This is India 4. Let’s look at inlaid tiles and other patterns.

Here’s what I know: You can pick just about any topic in the world and the variety of that topic in India is infinite.  Absolutely.

Let’s take the subject of gorgeous inlaid tiles found in so many Islamic buildings throughout the world.  I loved them in Andalucia, Spain; I loved them in Morocco; and, not surprisingly, I loved them in India.  Of course the Indian tiles have a distinctly Indian flavor; how could they not?

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The palette of colors is completely “Indian.”  Similar applications of tiles in Islamic buildings in Morocco and Spain have a completely different palette.

For example: here’s Morocco

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And here is an example from the Alhambra in Spain:

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It was in Spain that I first fell in love with Islamic architecture and decorative arts.

So, now you see how different the Indian palette of colors is.

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And then there are these incredibly complex ceilings in some old Indian major monuments, completely unlike anything in Morocco or Spain.  This one fascinates me.

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Then there are the carved traceries (carved stone) that cover so many windows and other openings.

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Just look at the amazing use of inlaid tiles.  Every piece hand cut.

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The photo above and the one below are taken looking up along an outer wall of the Taj Mahal.

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My pedicure blends in with the palette of tile work. I am wearing slippers from my hotel room.  You bring them with you in your bag because you will be required to remove shoes at the entrance to monuments.  But, if you bring your slippers or socks, you can wear them.  Stone tile floors are cold in February on a misty morning!

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A stucco ceiling.

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And the cut out metal lanterns create amazing patterns.  This is not at Taj, but the pattern the light casts on the wall reminds me of the traceries found at the Taj and other places throughout beautiful India.

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And finally for today, here is a huge wall well, which means there is a well at the bottom of this wall with the stairs leading ever downward in these incredibly intricate patterns.  It is mind-bogglingly beautiful.

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Florentine Silk

From today’s New York Times.

 

Down a quiet lane in the San Frediano district of Florence, beyond an iron gate and leafy courtyard, is Antico Setificio Fiorentino, the sole remaining artisan silk workshop in the city. Since moving to this location (Via Lorenzo Bartolini 4) in 1786, the small factory has maintained uninterrupted production, despite wars and floods. The art of silk-making in Florence flourished in the Renaissance, when noble families amassed fortunes and fame by producing exquisite silks. That tradition endures at Antico Setificio Fiorentino, where silks are woven by hand on antique looms using Renaissance patterns.

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FLORENCE | A silk loom at Antico Setificio Fiorentino. Credit Stefano Ricci /ASF by Bernardo Conti

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During a recent tour, the designer Maurizio Bonas rattled off the illustrious names of historic Florentine clans — Corsini, Pucci, Strozzi — whose signature patterns are still being produced. “When you go inside many historical houses in Italy, it’s Antico Setificio that did them,” said Mr. Bonas, who noted that the factory’s silks also adorn rooms in the Vatican, the Palazzo Vecchio and the Tribuna degli Uffizi in Florence, and even in the Kremlin in Moscow.

“To make these kinds of fabric, we cannot use the modern machines,” Mr. Bonas said, pulling out a roll of sumptuous blue embroidered silk velvet made with 350,000 stitches per meter. One worker who was weaving a cream-colored damask from a design named for the Renaissance painter Pinturicchio could be expected to complete only 80 to 100 centimeters of the fabric per day. And because the small factory employs only 20 artisans, production is predictably limited — and costly. In the adjoining showroom, walls are lined with bolts of silk, from plush velvets and intricate damasks to diaphanous taffetas, 110 to 1,360 euros (about $135 to $1,670) per meter. Decorative pillows are adorned with hand-woven trims. And, on a table, a basket is filled with sachets made of Ermisino, a shimmering silk taffeta that dates back 500 years. Inside each is potpourri from Officina Profumo-Farmaceutica di Santa Maria Novella, a 400-year-old pharmacy that has partnered with Antico Setificio for, as Mr. Bonas said, “only 250 years.”

A more recent partnership with the Stefano Ricci luxury men’s wear label, which acquired Antico Setificio in 2010, means the designer’s nearby store now stocks wearable wares made with Antico Setificio’s fine silk. INGRID K. WILLIAMS

Chihuly time!

It has been too long.  Chihuly is too wonderful.

Of course Chihuly learned his craft in Italy, so for me looking at his glass is like looking through a glass into the Italian past.  It’s how I roll.

I can’t get enough of his work.  I take all out-of-towners to the Seattle Center to see the exhibit there and everyone is amazed.

All of these works are from the Seattle Center exhibit.

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You have heard of the Sistine Chapel ceiling.  But, at Seattle Center, there is a luminous ceiling composed of glassworks. Gorgeous.

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And then there is this humongous outdoor installation.

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Then, back inside:

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Some of his glass creations, like this white one above, reminds me of a taffy pull or some elaborate French confection.

Get yourself to a Chihuly exhibit next chance you get, in Seattle or anywhere!

P is for Jackson Pollock

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A masterpiece by “Jack the Dripper”

Jack shown dripping below.

Jackson Pollock

Many people, when confronted with paintings by Pollock and the New York School, can’t understand what the artist was doing or why.

The best way I can explain early modern art is to paraphrase one of the artists working in the style: Traditional painting techniques just didn’t jive with contemporary life.  Realism, perspective, and all of the aims of the western painting tradition from the Renaissance through the mid-19th century, just could not be used any longer to express the developments and atrocities witnessed in the 20th century.  Who wants to look at a perfectly captured painting of an atomic bomb blowing up?  A photograph can capture it.  Leave those subjects for photography and begin to explore other ideas.  Dive into the deep end of your subconscious.

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And also, judging from this gallery scene, it helps if you wear all black when you study a Pollock on the wall!