beauty and evil

A Desecrated Beauty

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An encounter with beauty may provide a gateway to what is holy. For beauty often embodies and expresses something sacred. When this is so, a violation or desecration of beauty can strike us as having the character of evil.

When apparent destruction befell Notre Dame cathedral in Paris, or earlier upon the Golden Spruce tree in the Queen Charlotte Islands, British Columbia, people learning about these events were shocked and in mourning. In the case of Notre Dame, a devastating fire accidentally accompanied repair work on the building. But with the Golden Spruce, a  willful human act destroyed a spiritually significant tree.

The several hundred year old Golden Spruce became widely known based on news reports of its loss, and through a subsequent book by John Vaillant. An extremely rare genetic mutation occurred in one of a very large species of trees common to the Pacific Northwest, the Sitka spruce. Vaillant tells the story of this beautiful tree, which was known as Kiidk’yaas to the First Nation Haida people. The Golden Spruce was revered through a mythical spiritual story retold over countless generations in Haida oral tradition.

The author draws us in to the significance of this particular tree for the Haida and for many others, including the person who figures principally in his narrative, Grant Hadwin. He was a forester and logger who developed a reputation for having extraordinary skills as a woodsman who possessed seemingly superhuman physical strength and endurance. Paradoxically for someone whose livelihood depended upon employment by forest product companies, Hadwin over time developed an increasing antipathy toward the detrimental effects of commercial logging and the forest clear-cutting with which he and the industry were associated. Over time he became known as a radical environmental activist, whose views may have been inspired by some remarkable spiritual experiences.

Vaillant lays the groundwork for his story about the Golden Spruce by offering a compelling introduction to the ecosystem of the Pacific Northwest coast and its islands. The reader comes to appreciate the unique habitat within which early European explorers and traders found the huge trees of the old growth forests. These trees include Douglass Fir, Western Red Cedar, and the Sitka Spruce, which in diminishing numbers are still seen today. The reader also learns about the history and culture of the Haida, and the detrimental impact caused first by Sea Otter pelt traders, and then by foresters, upon what became British Columbia, its islands, lands and first peoples. Given this background, one might expect that Grant Hadwin would somehow be the hero of the story, given his abilities, integrity, and emerging commitments.

The central irony of the narrative centers on Hadwin’s concern about the rapacious devastation of the old growth forests by commercial interests and their professional employees, who generally approach the land’s natural endowments as resources to be exploited, quickly and extensively. Yet, Hadwin himself targeted the Golden Spruce, seeing it as a corporate ‘pet,’ falsely preserved by a company in a park-like artificial island of nature, surrounded by lands violated by those who had no care for them. In the process, Hadwin – through an apparent combination of correctable ignorance and oversight – seemed surprised and defensive when he learned about the Golden Spruce’s significance for the Haida, on whose lands it had long stood.

In this book, the author accomplishes several things that taken together may seem incongruous. We gain a regard for the immense scale of the old growth forests of the Pacific Northwest, the towering size of their tall trees, and the hundreds or even thousand years over which some of them have grown undisturbed. We become aware of the astonishing danger and rate of mortality associated with tree felling, while coming to admire something of loggers’ courage and tenacity. And our righteous anger is stirred by the corporate appropriation of natural resources for commercial benefit at the expense of the cultural and spiritual significance of forests. For forests number among special places that have long reminded people of our higher values, and are a context where we can rediscover deeper purpose and meaning for our lives.

Vaillant  leaves us with another unresolved sense of paradox. It is prompted by the knowledge we gain of how the Haida, long feared as brutal victimizers and enslavers of other First Nation peoples, themselves became victims of hostile social, economic and geographical forces. Against this backdrop, we learn how a well-liked man, who was regarded as having extraordinary skills and integrity, and who might once have been defended by the Haida, perpetrated a bewildering act of environmental desecration and came to be seen by them as an enemy of their spiritual history and culture.

Kiidk’yaas, the Golden Spruce may be gone. The transcending beauty it had, and which it still represents, will last.

