUCK MY DICK” at the back kissing his friends' ears. A guy wearing a fur with rouge lipstick color and long orange artificial eyelids merely cheered the gangs. Or a man in his late thirties was dressed up in a monarchial queen style plus a queen-make-up look, unsuccessfully hiding he was a queer.
Yup, there they go! Queen's day is a happy day for everyone but for the queers in liberal Amsterdam, indeed it is a defining day of their existence.

Photos; Yuhendra

You can also visit this story and other queen's day story in http://www.journalism.fcj.hvu.nl/index.php?id=5507

Wageningen VS Amsterdam; Green City VS Concreted City

Yuhendra

It is always fascinating to travel around a small city to see natural picturesque, quiet life, to feel fresh air and smell farming scent. Yet, it is also interesting to wander around a big city for up-to date things, window shopping, and meeting busy people. To experience these different trips in the Netherlands, Wageningen and Amsterdam could be appealing alternatives. They offer real comparison between green town VS concreted city. Both places are only around 25 minute trips from Utrecht.

Leaving for Wageningen from Utrecht by train is like a trip from almost-big city to small one. As the train moves leaving Utrecht, you can catch the picture of typically Dutch brick houses and buildings which gradually change into green field with sheep and isolated houses after a fifteen-minute trip. Later when you get off the train you will feel that you are in a real Dutch Village. Not many people rush for tickets neither in the train station nor in the bus station as normally seen in Utrecht.

The buses are not triple-bodied as usually found in Utrecht because they only serve few people. Neither there are not many cars on the street nor there many the bikers. It is not the quietness gives a remarkable experience but the atmosphere it got. Old buildings are easily found. The river, green fields bordered by trees which are now unfortunately leafless for the winter, and the scent of farming sheep bring in the feeling that you are now in the village. It's so natural! That makes sense this city is called City of Life Science, particularly for agriculture research.

The people do not seem under time-pressure so that they sincerely observe rules and norms. Take pedestrians for instance, even though there is no car or probably cars will not be passing within three minutes on the street while the red light is on, they will keep waiting until the light turns green. Or the bikers for example, using a light while riding is a must in the evening even though you are sure there is no police around. Besides, warm greetings are still heard frequently, no matter if you are a stranger. It shows a genuine typically Dutch. The combination of uniquely picturesque and pleasant social life constitutes Wageningen as a good alternative for weekend. It can be explored by car, by bike or on foot.

"This is a peaceful place that I most love in the Netherland. I want it keep this way. I don't want it turn into a big city where many cars, busy people and modern building are put into one together," said Loryn van Rooyen, a student who is originally from Wageningen.

It is not that she is afraid of change but she cherishes the value of humanity which she considers will influence her beloved hometown. Even though Wageningen has not had big transformations yet she finds that Wageningen is not the same as the place she used to live in during her childhood.

"Nowadays, I do not feel ok to walk out alone in the evening. The imaginations of crimes threaten me. But, well, anyhow, this is still the better place to live," she conveyed her feelings.

Loryn may say Wageningen is a good place for her to live. But Amanda, also a student, prefers to live in big a city like Amsterdam. "I can find a lot of things here, many people of different races, facilities, access to entertainment and many more. You just name it," she told enthusiastically.

Unlike Wageningen, Amsterdam accommodates people with a range of facilities. You can easily find places for pleasure, free markets for souvenirs, transportation; buses, trams, taxies for wandering around, malls for shopping, museums, theatres and anything else.

This atmosphere of modernity can be felt right after ten minutes before the train stop in the station. An approximate 25-minute-trip from Utrecht to Amsterdam represents a time warp, from almost -big city to the big one.

As the train starts moving from Utrecht central station, you will see the combination of bricked houses, modern office and apartment buildings side by side. The view gradually changes into a more crowded place with densely packaged modern buildings after 20 minutes. Small brick houses are hardly found and replaced by high apartment buildings and sky crappers. There are a lot of cars on the street as well as bikers and pedestrians which make you aware that you are now in metropolitan area.

Visiting Amsterdam means visiting two different zones; "bad and good" for tourists. You can wander the good zone to see museums, go shopping, and go hunting the free market while in bad zone you can find red light girls, sex shops, sex bars and other sexual services. It is truly an accumulated urban are in the Netherlands so that you can not expect to see green field in it.

Everywhere you turn and walk you will see a lot of people. Visitors enjoy the window shopping while the inhabitants are in a rush for work. Red light is no longer taken into account. As long as cars, buses, or trams are not really close, people pass the street. In such conditions, you do not need to expect warm greetings. Greetings are exchanged only when you are dealing to buy something.

One remarkable thing which makes Amsterdam different from modern urban is the existence of old historical buildings. In Amsterdam such buildings are used not only for museum but also for malls. It makes Amsterdam both modern and classy which is worth an extended visit.

Photo by; yuhendra

What's in Dutch's Name?

