Audio and Image List

Blooming lily pads on a pond.

Audio (available on the website)

Thoughts About Word and Image

  • Stephen Foster (1826–1864), “Why, No One to Love,” sung by Arleen Auger, Delos International, Inc. 1992

Chapter 2

  • Erich Korngold, Die tote Stadt “Marietta’s Song,” sung by Renée Fleming, “The Beautiful Voice,” with the English Chamber Orchestra, Jeffrey Tate, audio CD, Decca 2018

Chapter 3

  • Max Bruch (1838–1920), Violin Concerto no. 1 in G Minor, op. 26: second movement, adagio, performed by Joshua Bell, The Romantic Violin, audio CD, Decca 2004

Chapter 11

  • Stephen Foster (1826–1864), “Why, No One to Love,” sung by Arleen Auger, Delos International, Inc. 1992

Images (appearing in the book)

Cover and Opening Invitation to Behold

  • Katsushika Hokusai (1760–1849), Boy Viewing Mount Fuji, ca. 1839, ink and color on silk, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC, Gift of Charles Lang Freer (1853–1908)

Coda: Returning home

  • 12.1 Rembrandt van Rijn, Return of the Prodigal Son, ca. 1669, State Hermitage Museum, St. Petersburg, Russia

Images (appearing in the book)

Cover and Opening Invitation to Behold

  • Katsushika Hokusai (1760–1849), Boy Viewing Mount Fuji, ca. 1839, ink and color on silk, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC, Gift of Charles Lang Freer (1853–1908) 

Coda: Returning home

  • 12.1 Rembrandt van Rijn, Return of the Prodigal Son, ca. 1669, State Hermitage Museum, St. Petersburg, Russia

Images (appearing on the website)

The images listed below include photographs and schematics by the author, works of art in the public domain, images drawn from online sources, and slides scanned from the Amherst College Visual Resources teaching collection. The date, medium, and location of works of art are given in full on their first mention.

Front Matter:

Thoughts About Word and Image

  • Jan van Eyck (ca. 1390–1441), Madonna of Chancellor Rolin, 1430–34, oil on panel, Musée du Louvre, Paris, France 

An Opening Invitation to Behold

  • Katsushika Hokusai (1760–1849), Boy Viewing Mount Fuji, ca. 1839, hanging scroll, Japanese paper, wood, ink and color on silk, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington, DC, Gift of Charles Lang Freer (1853–1908)
  • Katsushika Hokusai, Boy Viewing Mount Fuji

 

Introduction

  • 0.1 Two water lily blossoms, Ryoan-ji, Kyoto, Japan (author)
  • 0.2 Bamboo path, Kyoto, Japan ( author)
  • 0.3 Milo Kalambokis, Autumn Light, 2020, tempera on panel, private collection

 

I. Preparation

Chapter 1: Beginning—In Silence and Solitude

  • 1.1 Outer Gate I, Ryoan-ji, Kyoto, Japan (author)
  • 1.2 Outer Gate II (author)
  • 1.3 Curving path (author)
  • 1.4 East Gate (author)
  • 1.5 Pond with moored boat (author)
  • 1.6 Pond with two rocks (author)
  • 1.7 Pond with two rocks and still water (author)
  • 1.8 Pond with ripples (author)
  • 1.9 Matsuo Bashō, text, “Breaking the silence …”

