Artwork: Hamzeh Carr. ‘And none hath sought for this as I will seek’ 1926

January 2014

 

Hamzeh Carr. 'And none hath sought for this as I will seek' 1926

 

Hamzeh Carr
And none hath sought for this as I will seek
1926
from Sir Edwin Arnold. The Light of Asia. London: John Lane The Bodley Head Ltd, 1926, p. 81
Limited edition of 3,000 copies

 

 

In the flesh, the colouring and radiance of these plates has to be seen to be believed.

I shall be posting more of these stunning works. Please click on the artwork for a larger version of the image.

Marcus

 

 

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Artwork: Hamzeh Carr. ‘And some maid told an ancient tale’ 1926

February 2013

 

In the flesh, the colouring and radiance of these plates has to be seen to be believed.

I shall be posting more of these stunning works. Please click on the artwork for a larger version of the image.

Marcus

 

 

Hamzeh Carr. 'And some maid told an ancient tale' 1926

 

Hamzeh Carr
And some maid told an ancient tale
1926
From Sir Edwin Arnold. The Light of Asia. London: John Lane The Bodley Head Ltd, 1926, p. 44
Limited edition of 3,000 copies

 

 

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Artwork: Lord Buddha, Thailand 19th century

November 2012

 

Anonymous maker (Thailand) 'Lord Buddha' 19th century

 

Anonymous maker (Thailand)
Lord Buddha
19th century
Wat Pa Ban Tat (temple), Udon Thani Province Central Thailand
bronze
H 30cm x W 14cm at base

 

 

I just wanted to welcome a new member to the Art Blart family – as my best friend said to me, one that will generate much peace and good vibes…

A beautiful 19th century bronze Buddha seated in padmasana (lotus position) on a double lotus base, elongated ears showing “Form of the Awakened One.”
One hand in meditative gesture cradling the base, and the other holding a Lotus Bud.
Flowing wide hair, with an almond shaped mandorla (halo) affixed around the head.
Fine and strong Pompeii Green Patina.
From Wat Pa Ban Tat (temple), Udon Thani Province Central Thailand (note: with all the correct export licences)

Simply divine!

Marcus

 

 

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Artwork: Hamzeh Carr. ‘So the Bright Ones came’ 1926

November 2012

 

Hamzeh Carr. 'So the Bright Ones came' 1926

 

Hamzeh Carr
So the Bright Ones came
1926
from Sir Edwin Arnold. The Light of Asia. London: John Lane The Bodley Head Ltd, 1926, p.19
Limited edition of 3,000 copies

 

 

Absolutely divine. In the flesh, the colouring and radiance of these plates has to be seen to be believed.
God they knew how to print back then!

I shall be posting more of these stunning works. They deserve to be seen and meditated upon. Please click on the artwork for a larger version of the image.

Marcus

 

 

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Artwork: Hamzeh Carr. ‘Lord Buddha’ 1926

November 2012

 

Hamzeh Carr. 'Lord Buddha' 1926

 

Hamzeh Carr
Lord Buddha
1926
Frontispiece
From Sir Edwin Arnold. The Light of Asia. London: John Lane The Bodley Head Ltd
Limited edition of 3,000 copies

 

 

Absolutely divine. In the flesh, the colouring and radiance of these plates has to be seen to be believed.
God they knew how to print back then!

I shall be posting more of these stunning works over the coming weeks. They deserve to be seen and meditated upon. Please click on the artwork for a larger version of the image.

Marcus

.
Please click on the image for a larger version of the art work.

 

 

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Judith Butler: Who I am – vectoring the body, a life worth living, framing war

February 2011

 

 

This is a photograph I took of Lord Buddha at Wot Poh, Bangkok, something beautiful to meditate on!
Click on the photograph for a larger version.

 

 

I love reading Judith Butler; she challenges you to think about the world in different ways, always intelligently and insightfully.

 

“We can think about demarcating the human body through identifying its boundary, or in what form it is bound, but that is to miss the crucial fact that the body is, in certain ways and even inevitably, unbound – in its acting, its receptivity, in its speech, desire, and mobility. It is outside itself, in the world of others, in a space and time it does not control, and it not only exists in the vector of these relations, but as this very vector.11 In this sense, the body does not belong to itself.

The body, in my view, is where we encounter a range of perspectives that may or may not be our own. How I am encountered, and how I am sustained, depends fundamentally on the social and political networks in which this body lives, how I am regarded and treated, and how that regard and treatment facilitates this life or fails to make it liveable. So the norms of gender through which I come to understand myself or my survivability are not made by me alone. I am already in the hands of the other when I try to take stock of who I am. I am already up against a world I never chose when I exercise my agency. It follows, then, that certain kinds of bodies will appear more precariously than others, depending on which version of the body, or of morphology in general, support or underwrite the idea of the human life that is worth protecting, sheltering, living, mourning. These normative frameworks establish in advance what kind of life will be a life worth living, what life will be a life worth preserving, and what life will become worthy of being mourned. Such views of lives pervade and implicitly justify contemporary war. Lives are divided into those representing certain kinds of states and those representing threats to state-centered liberal democracy, so that war can then be righteously waged on behalf of some lives, while the destruction of other lives can be righteously defended.”

Butler, Judith. Frames of War: When is Life Grievable? London: Verso, 2010. pp. 52-53

 

Footnote 11. A given morphology takes shape through a specific temporal and spatial negotiation. It is a negotiation with time in the sense that the morphology of the body does not stay the same; it ages, it changes shape, it acquires and loses capacities. And it is a negotiation with space in the sense that no body exists without existing somewhere; the body is the condition of location, and every body requires an environment to live. It would be a mistake to say that the body exists in its environment, only because the formulation is not quite strong enough. If there is no body without environment, then we cannot think the ontology of the body without the body being somewhere, without some “thereness.” And here I am not trying to make an abstract point, but to consider the modes of materialization through which a body exists and by means of which that existence can be sustained and/or jeopardized.

 

 

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