SUMMIT OF FUJIYAMA / 富士山 BY HIROSHI YOSHIDA / 吉田 博

 

HIROSHI YOSHIDA / 吉田 博 (1876-1950)
Fujiyama / 富士山 (3, 776 m -12,389 ft)
Japan

In Ten Views of Fuji- Summit of Fuji Series- woodblock Print

 
The painter
Hiroshi Yoshida  / 吉田 博 (  (not to be confused with Toshi Yoshida) was born in 1876. He began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. In 1902, he played a leading role in the organization of the Meiji Fine Arts Society into the Pacific Painting Association. His work was featured in the exhibitions of the state-sponsored Bunten and Teiten. While highly successful as an oil painter and watercolor artist, Yoshida turned to printmaking upon learning of the Western world’s infatuation with ukiyo-e.
Following the Great Kanto Earthquake of 1923, Yoshida embarked on a tour of the United States and Europe, painting and selling his work. When he returned to Japan in 1925, he started his own workshop, specializing in landscapes inspired both by his native country and his travels abroad. Yoshida often worked through the entire process himself: designing the print, carving his own blocks, and printing his work. His career was temporarily interrupted by his sojourn as a war correspondent in Manchuria during the Pacific War. Although he designed his last print in 1946, Yoshida continued to paint with oils and watercolors up until his death in 1950.
Yoshida was widely traveled and knowledgeable of Western aesthetics, yet maintained an allegiance to traditional Japanese techniques and traditions. Attracted by the calmer moments of nature, his prints breathe coolness, invite meditation, and set a soft, peaceful mood. All of his lifetime prints are signed “Hiroshi Yoshida” in pencil and marked with a jizuri (self-printed) seal outside of the margin. Within the image, most prints are signed “Yoshida” with brush and ink beside a red “Hiroshi” seal.


The mountain
The legendary Mount Fuji or Fujiyama (富士山) i  located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it: "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san". The other Japanese names for Mount Fuji, have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers. Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.

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2022 - Wandering Vertexes...
by Francis Rousseau

COPERNICUS CRATER AS SEEN BY J.A. GILLET AND W.J.ROLFE

JOSEPH ANTHONY GILLET ( 1837-1908)
WILLIAM JAMES ROLFE  (1827-1910)
Copernicus Crater (- 3800m / - 12467ft)
The Moon (Solar System)

In "Astronomy for the use of schools and academies", 1882,
Astronomical photography and ink
The Library of Congress

The site
Copernicus (- 3800m / - 12467ft) is a lunar impact crater located in eastern Oceanus Procellarum. It was named after the astronomer Nicolaus Copernicus (1473-1543). It typifies craters that formed during the Copernican period in that it has a prominent ray system. It may have been created by debris from the breakup of the parent body of asteroid 495 Eulalia 800 million years ago. Copernicus crater is visible using binoculars, and is located slightly northwest of the center of the Moon's Earth-facing hemisphere. South of the crater is the Mare Insularum, and to the south-south west is the crater Reinhold. North of Copernicus are the Montes Carpatus, which lie at the south edge of Mare Imbrium. West of Copernicus is a group of dispersed lunar hills. Due to its relative youth, the crater has remained in a relatively pristine shape since it formed.
The circular rim has a discernible hexagonal form, with a terraced inner wall and a 30 km wide, sloping rampart that descends nearly a kilometer to the surrounding mare. There are three distinct terraces visible, and arc-shaped landslides due to slumping of the inner wall as the crater debris subsided.
Most likely due to its recent formation, the crater floor has not been flooded by lava. The terrain along the bottom is hilly in the southern half while the north is relatively smooth. The central peaks consist of three isolated mountainous rises climbing as high as 1.2 km above the floor. These peaks are separated from each other by valleys, and they form a rough line along an east–west axis. Infrared observations of these peaks during the 1980s determined that they were primarily composed of the mafic form of olivine.
Copernicus H, a typical "dark-halo" crater, was a target of observation by Lunar Orbiter 5 in 1967. Dark-halo craters were once believed to be volcanic in origin rather than the result of impacts. The Orbiter image showed that the crater had blocks of ejecta like other craters of similar size, indicating an impact origin. The halo results from excavation of darker material (mare basalt) at depth. 

The author
William James Rolfe, Litt.D.was an American educator and Shakespearean scholar. Rolfe was born in Newburyport, Massachusetts. He attended Amherst College from 1845 through 1848, but left without graduating after three years due to financial hardship. Amherst, though, nonetheless later awarded him an honorary degree. Between 1852 and 1868, he served as headmaster of high schools at Dorchester, Lawrence, Salem, and Cambridge, Massachusetts. From 1882 to 1887, he served as president of Martha's Vineyard Summer Institute. Early in his career, he edited selections from Ovid and Virgil and (in collaboration) the Cambridge Course of Physics (six volumes, 1867–68). Rolfe's Shakespearean work began with an American edition of George Lillie Craik's English of Shakespeare (3rd revised ed., 1864, , which Crosby and Ainsworth published in 1867.This led to his preparation for Harper & Brothers of a complete edition of Shakespeare – the Friendly Edition (forty volumes, 1870–83; new edition, 1903–07). Rolfe's editions proved to be the best-selling versions in America (during a time of increased use of Shakespeare in high school classrooms) due both to his credentials as a high school administrator and to his use of Bowdlerization of the text in order to remove much of Shakespeare's lewd content. Rolfe also edited a complete edition of Tennyson (twelve volumes, 1898) and verse by many of the other great English poets. He wrote a very useful Satchel Guide to Europe, revised annually for 35 years, and at least five other books.

 
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2022 - Wandering Vertexes...
by Francis Rousseau

THE BASTEI CLIFF PAINTED BY CASPAR DAVID FRIEDRICH

 

CASPAR DAVID FRIEDRICH (1774-1840)
The Bastei Cliff (194 m - 636 ft)
Germany  / Czech Republic border

 In "Felsenschlucht", oil on canvas , 1822

 