Chapter 2: Reconciliatory Longing—A Condition of Our Human Being

  • 2.1 Vincent van Gogh, Wheatfield with Crows, 1890, oil on canvas, Van Gogh Museum, Amsterdam, Netherlands
  • 2.2 Conscious Awareness in Relation with Infinite Wholeness I, schematic (author)
  • 2.3 Cathedral of Chartres, France, 12th–16th century; a. north transept windows; b. south transept windows, 13th century
  • 2.4 Kasimir Malevich, Suprematist Composition: White on White, 1918, oil on canvas, Museum of Modern Art, New York, New York
  • 2.5 A teacher’s color value chart, after Carl N. Schmalz, Watercolor Your Way: How to Analyze, Identify, and Develop Your Style (New York: Watson-Guptill Publication, 1978)
  • 2.6 a. Hans Hofmann, Sommernachtstraum, 1957, oil on canvas, Buffalo AKG Museum, Bufallo, New York, gift of Seymour H. Knox Jr., 1958; b. Mark Rothko, No. 1, 1961, pigment of hide glue and oil on canvas, National Gallery of Art, Washington D.C., gift of the Mark Rothko Foundation, Inc., © 1998 Kate Rothko Prizel & Christopher Rothko; Giorgio Morandi, Still Life, 1955, oil on canvas, National Gallery of Art, Washington, D.C., gift of Mr. and Mrs. Harry Lenart in honor of Rusty and Nancy Powell
  • 2.7 Bosch-Gallery, museum installation, Prado, Madrid, Spain
  • 2.8 Hieronymous Bosch, Garden of Earthly Delights, ca. 1500–10, oil on panel, exterior, Prado, Madrid, Spain
  • 2.9 Hieronymous Bosch, Garden of Earthly Delights, ca. 1500–10, oil on panel, interior, Prado, Madrid, Spain
  • 2.10 NASA, Earth from Space, 2002
  • 2.11 William Anders, Earthrise, 1968 (NASA)
  • 2.12 a. William Anders, Earthrise, 1968; b. NASA, Earth from Space, 2002
  • 2.13 Bruges, Belgium, early morning (author)
  • 2.14 Bruges, Belgium, Madonna and Child indicated (author)
  • 2.15 Bruges, Belgium, Madonna and Child indicated (author)
  • 2.16 Bruges, Belgium, Golden Hand Street, Madonna and Child (author)
  • 2.17–2.27 Bruges, Belgium, Madonna and Child (author)
  • 2.28 Contradictory Epistemologies, schematic (author)
  • 2.29 Embracing Contradiction, schematic (author)
  • 2.30 Collaborating Epistemologies, schematic (author)
  • 2.31 Eruditio, schematic (author)
  • 2.32 Sapientia, schematic (author)
  • 2.33 Conscious Awareness in Relation with Infinite Wholeness II, schematic (author)

 

