Laughing my head off at Mme Sei's wit

The fact that there is nothing known about the life of Sei Shonagon after she'd left court has left an opening for the nasty rumor to arise that she'd fared badly: died alone in poverty and so forth. But, observed Ian Morris, who could take a difficult woman, "this is probably the invention of moralists who were shocked by her promiscuity and thought she deserved retribution."

The problem with Morris's theory is that today's sexually revolutioned Americans also find Mme Sei deeply immoral. It is not her bedly doings -- it follows -- certainly nothing especially bad in any case -- which are the cause of the moral opprobrium. Rather, divine the root of the moral outrage from this, No. 5 (as Morris counts them):

Different Ways of Speaking
A priest's language.
The speech of men and women.
The common people always seem to add extra syllables to their words.

The essay starts ambitiously enough: priests do speak an odd language (meaning it to be otherwordly and mysterious); and it continues interestingly, too: in Japan, as in many countries, men and women speak differently. Both facts could have made a good point of departure for an intelligent essay, which is probably what she had intended, and one of which her superior wits would have been perfectly capable (even if her readers' were not)... had she not been diverted by her last comment -- and disarmed by her own guffaws in its wake, bringing the whole thing to a sudden crash.

It's a joke, no more; and old jester's trick: to start high and suddenly drop low. It never fails to amuse.

And she's right, of course: commoners do speak an odd language; and often they are just plain funny, too, seeming -- with their unhealthy teeth, their ungainly laughter, their colorful patois -- no more than a caricature of better men. The problem is -- one is not allowed to say it. We can all see it, of course; but to admit as much is -- somehow damnable: the emperor's new clothes and all.

Which is why I love Mme Sei more with every passing day: a smart, cultured, sensitive woman, she was too intelligent, too honest, and too confident of herself to pay stinking lipservice to politically correct "respect" for instances of bad manners, lack of culture, phariseeism and cabotinism. Surrounded as she was by insecure empty suits whom she delighted rubbing the wrong way, she was envied and hated, and... if she'd not been a woman of independent means, I should not be surprised if she did not end up poor and lonely in her old age: there would have been too many all too ready to delight in her downfall.

My lord, the master of the west wind

Arriving home from faraway travels, after many month's absence and a grueling long trip, how pleasant it is to be welcomed at one's threshold by an old faithful friend who'd rushed on ahead to sweep the cobwebs, warm and light the house and whisk up a frothy tea.

We sit and chat and then in passing she mentions the west wind:

In the ninth month, the west wind quickens
Under the cold moon, flowers of frost have formed.
When I think upon my lord, the spring day seems long.
My soul, nine times, rises towards him in one night.

In the second month the east wind comes
Tearing at the plants till the flowers lay bare their hearts.
When I think upon my lord, the spring day passes slowly.
My heart, nine times, leaps up to him in one night.

Which is a fancy way to say that I have found, upon arriving home, a copy of The Pillow Book waiting in the mailbox -- of all the books that I had preordered, this one was the first to come and the only one to be already waiting. So, having dropped my bags and shoes at the door, I curled up on the sofa with it. This poem, by Po Chu Yi, is mentioned in its 150th chapter (as Morris numbers them), but only obliquely, of course, with the sort of reference you are liable (and calculated) to miss.

I can't explain what I find so very moving about it... surely, I hope, not just the fact that I do not understand it (and my head spins trying to understand it).

Nothing wrong with this neck, though

(Or: if you can't get the neck right, remove it).

About 4 inches in diameter.

What I cannot photograph is the experience of holding one of these things in your hand: the bowls and their lids fit together perfectly; and they weigh -- nothing: the porcelain seems no thicker than an egg-shell and you get the impression that a merest breath would cause them to float away in the air. I saw them for the first time about a week before I could buy them; and during that whole week, every time I recalled holding them in my hand, a soft, warm feeling arose in my chest, like a steamed Chinese bun. And when I closed my eyes at night, I could see their zany colors float up before my eyes. What incredibly precise painting! And what an audatious move: purple dragons?! Only Qianlong could have dared to come up with that.

Paid for the two about a third of I paid for the mynah-vase, too. Peanuts. Not even a hundred bucks. A crap dinner for two with mediocre wine would cost more. I simply cannot believe it. Can you?

On picking one, or, why aesthetics should be taught in school

You know about the silk brocade wrapper, I suppose. Except... this one is yellow. And you know what that means, of course.














The quality of the painting is very impressive: note that this bird is about 5 cm long in the original!


But then you turn it over to see the seal and... no, it does not say "Made in the Qianlong reign of the Great Qing"! It says... Gugong -- which is to say, of course, The National Palace Museum.


These copies -- this one is of a very famous Qianlong piece dated to 1742 (see here) -- are mass produced now, somewhere on the Mainland -- I am told in Guangdong. But they are produced by traditional techniques and the level of technical attainment is really very high.