Yuhendra
Having a single name has never been as complicated as I thought after my coming in Holland. When I began dealing with filling-in-forms bureaucracy, I had to be ready with the same some answers; "It is a normal way for Indonesian parents in naming their children by one name", eventhough I know it doesn't answer their curiosity. And yet, it is still not as easy as such answer for I have to agree to the system by which the Dutch are named. Once I went to a bank to open my bank account, I had to say "yes" when the bank staff put initial "Y" in front of my name, with one simply reason, the computer was programized for Dutch name system which consists two names; first name and family name.

Talking about the Dutch's name would have never been interesting to me if an International Office staff didn't tell me that Dutch name has its own history. The way Dutch gives name has begun since early 18th century. They have voornaam for first name and achternaam for last name or family name.

Despite the history, I found Dutch name is quiet unique (to avoid the word funny) meaning. I don't mean to make a mock or payback because they consider I have strange name, but anyway it remains intriguing for me to know more about their names. Take for an example; Hans van Amsterdam which means Hans who is originally from Amsterdam. He probably got the name because his ancestors moved from Amsterdam to other cities and consider the name of his hometown would probably good and distinguishing for being a name. Well, such a name could still be accepted for me. But, there is a hilarious achternaam; naahtgeboren which means you were naked when you were born. Of course everybody is naked when they are born, aren't they? There are also some last names which force me to smile. There are also names Doosje which means box, or schoen which means shoes, or Potlood which means pencil. I can hardly think what my name would sound like if there is a pencil after it. "Yuhendra Pencil" that must be a great joke for my friends.

So, if Shakespeare onced asked "what's in a name?" Dutch must have perfect answers. They got some tools in their names. Anyhow, it is great to have meaning in their names, while I don't have any.

Photo by; yuhendra

Discovering the Glorious past of Indonesia

Yuhendra

The exhibition INDONESIA: the discovery of the past is now on show in De Nieuwe Kerk, Amsterdam from 17 December 2005 until 17 April 2006. It presents more than 300 masterpiece collections of the Museum Nasional Indonesia in Jakarta and the Rijksmuseum voor Volkenkunde (National Museum of Ethnology) in Leiden. On display there are six large sculptures from the Singasari period (13th century), magnificent gold handmade ornaments and palace treasures from Sulawesi, Lombok and Bali, as well as rare ethnographical from West and East Indonesia, including New Guinea which most of them had never been displayed before.

Regarding the theme, the exhibition is not only displaying a long adventure of the two museums in collecting past treasures of Indonesia or recent discovered gold treasures but also showing Indonesia's greatness Art during thirteenth century. The collection of gold, silver and other jewelries, Buddha statues, sculptures, keris (daggers) and wayang puppets prove that old emperors in Indonesia contributed significant influence in Art.

Take the magnificent Prajnaparamita statue for instance (figure at the left). It was sculptured in Singasari, Java, in thirteenth century. This 126 cm stone statue reflects the Goddess of Transcendental Wisdom sitting on the lotus position. Her hands gestures the symbol of the Wheel of the Law. Her serene expression is extremely contrasted to her richly decorated appearance. Prajnaparamita was also called Princess Dedes by Javanese. What is more, Princess Dedes was strongly believed as a daughter of Buddhist.

Despite the vagueness between Prajnaparamita as a goddess and Princess Dedes as a first queen of Singasari, this statue shows its significance. Her dignified status can be seen from her adorable crown, jewelry; armlets, a caste cord, armlets, bracelets, finger and toe rings. Princess Dedes was carved in a good anatomy with slim shape and firm breasts. By capturing her carved beauty it makes sense that she was well-known as a queen from whom all kings of Singasari and Majapahit descended.

Anyway, her deep relaxed look reminds us to the head image of Indian savior, Buddha which was made around third century AD. The beautiful head of the Budha with its expression of deep repose was made in frontier region of Gandhara, Northern India, (Gombrich, H.E. The Story of Art, World Conquerors, Oxford, Phaidon, 1989)

The other extremely collection is Garment from Mandailing clan, North Sumatra. The result of expedition to Central Sumatra is a discovery of 60 cm width garment which was made on cotton and mica with gold thread.

This magnificent hand garment is presumed has existed during the Dutch colonial time in Indonesia 1800 (figure at the right). Mandailing is the name of one clan in North Sumatra. Before the coming if Islam (1820) the people were animism believers. It seems that Islam had also influenced their lacework.

As Gombrich explains in his book The Story of Art, Looking Eastwards, in Islam the making of images was forbidden. As the consequence they let their imagination play with patterns and forms and create the most subtle lacework ornamentation known as arabesques. In second to thirteenth century, outside the Islamic dominions the world became familiar with inventions through Oriental rugs. The Mandailing garment could be compared to Persian carpet which was made about 1600. The artist plays with their dream world of lines and colors.

