Into Africa: The Epic Adventures of Stanley and Livingstone

Author: Martin Dugard
Rating: 3/5 (Good and enjoyable book, but not life changing)
Last Read: November 2014
Who Should Read: Those who enjoy lightweight historical books; those interested in the 1800s age of exploration and the exploration of Africa by Europeans

I picked up Into Africa during an Amazon Kindle book sale. I didn’t really have any reason to read about Stanley and Livingstone, other than the fact that they were two famous names that I knew very little about. 

This book primarily covers the exploration for the source fo the Nile river. Great Britain asked Dr. Livingstone to explore and find the source. Only a few weeks after embarking, his expedition vanished without a trace. Stanley, a journalist, was sent into Africa in search of Livingstone as part of a plan to capitalize on the world’s obsession over Livingstone’s disappearance. The book’s chapters alternate between Stanley and Livingstone, and we see how the story unfolded for both.

Into Africa: The Epic Adventures of Stanley and Livingstone is an engrossing lightweight nonfiction read about two historic men. The author also does a great job at painting the scene and us a glimpse into the time period. I learned quite a bit while reading this book, especially about the Arab slave trade (something I had never heard about before).

My Highlights

“The effect of travel on a man whose heart is in the right place is that the mind is made more self-reliant: It becomes more confident of its own resources—there is greater presence of mind.

“No one,” he once wrote, “can truly appreciate the charm of repose unless he has undergone severe exertion.”

“We also rejoice in our sufferings,” Paul had written in his letter to the Romans in the middle of the first century, “because suffering produces perseverance; perseverance, character; and character hope. And hope does not disappoint us.”

Not only did Livingstone achieve more through kindness than Stanley had through rage, but by the time Livingstone had negotiated their way out of one problem or another, a hostile tribe or recalcitrant porter was often a new ally.

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Kale and Sausage Soup

The day before you make this dish, soak in cold water:

1.5-2.5 cups dried beans (red beans and navy beans are good in this recipe)

In a clean stockpot, combine the soaked beans (drained of their soaking liquid) with:

1 large ham hock or comparable soup bone, cut into pieces to allow the marrow to escape
3-4 quarts stock
1 quart water (or more if you do not have sufficient stock)

Bring to a boil, then reduce to a simmer, using a slotted spoon or ladle to skim off and discard any scum that rises to the surface. After 1 hour of simmering, add:

0.5 pound dried chorizo sausage, cut into 1/4″ slices
1 pound linguiça (or other sausage, cooked or uncooked), cut into 1/4″ slices
2 bunches curly kale, center stem removed and discarded, leaves washed and coarsely chopped

Simmer for another hour, then add:

4-5 medium waxy potatoes, peeled and cut into large dice
Red pepper flakes to taste
1-2 T sherry vinegar
S+P to taste

Simmer for at least another hour, adding more stock or water as needed to keep all the ingredients submerged. The longer the soup simmers, the better the flavor; try to simmer the soup for a minimum of five hours. 

Before serving, remove the meat from the ham hock and shred it into the soup. Scoop out any marrow left in the bone.

Serves 8-10

This recipe is adapted from Anthony Bourdain’s Appetites: “Portuguese Kale and Sausage Soup”

An Experiment in Exploring the Unconscious

I’ve been increasingly interested in the power of the unconscious, especially with regards to creativity and insight. Creativity and self-knowledge seem to come from nowhere, and I can understand how people of all ages have felt like they had a divine connection or received inspiration from a muse. Certainly, I cannot create well with the cerebral part of my brain – it seems to flow from somewhere deeper and mostly inaccessible.

I’ve occasionally used the I Ching, an ancient Chinese divination manual, as a tool for both getting unstuck and gaining deeper insight into my thoughts on a question. The book can act as a mirror you hold up to yourself, enabling you to see your situation in a different light.