The rock
The Bastei (194 m - 636 ft) is a rock formation rising 194 metres above the Elbe River in the Elbe Sandstone Mountains  (723 m - 2,372 ft) of Germany. Reaching a height of 305 metres above sea level, the jagged rocks of the Bastei were formed by water erosion over one million years ago. They are situated near Rathen, not far from Pirna southeast of the city of Dresden, and are the major landmark of the Saxon Switzerland National Park. They are also part of a climbing and hiking area that extends over the borders into the Bohemian Switzerland (Czech Republic). The Bastei has been a tourist attraction for over 200 years. In 1824, a wooden bridge was constructed to link several rocks for the visitors. This bridge was replaced in 1851 by the present Bastei Bridge made of sandstone. The rock formations and vistas have inspired numerous artists, among them Caspar David Friedrich in "Felsenschlucht" (above)
The spa town of Rathen is the main base for visiting the Bastei; the town can be reached from Dresden by paddle steamer on the river Elbe.
The Bastei is one of the most prominent lookout points in Saxon Switzerland. In 1819 August von Goethe extolled the views: "Here, from where you see right down to the Elbe from the most rugged rocks, where a short distance away the crags of the Lilienstein, Königstein and Pffafenstein stand scenically together and the eye takes in a sweeping view that can never be described in words." Today the Bastei still has the highest number of visitors of all the lookout points in Saxon Switzerland. In addition to the actual vista, there are also other points of interest. At the Jahrhundertturm, a rock pinnacle on the Bastei Bridge, there are tablets commemorating the first mention of the Bastei in travel literature (in 1797) as well as the memory of Wilhelm Lebrecht Götzinger and Carl Heinrich Nicolai. These last two were amongst the pioneers of tourism in Saxon Switzerland, thanks to their descriptions of their journeys and their other works. Another tablet commemorates the Saxon court photographer, Hermann Krone, who took the first landscape photographs in Germany at the Bastei Bridge in 1853. From the Ferdinandstein, part of the Wehltürme rock towers, there is a famous view of the Bastei Bridge. It is reached over a branch from the route to the bridge. Another well-known rock formation in the vicinity of the Bastei is the Wartturm, a large piece of which broke off in 2000. Neurathen Castle, the largest rock castle in Saxon Switzerland, may be reached from the Bastei by crossing the Bastei Bridge. The ruins of the castle, some timber rebates, rooms carved out of the rock, a cistern and stone shot from a medieval catapult or slingshot may be viewed on a self-conducted circular walk. A replica slingshot was put on display in the castle in 1986. The finds from excavations in the area, especially pottery, can also be seen. The climb from Rathen to the Bastei runs past an open-air museum dedicated to Slavic settlement in the region and also past the path leading to the Rathen Open Air Stage. Another famous landmark in the local area is the fortress of Königstein.

The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....


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2022 - Wandering Vertexes...
Un blog de Francis Rousseau

THE PIC DU MIDI D'OSSAU BY THOMAS ALLOM

THOMAS ALLOM (1804-1872)
Le Pic du Midi d'Ossau  (2, 848m-9,462 ft)
France ( Pyrénées)

In "Les Eaux Bonnes dans les Pyréneées ",vers 1840, Lithographed by J. Kernot

The mountain
The Pic du Midi d'Ossau (2, 848m-9,462 ft) not to be confused with the Pic du Midi de Bigorre is a mountain rising above the Ossau Valley in the French Pyrenees. Despite possessing neither a glacier nor, in the context of the range, a particularly high summit, its distinctive shape makes it a symbol of the French side of the Pyrenees. This familiar shape also makes it easily recognisable from afar, and it is particularly distinctive from the Boulevard des Pyrénées in Pau, some 55 km to the north.
The Pic du Midi d'Ossau lies within the commune of Laruns, in the département of Pyrénées Atlantiques and the Aquitaine region of France. It lies within the fully protected area of the Pyrenees National Park. As normally seen from the north, the mountain presents itself as having two distinct peaks, although from the south two other summits are also visible. It stands separate from any surrounding peaks, being largely surrounded by the valleys of the Gave de Bious, to the west, and the Gave du Brousset, to the east. These two mountain streams come together in the hamlet of Gabas at the foot of the mountain's northern slopes, to form the Gave d'Ossau.
The valley of Ossau is placed in the Béarnaises Pyrénées, between la vallée d'Aspe and the Vallée de Gavarnie, from Rébénacq to the French-Spanish frontier (Col du Portalet). The Col d'Aubisque closes the valley to the east. The villages (from N to S) of the high Ossau are: Bilhères, Bielle, Béon, Bélesten, Gère-Bélesten, Aste-Béon, Louvie-Soubiron, Béost, Assouste, Aas, Laruns, Eaux-Bonnes, Gourette, Eaux-Chaudes, Goust, Gabas, Arouste-Fabréges and Pont de Camps.
The Pic du Midi d'Ossau was reputedly first climbed in 1552 by an expedition led by François de Foix-Candale, later to become the Bishop of Aire. Although the success of this first climb is disputed, it is known that the mountain had been successfully climbed by 1787 when a military surveyor noted that a triangulation cairn had been built on the summit. The first fully recorded climb was by Guillaume Delfau accompanied by Mathieu (a shepherd from Eaux-Bonnes) on October 2, 1797.
The mountain offers many routes of ascent; the voie normale is a serious scramble and rock climb with a grading of PD, II+, 550 m. It approaches the summit via the Refuge de Pombie, a Club Alpin Français owned mountain hut situated at 2,031 m - 6,663 ft, and requires most of a day to execute.
Two others refuges : Cabane Pyrenea Sports belonging to Société Pyrénées Sports at Pau, 25 places located on the NE shore of Lac de Bious-Artigues, and Cabane de Peyreget (1.950 m)
non guarded, 4 places located near Lac de Peyreget and W of Peyreget' little peak ridge.

 The artist
Thomas Allom was an English architect, artist, and topographical illustrator. He was a founding member of what became the Royal Institute of British Architects (RIBA). He designed many buildings in London, including the Church of St Peter's and parts of the elegant Ladbroke Estate in Notting Hill. He also worked with Sir Charles Barry on numerous projects, most notably the Houses of Parliament, and is chiefly known for his numerous topographical works, which were used to illustrate books on travel. From the 1820s onwards, he travelled extensively through the UK and mainland Europe. In 1832 he published Westmorland, Durham and Northumberland Illustrated from Original Drawings (three volumes). In 1834 Allom arrived in Istanbul, Turkey, and produced hundreds of drawings during journeys through Anatolia, Syria and Palestine. The results of this expedition were published in 1838 in Constantinople and the Scenery of the Seven Churches of Asia Minor published in two volumes with text by Robert Walsh.  He is also remembered for numerous illustrations of China, published in China Illustrated in 1845. He also provided illustrations for "Family Secrets" by Mrs Ellis (1841) and E W Brayley's "A topographical history of Surrey" (1850).

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2022 - Wandering Vertexes
Un blog de Francis Rousseau

MITREPEAK / RAHOTU SKETCHED BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)
Mitre Peak / Rahotu (1,683m - 5,522 ft)
New Zealand (South Island)

  In Milford sound, series of watercolours Milford Sounbdof, 1870

The mountain
Mitre Peak/ Rahotu (1,683m - 5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron.
Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight. The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.
The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.
Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.
The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.