Other proofs of the past gloriousness of Indonesia can also be seen through other luxurious displayed collections. They tell about Indonesian Art in Hindu-Buddhist time and in the period of the coming of Islam. There are bronze sculptures; Statue of Padmapani/ Avalokiteshvara Borobudur, (Java, 8-9th century, Height: 15.4 cm), Figure of a ram from East Java, (14-15th century, Height: 11.5 cm) which was fashioned according to the lost wax method. Height: 11.5 cm. There also golden and silvery marvelous jewelries like Bracelet, Ponto Sipappa made of silver, golf leaf, gemstones from Gowa, Sulawesi which was Presented to Rijks Ethnografisch Museum by the Crown Prince of Gowa (1890), crown made of gold, gemstones, rubies and cane, and ethnical handmade earrings and gold hair ornament. Some historically splendid stone statues are also shown, like Ganesha, the elephant god in Singasari period, (Java, 13th century) with height: 154 cm, or 106 cm-height Buddha Amitabha, which is origin: from Borobudur temple,(Java 8/9th century).

Photo from Museum Nasional Indonesia

Desperate Nihilist

A Review of Ivan Turgenev's Fathers and Sons (1862)

Yuhendra

Fathers and Sons written by Ivan Sergeyevich Turgenev (1862) depicts a young nihilist Russian, Bazarov. The story begins when Nikolai Petrovich welcomes his only son, Arkady and his friend, Bazarov after graduating from university. Bazarov spends his days in Marino, Arkady's house and meets Arkady's aristocratic uncle, Pavel Petrovich, Fenichka, a mistress of Nikolai and other minor characters. The house atmosphere turns stiff as Nikolai feels awkward with his son for taking Fenichka as his mistress and has a son with her, while Pavel gets irritated with Bazarov's nihilistic beliefs which later lead to a heated argument. During his stay in Arkady's house, both young people pay a visit to Arkady's distant relative and meet Anna Sergeyevna Odintsova, with whom Bazarov falls in love. After their visit to Madame Odintsova's house they went to Bazarov's house where they are happily received by his parents. After a few days, they return to Arkady's, but this time Bazarov makes a mistake by kissing Fenichka which drives Pavel mad and makes him ask Bazarov for a duel. Bazarov must leave Marino, Anna and desperately go back home for good.

The way Turgenev wrote Fathers and Sons is flat. He starts the story with many dialogues and continues the story with more and more conversations. He describes the characters through the talks he builds. The way readers gain the idea about nihilism is enhanced through the discussions. Too many dialogues can be boring sometimes, but that is the way Turgenev takes the readers into the climax. There are not many descriptive lines in his story. Even though the story is not my type, the reader can get Turgenev's idea about nihilism, philosophy and the messages he offers.

The title itself, Fathers and Sons depicts a gap between two generations. Indeed, that was the idea that Turgenev wanted to deliver. Nikolai, Pavel and Yassili (Bazarov's father) depict an older generation, while Arkady and Bazarov present the nowadays-generation. By choosing this title, Turgenev wants the readers to see this difference straight forward.

There is a remarkable part describing the gap between two generations, which is said by Nikolai after the hot argument between Pavel and Bazarov in Chapter 10:

"Do you know what all this remind me of, Pavel? Once I quarreled with our late mamma; she stormed and would not listen to me"¦ At last I said to her, "Of course, you cannot understand me: we belong to two different generations,"I said. She was dreadfully offended but I thought to myself, "It can't be helped. It is a bitter pill but she must swallow it".You see, now our turn has come, and our successors say to us, "you are not of our generation: swallow your pill."

Although Turgenev's main goal in Fathers and Sons is to depict nihilism in his time, he makes clear that people change. Nothing is immortal except change itself. Every time has its own successors. People can not stick to what they are used to believing. Change is a natural process in life. Nobody can escape from it.

For me, Bazarov as the main character is a kind of impressive young person. He denies everything and doesn't care about aristocratic things. He also shows that he is a smart guy who stands for his opinion and bravely confronts people in a heated debate. Despite his carelessness and his repudiation to everything or his being nihilist, he is accepted by lower class people. I like the way he behaves. He is beyond hypocrisy.

The story offers new philosophy in its time; mid nineteenth century, which is nihilism. But, in whole, the ideas are very general and the messages are endless. People from any generation can learn about family bonds, love, care and the feeling of losing somebody in life. In addition, Turgenev also talks about independent women or women emancipation. The way Turgenev combines these aspects of life has successfully made this book significant and is worth a read.

The idea of "killing" Bazarov in the last chapters is surprising. I was expected that Bazarov could see that love and care the people around him offer can change his philosophy. I expected he would come to positive thought and get rid of that nihilism.

The story itself reminds me of Indonesia classic literature, Salah Asuhan (The unmannered) published in 1928 by Abdul Muis. It is about a young man who got the opportunity to study in the Netherlands. His returning home is a big shot for his family and his community. He starts to neglect and despise his culture. He more loves western culture and denies any valuable teachings in his culture.

About the Author
Like Arkady, his character in Fathers and Sons, Turegenev came from a wealthy landowning family of central Rusia. He widened his education in Berlin and started admiring western ideas. During his studies in Berlin, Turgenev had become confirmed for the need of Westernization of Russia. Lacking the interest in religious issues like his two great compatriots, Dostoevsky and Tolstoy, he represented the social side of reform movement.
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His other well-known writing is Sportsman Sketches, the story of peasant life. Turgenev was the first of the great Russian novelists to win fame abroad. He is known for his detailed descriptions about the everyday live in Russia in the 19th century.