For the next month, I’ll be exploring my unconscious by consulting the I Ching every day. Perhaps having a trigger can help us access the deeper parts of our being, the parts so often inaccessible to us. What might be revealed to me that I’m not paying attention to? What might be revealed to me by simply asking myself (or “the universe”) to share some insight?

Many poo-poo the act of consulting an oracle, because the answers are vague and can apply to many situations. Certainly generating a random number, associating it with a reading in a book, and applying it to your situation is not “rational”. I am not seeking a rational method for self-knowledge I have my doubts that even the most “rational” thinkers can truly escape the irrational aspects of their own nature. Anyone who claims to be rational is ignoring the power that cognitive and emotional biases have over our minds – there is no escaping them.

The answers from the I Ching serve as a useful tool for analyzing our own minds and getting unstuck. No matter the situation, taking a different view is invaluable. And who can disregard the use of such a text by wise and capable men throughout history, including Confucius, Carl Jung, and Mao Zedong?

Astrophysics for People in a Hurry

Author: Neil de Grasse Tyson
Rating: 4/5
Last Read: November 2018
Who Should Read: Amateur physicists and people who are interested in the wonders of our universe

Last Updated: 2018-11-24

I’ve always been interested in physics, but I wasn’t able to keep up with the mathematics and crazy problems during college. Over the past two years I’ve started picking up friendlier physics books to try to catch up on modern developments (“modern” as in “after the 1920s”). Astrophysics for People in a Hurry falls into this category – something I can ready to learn more about our world without having to break my brain by learning crazy mathematics.

NDT starts the book off by exploring the formation of the universe after the big bang. He reaches far and wide in his astrophysics summary, teaching us about dark matter, Einstein’s “biggest blunder”, and how post-apocalyptic scientists won’t even be able to tell that there are other galaxies. His tour of astrophysics is fast-paced and dizzying, and he keeps the reader engaged throughout the book.

Astrophysics for People in a Hurry is excellent for a brief taste of cosmic perspective. The universe is a grand spectacle, and it is such a blessing to be a part of it. We are the universe figuring itself out in a distant corner of the universe. While highly educational, the book is worth reading just for that brief feeling of wonder and joy in being alive.

We are stardust brought to life, then empowered by the universe to figure itself out—and we have only just begun.

My Highlights

The universe is under no obligation to make sense to you. —NDT

The world has persisted many a long year, having once been set going in the appropriate motions. From these everything else follows. LUCRETIUS, C. 50 BC

One thing quarks do have going for them: all their names are simple—something chemists, biologists, and especially geologists seem incapable of achieving when naming their own stuff.

As the universe continued to cool, the amount of energy available for the spontaneous creation of basic particles dropped. During the hadron era, ambient photons could no longer invoke E = mc2 to manufacture quark–antiquark pairs. Not only that, the photons that emerged from all the remaining annihilations lost energy to the ever-expanding universe, dropping below the threshold required to create hadron–antihadron pairs. For every billion annihilations—leaving a billion photons in their wake—a single hadron survived. Those loners would ultimately get to have all the fun: serving as the ultimate source of matter to create galaxies, stars, planets, and petunias. Without the billion-and-one to a billion imbalance between matter and antimatter, all mass in the universe would have self-annihilated, leaving a cosmos made of photons and nothing else—the ultimate let-there-be-light scenario.

People who believe they are ignorant of nothing have neither looked for, nor stumbled upon, the boundary between what is known and unknown in the universe.

We are stardust brought to life, then empowered by the universe to figure itself out—and we have only just begun.

For household lamps that still use glowing metal filaments, the bulbs all peak in the infrared, which is the single greatest contributor to their inefficiency as a source of visible light. Our senses detect infrared only in the form of warmth on our skin. The LED revolution in advanced lighting technology creates pure visible light without wasting wattage on invisible parts of the spectrum. That’s how you can get crazy-sounding sentences like: “7 Watts LED replaces 60 Watts Incandescent” on the packaging.

