Mongolia Monday- Explorers and Travelers: Friar Giovanni DiPlano Carpini

Mongol warriors escorting Chinggis Khan's mother, Hoelun: National Naadam opening ceremonies, Ulaanbaatar, July 2009

Mongolia has always been considered an incredibly remote and exotic destination by most westerners. The shorthand expression for the farthest a person could be from any place has been to say that they’ve gone all the way to “Outer Mongolia”.

The reality today is that it is quite simple to get there from the United States and Europe. I fly to San Francisco (one hour) to Seoul, South Korea (11+hours) to Ulaanbaatar, the capital of Mongolia (three hours). There are non-stop flights to Ulaanbaatar from Berlin and Moscow. But before air travel, before trains, before the country was essentially closed to foreigners by the communist government from 1921 to 1990 (other than the Russians who were stationed there), Mongolia was a challenging place to get to and travel in.

This will be an occasional series about westerners who have traveled to Mongolia in times past and left written accounts of their experience.

Epic. Journey.

First up is a man known in English as John of Plano Carpini, sent to Mongolia by Pope Innocent IV in April of 1245 to find out all he could about the “Tartars” who had beaten every army of European knights sent against them, but had then mysteriously vanished as quickly as they had appeared.

He and his party were stopped for a time in Russia at the camp of Batu, one of the most important Mongol princes, who finally ordered them to travel on to the court of Guyuk, who was the grandson of Chinggis Khan through his father, Ogedei Khan. 106 days and 3,000 miles later, in July of 1246, they arrived at the Mongol imperial capital of Kharkhorin. Carpini was in time to witness the Great Khural during which Guyuk was elected Great Khan.

Guyuk declined their invitation to become a Christian, although there had been Nestorian Christians present and living in the empire for some time. He did, however, give Carpini a letter to take back to the Pope demanding that he travel to Kharkhorin and submit to Mongol authority.

One page of the letter from Guyuk to the Pope

Guyuk allowed them to begin their journey home in November. They re-traced their route across the length of the Central Asian steppes through the winter and on into spring, then summer, finally arriving at Kiev in June of 1247. Traveling on, they delivered the Khan’s letter to the Pope in Lyon, France, who was not inclined to obey.

This epic journey was really a spy mission. The Mongols had withdrawn from Europe, it turned out, due to the death of Ogedei Khan (the cause is presumed to have been acute alcoholism) and the requirement to return to Mongolia to choose his successor, but the westerners, not knowing any of this, had no choice but to assume that they might return at any time and pick up where they left off, on the verge of entering central Europe. Carpini’s mission, which he courageously carried out, was to gather all the information he could, not only about the Mongols themselves, about whom nothing was known, but everything he could find out about their military: numbers of men, armor, weapons, tactics. Of course, if this had become known to the Mongols, it would have been a one-way trip for all of them.

The edition I have.

Once home, he wrote it all down in a report for the Pope, which has become the book, “The Story of the Mongols Whom We Call The Tartars”, the first account of the Mongols by a westerner. It has been translated into English and is a fascinating read for anyone interested in history, Central Asia, the military, travel and the Mongols themselves. You can get a hardcopy translation by Erik Hildinger at Amazon or read a free online version, translated by Richard Hakluyt here, which also has various download options.

Inspirations: 2 Great Art Books; Learning From Two Of The Best

Just got both of these in the last couple of weeks and I highly recommend them.

I had the pleasure of meeting and spending time with Lars Jonsson at the Society of Animal Artist’s 50th Anniversary celebration last year. He is one of the greatest bird artists ever and also one of the nicest people to chat with. I asked him how many birds he has on his life list and he looked down at me (I’m 5’6″ and he’s about 6’8″) and quietly said that he didn’t really keep a list. What a contrast to those who view birdwatching as a blood sport.

This book is a wonderful look at his career and how he works. It should be on the shelf of every artist who has birds as a subject. Since I’m about to embark on paintings of the cranes I’ve seen in Mongolia it only made sense to “consult” with a master. “Lars Jonsson’s Birds-Paintings from a Far Horizon” can purchased here.