The Painter
John Barr Clark Hoyte was born in England, probably in London, the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

 
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2022 - Wandering Vertexes
Un blog de Francis Rousseau

NUPTSE PAINTED BY JAMES HART DYKE

 

JAMES HART DYKE  (bn 1966)
Nuptse  (7,861 m - 25,791 ft)
Nepal

In Nuptse Himalaya ,2011, Acrylic on paper,  Courtesy John Mitchell  Gallery, London

The mountain
Nuptse or Nubtse is a mountain in the Khumbu region of the Mahalangur Himal, in the Nepalese Himalayas. It lies two kilometres WSW of Mount Everest. Nubtse is Tibetan for "west peak", as it is the western segment of the Lhotse-Nubtse massif.
The main peak, Nubtse I, was first climbed on May 16, 1961 by Dennis Davis and Sherpa Tashi and the following day by Chris Bonington, Les Brown, James Swallow and Pemba Sherpa, members of a British expedition led by Joe Walmsley. After a long hiatus, Nubtse again became the objective of high-standard mountaineers in the 1990s and 2000s, with important routes being put up on its west, south, and north faces. While Nubtse is a dramatic peak when viewed from the south or west, and it towers above the base camp for the standard south col route on Everest, it is not a particularly independent peak: its topographic prominence is only 319 m (1,047 ft). Hence it is not ranked on the list of highest mountains.

The painter
James Hart Dyke’s work is centred on landscape painting, from the domesticity of paintings of country houses to paintings generated from physically demanding expeditions over remote mountains. James has also undertaken a series of projects including accompanying HRH The Prince of Wales as the official artist on royal tours, working as ‘artist in residence’ for The British Secret Intelligence Service, working as an artist embedded with the British Forces in war zones, working for the producers of the James Bond films and working as ‘artist in residence’ for Aston Martin. These projects required him to respond in many different ways and have allowed him to experiment with more graphic forms of painting influenced by his studies as an architect at the Royal College of Art. His portraits have been shown at the National Portrait Gallery and at the Royal Society of Portrait Painters exhibitions.

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2022 - Wandering Vertexes
Un blog de Francis Rousseau

ULURU / AYERS ROCKS PHOTOGRAPHED IN 1894 BY WALTER BALDWIN SPENCER

WALTER BALDWIN SPENCER (1860-1929)
Uluru /Ayers Rock (863 m -2,831 ft)
Australia (Northern Territory)


In Uluru, Ayers Rock, central Australia, 1894, Glass plate negative 80 mm x 106 mm, 

Museums Victoria

The artist
Sir Walter Baldwin Spencer commonly referred to as Baldwin Spencer, was a British-Australian evolutionary biologist, anthropologist and ethnologist. He is known for his fieldwork with Aboriginal peoples in Central Australia, contributions to the study of ethnography, and academic collaborations with Frank Gillen. Spencer introduced the study of zoology at the University of Melbourne and held the title of Emeritus Professor until his death in 1929.In 1894 a new field was opened up for Spencer when he joined the W.A. Horn scientific expedition which left Adelaide in May 1894 to explore Australia. Spencer paid two more visits to the centre of Australia, one in 1923 with Dr Leonard Keith Ward, the government geologist of South Australia, and the other in 1926. These visits enabled Spencer to revise his earlier researches and consider on the spot various opposing theories that had been brought forward. His The Arunta: a Study of a Stone Age People (1927), revisits and reaffirms his earlier conclusions; Gillen's name as joint author appeared on the title-page though he had died 15 years before. Wanderings in Wild Australia, published a year later and slightly more popular in form, completes the list of his books. A list of his other published writings will be found in Spencer's Last Journey (1931). Spencer went to London in 1927 to see these books through the press. Ten years before he had said that he realised he was not getting younger and must regard his field work as finished. In February 1929, however, in his sixty-ninth year, he travelled in a cargo boat to Magallanes and then went in a little schooner to Ushuaia at the south of Tierra del Fuego. 

 

The mountain 

Uluru (863m -2,831 ft) also known as Ayers Rock (in honour of the then Chief Secretary of South Australia, Sir Henry Ayers) is a large sandstone rock formation in the southern part of the Northern Territory in central Australia.   Officially  the rock is gazetted as "Uluru / Ayers Rock". 
It lies 335 km (208 mi) south west of the nearest large town, Alice Springs, 450 km (280 mi) by road.

Kata Tjuta and Uluru are the two major features of the Uluṟu-Kata Tjuṯa National Park. Uluru is sacred to the Pitjantjatjara Anangu, the Aboriginal people of the area. The area around the formation is home to an abundance of springs, waterholes, rock caves, and ancient paintings.  Both Uluru and the nearby Kata Tjuta formation have great cultural significance for the Aṉangu people, the traditional inhabitants of the area, who lead walking tours to inform visitors about the local flora and fauna, bush food and the Aboriginal dreamtime stories of the area.

Uluru is notable for appearing to change colour at different times of the day and year, most notably when it glows red at dawn and sunset.

Uluru is listed as a UNESCO World Heritage Site.

Uluru is an inselberg, literally "island mountain". An inselberg is a prominent isolated residual knob or hill that rises abruptly from and is surrounded by extensive and relatively flat erosion lowlands in a hot, dry region.  Uluru is also often referred to as a monolith, although this is a somewhat ambiguous term that is generally avoided by geologists. The remarkable feature of Uluru is its homogeneity and lack of jointing and parting at bedding surfaces, leading to the lack of development of scree slopes and soil. These characteristics led to its survival, while the surrounding rocks were eroded. For the purpose of mapping and describing the geological history of the area, geologists refer to the rock strata making up Uluru as the Mutitjulu Arkose, and it is one of many sedimentary formations filling the Amadeus Basin.

According to the Aṉangu, traditional landowners of Uluru: 

The world was once a featureless place. None of the places we know existed until creator beings, in the forms of people, plants and animals, traveled widely across the land. Then, in a process of creation and destruction, they formed the landscape as we know it today. Aṉangu land is still inhabited by the spirits of dozens of these ancestral creator beings which are referred to as Tjukuritja or Waparitja.

There are a number of differing accounts given, by outsiders, of Aboriginal ancestral stories for the origins of Uluru and its many cracks and fissures. One such account, taken from Robert Layton's (1989) Uluru: An Aboriginal history of Ayers Rock, reads as follows:

Uluru was built up during the creation period by two boys who played in the mud after rain. When they had finished their game they travelled south to Wiputa ... Fighting together, the two boys made their way to the table topped Mount Conner, on top of which their bodies are preserved as boulders. 

Two other accounts are given in Norbert Brockman's (1997) Encyclopedia of Sacred Places.

The first tells of serpent beings who waged many wars around Uluru, scarring the rock. The second tells of two tribes of ancestral spirits who were invited to a feast, but were distracted by the beautiful Sleepy Lizard Women and did not show up. In response, the angry hosts sang evil into a mud sculpture that came to life as the dingo. There followed a great battle, which ended in the deaths of the leaders of both tribes. The earth itself rose up in grief at the bloodshed, becoming Uluru.

The Commonwealth Department of Environment's webpage advises:

Many...Tjukurpa such as Kalaya (Emu), Liru (poisonous snake), Lungkata (blue tongue lizard), Luunpa (kingfisher) and Tjintir-tjintirpa (willie wagtail) travel through Uluṟu-Kata Tjuṯa National Park. Other Tjukurpa affect only one specific area.

Kuniya, the woma python, lived in the rocks at Uluru where she fought the Liru, the poisonous snake.