Albert Einstein hardly ever set foot in the laboratory; he didn’t test phenomena or use elaborate equipment. He was a theorist who perfected the “thought experiment,” in which you engage nature through your imagination, by inventing a situation or model and then working out the consequences of some physical principle. In Germany before World War II, laboratory-based physics far outranked theoretical physics in the minds of most Aryan scientists. Jewish physicists were all relegated to the lowly theorists’ sandbox and left to fend for themselves. And what a sandbox that would become.

Copernicus’s basic idea was correct, and that’s what mattered most. It simply required some tweaking to make it more accurate. Yet, in the case of Einstein’s relativity, the founding principles of the entire theory require that everything must happen exactly as predicted. Einstein had, in effect, built what looks on the outside like a house of cards, with only two or three simple postulates holding up the entire structure. Indeed, upon learning of a 1931 book entitled One Hundred Authors Against Einstein, he responded that if he were wrong, then only one would have been enough.

GR regards gravity as the response of a mass to the local curvature of space and time caused by some other mass or field of energy. In other words, concentrations of mass cause distortions—dimples, really—in the fabric of space and time. These distortions guide the moving masses along straight-line geodesics, though they look to us like the curved trajectories we call orbits. The twentieth-century American theoretical physicist John Archibald Wheeler said it best, summing up Einstein’s concept as, “Matter tells space how to curve; space tells matter how to move.”

Lambda preserved what Einstein and every other physicist of his day had strongly presumed to be true: the status quo of a static universe—an unstable static universe. To invoke an unstable condition as the natural state of a physical system violates scientific credo. You cannot assert that the entire universe is a special case that happens to be balanced forever and ever. Nothing ever seen, measured, or imagined has behaved this way in the history of science, which makes for powerful precedent.

The most accurate measurements to date reveal dark energy as the most prominent thing in town, currently responsible for 68 percent of all the mass-energy in the universe; dark matter comprises 27 percent, with regular matter comprising a mere 5 percent.

Without a doubt, Einstein’s greatest blunder was having declared that lambda was his greatest blunder.

A remarkable feature of lambda and the accelerating universe is that the repulsive force arises from within the vacuum, not from anything material. As the vacuum grows, the density of matter and (familiar) energy within the universe diminishes, and the greater becomes lambda’s relative influence on the cosmic state of affairs. With greater repulsive pressure comes more vacuum, and with more vacuum comes greater repulsive pressure, forcing an endless and exponential acceleration of the cosmic expansion. As a consequence, anything not gravitationally bound to the neighborhood of the Milky Way galaxy will recede at ever-increasing speed, as part of the accelerating expansion of the fabric of space-time. Distant galaxies now visible in the night sky will ultimately disappear beyond an unreachable horizon, receding from us faster than the speed of light. A feat allowed, not because they’re moving through space at such speeds, but because the fabric of the universe itself carries them at such speeds. No law of physics prevents this. In a trillion or so years, anyone alive in our own galaxy may know nothing of other galaxies. Our observable universe will merely comprise a system of nearby, long-lived stars within the Milky Way. And beyond this starry night will lie an endless void—darkness in the face of the deep. Dark energy, a fundamental property of the cosmos, will, in the end, undermine the ability of future generations to comprehend the universe they’ve been dealt. Unless contemporary astrophysicists across the galaxy keep remarkable records and bury an awesome, trillion-year time capsule, postapocaplyptic scientists will know nothing of galaxies—the principal form of organization for matter in our cosmos—and will thus be denied access to key pages from the cosmic drama that is our universe. Behold my recurring nightmare: Are we, too, missing some basic pieces of the universe that once were? What part of the cosmic history book has been marked “access denied”? What remains absent from our theories and equations that ought to be there, leaving us groping for answers we may never find?

While many objects have peculiar shapes, the list of round things is practically endless and ranges from simple soap bubbles to the entire observable universe. Of all shapes, spheres are favored by the action of simple physical laws. So prevalent is this tendency that often we assume something is spherical in a mental experiment just to glean basic insight even when we know that the object is decidedly non-spherical. In short, if you do not understand the spherical case, then you cannot claim to understand the basic physics of the object.