This may seem an odd selection coming from an animal artist, but good art is good art no matter what the subject and Drew Struzan is legendary when it comes to his depiction of people and design ability. You’ll see LOTS of familiar faces in this book.

He was a guest lecturer when I was the Academy of Art University (then College) in the late 1980s. He flew up from LA for the day to speak to us illustration students. A couple of weeks before hand, he had sent a big pile of his posters, which were pinned up in display cases on the staircase and in the hallways of the department.

He didn’t talk down to us in any way and addressed us as colleagues in the making, which we really appreciated. I’ve always found him to be an inspiration and am lucky enough to have, many years ago, scored some of his posters from a video shop which was closing.

I’ve started to tackle humans as a subject and I’ve always been in awe of Struzan’s ability to catch the extreme essence of a likeness with impeccable draftsmanship and design.

“Oeuvre” can be purchased here.

Mongolia Monday- Book Review: Genghis Khan And The Making Of The Modern World

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This book is on my short list of “must reads” for anyone interested in Mongolia. It’s not simply a history of the Mongols and their empire, but what they did that still influences us today in ways that you might find quite surprising. Weatherford effectively demonstrates how the way of life dictated by the vicissitudes of living on the steppes of Central Asia formed Mongol society and, indeed, Genghis (hereinafter called by the more accurate rendition, “Chinggis”) Khan himself.

After reading “Genghis Khan and the Making of the Modern World”, I was left almost wishing that the Mongols had been able to keep going to the Atlantic and beyond. So much of what people know about them was, unusually, written by the “losers”, historians and chroniclers in the countries that the Mongols conquered. Not surprisingly, the emphasis is often on the destruction and disruption that they caused wherever their armies appeared. The only surviving source of information on Mongol history by the Mongols themselves that is available in English is “The Secret History of the Mongols”, a book that will deserve its own post once I’ve acquired the latest translation, which, with luck, will be this summer.

Chinggis Khan was not a man to take “no” for an answer and he and his sons and grandsons had the warriors and tactics to back it up. Being practical people, they went with what worked. Not reveling in, or particularly liking, bloodshed, their campaigns were designed to minimize it, at least for themselves. Against other armies, they used the same methods as when they hunted game on the steppes back home. Retreating to draw the opposing army onto favorable ground was a common tactic that seems to have worked every time. Against cities, they used Chinese-designed siege engines, re-routed at least one river and, in another siege, when the inhabitants had barricaded themselves within their city walls, built an entire second wall around the perimeter to demonstrate who was really in charge.

When the Mongol army arrived at a city, it was given the opportunity to surrender and if it did, then everyone, except leaders who could foment revolt, was pretty much allowed go on peaceably about their business, but under a Mongol administration. Defiance was met with total destruction, hence their reputation for violence and ruthlessness in the West.

The boundaries of the empire expanded until they were defeated by the Mameluke army of Egypt in the west, failed twice to conquer Japan in the east and were more or less defeated by the hot, humid climate to the south. Kublai Khan, Chinggis’ grandson, over the course of twenty years, defeated the Sung dynasty of China and founded the Yuan dynasty, which ruled for over 100 years until overthrown by rebels who established the Ming Dynasty. The other parts of the empire more or less faded away over time and the Mongols were assimilated into the local populations.

For most Westerners, that’s the end of the story. But as dramatic as it is, it’s what happened during the existence of the Mongol Empire that I found fascinating and which is the heart of this book.

The Mongols, over three generations and thirty years, created the largest land empire the world has ever seen. They created countries, Russia is one example, that hadn’t previously existed. Within that empire the Pax Mongolica reigned. It turns out that Chinggis Khan wanted peace for himself and his people. The irony, of course, is that he waged war for most of his life to achieve it.

So, how does any of this relate to the modern world? Well, here are a few highlights from the book…..