It is sometimes reported that those who take rocks from the formation will be cursed and suffer misfortune. There have been many instances where people who removed such rocks attempted to mail them back to various agencies in an attempt to remove the perceived curse.

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2022 - Wandering Vertexes...
by Francis Rousseau

MOUNT COLEMAN PAINTED BY ARTHUR P. COLEMAN

 

ARTHUR P. COLEMAN (1852-1939)
Mount Coleman (3,135 m-10,285 ft)
Canada (Alberta) 

 In  "Mountain un the Canadian rockies"

The mountain
Mount Coleman (3,135 m-10,285 ft) mountain summit located in the upper North Saskatchewan River valley in Banff National Park, in the Canadian Rockies of Alberta, Canada. Its nearest higher peak is Cirrus Mountain, 4.46 km (2.77 mi) to the north.  Mount Coleman is situated along the east side the Icefields Parkway midway between Saskatchewan Crossing and Sunwapta Pass.
Mount Coleman was named in 1898 after Arthur Philemon Coleman (1852-1939), a Canadian geologist and among the first white men to explore the area that is now Jasper National Park.(see below). Like other mountains in Banff Park, Mount Coleman is composed of sedimentary rock laid down from the Precambrian to Jurassic periods. Formed in shallow seas, this sedimentary rock was pushed east and over the top of younger rock during the Laramide orogeny.  Based on the Köppen climate classification, Mount Coleman is located in a subarctic climate with cold, snowy winters, and mild summers.  Temperatures can drop below -20 °C with wind chill factors below -30 °C. Precipitation runoff from Mount Coleman drains into tributaries of the North Saskatchewan River.

The painter
Arthur Philemon Coleman was a Canadian a geologist, professor, minerals prospector, artist, Rockies explorer, backwoods canoeist, world traveller, scientist, popular lecturer, museum administrator, memoirist and... one of Canada’s most beloved scientist.
Arthur Coleman is a fine example of that rare bird, a polished amateur artist whose drawings and paintings stand comfortably beside those of many professionals. He was active during the time when sketching and painting was ceding to photography the task of recording the visible world. Although he was also a photographer, painting was, for him, both a poetic and a descriptive pursuit, a way of wrapping an artistic expression around a phenomenon he was interested in or moved by. Thus motivated, Coleman's paintings give much joy and command a good deal of respect. The more surprising, perhaps given that he used to introduced himself more as a geologist than a painter.
Coleman travelled throughout the United States for professional conferences as well as geological field work. He visited many of the major American mountain ranges including: the American Cordillera Mountains (Washington, Oregon and California); the Sierra Nevada Mountains (California and Nevada); Yellowstone National Park (Wyoming, Montana and Idaho); and the Appalachian Mountains (eastern United States). Pleistocene glaciation had extended in Northern Europe as far south as Berlin and London and covered an area of two million square miles. Coleman also visited such countries as India, Australia, Brazil, Argentina, Scandinavia, Bolivia, New Zealand, South Africa and Uruguay. In his final years he made two expeditions to the Andes in Colombia, to mountains in Southern Mexico and to two mountains in Central America. He achieved the first ascent of Castle Mountain in 1884, and in 1907, he was the first white man to attempt to climb Mount Robson. He made a total of eight exploratory trips to the Canadian Rockies, wholly four of them looking for the mythical giants of Hooker and Brown.
From 1901 to 1922, he was a Professor of Geology at the University of Toronto and was Dean of the Faculty of Arts from 1919 to 1922. From 1931 to 1934, he was a geologist with the Department of Mines of the Government of Ontario. He was elected a Fellow of the Royal Society of Canada in 1900 and was its President in 1921. In 1929, he was appointed Honorary Vice-President of the Royal Canadian Geographical Society.
"Mount Coleman" and "Coleman Glacier" in Banff National Park is named in his honor. He was awarded the Penrose Medal in 1936.
He planned to climb "his" mountain, "Mount Coleman"'in the Albertan Rockies, and had also prepared a trip to British Guiana, but death intervened.
He was author of:
- Reports on the Economic Geology of Ontario (1903)
- Lake Ojibway; Last of the Great Glacial Lakes (1909)
- The Canadian Rockies: New and Old Trails (1911)
- Ice Ages, Recent and Ancient (1926), and was co-author of Elementary Geology (1922).
- The Last Million Years (1941) edited by George F. Kay

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2022 - Wandering Vertexes...
by Francis Rousseau

MOUNT SINAÏ / JABAL MUSA PAINTED BY J.M.W. TURNER

J.M.W. TURNER  (1775–1851)
Mount Sinaï / Jabal Musa (2,285 m - 7,496ft)
Egypt 

In "Mount Sinai, the valley in which the Children of Israel were encamped",
pencil, pen, ink and watercolor on paper, 12.7 x 20.2 cm.
Private collection ( Christie's London/ 06/07/2010)

About this Painting
It descibes the moment Moses have waited to receive the Ten Commandments.

The mountain
Mount Sinaï (2,285 m - 7,496 ft) or Jabal Mūsā or Gabal Mūsā (in arab : "Moses' Mountain" or "Mount Moses"), also known as Mount Horeb or Jebel Musa (a similarly named mountain in Morocco), is a mountain in the Sinai Peninsula of Egypt that is a possible location of the biblical Mount Sinai. The latter is mentioned many times in the Book of Exodus (and other books of the Bible) and the Quran. According to Jewish, Christian, and Islamic tradition, the biblical Mount Sinai was the place where Moses received the Ten Commandments.
Mount Sinai is a moderately high mountain near the city of Saint Katherine in the Sinai region.
It is next to Mount Katherine (2,629 m - 8,625 ft), the highest peak in Egypt.
Mount Sinai's rocks were formed in the late stage of the Arabian-Nubian Shield's (ANS) evolution. Mount Sinai displays a ring complex that consists of alkaline granites intruded into diverse rock types, including volcanics. The granites range in composition from syenogranite to alkali feldspar granite. The volcanic rocks are alkaline to peralkaline and they are represented by subaerial flows and eruptions and subvolcanic porphyry. Generally, the nature of the exposed rocks in Mount Sinai indicates that they originated from differing depths.
There are two principal routes to the summit. The longer and shallower route, Siket El Bashait, takes about 2.5 hours on foot, though camels can be used. The steeper, more direct route (Siket Sayidna Musa) is up the 3,750 "steps of penitence" in the ravine behind the monastery.
The summit of the mountain has a mosque that is still used by Muslims. It also has a Greek Orthodox chapel, constructed in 1934 on the ruins of a 16th-century church, that is not open to the public. The chapel encloses the rock which is considered to be the source for the biblical Tablets of Stone. At the summit also is "Moses' cave", where Moses was said to have waited to receive the Ten Commandments.