Using freshman-level calculus you can show that the one and only shape that has the smallest surface area for an enclosed volume is a perfect sphere. In fact, billions of dollars could be saved annually on packaging materials if all shipping boxes and all packages of food in the supermarket were spheres.

the weaker the gravity on the surface of an object, the higher its mountains can reach. Mount Everest is about as tall as a mountain on Earth can grow before the lower rock layers succumb to their own plasticity under the mountain’s weight.

In space, surface tension always forces a small blob of liquid to form a sphere. Whenever you see a small solid object that is suspiciously spherical, you can assume it formed in a molten state. If the blob has very high mass, then it could be composed of almost anything and gravity will ensure that it forms a sphere.

The stars of the Milky Way galaxy trace a big, flat circle. With a diameter-to-thickness ratio of one hundred to one, our galaxy is flatter than the flattest flapjacks ever made. In fact, its proportions are better represented by a crépe or a tortilla. No, the Milky Way’s disk is not a sphere, but it probably began as one.

If we had eyes that could see magnetic fields, Jupiter would look five times larger than the full Moon in the sky.

Whether you prefer to sprint, swim, walk, or crawl from one place to another on Earth, you can enjoy close-up views of our planet’s unlimited supply of things to notice. You might see a vein of pink limestone on the wall of a canyon, a ladybug eating an aphid on the stem of a rose, a clamshell poking out from the sand. All you have to do is look.

Of all the sciences cultivated by mankind, Astronomy is acknowledged to be, and undoubtedly is, the most sublime, the most interesting, and the most useful. For, by knowledge derived from this science, not only the bulk of the Earth is discovered . . . ; but our very faculties are enlarged with the grandeur of the ideas it conveys, our minds exalted above [their] low contracted prejudices. JAMES FERGUSON, 1757

Yet the cosmic view comes with a hidden cost. When I travel thousands of miles to spend a few moments in the fast-moving shadow of the Moon during a total solar eclipse, sometimes I lose sight of Earth. When I pause and reflect on our expanding universe, with its galaxies hurtling away from one another, embedded within the ever-stretching, four-dimensional fabric of space and time, sometimes I forget that uncounted people walk this Earth without food or shelter, and that children are disproportionately represented among them.

If small genetic differences between us and our fellow apes account for what appears to be a vast difference in intelligence, then maybe that difference in intelligence is not so vast after all. Imagine a life-form whose brainpower is to ours as ours is to a chimpanzee’s. To such a species, our highest mental achievements would be trivial. Their toddlers, instead of learning their ABCs on Sesame Street, would learn multivariable calculus on Boolean Boulevard.††† Our most complex theorems, our deepest philosophies, the cherished works of our most creative artists, would be projects their schoolkids bring home for Mom and Dad to display on the refrigerator door with a magnet.

If a huge genetic gap separated us from our closest relative in the animal kingdom, we could justifiably celebrate our brilliance. We might be entitled to walk around thinking we’re distant and distinct from our fellow creatures. But no such gap exists. Instead, we are one with the rest of nature, fitting neither above nor below, but within.

We do not simply live in this universe. The universe lives within us.

The cosmic perspective enables us to grasp, in the same thought, the large and the small. The cosmic perspective opens our minds to extraordinary ideas but does not leave them so open that our brains spill out, making us susceptible to believing anything we’re told. The cosmic perspective opens our eyes to the universe, not as a benevolent cradle designed to nurture life but as a cold, lonely, hazardous place, forcing us to reassess the value of all humans to one another. The cosmic perspective shows Earth to be a mote. But it’s a precious mote and, for the moment, it’s the only home we have.