-Chinggis Khan established the supremacy of the rule of law, which he applied to himself the same as to the poorest herder. It’s known as The Great Law and was based, not on divine revelation or the codes of settled lands, but the customs and traditions of the nomadic steppe people. This at a time, the 13th century, when in Western Europe kings ruled by divine right, no rules need apply.

-Given that within his empire, virtually every religion, including Christianity, Islam and Buddhism, was represented, Chinggis Khan decreed total religious freedom for everyone, though he himself worshiped the traditional Mongol spirits and always had a shaman in attendance in his camps.

-The Mongols had no written language. Once they found themselves administering an empire that was almost 6000 miles from east to west, that had to change. Since the Uighers are closely related to the Mongols (Xinjiang in China in their homeland) and already had a perfectly serviceable writing system, Chinggis Khan simply adopted it. That, plus the addition of professional administrators from China and other countries like Persia, and bureaucratic paperwork, Mongol-style, was born.

-Most Americans have heard of the fabled Pony Express, which operated for a short time in the 19th century American West. The Mongols had the “arrow messengers”, a system of fast riders. The stations were about twenty miles apart and staffed by about twenty-five families. The system survived from the 13th to 18th centuries, when it had sixty-four stations. Chinggis Khan knew that efficient, reliable communication was essential for administering the empire.

-Under Khubilai Khan in China (the empire had split into four parts by that time), the Mongols: “guaranteed landowners their property rights, reduced taxes and improved roads and communication”. They reduced by almost half the number of capital offenses that had existed under their predecessors, substituted fines for physical punishment and moved to limit the use of torture (evidence had to be gathered first; physical compulsion was a last resort) at the same time European authorities, both church and state, were expanding it through, among other things, the creation of institutions like the Inquisition, no evidence sought or used.

-Khubilai Khan greatly expanded the use of paper money, which Marco Polo remarked on, creating opportunities for both credit and bankruptcy. No one could declare bankruptcy to avoid debts more than twice. A third time could lead to execution. The money was made from mulberry bark, cut into various sized rectangles, marked and stamped.

-Unlike the Romans and their enthusiasm for blood sports, the Mongols had a cultural abhorrence, mentioned earlier, of bloodshed. They had no interest in pitting animals against each other for entertainment. Execution of criminals was not a public spectacle as was so prevalent in Europe.

-What made Chinggis Khan’s, and his descendant’s, empire tick was trade, on a massive scale. Under the Pax Mongolica, the Silk Road flourished like never before or since. The quantity and quality of goods that flowed between east and west was incredible. A partial list of what the author mentions includes: silk (of course, and in massive amounts), bronze knives, wooden puppets, iron kettles, board games, perfume and makeup, musk, indigo, jewelry, wine, honey, cinnabar and sandalwood. It was the closest thing to a global economy until relatively recently.

The author, Jack Weatherford, has produced a compelling, compulsively readable account of how one man, starting from nothing, even being kept a slave for some period of time, rose to become the ruler of the world’s largest empire and, in doing so, laid much of the groundwork for the world we know today.

And…. he has a new book coming out on Feb. 16, The Secret History of the Mongol Queens: How the Daughters of Genghis Khan Rescued his Empire.

Genghis Khan and the Making of the Modern World by Jack Weatherford, Three Rivers Press, New York, 2004

Mongolia Monday- New Mongolian Grammar Book

I got an email a month or so ago from one Munkhbayar Barmunkh, with a link to the Amazon page which offered the above book- a new, as of Sept. 2009, Mongolian grammar textbook. He turns out to be the publisher. I ordered it immediately.

The author, Khatantuul Baatarsukh,  has a BA in International Relations and Slavic Studies from the School of Foreign Services at the National University of Mongolia. It was clearly a labor of love. She says in the Preface, “Writing this book was a daring project, for it has many critics. My motivating force was the love and fascination of the art of language. My inspiration comes from life.”

