“… that a warrior, aware of the unfathomable mystery that surrounds him and aware of his duty to try to unravel it, takes his rightful place among mysteries and regards himself as one. Consequently, for a warrior there is no end to the mystery of being, whether being means being a pebble, or an ant, or oneself. That is a warrior’s humbleness. One is equal to everything.”
― Carlos Castaneda, Eagle’s Gift
“Lord Ganesh of curved elephant trunk and huge body,
Whose brilliance is equal to billions of suns in intensity,
Always removes all obstacles from my endeavours truly,
I respectfully pray to him with all my revered sincerity.”
– 31 -”
― Munindra Misra, Chants of Hindu Gods and Godesses in English Rhyme
I have always been intrigued by art depicting the Hindu deity Ganesha. This is one from the DMA.
“I think and think and think, I‘ve thought myself out of happiness one million times, but never once into it.”
― Jonathan Safran Foer
I wonder what this guy is thinking. He’s been in that glass box a long time.
“I felt my lungs inflate with the onrush of scenery—air, mountains, trees, people. I thought, “This is what it is to be happy.”
― Sylvia Plath, The Bell Jar
“When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.”
― Ansel Adams
Dallas Museum of Art
Anonymous gift and General Acquisition Fund, 2014.10
French sculptor Antoine-Augustin Préault created eerie contrasts of shadow and light in this composition featuring merely a face and a hand. Linear drapery enshrouds the androgynous figure’s face, drawing attention to its gaunt features, half-closed eyes, and skeletal hand. A finger lifted to the lips is a gesture commonly found in ancient funerary sculptures that glorified the dead. Portraiture or reliefs bearing images of the deceased performing this gesture were intended to conjure pleasant memories, but Silence, with its brutal evocation of frailty and death, breaks from the well-established canon.
Préault designed Silence for Jacob Roblès’ tomb at Père Lachaise Cemetery in Paris, which is the city’s largest and most famous burial ground. The medallion’s compositional elements combine to convey a somber nature perfect for the purpose of a tomb. Its superb round, dark hardwood frame with a deep ogee, or S-shaped molding, enhances the sculpture’s dimensionality and melancholy theme.
“Does not everything depend on our interpretation of the silence around us?”
― Lawrence Durrell, Justine
“It’s not what I’d want for at my funeral. When I die, I just want them to plant me somewhere warm. And then when the pretty women walk over my grave I would grab their ankles, like in that movie.”
― Neil Gaiman, American Gods
Dallas Museum of Art
Funerary figure (tau-tau)
Indonesia: South Sluawesi, Sa’dan Toraja People
19th century or earlier
The Eugene and Margaret McDermott Art Fund, Inc. 1980.2 McD
The Toraja carve tau-tau, smaller than life-size funerary figures, to commemorate the deceased when a high-ranking funeral is held. Only members of the highest-ranking aristocracy are permitted to have permanent tau-tau. This unusually small funerary figure appears to be archaic in style and probably predates even the oldest effigies seen beside Toraja tombs today.
The bun or hair knot at the back of the head of this tau-tau indicates that it represents a female. Her mouth is open and may remind one of The Scream, a modern painting by Edvard Munch. The expression is not precisely understood, but it may have been meant to capture bearing of an authoritative aristocratic woman accustomed during her lifetime to public speaking and giving orders, as this tau-tau appears to be doing
“Jazz is the music of the body. The breath comes through brass. It is the body’s breath, and the strings’ wails and moans are echoes of the body’s music. It is the body’s vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.”
― Anaïs Nin, The Diary of Anaïs Nin, Vol. 5: 1947-1955
Dallas Museum of Art