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Astrophysics for People in a Hurry

By Neil deGrasse Tyson

 

The Art of Fermentation

Author: Sandor Katz
Rating: 5/5
Last Read: September 2018
Who Should Read: Cooks, experimenters, and those interested in traditional food practices from around the world

Reading Deep Nutrition reinvigorated my interest in fermentation. I kept a sourdough starter alive for many years, but never branched out much beyond making my own bread. My starter died during one of my frequent trips to China while working at Apple, and I let the venture rest for a few years.

I searched around to find books about fermentation and came across the work of Sandor Katz. I started with The Art of Fermentation, his survey of fermentation techniques from around the world, rather than Wild Fermentation, his book of recipes.

If you are a creative cook or an experimentalist,The Art of Fermentation is definitely the place to start. Rather than provide recipes and proscriptions, Katz shares methods, guidelines, and inspiration. The central theme of the book is essentially, “you can’t go wrong” and “it’s all fine”. Got some mold on top of your vegetable ferment? Scrape it off, remove discolored layers, and keep going. Don’t like salty pickles? Scale it back. Ferment whatever vegetables you like. Mix and match flavors. Try new approaches and flavor combinations – the worst thing that could happen is some of your pickles are destined for the compost pile. Katz’s style is comforting and encouraging – it’s impossible to read the book without being inspired to start some fermentation experiments of your own.

Since reading The Art of Fermentation, we’ve been fermenting food on a regular basis. Every week I refresh two heirloom yogurt cultures (Bulgarian + Greek) and a cultured buttermilk. We have a beautiful German pickling crock on the counter which is kept full of Chinese pao cai. We finish breakfast and dinner with a small glass of beet kvass. I’ve always got a batch or two of sauerkraut in progress, along with other vegetable fermentation experiments: brussels sprouts, beet greens, carrot greens, cilantro stems, asparagus trimmings. My first batch of pickles for hot sauce is tucked away for the next three months. We have a home-style chili paste that tastes infinitely better than packaged pastes. Soon I’ll gather the courage to ferment my own fish sauce, which involves allowing whole fish with their organs intact to ferment and liquify over a few months.

The Art of Fermentation enabled me to be a more creative cook. And the best part of all is that it feels like I am always cooking while lovingly tending to my many projects.

“Between fresh and rotten, there is a creative space in which some of the most compelling flavors arise.”

Mind Map

I didn’t end up making the mind map as I normally would… But I did capture these notes.

My Highlights

This is one of the few physical books I’ve purchased in the past few years, so this is a smaller set of quotes than usual. The majority of the highlights below come from the introduction, as the rest of the book is focused on methods for fermentation.

“Is it possible that, rather than humans “discovering” alcohol and mastering its production, we evolved always already knowing it? Anthropologist Mikal John Ansvel (check name) points out that “all vertebrate species are equipped with a hepatic enzyme system with which to metabolize alcohol.” Many animals have been documented consuming alcohol in their natural habitats.

[Food storage] primarily consists of keeping foods dry but not too dry, cold but not too cold, and dark. But it is not easy, with limited technology, to create ideal conditions for storage.

What is fascinating about the concept of coevolution is the recognition that the processes of becoming are infinitely interconnected.

One of the most interesting points raised early on by Katz is that refrigeration can be viewed as a historical bubble:

  • Has been available for only a few generations
  • Predominantly available in affluent regions of the world with readily available electricity
  • Has powerfully distorted our perspectives on food perishability
  • We fear the absence of refrigeration
  • High energy requirements – will it remain affordable + highly available in years to come?

We must safeguard the living legacy of traditional food preservation techniques.

Benefits of acid food fermentation:

  1. Render food resistant to microbial spoilage + development of food toxins
  2. Make food less likely to transfer pathogenic organisms
  3. Generally preserve food b/w harvest + consumption
  4. Modify flavor + improve nutritional value

Traditional preservation:

  • Keep food in cool and dry spot
  • Actively dry (microbial activity is suspended w/o adequate water) using sun, and/or gentle heat or smoke, and/or salt
  • Fermentation

Botulism is primarily associated with canning – a new technique (19th century, developed in Napoleonic France).