As some of you know, I’m trying to teach myself Mongolian. I’m using: a Transparent Language course ; listening to Mongolian music via both CDs I’ve purchased and TsahimRadio, an internet radio station run by a Mongolian Facebook friend; and asking Mongol friends to translate words and phrases for me. I also have the Lonely Planet phrase book, which is dated in some unfortunate ways, but still very useful; and Mongolian/English and English/Mongolian dictionaries that I brought back in July.

I just bought Bento, the Mac-based consumer datebase app. I’m going to do my own word list since I need a specialized vocabulary of art and craft terms so that I can start to communicate with the felt craft coop ladies.

There doesn’t seem to be much else available that isn’t either really expensive or doesn’t fit my needs. I haven’t diagrammed a sentence since 8th grade (am I dating myself?), but I think this book will be quite helpful.

Mongolian is structured differently than English. The word order is more like German: Subject, object, verb. Verbs are modified by endings, so while I can look up a verb’s root word in the dictionary, I’ve had no idea how to use it correctly in a sentence. One exception is “gui”, which creates a negative. So, “chadakh” means “can” and “chadakhgui” means “cannot”.

The main problem that I have in learning a language is that I have a visual memory. That is, I store and retrieve information in images, for the most part. It makes remembering things like strings of numbers interesting. So, I find it difficult to make sense out of the terms for cases and how to relate them to anything. I’m hoping this grammar will help me sort that out, one way or another. I may just have to learn it by rote, which is ok, too.

All the text is in English and Mongolian cyrillic, which is almost, but not quite, the same as the Russian alphabet. There are lots of practice exercises, with a key at the back.

This book is not for beginning language students. I know just enough to start to beat my way through some of it. It will go with me on my next trip, though.

I invite both the author and publisher to add more information or comments, along with anyone else who has the book or would like to offer ideas/comments about the Mongolian language.

Mongolia Monday- “Among the Mongols” Book Review

I have built up a decent collection of books about Mongolia from a number of sources and now have most of what is readily available, some of which have been reviewed in past posts here, here and here. This one was a major find, however. It fits into what is really a sub-genre of travel literature: books written by western missionaries who have gone to “exotic” faraway places to seek converts to Christianity, something I will say up front that I have no sympathy with whatsoever.

“Among the Mongols” (The Religious Tract Society, 1888) is, however, a delight from beginning to end. The Rev. James Gilmour may have originally gone to Mongolia to save souls, but seems instead to have had a romping good time spending 21 years traveling from ger to ger across the countryside learning as much as he could about the Mongols and their culture, including the language, providing free medical treatment and talking about the Bible when opportunity permitted. About halfway through the book he allows as how he never gained a single convert and then writes two entire chapters explaining why converting the Mongols is almost impossible and maybe even not such a good idea. The second chapter is called “The Mongols’ Difficulties About Christianity”. And then it’s back to important business- how the Mongols celebrate Tsagaan Sar, their New Year. Here’s a quote from that chapter on how Mongols eat that demonstrates his good-humored enthusiasm and eye for the telling detail:

As soon as the banch (small meat turnovers) was finished, every man pulled out his knife and set to work on the meat (a large platter of mutton). It is a little alarming to see a Mongol eat. He takes a piece of meat in his left hand, seizes it with his teeth, then cuts it off close to his lips. The knife flashes past so quickly and so close to the face, that a spectator, seeing it for the first time, has his doubts about the safety of the operator’s nose. Practice makes them expert, and their hand is sure, and I have never heard of any one, even when drunk, meeting with an accident in this way. The configuration, too, of the Mongol face makes this method of eating much safer for them than for us. A Mongol’s nose is not that prominent, sometimes hardly projecting beyond the level of the cheeks, and the foreigner’s nose lays him under a considerable disadvantage in dining after the Mongol fashion. “

Needless to say, Highly Recommended! More excerpts to come.

You can purchase your own copy here and here. Don’t pay over $30 for a decent copy. There is the London edition, which is the one pictured above, a US edition (cited by Michael Kohn in Dateline:Mongolia as recommended reading) and a new paperback reprint.