A sapling from Kiidk’yaas

The Beauty of Matsumoto and its Castle

Matsumoto Castle, Nagano Prefecture, Japan

 

Many will remember the Nagano 1998 Winter Olympic Games, which were located in a region commonly referred to as the Japanese Alps. I was blessed to have the opportunity to camp there as a Boy Scout when growing up in Japan. Like the region in Europe for which this mountainous area is often named, Nagano has abundant snow in the winter, as well as hot and humid summers.

Matsumoto attracts many to the city and area for reasons apart from its attractive geography and its winter and summer recreational offerings. The region also has a strong history related to the revival of the Japanese folk art movement. Yet, the main association many will have with Matsumoto and Nagano Prefecture is the beautiful Matsumoto Castle (1594). It is typically ranked as being among the top three preserved historic and traditional Japanese castles, along with Himeji and Kumamoto Castles, and it remains my favorite among them.

Recently, I raised a question regarding how and why beauty might emerge from, and / or be expressed within the context of evil (https://towardbeauty.org/2022/02/26/the-beauty-of-picassos-guernica/). Matsumoto Castle was planned and built within the circumstances of clan warfare, to be a place from which warriors might spring to attack while also providing a place of safe refuge.

Yet, look at this remarkable ornamental structure, with its far beyond functional sweeping (and finally upturned) pagoda-like roof overhangs. Noticing this alerts us to the similarity between these architectural elements and those of strictly religious structures from a much earlier heritage, whether Buddhist or Shinto, like Matsumoto’s Zenkoji Temple (photo below).

Zenkoji Temple

So why, then, would feudal warlords build a castle, principally ordered toward physical safety through providing refuge from or preparation for lethal battle, by erecting a building resembling a temple or a shrine? This question is worth considering.

Possible answers to this question might involve speculation about the following: powerful and wealthy heads of clans desiring their dwelling places to resemble structures representing the highest artistic achievement of their culture; shrines and temples, as well as the abodes of princes and feudal lords, providing peaceful havens for rest and restoration for themselves and their families; and, people willing to live and die for what they worship with their deepest beliefs and commitments, as well as for what they most fear losing, whether spiritual or material.

I suspect the explanation lies in a complex mix of these several considerations.

We might also reflect on how, by contrast, medieval European castles generally evidence a primary concern for physical safety in the face of armed hostility, with aesthetic considerations not absent but distinctly secondary. How remarkable it is, then, to regard the principal surviving ancient Japanese castles, now visited by vast numbers of people who marvel at their peaceful beauty, and who can only vaguely imagine the warrior circumstances of their earliest inhabitants.

The Beauty of Picasso’s Guernica

 

 

It was probably in the summer of 1974 when I first stood before this remarkably stirring painting, Guernica, by Pablo Picasso (at MOMA, NYC). His fullest creative talents, as well as sensitivity to many aspects of our common human condition, came together to help him produce this recognized masterpiece. Not the least of the key features of this painting was his decision to render the composition in black, white and shades of grey.

Remember that he was ‘Pablo,’ not ‘Pierre,’ Picasso -that he was a Spaniard by birth, and in important ways, by self-identification.

In the context in which I compose these words, with Russia presently invading Ukraine, Picasso’s painting, and National Geographic’s somewhat unexpected reference to it at this moment, I am once again reminded of my recent visit to the Calder and Picasso exhibit at MFAH (Museum of Fine Arts, Houston). The image below, featured early in the walk through of that exhibit, shows Calder standing in front on Picasso’s Guernica, looking at his own contribution to the Spanish Pavilion for the 1937 Paris International World’s Fair.

Noting these precedents, I want to raise a question, which cannot simply or quickly be answered. What is the role of art, and of our exploration of beauty, in relation to the reality of evil?

A powerful example of a response to this question is provided by Illya Repin’s painting, Ivan the Terrible and his Son Ivan (1581). A more recent example is Francisco de Goya’s 1814 painting, The Third of May. And, of course, so many portrayals of the crucifixion of Jesus.

A partial answer to the question I have posed is to say at least this: art and the exploration of beauty has the potential to remind us of our common humanity, and especially of the ideals we attach to our best and shared perceptions of what it means to be human – even in the face of evil and of death.

Picasso’s Guernica provides a compelling example of a good answer to this question.