The painter
The english painter Joseph Mallord William Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence in the history of painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
In his thirties, Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice. Turner's talent was recognized early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." Turner was recognized as an artistic genius: influential English art critic John Ruskin described him as the artist who could most "stirringly and truthfully measure the moods of Nature."
Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Lorrain had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success. Turner's plates were meant to be widely disseminated, and categorized the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral. His printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graem to house his collection of Turner prints.
Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking or working or walking in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God – a theme that romanticist artists and poets were exploring in this period. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.
Turner used pigments like carmine in his paintings, knowing that they were not long-lasting, despite the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded greatly.
John Ruskin says in his "Notes" on Turner in March 1878 : "His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by Girtin, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate. "

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2022 - Wandering Vertexes...
by Francis Rousseau

LE GRAND VEYMONT SKETCHED BY JEAN-BAPTISTE NÉE

 

JEAN -BAPTISTE NÉE (b.1986)
Le Grand Veymont (2,341m - 7,680 ft)
France (Vercors)

In Vercors, hiver, paroi, gel (II), lavis, 2019, 16 x 25cm

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky". Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited in Galerie Camera
Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon.
Contact @jeanbaptiste.nee.
Jean Basptiste Née website

The mountain,
Le Grand Veymont (2,341m - 7,680 ft)( is  a mountain in the district of Gresse-en-Vercors, part of the department of Isère, France, is the highest point of the Massif du Vercors, but not the highest of the Vercors Regional Natural Park (which is the Rocher Rond at 2,453m).  It has a prominence of 1165 metres and an isolation of 26.88 kilometres. It is situated between le Pas de la Ville to the north and le Pas des Chattons to the south, and is part of the eastern edge of the high plateau of the Massif du Vercors.  It is preceded to the north by (north to south) "le Rocher de Séguret" (the Rock of Séguret, 2051 metres), "Roche Rousse" (Red Rock, 2105 metres), and "le Sommet de Pierre-Blanche" (the Summit of White Rock, 2106 metres)  and followed to the south (north to south) by Petit Veymont or Aiguillette (little Veymont or small needle, 2120 metres) and Mont Aiguille (Mount Needle, 2085 metres). Due to its location in the Parc du Vercors, it is far from any paved road. A moderately easy route to the summit involves walking about 10 km, hiking through the backcountry.
On 10 February 2007, a twin-engine light aircraft flying from London to Cannes disappeared in a snowstorm over le Grand Veymont, crashing into the mountainside and killing all three people aboard. The bodies and wreckage were recovered less than 24 hours later, at around 1960 metres above sea level, close to the Pas de la Ville, after a rescue operation involving more than one hundred policemen, firemen, mountain rescue specialists, and three helicopters equipped with infra-red cameras.

CERRO ACONCAGUA PAINTED BY RHOD WULFARS

 

RHOD WULFARS (bn. 1979)
Aconcagua (6,961 m -22,838 ft)
Argentina

In "Aconcagua," Acrylic on canvas, 18 x 24cm

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify.
Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/
Contact : @rhodwulfars

The mountain
Cerro Aconcagua (6,961 meters -22,838 ft) or simplynThe Aconcagua is the highest mountain outside of Asia and by extension the highest point in both the Western Hemisphere and the Southern Hemisphere.
Aconcagua is not a volcano.  he origin of the name is contested; it is either from the Mapuche "Aconca-Hue", which refers to the Aconcagua River, the Quechua "Ackon Cahuak", meaning "Sentinel of Stone", or Quechua "Anco Cahuac", meaning "White Sentinel" or the Aymara "Janq'u Q'awa" meaning "White Ravine", "White Brook".
Aconcagua is located in the Andes mountain range, in the Mendoza Province, Argentina, and lies 112 kilometers (70 mi) northwest of its capital, the city of Mendoza and 108 km (67 mi) from Santiago de Chile (the capital of Chile). The summit is in fact located about 5 kilometers from San Juan Province and 15 kilometers from the international border with Chile; its nearest higher neighbor is Tirich Mir in the Hindu Kush, 16,520 kilometers (10,270 mi) away.
Aconcagua is one of the Seven Summit, which includes the highest mountains of each of the seven continents. The 7 summits (which are obviously 8 !)... are : Mt Everest (8,848m), Mt Denali or Mc Kinley (6,194m), Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko (2,228m). Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.
The mountain and its surroundings are part of the Aconcagua Provincial Park. The mountain has a number of glaciers. The largest glacier is the Ventisquero Horcones Inferior at about 10 km long, which descends from the south face to about 3600 m altitude near the Confluencia camp. Two other large glacier systems are the Ventisquero de las Vacas Sur and Glaciar Este/Ventisquero Relinchos system at about 5 km. 

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2022 - Wandering Vertexes...
by Francis Rousseau
 

LE PRABÉ PAINTED BY EDOUARD VALLET

 

ÉDOUARD VALLET (1876-1929)
Le Prabé (2, 042m -  6,699ft)
Switzerland (Valais)

In "Savièse in Valais (Morning in the mountains)", oil on canvas, 1912, Private collection

The mountain 

Le Prabé (2, 042m -  6,699ft) is a mountain of the Bernese Alps, overlooking Savièse in the canton of Valais. It lies at the southern end of the ridge that descends from the Wildhorn and the Sex Noir. Although the Prabé has almost no topographic prominence, it dominates the Rhone valley with a height of more than 1,500 metres.

The Painter
Édouard Eugène Francis Vallet (1876 -1929) was a Swiss artist. Born in Geneva he went to a boarding school in France and apprenticed as a stonemason in 1892. He then went to the Geneva College of Fine Arts and studied woodcuts under Alfred Martin, Pierre Pignolat and Barthélemy Menn. He also travelled to Germany and Italy and held his first exhibition in 1899. He lived in the Swiss mountains in Valais, Savièse, Ayent, Hérémence, Vercorin and Sion from 1908 and painted portraits and landscapes from the region. He married the painter Marguerite Gilliard, daughter of the artist Eugène Gilliard (1861-1921) and after her death in 1918, he married Marie Jollien (1886-1951). Vallet died in 1929 and is buried in the cemetery at Confignon.