11 Recommended Drawing Books For Animal Artists

by Bob Kuhn

Obviously, drawing skills are fundamental for the creation of visual art, whether it’s representational or not. By “drawing” I mean having the hand/eye motor coordination to make the marks you want, where you want them and the way you want them with your tool of choice, whether or not you approach your work using lines or shapes.

For the purposes of this post, however, I am talking about the use of “dry media”- pencils, charcoal and the like on supports such as paper and canvas. Plus the ability to represent an animal realistically and accurately. It goes hand-in-hand with the development of what I’ll call “visual judgment”, which is how you learn when you’ve made a mistake and what you have to do to fix it.

Part of the inspiration for the following comes from a comment thread I recently saw on Facebook in which an artist flatly stated that “passion” was the most important component of a painting. I would submit that passion uninformed by technical skill in areas such as drawing, design, form, structure, light, value, color and the handling of edges creates work that might have a certain initial level of visual excitement, but won’t stand the test of time or even close scrutiny. To my mind, lack of skill creates visual distractions that get in the way of the artist’s ability to express their passion. I also think that it can be used as a convenient excuse to get out of the hard work (it is HARD and it is WORK) of creating art.

by Walter J. Wilwerding

I recently was a member of the jury which evaluated applications for membership in the Society of Animal Artists. Five votes were required for acceptance. The  jurors were all artists with very keen eyes who were also uncompromising in their standards. I enjoyed the experience very much, both for the chance to see a lot of animal art and to learn from the other jurors. It was an objective process. The judging was not based on “like” vs. “not like” or “passion” or other vague emotional responses. The drawing of the animal was the first thing we looked at, whether it was a painting or a sculpture. Accuracy and an understanding of the structure of a species, plus a firm grasp of basic anatomy (“A leg can’t bend that way.”) were key. If the drawing of the animal was faulty, the application was rejected. It was one of the most consistent problems I saw in the work we viewed.

If, after taking a long, objective look at your work, you can see that there is room for improvement in your drawing skills, consider these books, which are from my own library and that I have found useful over the years. In no particular order:

-Drawing and Painting Animals by Edward Aldrich

-Animal Drawing, Anatomy and Action for Artists by Charles R. Knight

-Animal Drawing and Painting by Walter J. Wilwerding

-The Art of Animal Drawing by Ken Hultgren

-Drawing Animals by Victor Ambrus

-The Animal Art of Bob Kuhn…A Lifetime of Drawing and Painting by Bob Kuhn

-Drawing With An Open Mind by Ted Seth Jacobs

-The Pencil by Paul Calle

-Fast Sketching Techniques by David Rankin

by Charles R. Knight

And, for animal anatomy, you need both of these:

An Atlas of Animal Anatomy for Artists by W. Ellenberger, H. Dittrich and H. Baum

Animal Anatomy for Artists, The Elements of Form by Eliot Goldfinger

by Ken Hultgren

I’m sure that there are other good and useful books about animal drawing and anatomy and I invite you to share them via the comments section.

New Wildlife Art Magazine Debuts!

I just found out this afternoon that Wildlife Art Journal is now up and running. Members of the Society of Animal Artists got a heads-up a few months ago and we were able to view a preview version, but the real thing is available now here. Todd Wilkinson, who many will remember from his excellent articles in the old Wildlife Art magazine, is the editor and co-publisher of this new online-only publication. The plan is to update the content on an on-going basis instead of using the old monthly print magazine model. There is a blog also. It’s obvious that a tremendous amount of work and care have gone into creating this, driven by a deep love of wildlife and animal art.

I personally want to wish them all the very best!

No Electricity, No Problem?… And Plein Air Painting in 1930s Scotland

I may have found the perfect solution to safely heating water in a ger without a fire or electricity. Whoever designed this really backed up and asked themselves what problem they were trying to solve. And what they came up with was this:

Esbit Pocket Stove

Esbit Pocket Stove

This is obviously perfect for backpackers or anyone who might find themselves in a survival situation. The two upright ends fold down flat, so the dimensions are 3″x4″x 3/4″. It weighs 3.25 oz and is made in Germany, can you believe it. I haven’t tried it out yet, but it uses a solid fuel that is non-explosive. It burns about 13 minutes and is supposed to boil a pint of water in about 8 with no smoke. No kerosene bottles or other stuff that the airlines don’t like or allow.

