Visual Art as the Entranceway to the Ancient Caves of Humanity: Alone, Yet in the Embrace of Everything

Since the pandemic began, I’ve had this impulse to look at, or hang on the walls of my home, new pieces of art. Sometimes, they’re pages from an old book or museum calendar or one I created myself; sometimes, a piece from a dealer or a work by someone I love. I take a walk every day, look at whatever seems beautiful, trees, roads, hills, brooks, buildings, animals, and people. And with art this sense of beauty can come inside with me.

 

And there’s something more. Something about aging, relationships, and life itself, or life in a time of great crisis, that eludes understanding yet is motivating this impulse.

 

I’ve written about art before. So have thousands of others. Art is one blessing we can all share. No matter how hard we look at, think, or feel about an artwork, it keeps on evoking something new⎼ or it can. One look, one realization sets the stage for the next.

 

There is an infinite depth to any perception, as any perception takes place in and is influenced by an infinite number of factors, or by the universe itself. It is this infinite depth that art can access. So the English poet William Blake, in his poem Auguries of Innocence, wrote the famous lines: “To see a World in a Grain of Sand. And a Heaven in a Wildflower.”

 

I look at this woodblock print by the Japanese artist Kawase Hasui which hangs on the wall of my bedroom. It is called The Inokashira Benten Shrine in Snow. I love this piece. It is so detailed. It depicts a snowstorm over an old Buddhist Shrine that sits next to a pond that over a hundred years ago stood at the head of the source of Edo’s (now Tokyo’s) drinking water. Each snowflake stands individually by itself, and then floats into the whole. I feel as if I could enter the scene, become another detail in it, or feel the artist as he painted it.

 

Maybe each artwork is a door to a hidden place in ourselves, or the universe, or the artist’s vision. Like C. S. Lewis’ wardrobe doorway to Narnia. Or a window; just like a painting might be framed, a window frames the world for us to view with care and attention. And I feel that if I can mount such windows and doors on my walls, I will never be lonely or bored. An adventure will always be available to me. One minute, the world might be tired or threatening. The next, it shines brightly.

 

Years ago, I bought a piece of Buddhist art, a slice of shale with a Buddha painted on it. It is a reproduction of a painting from a cave in Southeast Asia. When I slow down and let my eyes linger on it alone, focusing on the whole piece; then a detail; then back again, the scene expands, taking on dimensionality. I feel what I see. The Buddha stands there for a moment in 3-d.

 

Art was probably created just for this sort of purpose. When we let go of our focus on ourselves for a moment, our plans, concerns, and beliefs, art can help us see the world in more dimensions. That’s why, throughout the centuries, it was closely tied to religion and spirit. One of the greatest visual works of art ever was The Creation of Man (Human) painted on the ceiling of the Sistine Chapel in Rome, by Michelangelo….

 

*To read the whole post, please click on this link to The Good Men Project.

 

**Photo is from the cave created by students in our school.

Living with the Unknown in Ourselves

I was watching the Ken Burns documentary on Ernest Hemingway last night. In the second hour of the program, the narrator was describing the difficulties Hemingway had beginning his first novel, The Sun Also Rises. He had already published a critically acclaimed book of short stories, where each sentence was a work of art. Suddenly, he needed to shift to the length and breadth of detail a novel required. Hemingway told himself, write one true sentence. Then another and another. Which is what he did.

 

Hemingway was both a great artist surrounded by friends and family, as well as a solitary narcissist. There is both a loneliness and a luminosity to words. They can be used to mask as well as unmask, to torture or heal. We have to be totally alone in ourselves to write. Yet, words can fill us with a sense of connection and ecstasy. We might try to hold them to us as if they could warm our bodies with their heat. But when we do so, the words dissolve into air. It’s not the words themselves that warm us but the breath we give them as we speak and listen, and the paths to others they might reveal.

 

Two days ago, in the woods near the top of our hill, maybe 25 feet from a road, my wife and I came upon two circles in the earth. We had never seen these before. The bigger one was about 12 feet across, with a moss and stone foundation and one young oak tree growing inside it. Maybe it was once a silo. And the smaller circle, now a depression in the earth lined with rotted leaves and stones, was maybe once a well.

 

The more we looked, the more we found. There were stacks of old boards, maybe an old wall or roof. Further in the trees was a wood railing on an old porch attached to nothing and leading nowhere. It was like someone had built an entrance without knowing where it led. Even in a forest that we think we knew well, we were surprised. There were histories hidden here we had no knowledge of. What we didn’t know was way more prolific than what we did.

 

The night before we discovered the ruins, I had a dream. It started out understandably enough. I was outdoors at a party, a celebration, but no one was wearing a mask, not even me. I felt naked and more and more afraid. Everyone was acting as if there had never been or wasn’t now a pandemic raging in the land, or maybe they had somehow forgotten. Occasionally someone, usually a former student from when I taught secondary school, called out to me, inviting me to sit with them and talk. I waved and walked on, intent on getting out of there as quickly as I could. But I couldn’t. There were people everywhere.

 

Then everything changed. I was in a new dream, or the old one had transformed itself. I was watching a play, also outdoors. A young, attractive, strong looking woman came on stage. She looked Tibetan. The crowd heard her words, maybe the dream me also heard her. But me, the dreamer, did not. I heard no words, just saw her lips move.

 

Then she left the stage, to return wearing a huge mask….

 

To read the whole article, please go to The Good Men Project.