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2022 - Wandering Vertexes...
by Francis Rousseau

ALEXANDRA PEAK AND MARGHERITA PEAK BY VITTORIO SELLA

VITTORIO SELLA (1859-1943)
Alexandra Peak / Mount Stanley (5, 091m - 16,703 ft)
Margherita Peak / mount stanley (5,109 m-16,763 ft)
Congo - Uganda border

  In Alexandra peak  and Margherita peak from the Stanley Plateau, photo, 1906

The mountain
Alexandra Peak (5,091m - 16,703ft) is part of Mount Stanley located in the Rwenzori range, the highest mountain of both Democratic Republic of the Congo and Uganda, and the third highest in Africa, after Mount Kilimanjaro (5,895 m -19,340ft) and Mount Kenya (5,199 m - 17,057ft).
Mount Stanley consists of two twin summits and several lower peaks which are :
Margherita Peak (5,109m - 16,763ft), Alexandra Peak (5,091m - 16,703ft), Albert Peak (5,087m - 16,690ft), Savoia Peak (4,977m - 16,330ft), Ellena Peak (4,968m -16,300ft), Elizabeth Peak (4,929m - 16,170 ft), Phillip Peak (4,920m - 16,140ft), Moebius Peak (4,916m - 16,130 ft) and Great Tooth (4,603m - 15,100ft).
The peak and several other surrounding peaks are high enough to support glaciers. Mount Stanley is named for the journalist and explorer, Sir Henry Morton Stanley. It is part of the Rwenzori Mountains National Park, a UNESCO world Heritage Site.
Mt. Stanley was first climbed in 1906 by the Prince Luigi Amedeo di Savoia , Duke of the Abruzzi, (1873-1933), J. Petigax, C. Ollier, and J. Brocherel. He is known as well for his Arctic explorations and for his mountaineering expeditions, particularly to Mount Saint Elias (Alaska–Yukon) and K2 (Pakistan–China). Margherita Peak is named after Queen Margherita of Italy the prince's cousin.
The Rwenzori Mountains National Park is considered a model for integration of cultural values into the Protected Area Management framework as an innovative approach to resource management, the first of its kind in Africa. As a result the local communities have embraced collaborative resource management initiatives. Given its significance as one of the biodiversity hotspots in the Albertine Rift, various local and international NGOs have supported the management and conservation of the property. A General Management Plan guides management operations on-site. Key challenges to address include illegal felling of trees, snow recession due to global warming, human population pressure adjacent to the property and management of waste generated through tourism operations. UWA is addressing the above threats through resource protection, community conservation education, research and ranger-based monitoring, ecotourism and transboundary initiatives with the DRC. The long-term maintenance of the integrity of the property will be achieved through sustainable financing, ecological monitoring, continued collaboration with key stakeholders and regional cooperation.

The artist
Vittorio Sella is a mountain italian climber and photographer who took his passion for mountains from his uncle, Quintino Sella, founder of the Italian Alpine Club. He accomplished many remarkable climbs in the Alps, the first wintering in the Matterhorn and Mount Rose (1882) and the first winter crossing of Mont Blanc (1888) and Les Rouies (1900).
He took part in various expeditions outside Italy:
- Three in the Caucasus in 1889, 1890 and 1896 where a summit still bears his name;
- The ascent of Mount Saint Elias in Alaska in 1897;
- Sikkim and Nepal in 1899;
- Possibly climb Mount Stanley in Uganda in 1906 during an expedition to the Rwenzori;
- Recognition at K2 in 1909;
- In Morocco in 1925.
During expeditions in Alaska, Uganda and Karakoram, he accompanied the Duke of Abruzzi, Prince Luigi Amedeo di Savoia.
Sella continues the practice of climbing into his old age, completing his final attempt in the Matterhorn at the age of 76; a climb he had to interrupt the rise following an accident in which one of his guides injured. He died in his hometown during World War II. His photographic collection is now managed by the Sella Foundation.
His photos mountain are still considered today to be among the finest ever made.
Jim Curran believes that "Sella remains probably the greatest photographer of the mountain. His name is synonymous with technical perfection and aesthetic refinement. "
The quality of the pictures of Vittorio Sella is partly explained by the use of a view camera 30 × 40 cm, despite the difficulty of the transportation of such a device, both heavy and fragile in places inaccessible; to be able to transport it safely, he had to make special pieces that can be stored in saddle bags. His photographs have been widely distributed, either through the press or in the galleries, and were unanimously celebrated; Ansel Adams, who was able to admire thirty-one in an exhibition that was organized at Sella American Sierra Club, said they inspired him "a religious kind of sense of wonder." Many of his pictures were taken in the mountains for the very first time in the History, which give them a much artistic, historical but also scientific value ; for example, one could measure the decline in the Rwenzori glaciers in Central Africa.
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2022 - Wandering Vertexes...
by Francis Rousseau

THE WATERBERG PAINTED BY JACOBUS HENDRIK PIERNEEF

 

 

JACOBUS HENDRIK PIERNEEF (1886-1957)
The Waterberg (1, 830 m - 6, 003 ft)
South Africa (Limpopo)

In Bushveld, 1942, watercolor

The Mountains 

The Waterberg (1,830 m - 6,003 ft) (Thaba Meetse) is a mountainous massif of approximately 654,033 hectare in north Limpopo Province, South Africa. The average height of the mountain range is 600 m with a few peaks rising up to 2000 m above sea level. Vaalwater town is located just north of the mountain range. The extensive rock formation was shaped by hundreds of millions of years of riverine erosion to yield diverse bluff and butte landform. The ecosystem can be characterised as a dry deciduous forest or Bushveld. Within the Waterberg there are archaeological finds dating to the Stone Age, and nearby are early evolutionary finds related to the origin of humans. Waterberg is the first region in the northern part of South Africa to be named as a Biosphere Reserve by UNESCO.

The painter
Jacobus Hendrik (Henk) Pierneef (usually referred to as Pierneef) was a South African landscape artist, generally considered to be one of the best of the old South African masters. His distinctive style is widely recognized and his work was greatly influenced by the South African landscape.
Most of his landscapes were of the South African highveld, which provided a lifelong source of inspiration for him. Pierneef's style was to reduce and simplify the landscape to geometric structures, using flat planes, lines and colour to present the harmony and order in nature. This resulted in formalised, ordered and often-monumental view of the South African landscape, uninhabited and with dramatic light and colour.
Pierneef's work can be seen worldwide in many private, corporate and public collections, including the Africana Museum, Durban Art Gallery, Johannesburg Art Gallery, King George VI Art Gallery, Pierneef Museum and the Pretoria Art Gallery.

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2022 - Wandering Vertexes...
by Francis Rousseau

MOUNT DAMAVAND / دماوند SKETCHED BY HUSAYN WA'IZ KASHIFI

HUSAYN WA'IZ KASHIFI (840 /1436 - 910/ 1505)
Mount Damavand   (6,105m-18,410ft)
Iran

In The Anvār-i Suhaylī or Lights of Canopus, The Walters Art Museum, Baltimore

  

About this work
Walters Art Museum manuscript W.599 is an illuminated and illustrated copy of Anvar-i Suhayli (The lights of Canopus), dating to the 13th century AH/AD 19thand attributed to Husayn  Kashifi
It is a Persian version of Kalilah wa-Dimnah (The fables of Bidpay). It was completed on 26 Jumadá I 1264 AH/AD 1847 by Mirza Rahim. The text is written in Nasta'liq script in black and red ink, revealing the influence of Shikastah script. There are 123 paintings illustrating the text. The Qajar binding is original to the manuscript.