I’ve thought of another use for it, too. Last winter around eight children died in Mongolia when they got caught out in an unexpected storm while herding animals and couldn’t get back home. What if they had had something like this to stay warm long enough for rescuers to find them? And the adults who also died in the cold too, of course. I’m going to see what I can find out about the issue when I’m there and see what might be done.

Plein Air Information Discovery!

I’ve been down with a cold since a week ago Saturday and it’s been a tenacious one. I’m almost over it, but still needing to take it easy. I’ve been doing a lot of resting and reading and decided to dive into the Peter Wimsey mysteries by Dorothy Sayers. I’m not a mystery fan, but I love these because they are so delightfully and excruciatingly English. I just started “Five Red Herrings”, which takes place in the western borderlands of Scotland. The area is heavily populated with artists, one of whom doesn’t play well with others and is deceased by page 17. Wimsey visits the site where the body was found. It appears that the artist was painting on location, took one step too far back from the work in progress and fell off a cliff, the kind of thing that can be an occupational hazard for those working in the great outdoors. In any case, Wimsy thoroughly paws through all the artist’s things, possibly providing clues but absolutely recording what a plein air painter in Scotland circa 1930 would be hauling around.

He gave his first attention to the picture. It was blocked in with a free and swift hand, and lacked the finishing touches, but it was even so a striking piece of work, bold in its masses and chiaroscuro, and strongly laid on with the knife.”

“Idly, Wimsey picked up the palette and painting-knife which lay on the stool. He noticed that —– used a simple palette of few colors, and this pleased him, for he liked to see economy of means allied with richness of result. (My emphasis. Wouldn’t we all?) On the ground was an aged satchel, which had evidently seen long service. Rather from habit than with any eye to deduction, he made an inventory of the contents.

In the main compartment he found a small flask of whiskey, half-full, a thick tumbler and a packet of bread and cheese, eight brushes, tied together with a dejected piece of linen which had once been a handkerchief but was now dragging out a dishonored existence as a paint-rag, a dozen loose brushes, two more painting-knives and a scraper. Cheek by jowl with these were a number of tubes of paint. Wimsey laid them out side by side on the granite, like a row of little corpses.

There was a half-pound of vermilion spectrum, new clean and almost unused, a studio-size tube of ultramarine No. 2, half-full, another of chrome yellow, nearly full and  another of the same, practically empty. Then came a half-pound tube of viridian, half-full, a studio-size cobalt three-quarters empty, and then an extremely dirty tube, with its label gone, which seemed to have survived much wear and tear without losing much of its contents. Wimsey removed the cap and diagnosed it as crimson lake. Finally, there was an almost empty studio-size tube of rose madder and a half-pound of lemon yellow, partly used and very dirty. The large compartment, however, yielded nothing further except some dried heather, a few shreds of tobacco and a quantity of crumbs, and he turned his attention to the two smaller compartments

In the first of these was, first, a small screw of grease-proof paper on which the brushes had been wiped; next, a repellent little tin, very sticky about the screw-cap, containing copal medium; and thirdly, a battered dipper, matching the one attached to the palette.

The third and last compartment of the satchel offered a more varied bag. There was a Swan vesta box, filled with charcoal, a cigarette-tin, also containing charcoal and a number of sticks of red chalk, a small sketchbook, heavily stained with oil, three or four canvas separators, on which Wimsey promptly pricked his fingers, some wine corks and a packet of Gold Flakes.”

“A wide cloak of a disagreeable check pattern lay beside the easel. He picked it up and went deliberately through the pockets. He found a pen-knife, with one blade broken, half a biscuit, another pack of cigarettes, a box of matches, a handkerchief, two trout-casts in a transparent envelope, and a piece of string.”