Picking the vase I wanted from among the seven that were available was an interesting exercise:

1. One was not stable -- something went wrong with the foot in the initial firing.

2. Another one I rejected because of its shape -- the gall-bladder shape is famously difficult to reproduce. This is important -- the potter must achieve seemless, shoulderless curvature as the body profile inflects from concave to convex around the neck and shoulder (which ought to be indistinguishable). This is very hard to do. The rejected piece looked decidedly shouldered, even square-shouldered, like a football player in armor, and therefore -- graceless. Even in this case, the shape is not perfect, but at best satisfactory. My vase is therefore not a true collector's item; it will neither appreciate in value nor even store it. But I could not have the best shaped vase -- which was as close to perfect as I have ever seen: its painting was awful; and I wanted to have one of these -- on my desk, now, and it had to be at least passable.

3. I rejected another vase because it had a firing flaw: a serious flaw, in fact: too large to be on display in the museum. The piece ought to have been destroyed at the workshop, not shipped out to ruin the potter's name.

4. I rejected another yet because it had a barely perceptible stain on the glaze -- someone handled it with dirty hands before second firing and fixed his fingerprint in eternity for us to admire.

5. And among the remaining three there were noticeable differences in the quality of painting. This painter pleased me especially with his fine, small-brush detail of bird feathers, even though his flowers were paler than on the other vases; nor was his tree bark as gratifyingly gnarly. But I figured: this genre of decoration -- huaniao -- flowers and birds -- requires well painted birds, right?

Back in the days of Qianlong, one vase -- or perhaps two -- would have been selected from among not seven but perhaps -- a thousand; and the rest of the production -- would have been destroyed. The resulting unsurpassed quality of the imperial pieces affects their price (in tens of millions of dollars these days, if you can ever find one) as much as the fact that they once belonged to The Main Man Himself.

*

A footnote is in order. "Mass produced" -- a word I used above -- is a funny word: it still takes many men and many man-hours to produce each bottle by hand... And the quality of the best pieces is hardly "mass" in any way. I should really be careful about what I say...

After all, the production run cannot be very large: all the porcelain people here confirm this: the production of these copies has moved to China, true, but that was not much of a loss because... -- and this is the point -- the market for them has disappeared. Modern Taiwanese middle class is no longer educated to appreciate the traditional arts. In fact, Taiwanese middle class, like the middle class everywhere else in the world, is no longer educated at all in terms of aesthetics. It is taught to be good doctors and engineers and brokers and mathematicians -- those things which advance the state's cause of ever-rising GDP; but in the matter of enjoyment of life's pleasures, the middle class is left to its own devices, abandoned by the education system, left languishing in the joyless darkness of ignorance. Absent most rudimentary guidelines, it is preyed upon by the purveyors of childish glitter and empty notoriety -- the sort of BS in art it would not accept from quack doctors or fake religious prophets.

Now, if, like me, you think that sex education is a good thing not only because it allows for family planning and disease control but also because it helps people experience more joy in their lives -- makes them happier, and therefore, presumably more productive and more law abiding -- then you must admit that there are good arguments for instating aesthetic education in school.

Wei jun nan

.
Good things always come wrapped in silk brocade.


In this case, it is a chop -- and its vermilion ink pad:


The chop is made from veined resin in a kind of dark ceremonial red. On the side is inscribed a suitable classical quotation:


And on top, a crouching dragon:


And here is the impression in a kind of seal script:


It says... taoyen gongzuo -- "bung work".

The chop carver took a double-take when I presented to her my order. "You want it to say what?" she asked, her eyes as big as frying pans. "How can one possibly want to make such a seal!?" Chops are either utilitarian -- they serve his in place of our signatures -- for signing bank and legal documents -- or else suitably morally edifying or propitious, or both.

So, I told her about this seal:


It belonged to Yongzheng, Kangxi's son and successor, father of Qianlong; one of China's best and most effective administrators and one of the most interesting, complex characters ever to sit on her throne. He had been a low ranking son and, never expected to succeed to the crown, he'd been left to enjoy life of cultured and cultivated leisure until, suddenly, an unforeseeable sequence of events elevated him to the throne in middle age. Once crowned, he dedicated himself wholly to the duties of his office out of the Confucian sense of moral duty -- to his ancestors and his subjects -- but without any sense of pleasure. I guess it was with a sense of longing that he continued to sponsor, throughout his reign, paintings which portrayed him in his former life: enjoying hunting, literary gatherings, palace games with his concubines, his large collection of art. He used this seal for his private purposes: to seal private letters and as an ex-libris mark on his favorite art objects. It reads: wei jun nan: "it is hard to be emperor".

Speaking of Fen Cai

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The National Palace Museum has a very good copy of this. Four hundred bucks! Not the sort of money one meets walking around unattended in the street, but certainly a fantastic deal considering that the original, if it ever came to market, would likely fetch seven figures. You could use it as a spitoon, for instance.

Hiroshi Suzuki

...says Japanese are lousy at shapes but good at surfaces/textures. I am not sure that this is true about all Japanese art, but it certainly is true about Hiroshi himself. Here. Right click on the images then select "View Image" to see the details.