The mountain
Mount Damāvand (5, 610m -18,410ft), in Persian دماوند‎‎ , a potentially active volcano, is a stratovolcano which is the highest peak in Iran and the Middle East as well as the highest volcano in Asia (the Kunlun Volcanic Group in Tibet has a higher elevation than Damāvand, but are not considered to be volcanic mountains). It has a special place in Persian mythology and folklore.The origins and meaning of the word "Damavand" is unclear, yet some prominent researchers have speculated that it probably means "The mountain from which smoke and ash arises", alluding to the volcanic nature of the mountain.
This peak is located in the middle of the Alborz range, adjacent to Varārū, Sesang, Gol-e Zard, and Mīānrūd. The mountain is located near the southern coast of the Caspian Sea, in Amol County, Mazandaran Province, 66 kilometres (41 miles) northeast of the city of Tehran. Mount Damāvand is the 12th most prominent peak in the world, and the second most prominent in Asia after Mount Everest. It is the highest volcanic mountain in Asia, and part of the Volcanic Seven Summits mountaineering challenge. Damavand is a significant mountain in Persian mythology. It is the symbol of Iranian resistance against despotism and foreign rule in Persian poetry and literature. In Zoroastrian texts and mythology, the three-headed dragon Aži Dahāka was chained within Mount Damāvand, there to remain until the end of the world. In a later version of the same legend, the tyrant Zahhāk was also chained in a cave somewhere in Mount Damāvand after being defeated by Kāveh and Fereydūn. Persian poet Ferdowsi depicts this event in his masterpiece, the Shahnameh, in which the mountain is said to hold magical powers. Damāvand has also been named in the Iranian legend of Arash (as recounted by Bal'ami) as the location from which the hero shot his magical arrow to mark the border of Iran, during the border dispute between Iran and Turan. The famous poem Damāvand by Mohammad Taqī Bahār is also one fine example of the mountain's significance in Persian literature.
Mount Damavand is depicted on the reverse of the Iranian 10,000 rials banknote.
An anthropologist of Mazandaran Cultural Heritage and Tourism Department, Touba Osanlou, has said that a proposal has been put forward by a group of Iranian mountaineers to register the highest peak in the Middle East, Mount Damavand as a national heritage site. Mazandaran Cultural Heritage and Tourism Department has accepted the proposal, the Persian daily Jam-e Jam reported.

The artist
Kamāl al-Dīn Ḥusayn ibn Alī Kashifi, best simply known as Husayn Kashifi, was a prolific Persia] prose-stylist, a poet, a Quran exegete, a Sufi scholar, and an astronomer of the Timurid era. Kashifi was his pen name, whereas his surname al-Wāʿiẓ ("the preacher") denoted his professional occupation. He spent most of his career in Herat, where his academic activities were supported by Ali-Shir Nava'i, a senior vizier in the Timurid court during Sultan Husayn Bayqara's rule, hence the reason for Kashifi to dedicate most of his works to Nava'i. He was also very close to the famous Persian poet and Sufi, Nur al-Din 'Abd al-Rahman Jami. His famous works include Akhlaq-e Mohseni and Anwar-e Sohaili  (above) in Persian prose, and Jawaher al-Tafsir and Mawaheb-e 'Aliyya which are Persian tafsirs of the Quran.

_______________________________________

2022 - Wandering Vertexes...
by Francis Rousseau

THE DIAMONDS MOUNTAINS / MT KUMGANG PAINTED BY JEONG SEON / 정선

JEONG SEON  / 정선 (1676–1759)
Mount Kumgang / The Diamond Mountains (1,638 m - 5,374 ft)
North Corea

In Geumgangjeondo "Overview of Mt. Geumgang in Autumn" or The Diamond Mountains, 1734,
Ink and light colors on paper, 130.7 cm × 94.1 cm, Ho-Am Art Museum, South Korea

About this work
Geumgang jeondo (금강전도 金剛全圖) is a famous landscape painted by Jeong Seon during the reign of King Yeongjo, litteterally means " General view of Mt. Geumgangsan" or The Diamond Mountains). It was classified as the 217th National Treasure of South Korea on August 6, 1984. The painting is currently held and managed by the Ho-Am Art Museum in Yongin, Gyeonggi Province and is owned by Lee Kun-hee. While many contemporaneous painters imitated the latest art trends from China, Jeong Seon ignored these to create unique themes based on Korean landscapes. His catalogue of paintings of Geumgansan made him famous and the preeminent painter of his time at the age of 37. He eventually painted around 100 images of the mountains which still exist to this day. The artist’s love of the mountains influenced other artists to depict the Diamond Mountains and even encouraged mapmakers to make maps of the area. Although Jeong Seon made many paintings of Mt. Geumgangsan, this painting is the largest and considered his best. Like many of his paintings, Jeong Seon painted this landscape while actually viewing the mountains. The painting is 130.7 centimeters in height and 94.1 centimeters in width. It is painted with India ink. The painting is of Naegeumgang, the Inner Mt. Geumgangsan. The painting depicts a total of twelve thousand peaks. The highest peak, Birobong, lies in the background and water flows from it toward a valley called Manpokdong which is divided from the left and right. The high sharp peaks are depicted by the artist with lines painted up and down while the artist used a dotting brush method to depict the earthen peaks, making them appear relatively soft and lush. This composition harmonizes the contrasting sharp edges of the rocky peaks with the softer earthen peaks.

The mountain
Mount Kumgang / 금강산 (1,638 m - 5,374 ft Geumgangsan,(Diamond Mountain) are a mountain/mountain range, with a Birobong peak, in Kangwon-do, North Korea. It is about 50 kilometres (31 mi) from the South Korean city of Sokcho in Gangwon-do. It is one of the best-known mountains in North Korea. It is located on the east coast of the country, in Mount Kumgang Tourist Region, formerly part of Kangwŏn Province. Mount Kumgang is part of the Taebaek mountain range which runs along the east of the Korean Peninsula.
Koreans have perceived Kŭmgangsan as their muse since well before the Middle Ages.  Practically every poet and artist who lived during the Joseon dynasty (1392-1910) made a pilgrimage to Kŭmgangsan. Among other well-known works, are the Geumgang jeondo and the Pungaknaesan chongramdo, painted in the 1740s by Jeong Seon.  The division of the Korean peninsula in 1950 resulted in the South Korean people finding themselves unable to visit this beloved mountain for the better part of 50 years.  The 155-mile-long (249 km) barbed-wire fence erected as part of the DMZ( Demilitarized zone) separating the two Koreas proved to be an obstacle stronger than any other barrier.
 In 1894 the British writer Isabella Bird Bishop referred to it in her travelogue as "Diamond Mountain".
Kŭmgangsan is the subject of a popular 1962 South Korean folk song, Longing for Mt. Geumgang. It is also the setting of the 1973 North Korean revolutionary opera The Song of Mount Kumgang.
The legend of the Sad Korean frog: During the Korean War, the civilian population had to hide in the mountainous areas to avoid being victims of the continuous attacks of the armies. In the autumn of 1950, one of the villages in the area was reportedly razed to the ground by the South Korean and Allied armies advancing through the area. The attack took place in the morning and almost all the inhabitants were killed. It is said that about twenty children managed to escape and fled to the foothills of the mountain. There they found shelter and stayed there for several days. When they wanted to return to their village, already destroyed, they saw that the military had built a logistic base there and decided to stay in the mountain for a week. They barely had enough food for everyone and were beginning to starve. When all seemed lost, with the children so weak that they could barely leave the shelter on the mountainside, they found a sack with twenty loaves of bread next to their makeshift beds of leaves at dawn. Thanks to these loaves of bread and water from the nearby stream, which always arrived at dawn, the children managed to gather strength and survive. One night, several of the children stayed awake and saw a small frog carrying the sack with the loaves of bread. They decided to follow it almost to the top of the mountain and saw that in one of the many caves there, the frog was kneading and baking bread every night so that the children would have food.
Thanks to the Sad Korean frog, as it was called in some writings because of its sorrowful appearance, the children managed to live long enough to return to their village. Eventually these children grew up and went to other villages where they told their story and thus the Mountain Frog (san-eseo seulpeun gaeguli) became known as the Mountain Frog.