I find it interesting that the paint is measured in pounds. With variations for personal taste, however, I suspect that any regular plein air painter’s kit today would have a similar accumulation of odds and ends. But….Peter noticed that something was missing. And since I’m only on page 50, I haven’t the faintest idea what it is and wouldn’t say anyway.

Visit the AFC site here

Mongolia Monday And A Schedule Adjustment

As I am about two months out from my Mongolia trip, I’ve decided to consolidate my blog posts to Monday and then do quick updates as needed on other days of the week. For the next few months, most posts are going to have Mongolia content as I share my preparations and, with luck, the trip itself.

MONGOLIA MONDAY

I have my plane tickets and will be leaving on July 5, staying overnight in Seoul, Korea and arriving in Ulaanbaatar on the afternoon of the 7th. I’ll be taking the local United Express flight to San Francisco, Asiana to Seoul and MIAT to UB, and doing it in reverse without the overnight for my return on July 30. My current plan is to attend the National Naadam celebration in UB and then, in some order still to be determined, spend a day or two at Hustai seeing the takhi, travel to the Gun-Galuut Nature Reserve and the Baga Gazariin area to explore the argali habitat in those places, with hopes that I will be able to see and photograph them.

The one “appointment” that I have is to be at Ikh Nartiin Chuluu the week of the 20th for three days of meetings with the herder women to discuss their ideas for a crafts cooperative, which I plan to support. For this purpose, and for other projects that might come up in the future, I have established a non-profit association, Art Partnerships for Mongolian Conservation (APMC). Our mission will be to use the arts to promote conservation in Mongolia. My 501(c)3 sponsor is the Denver Zoological Foundation, which has set up an account for me so that donations made to APMC are tax-deductible. For more information, email me at sfox@foxstudio.biz.

SKETCHING VS. DRAWING

Last week I said that I would do a book review of an excellent “drawing” book. I got it out recently to use as a guide for honing my field sketching techniques for the upcoming Mongolia trip (see how it’s all dovetailing?). It’s called “Fast Sketching Techniques” by David Rankin, who, as it happens, won an AFC Flag Expedition Grant a couple of years ago to travel to the source of the Ganges River in India, one of his most favorite countries. He, dare I say it, draws a very useful distinction between drawing and sketching and does it in a way that I think encourages people to pick up a pencil and paper and give it a go.

Here’s where you can find it on Amazon, but it looks like it has gone out print, so you might end up with a good used copy. I highly recommend it. Here are a few pages to give you an idea of David’s approach. He is a signature member of the Society of Animal Artists, has been in every major wildlife art show multiple times and is an excellent teacher and “critiquer”. In short, he knows his stuff.

Book cover

Book cover

The difference between drawing and sketching

The difference between drawing and sketching

Quick, simple sketches that catch the essence of the subject without getting bogged down in detail

Quick, simple sketches that catch the essence of the subject without getting bogged down in detail

An example of how he interprets a scene quickly

An example of how he interprets a scene quickly

Using pause on a tv recorder to do quick sketches

Using pause on a tv recorder to do quick sketches

Instruction on how to work at zoos sketching animals

Instruction on how to work at zoos sketching animals

Next week, I’ll have post some of the sketch work I’ve been doing in order to get up to speed for the real thing.

Mongolia Monday- “Required” Reading, Part 3

For the final installment of my list of “must” reads for anyone interested in Mongolia, I offer three books: One about a place and two about people.

gobi-john-manThe word “Gobi” is a byword for dry/arid/trackless/endless desert. In fact, there is a saying, “Dry as the Gobi”, to describe an extreme lack of moisture. Would it surprise you to know that the best, sweetest vegetables grown in Mongolia come from the Gobi? Or that snow leopards live there? Or that there is a forest with trees that have wood so dense that a piece of it sinks when thrown in water? Author John Man realized his dream of traveling to the Gobi (which is the word for “desert” in Mongolian) and then wrote this excellent book, Gobi, published in 1997, about his journey there, along with lots of excellent information on the human history, natural history, geology and paleontology of this remote and fascinating part of the world.