II. Setting Out

Chapter 3: Focused Attention and Open Awareness—Rembrandt van Rijn

  • 3.1 The Interval of Contemplative Beholding I (author)
  • 3.2 New England wall (author)
  • 3.3 Robert Frost, “Mending Wall,” horizontal schematic (author)
  • 3.4 Barnett Newman, Vir Heroicus Sublimis, oil on canvas, 1950–51, Museum of Modern Art, New York, New York
  • 3.5 Gallery, The Metropolitan Museum of Art, New York, New York (author)
  • 3.6 Gallery, The Metropolitan Museum of Art, New York, New York (author)
  • 3.7 Gallery, painting, The Metropolitan Museum of Art, New York, New York
  • 3.8 Gallery, painting with label, The Metropolitan Museum of Art, New York, New York (author)
  • 3.9 Museum label, information as the virtual equivalent of the painting, overlay (author)
  • 3.10 Rembrandt van Rijn, a. Blinding of Samson, 1636, oil on canvas, detail, Stӓdel Institut, Frankfurt am Main, Germany; b. Portrait of a Young Lady, 1626, oil on canvas, detail, Akademie der Bildenden Künste, Vienna, Austria
  • 3.11 Rembrandt van Rijn, Blinding of Samson, a. detail of Delilah; b. detail of witness
  • 3.12 Rembrandt van Rijn, Blinding of Samson, detail of blinding
  • 3.13 Rembrandt van Rijn, Blinding of Samson, detail of fist and signature
  • 3.14 Rembrandt van Rijn, a. Blinding of Samson; b. Portrait of a Young Lady
  • 3.15 Rembrandt van Rijn, Blinding of Samson, in situ (author)
  • 3.16 Rembrandt van Rijn (?), Scholar in a Lofty Room, ca. 1628–29, oil on wood, National Gallery, London, United Kingdom
  • 3.17 Rembrandt van Rijn, Aristotle with a Bust of Homer, 1653, oil on canvas, detail of paint, The Metropolitan Museum of Art, New York, New York (author)
  • 3.18 Rembrandt van Rijn, Aristotle with a Bust of Homer
  • 3.19 a. Jan van Eyck, Portrait of Giovanni (?) Arnolfini and His Wife, 1434, oil on wood, National Gallery, London, United Kingdom; b. detail of mirror with random “brushstroke”
  • 3.20 a. Franz Kline, Chief, 1950, oil on canvas, Museum of Modern Art, New York, New York; b. Richard Estes, Cafeteria, 1970, offset lithograph, Flint Institute of Arts, Flint, Michigan
  • 3.21 Rembrandt van Rijn, Artist in His Studio, ca. 1628, oil on wood, Museum of Fine Arts, Boston, Massachusetts
  • 3.22 Rembrandt van Rijn, Aristotle with a Bust of Homer, detail of color (author)
  • 3.23 Claude Monet, Rouen Cathedral, West Façade, Sunlight, 1894, oil on canvas, National Gallery of Art, Washington, D.C.
  • 3.24 Rembrandt van Rijn, Aristotle with a Bust of Homer, a. detail of right hand; b. detail of left hand
  • 3.25 Rembrandt van Rijn, Aristotle with a Bust of Homer, a. detail of right arm; b. detail of left arm
  • 3.26 Rembrandt van Rijn, Aristotle with a Bust of Homer, detail of face
  • 3.27 The Interval of Contemplative Beholding II, schematic with music, art, and science added (author)
  • 3.28 Three rectangles: horizontal, vertical, square schematic (author)
  • 3.29 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic of rectangular format with vertical extension beyond square indicated (author)
  • 3.30 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of the theoretical two-dimensional picture plane (author)
  • 3.31 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of the theoretical two-dimensional picture plane with an image of the painting (author)
  • 3.32 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic overlay of planar rotation “up” and “down” from an imagined horizontal “base” with an image of the painting (author)
  • 3.33 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic overlay of the theoretical picture plane and three-dimensional illusory space with an image of the painting (author)
  • 3.34 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of implied “bridge” to illusory pictorial space (author)
  • 3.35 Rembrandt van Rijn, Aristotle with a Bust of Homer, a. area of middle value intense red color next to Rembrandt’s signature on the bust of Homer; b. area of darker, slightly neutralized but still intense, green on the right border; c. area of neutral yellow (tan) on the left border; d. area of dark, neutral blue violet (?) across the top border indicated (author)
  • 3.36 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of chromatic movement from the lower left pictorial border to the center of the top border (author)
  • 3.37 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of chromatic complementarities (author)
  • 3.38 Rembrandt van Rijn, Aristotle with a Bust of Homer, schematic rendering of theoretical horizontal and vertical symmetry and pictorial asymmetry (author)
  • 3.39 Rembrandt van Rijn, Aristotle with a Bust of Homer, with gilt frame (author)
  • 3.40 Rembrandt van Rijn, Homer Reciting Verses, 1652, pen and brown ink, Six Collection, Amsterdam, Netherlands
  • 3.41 Rembrandt van Rijn, Self-Portrait, 1660, oil on canvas, Musée du Louvre, Paris, France
  • 3.42 a. Rembrandt van Rijn, Self-Portrait, 1660, a. detail with crown-like studio headdress; b. Bust of Homer, Roman copy of Greek original, 2nd century CE, marble, British Museum, London, United Kingdom
  • 3.43 Rembrandt van Rijn, Self-Portrait, ca.1628–29, oil on wood, Rijksmuseum, Amsterdam, Netherlands
  • 3.44 Rembrandt van Rijn, Self-Portrait, 1629, oil on wood, Alte Pinakothek, Munich, Germany
  • 3.45 Rembrandt van Rijn, Self-Portrait, 1669, oil on canvas, Mauritshuis, The Hague, Netherlands
  • 3.46 Rembrandt van Rijn, Self-Portrait, 165(7?), oil on canvas, National Gallery of Scotland, Edinburg, United Kingdom
  • 3.47 a. Rembrandt van Rijn, Self-Portrait, ca. 1628–29; b. Rembrandt van Rijn, Self-Portrait, 1629
  • 3.48 Rembrandt van Rijn, Self-Portrait, ca. 1628–29, detail
  • 3.49 Willem de Kooning, Untitled XIII, 1985, oil on canvas, The Cleveland Museum of Art, Cleveland, Ohio
  • 3.50 Plan of Aristotle with a Bust of Homer with beholder (author)