The painter
Jeong Seon (정선)  was a Korean landscape painter, also known by his pen name Kyomjae ("humble study"). His works include ink and oriental water paintings, such as Inwangjesaekdo (1751), Geumgang jeondo, and Ingokjeongsa (1742), as well as numerous "true-view" landscape paintings on the subject of Korea and the history of its culture.  He is counted among the most famous Korean painters.  The landscape paintings that he produced reflect most of the geographical features of Korea.  The poverty he experienced in his youth made him pursue his career as a painter.  He was proficient at Zhou-I and astronomy. He worked at the Bureau of Painting creating landscapes for patrons and clients.
He was discovered by an aristocratic neighbour who recommended him to the court. He soon gained an official position. Jeong is said to have painted daily, with a prolific output until old age. 
Jeong was the most eminent painter in the late Joseon Dynasty (1700–1850) and explored the scenic beauty of the capital city of Hanyang (Seoul), the Han River, the East Sea, and the Diamond Mountain (above). He is the first painter of true-view Korean landscapes. Differing from earlier techniques and traditional Chinese styles, he created a new style of painting depicting the virtues of Korea. It is reported that he frequently left his studio and painted the world around him, as he could see it. His paintings are classified as Southern School, but he developed his own style by realistically portraying natural scenes such as mountains and streams with bold strokes of his brush.
A major characteristic of his work is intermixed dark and light areas, created by layers of ink wash and lines. His mountains are punctuated by forests, which in turn are lightened by mists and waterfalls. Vegetation is made from dots, a technique that bears the influence of Chinese painter Mi Fei (1052–1107). Jeong's style would influence generations of Korean artists, and become one of the iconic images of Korean nationalism.

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2022 - Wandering Vertexes...
by Francis Rousseau

MOUNT HAKU / 白山 BY HIROSHIGE II / 二代目 歌川広重

 

HIROSHIGE II  /  二代目 歌川広重 (1826 - 1869)
Mount Haku /白山, (2,702.2 m -8,865 ft
Japan ( Honshu)

 In Mount Haku, Kaga Province,  Woodblock Print,  1862- in Sixty-eight Views of the Various Provinces, 1862

The mountain
Mount Haku /白山 (2,702.2 m -8,865 ft), meaning"White Mountain", or Mount Hakusan (commonly referred to as simply Hakusan), is a dormant stratovolcano in Japan. It is located on the borders of Gifu and Ishikawa, on the island of Honshu. Mount Haku is thought  to have first been active 300,000 to 400,000 years ago, with the most recent eruption occurring in 1659. Along with Mount Tate and Mount Fuji, it is one of Japan's "Three Holy Mountains". The mountain's tallest peak, Gozenga-mine (御前峰), is the one that gives the mountain its height of 2,702 m (8,865 ft). Along with Ken-ga-mine (剣ヶ峰), which is 2,677 m (8,783 ft), and Ōnanji-mine (大汝峰), which is 2,648 m (8,688 ft), the three peaks are considered "Mount Haku's Three Peaks" (白山三峰 Hakusan San-mine). Mount Bessan and Mount Sannomine are sometimes included and called "Mount Haku's Five Peaks" (白山五峰). Because it is very prominent and clearly visible from the nearby coast, even after the surrounding mountains have lost their snow, Mount Haku still appears white, which is one explanation for the mountain's name, which means "white mountain." It is also the westernmost mountain in Japan that is over 2,000 m (6,562 ft) in height. Taichō, a mountain Shugendo monk, first climbed Mount Hakusan in 717. For hundreds of years, people have come to Haku for prayers (白山信仰). A branch shrine of Shirayama Hime Shrine, which served as the supreme shrine for Kaga Province, is on the mountain. The Shirayama Hime Shrine is the main shrine (総本社) of approximately 2,000 Hakusan shrines (白山神社) in Japan. In 1980 an area of 48,000 ha was designated a UNESCO Man and the Biosphere Reserve. Mount Haku was designated as a quasi-national park in 1955. It became a national park in 1962 and was renamed Hakusan National Park. Because the central part of the mountain has much precipitous terrain, there are very few roads and, as a result, little human intrusion into the area. Also limiting human intrusion is the designation of the park as a Wildlife Protection Area, covering over 38,061 ha. The park stretches beyond the mountain's borders into Toyama Prefecture.

The artist
Hiroshige II (二代目 歌川広重) 1826 – 17 September 1869) was a Japanese designer of ukiyo-e art. He inherited the name Hiroshige II following the death in 1858 of his master Utagawa Hiroshige (歌川 広重), whose daughter he married. In 1865 he moved from Edo to Yokohama after dissolving his marriage and began using the name Kisai Risshō (喜斎立祥). His work so resembles that of his master that scholars have often confused them.
Born Suzuki Chinpei (鈴木鎮平) in 1826, it is said that he was born to a fireman, as was his master Utagawa Hiroshige (歌川 広重), to whom he became apprenticed under the name Shigenobu at an unknown age. His earliest known work is the illustrations for a book called Twenty-four Paragons of Japan and China from 1849. Hiroshige II produced a large number of commissioned work in the 1850s in the style of the elder Hiroshige, and often signed his work Ichiryūsai mon ("student of Ichiryūsai", another art name of Hiroshige I's), and from c. 1853 to 1858 simply as Ichiryūsai. In 1858, he married Hiroshige I's daughter Otatsu after the master's death and inherited the Hiroshige name, as well as the names Ichiryūsai and Ryūsai.
Utagawa Hiroshige (歌川 広重) took on few students; Hiroshige II was the most successful of these. His works have often been confounded with those of his master, which they resemble closely in style, subject, and signature. Early Western scholars did not even recognize him as a separate artist. Another pupil of the first Hiroshige, Shigemasa, later married the master's daughter, Otatsu, and also began using the name Hiroshige; this artist now is known as Hiroshige III.


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2022 - Wandering Vertexes...
by Francis Rousseau