“We stopped to confer, and I unfolded the map on the bonnet. The Flaming Cliffs were definitely west, they had to be…..In the distance, a ger appeared, standing out of the desert as clear as a mushroom on the moon….Inside, the woman of the ger was distilling camel’s milk, boiling it in an immense pot, capturing the essence as it condensed, drop by drop. We received tokens of hospitality: camel’s curd, hard and sharp as parmesan, and a dish of distilled camel’s milk. It was a nectar of transparent purity, like vodka to look at, but with its alcohol content disguised bya smooth and subtle texture.”

This was one of the first books I read after my first trip to Mongolia in 2005 and it was, in part, the inspiration for my own trip to the Gobi in 2006. Re-acquainting myself with it for this review, I saw in the Acknowledgements two familiar names: wildlife artist Simon Combes, who Man encountered in the Altai Mountains when Combes was there gathering snow leopard information for his Great Cats series of paintings and Dr. Richard Reading, who was the scientist in charge of the Earthwatch project, Mongolian Argali, that was my means of getting to Mongolia the first time in spring of 2005. You’ll be hearing more about Dr. Reading in the not-to-distant future.

Gobi by John Man, Weidenfeld & Nicolson 1997

dragon-hunterEvery Westerner who goes to the Gobi is, to some extent, traveling in the footsteps of Roy Chapman Andrews, who organized and carried out his series of five Central Asiatic Expeditions from 1922 to 1930. Andrews was about as close to a real life Indiana Jones as one is likely to find. Dragon Hunter, by Charles Gallenkamp, tells the story of Andrews’ life and his amazing adventures. He made his reputation at The Flaming Cliffs in the Gobi, where he and his fellow scientists found some of the most important fossils in the history of paleontology. Which was ironic, because Andrews was in Mongolia on a mission laid out by his boss at the American Museum of Natural History in New York to find evidence that man had originated in Asia, not Africa; a goal tinged with more than a bit of racism.

“It was agreed by everyone that the primary objective of the 1923 expedition should be The Flaming Cliffs. Shackelford’s unidentified dinosaur skull, the egg-like fragment found by Granger, and prolific array of bleached bones littering the ground and eroding out of the sculptured formations offered an irresistable lure.”

You can see my photo of The Flaming Cliffs at sunset and Mongolian dinosaur fossils on my website under “Mongolia/Mongolia 2006 photos/items 4 and 1

Dragon Hunter by Charles Gallenkamp, Viking 2001

women-of-mongolia

Women of Mongolia is a truly wonderful collection of first person narratives that introduce us to women from every part of Mongolian society: city and countryside, professionals and laborers. I was struck by their strength, practicality and resourcefulness, all of which were necessary for them and their families to survive the transition from socialism to a market economy. The photos in the book may make them seem distant and exotic, but once you start reading, you realize how much we have in common even though the details of their lives are very different from the average American.

A herder woman: “What do I do all day? There’s plenty to do! First I get up at around six o’clock in the morning to milk the cows. My daughter helps me. We have nineteen cows to milk, so it takes around one hour. After that I do various other jobs. I go to bed around ten or eleven in evening. We make everything here. Yes, the wheels of the carts outside are an example. My husband makes them, out of wood. We use the carts to move the ger and our belongings. They are pulled by oxen. I make all the ropes out of horsehair – you can see them on the outside of the ger, holding down the felt.”

An anthropologist: “I recently founded a new Department at the University, so right now I am rather busy. I’m head of the Department of Anthropology and Archaeology at the Academy of Sciences, and also head of the new Department of Anthropology at the National University…The focus of my own work has been craniological study…..How did I get started in this work? I graduated from the Moscow State University in anthropology because that is what the government told me to study.”

Women of Mongolia by Martha Avery, Asian Art and Archaeology/University of Washington Press 1996

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And, on a different note: join Lonely Planet Mongolia author Michael Kohn as he takes the train from Ulaanbaatar to Beijing and beyond.