Live cultures from lactic acid fermentation are only viable in foods kept @ < 115F/47C

Eat a variety of fermented foods, some with live cultures, and while you’re at it, eat a variety of plants. Make sure that at least some of the plants and bacteria are wild.

The range of plants and microbes under active cultivation is really quite limited. More different interactions – with varied phytochemical bacteria – and the compounds bacteria produce – stimulate us in functional ways. Diversity is its own reward.

“Between fresh and rotten, there is a creative space in which some of the most compelling flavors arise.”

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The Paintings of Master Chao Shao-An

Over the past few years I’ve developed an appreciation for Chinese painting styles. Something about the strokes speaks to me: rough, dynamic, deliberate, and simplistic all at the same time. I love the focus on natural themes and the feelings that the scenes evoke.

While wandering through San Francisco Asian Art Museum with Rozi, we came across a small room displaying the art of Master Chao Shao-An. His painting “Pine in Snow” captured me, and I noted down his name so I could explore more of his art.

I was quite disappointed by my initial internet forays – I couldn’t find too many examples of his work, other than a few repeated low-resolution images. Luckily I remembered that museums tend to make their collections publicly searchable on the web, and I discovered a treasure trove of his work. I feel grateful that an overwhelming number of great works of art are immediately available for us to see from our homes. What a time to be alive!

I want to share some of my favorite pieces from the collection with you. I hope that you get a chance to stumble upon of the master’s work in person on your adventure through this life.

Pine in Snow

  Pine in Snow ( 現代 趙少昂繪 永垂春色 紙本設色) Date: 1983 Materials: Ink and colors on paper
Pine in Snow ( 現代 趙少昂繪 永垂春色 紙本設色) Date: 1983 Materials: Ink and colors on paper

Label:

The rugged pine is a symbol of longevity, nobility, and venerability. Together with the plum and bamboo, it forms a grouping known as the Three Friends of Winter.

Inscribed:

Who can climb this lofty green pine?
A bird relaxes on its snow-covered branches.
Because it has kept its verdant green colors through great fortitude,
may its virtues and faith be remembered for generations to come.

—Guihai year [1983], winter solstice. Chao Shao-An.

Pine and Snow

 Pine and Snow (現代1984年 趙少昂繪 寒林翠色圖 紙本設色) Date: 1984 Materials: Ink and colors on paper
Pine and Snow (現代1984年 趙少昂繪 寒林翠色圖 紙本設色) Date: 1984 Materials: Ink and colors on paper

Label:

The pine (song) is a symbol of longevity because it is an evergreen and lives for a long time. Such endurance also makes the pine a popular motif to represent a person who possesses nobility and venerability, as suggested by the painting’s inscription:

No one knows of this old pine in the deep mountain.
Grasping clouds and swallowing the moon, it desires to be a dragon.
Its green foliage diminishes not with frost and snow.
Another year passes so easily, the spring wind blows once more.

Jiazi year (1984), spring. Shao-an.

Sparrows and Bamboo

 Sparrows and Bamboo (現代 趙少昂繪 棲息無聲 紙本設色) Date: 1992 or earlier Materials: Ink and colors on paper
Sparrows and Bamboo (現代 趙少昂繪 棲息無聲 紙本設色) Date: 1992 or earlier Materials: Ink and colors on paper

Bird in Snow

  Bird in Snow  Date: 1984 Materials: Ink and colors on paper
Bird in Snow Date: 1984 Materials: Ink and colors on paper

The inscription by the artist reads:

Shivering on the branches, unable to bear the chill.
Jiazi year (1984), early spring. Shao-an.

