There is Yet Another Hell
Mention historical Japanese painting to a westerner and certain images involuntarily leap to mind- Hokusai’s great wave, an idyllic nature scene, an elegant Geisha, a sparrow perched on an inky branch… even Tales of the Genji or an explicit bit of Shunga perhaps. I imagine one thing which does not readily spring to mind is H-E-Double-Hockey-Sticks, with its demons and leaping flames and pestilence and writhing souls. After all, that’s our thing! Isn’t it?
Well, yes and no.
There are “hell scrolls” to take into account. These are narrative scrolls which depict a Buddhist conception of hell, specifically that of Chinese Buddhism of the 1st century AD, which was itself heavily influenced by the “Hindu concept of a many-leveled hell of punishment between lifetimes.”
These scrolls are darker and more gruesome than what we generally equate with Japanese painting. They depict the suffering of sinners who have fallen into one of the six realms to which a person is consigned after death as a result of his or her deeds during this life.
Quote: It depicts murderers, thieves, adulterers, and so forth, who have fallen into the Hell of Cloud, Fire, and Mist. The naked men and women are in agony as they burn in an enormous fire. The writhing flames are vividly and effectively rendered with concise lines and black and vermilion tones. The painting probably caused its viewers to shudder with fear and foreboding, encouraging them to embrace the desire to be born into the Pure Land.
They are cautionary, in the same way Western images of hell are, and though the depiction of flayed bodies, blood, tortures, leaping flames and demons (not to mentioned the tiered structure which our Dante helped popularize) would seem a perfect parallel, this Buddhist hell is actually quite different. Foremost among these differences is the fact that Buddhist hell is temporary. More of a purgatory really, where one works off their karmic debt, before easin’ on down the road. For those with hot pokers shoved up their asses, this is an essential difference you can be sure. In as much I think it’s safe to say “the one true hell” still belongs to the west.
Fear not.
In any case here are a few details from two hell scrolls in the collection of the National Museum of Japan which I thought you might enjoy a gander at, surprisingly un-serene as they are.
All images from:
Hell Scroll 1 and Hell Scroll 2
For similarly grotesque scrolls see:
The Extermination of Evil Scroll
The Diseases and Deformities Scroll
The Scroll of the Hungry Ghosts
For more info on Buddist hell see:
Hell of the Chinese Afterlife
Mechanisms of Violent Retribution in Chinese Hell Narratives (pdf)
Japanese Buddhist Statuary A to Z Photo Dictionary
khandro.net Hells
Related, and of interest, check out:
Hell Bank Notes
Hell Money
Hope you enjoyed.
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Zengraving
Came across this hypnotic video of master hand engraver Steve Lindsay completing an engraving from start to finish. It’s pretty amazing. As a designer (with the prerequisite appreciation of typography) watching someone carve perfect, beautiful letter forms from metal, and so handily, is both humbling and fun. As a (lapsed) painter I can certainly appreciate the brute hand-skill involved. Beyond that there is a definite Zen quality inherent, I’d say, to any work which denies the luxury of an eraser or undo button. Pour yourself a glass of something (the vid is accompanied by an urbane soundtrack of classical and jazz) and enjoy.
For more videos, images, and information on hand engraving see the following:
Engraving School.com, Lindsay Engraving.com, and Master Engraver.com.
Polynesian Stick Charts
The Polynesians, scattered as they were over 1,000 islands across the central and southern Pacific Ocean, were master navigators who tracked their way over a huge expanses of ocean without any of the complex mechanical aids we associate with sea fairing. They didn’t have the astrolabe or the sextant, the compass or the chronometer. They did however have aids of a sort, which though seemingly humble, were in fact the repositories of an extremely complex kind of knowledge. Called Rebbelibs, Medos. and Mattangs, today we call them simply “Stick Charts.”
There are three kinds of stick charts.
The “MATTANG” or “WAPPEPE” is a small, square shaped chart which shows wave patterns around a single island or atoll and was used for teaching purposes only.
The “REBBELIB” is a general wave navigational chart mapping an entire chain, showing the relationships between the islands and the major ocean swells.
The “MEDO” covers only a few islands and is useful for specific voyages.
The charts were made by men from thin strips of coconut frond midribs or pandanus root. They were then bound together with coconut sennit in geometric patterns depicting sea currents around the low lying atolls. Small money cowrie shells or coral pebbles indicated islands and curved sticks represent wave patterns.
They were not carried on a voyage and the adult navigator gauged the wave patterns represented in the Stick Charts entirely by his sense of touch. “He would crouch in the bow of his canoe and literally feel every motion of the vessel.” As with ripples in a pond they “concentrated on refraction of swells as they came in contact with undersea slopes of islands and the bending of swells around islands as they interacted with swells coming from opposite directions.”
A fascinating aspect of the charts is that they varied so much in form and interpretation that they were “readable” only by the specific navigators who constructed them. Evidently the knowledge contained in each was a closely guarded secret.
Wikipedia says: “The stick charts are a significant contribution to the history of cartography because they represent a system of mapping ocean swells, which was never before accomplished. They also use different materials than is common in other parts of the world. They are an indication that ancient maps may have looked very different, and encoded different features from the earth, than the maps we use today.”
Use of stick charts and navigation by swells apparently came to demise after World War II, when travel between islands by canoe halted. They continue to be made in Polynesia, though very few people are able to use them as navigation aids. They are made and sold instead as tourist souvenirs.
For much more info see the following (images and text were adapted from these):
Wikipedia entry.
Reading Patterns in the Waves.
Ethnomathics Digital Library.
Digital Micronesia.
Micronesian Stick Charts.
Mariner’s Museum.
The Leek-Green Sea.
Stick Charts.
Visit Marshall Islands.com
THe British Museum.
The Met.
World Weather, Climate, and Society Projects.
And Lastly I’d like to recommend the following for some interesting context-
Varieties of Unreligious Experience.
Hope you enjoyed.
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“There were only occasional cigarette wrappers or paper towel like toilet paper with no pencils or ink available for communication. You could manufacture ink out of brick dust and sundry such elements and use bamboo slivers for pens. The only sure way of communicating thusly was to drop a note in an emptied toilet bucket, float a note out on your manure, hide a note at a wash trough, or scratch a message on the bottom of a rice bowl. But you had to contact the guy first to tell him all this. The preferred, most secure and most reliable method was to tap on the walls or floor pad in a rhythmic code known to us as the Tap Code.”
TALK TO ME! or The Origins of the Prison Tap Code.
Juice of Cursed Hebenon
Quote: “In one of history’s more absurd acts of totalitarianism, China has banned Buddhist monks in Tibet from reincarnating without government permission. According to a statement issued by the State Administration for Religious Affairs, the law, which goes into effect next month and strictly stipulates the procedures by which one is to reincarnate, is “an important move to institutionalize management of reincarnation.” And you thought the wheel of samsara was complicated now! Ha. Wait and see what some good ‘ol fashioned bureaucracy can do… A lifetime of karmic actions in triplicate anyone? The Pope may have to rethink his stance on purgatory… The real punchline though is less amazingly and perfectly hilarious. Ah well.
...He advised me not to worry about lice. “You’ll soon get used to ‘em, not feel ‘em biting at all. All you have to do is ‘boil up’ once in a while”—that is, take off your clothes and boil them, a piece at a time, to kill the vermin. These and other personal chores the well-groomed tramp more or less regularly performs, were usually attended to during stop-overs in camps and jungles. It was here I learned to shave with the aid of a broken bit of whiskey glass. The toughest method of shaving I ever saw, though, was when one old veteran of the road rubbed another’s face with the rough side of half a brick!
-Harry Kemp (footnote to history, tramp poet, author, dune shack dweller, village bohemian, home wrecker, hanger on to giants, and purportedly a “lecherous and lazy man who committed as many wrongful acts as a man can safely commit”) from the the Federal Writers’ Project American Life Histories.
Beautiful Specimens
Wikipedia tells us: “A microscope slide was originally a ‘slider’ made of ivory or bone, containing specimens held between disks of transparent mica. These were popular in Victorian England until the Royal Microscopical Society introduced the standardized microscope slide in the form of a thin sheet of glass used to hold objects for examination under a microscope.”
I’d like to add the following: Antique microscope slides, looked at from a strictly aesthetic standpoint (egged on by a design obsessed brain obviously) are some of the most elegant and perfectly beautiful human artifacts on planet earth. You can quote me on that. See below for irrefutable
scientific aesthetic evidence.
















So simple, so elemental, so tiny and gorgeous. The fact that so many of these survive came as a bit of a surprise to me, delicate as they are. That so many of them are for sale and can be bought, greedily, by yours truly amazes me. I plan to build a back-lit display in my office, or alternately take a few prized samples, scan them at ultra-high res, and reproduce them huge… voila! perfectly modern art for the discerning, science lovin, design dork. (Coudal swap meat here I come.)
The majority of the samples above were taken from the following sources:
Darwin Country.
The Gemmary.
The Manchester Microscopical Society.
ebay.
For a bit more see:
Ars Mechanica
Microscopy UK.
Hope you enjoyed.
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Nature Vs. Art
Æsthetic Friend: “Yes, This room is rather nice, All but the window, with these large blank panes of plate glass! I should like to see some sort of pattern on them—Little squares or lozenges or arabesques…”
Philistine: “Well, but those lovely cherry blossoms, and the lake, and the distant mountains, and the beautiful sunsets, and the purple clouds—isn’t that pattern enough?”
(Taken from Punch, or the London Charivari, Vol. 102. June 4, 1892. which, along with many other volumes, can be found on Gutenberg, listed for your ease here.)

The work of master goldsmith Giovanni Corvaja is a fascinating mixture of the ancient and the cutting edge. His pieces are strikingly modern in form, clean geometries encasing staggering complexities, but the techniques employed to create these works are in fact the re-imagining of 3000 year old Etruscan methods (filigree and granulation) largely forgotten until very recently.
In trying to rediscover these ancient processes (specifically granulation) Corvaja has become an interesting mixture of ancient and cutting edge artisan himself. Though he alloys all his own metal for example and manufactures his own ingots, the studio equipment he uses is decidedly modern including a microscope, a super-charged water torch, and a host of self-designed items like a graphite crucible and a sapphire hammer and anvil. This combination of modern technology and ancient technique has allowed him to create work which in many ways outdoes his Etruscan predecessors and evidently pushed his materials to their limit. I’m fond of it in any case. For more images and info see: Galerie-Slavik, V&A collection, V&A audio, Abovo Gallery, and The Scottish Gallery.
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