The Gorges

  The Gorges ( 現代 趙少昂繪 荒城煙雨 紙本設色) Date: 1969 Materials: Ink and colors on paper
The Gorges ( 現代 趙少昂繪 荒城煙雨 紙本設色) Date: 1969 Materials: Ink and colors on paper

Label:

The Three Gorges, making up one of the most famous scenic areas in China, are the subject of numerous poems and pictorial representations. As described in the painting’s inscription, the scenery as one sails up the Yangzi River is extremely dramatic. The narrow, often shallow waterway twists and turns through precipitous cliffs. Waves crash against the boats and shore with great force. In the past, colonies of gibbons lived on these cliffs; their eerie cries were a significant part of the experience along this waterway.

The construction of the Three Gorges Dam (completed in 2006*) compels us to ask to what extent the scenery depicted in this painting has been altered and to acknowledge that experiencing the site as it was before the dam was built is now possible only through artistic representations of it.

*That year, the Asian Art Museum mounted the exhibition The Three Gorges Project: Paintings by Liu Xiaodong (April 7–July 16).

Waterfall

  Waterfall  Date: 1968 Materials: Ink on paper
Waterfall Date: 1968 Materials: Ink on paper

Red Kapok Blossoms

  Red Kapok Blossoms  Date: 1970 Materials: Ink and colors on paper
Red Kapok Blossoms Date: 1970 Materials: Ink and colors on paper

Egret

  Egret ( 現代 趙少昂繪 孤高閒暇 紙本設色) Date: approx. 1930-1992 Materials: Ink and colors on paper
Egret ( 現代 趙少昂繪 孤高閒暇 紙本設色) Date: approx. 1930-1992 Materials: Ink and colors on paper

Birds in Spring

 Birds in spring (現代 趙少昂繪 群鳥迎春 紙本設色) Date: approx. 1980-1990 Materials: Ink and colors on paper
Birds in spring (現代 趙少昂繪 群鳥迎春 紙本設色) Date: approx. 1980-1990 Materials: Ink and colors on paper

Label:

In this painting, three small birds are struggling with thin claws to grasp a thick tree branch. The youngest fledgling, on the right, appears to be on the verge of falling. The work is created with swift brushwork and light touches of amber, orange, bluish, and black ink.

Sound of Autumn

  Sound of Autumn ( 現代 趙少昂繪 秋風聲咽 紙本設色) Date: approx. 1905-1992 Materials: Ink and colors on paper
Sound of Autumn ( 現代 趙少昂繪 秋風聲咽 紙本設色) Date: approx. 1905-1992 Materials: Ink and colors on paper

Label:

For Chao Shao-An, drawing from life (xiesheng) was an experience that involved all of the senses. The titles of his paintings often reflect the weather, the smells, or the sounds he associated with individual compositions—in this case, the rhythmic buzzing of katydids.

“All things in heaven and on earth represent an inexhaustible source of inspiration. Take for example the climatic changes of wind and rain, of sunshine and darkness; the seasonal growth and decay of flowers and trees; the swimming fish and the flying and chirping birds; the joys and sorrows of man; the insects extending their wings and animals roaring and wailing; the mountains in their full grandeur; water in its ebb and flow. All these are material for painting available for the good use of clever artists. There is really no need to depend on the ancient models.” —Chao Shao-An

Fish

  Fish ( 現代 1985年 趙少昂繪 橫塘野趣 紙本水墨) Date: 1985 Materials: Ink on paper
Fish ( 現代 1985年 趙少昂繪 橫塘野趣 紙本水墨) Date: 1985 Materials: Ink on paper

Label:

Unlike the vertical compositions commonly used for paintings of fish, Chao presents this subject in a horizontal arrangement. Two big fish swimming toward the right dominate most of the composition. Approaching from the opposite direction are smaller fish. This directional effect contributes to the appearance of swift-flowing water. Sweeping, textured brushstrokes create a sense of movement in the underwater world, enhanced by moisture washes. The absence of background brushstrokes gives an impression of clarity in the water.

The artist’s inscription on the painting reveals his strategic scheme:

An empty expanse of bright, clear spring water,
Several paired couples pursue the floating weeds.

Yichou year [1985]. Shao-an painted this on a bright spring day.