Chapter 4: Embracing the Obverse—Johann Wolfgang von Goethe

  • 4.1 Cathedral of Strasbourg, France, 1176–1439, from the northeast, early morning (author)
  • 4.2 Cathedral of Strasbourg, from the northeast, morning (author)
  • 4.3 Cathedral Square (parvis), from the south, morning (author)
  • 4.4 Cathedral of Strasbourg, from the south, foundation stones (author)
  • 4.5 Cathedral of Strasbourg, from the south, detail of stone tracery (author)
  • 4.6 Cathedral of Strasbourg, from the south, detail of stone tracery (author)
  • 4.7 Cathedral of Strasbourg, from the southwest, detail of stone tracery and aediculae with sculpture (author)
  • 4.8 Cathedral of Strasbourg, from the south (author)
  • 4.9 Cathedral of Strasbourg, from the southwest (author)
  • 4.10 Cathedral of Strasbourg, from the southwest (author)
  • 4.11 Cathedral of Strasbourg, from the south (author)
  • 4.12 Cathedral of Strasbourg, from the southeast with completed north tower (author)
  • 4.13 Cathedral of Strasbourg, from the southeast (author)
  • 4.14 Cathedral of Strasbourg, from the southwest, midmorning (author)
  • 4.15 Acropolis, Athens, Greece, from the southwest (Scott Gilchrist, Archvision, Inc.)
  • 4.16 Parthenon, Acropolis, Athens, Greece, 448–432 BCE, from the west
  • 4.17 Thomas Horner, View of the Acropolis, 19th century, oil on canvas, British Museum, London, United Kingdom
  • 4.18 Acropolis, Athens, Greece; reconstruction, with Propylea indicated by red arrow (after Gorham P. Stevens)
  • 4.19 Parthenon, Acropolis, Athens, Greece, 448–432 BCE, reconstruction, inner chamber
  • 4.20 Parthenon, architectural rendering by Josef Bühlmann (1844-1921) (Scott Gilchrist, Archvision, Inc.)
  • 4.21 Cathedral of Strasbourg, west façade
  • 4.22 Cathedral of Strasbourg, west façade, center portal and rose window
  • 4.23 Cathedral of Strasbourg, from the west (author)
  • 4.24 Parthenon, base of Doric order
  • 4.25 Parthenon, Doric order with capital and entablature
  • 4.26 a. Parthenon, architectural rendering by Josef Bülhmann; b. Cathedral of Strasbourg, engraving by Wenceslaus Hollar (1601–77)
  • 4.27 Parthenon, architectural rendering by Josef Bühlmann (vertical accents author)
  • 4.28 Cathedral of Strasbourg, engraving by Wenceslas Hollar (horizontal accents author)
  • 4.29 a. Parthenon, from the west; b. Cathedral of Strasbourg, from the west
  • 4.30 a. Parthenon, from the northwest, evening; b. Cathedral of Strasbourg, from the west, evening
  • 4.31 Cathedral of Strasbourg, from the west, morning (author)
  • 4.32 a. Schematic rendering of the embrace of the obverse realities of “experience”—“order”; b. schematic rotation of obverse realities; c. schematic rotation of multiple obverse realities (author)
  • 4.33 Cathedral of Strasbourg, western rose window, exterior
  • 4.34 Cathedral of Strasbourg, western rose window, interior
  • 4.35 Schematic rotation of obverse realities: gravity—grace (author)
  • 4.36 Takaragaike, Kyoto, Japan, early morning (author)
  • 4.37 Cathedral of Strasbourg, a. western rose window, exterior; b. western rose window, interior

Chapter 5: Measuring Contradiction—Piet Mondrian

  • 5.1 Colored circle
  • 5.2 Piet Mondrian, Geinrust Farm in a Watery Landscape, ca. 1905–06, watercolor, crayon and pastel on paper, Frans Hals Museum, Haarlem, Netherlands
  • 5.3 Piet Mondrian, Geinrust Farm in a Watery Landscape, detail of signature
  • 5.4 Piet Mondrian, Composition with Red, Yellow, Blue, 1930, oil on canvas, Kunsthaus, Zurich, Switzerland
  • 5.5 Piet Mondrian, Blue Tree, c. 1908–09, tempera on cardboard, Kunstmuseum Den Haag, The Hague, Netherlands
  • 5.6 Piet Mondrian, Gray Tree, 1911, oil on canvas, Kunstmuseum Den Haag, The Hague, Netherlands
  • 5.7 Piet Mondrian, Red Tree, 1908, oil on canvas, Kunstmuseum Den Haag, The Hague, Netherlands
  • 5.8 Piet Mondrian, Red Tree, in situ (author)
  • 5.9 Piet Mondrian, Flowering Trees, 1912, oil on canvas, The Judith Rothschild Foundation, New York, New York
  • 5.10 Piet Mondrian, Flowering Apple Tree, 1912, oil on canvas, Kunstmuseum Den Haag, The Hague, Netherlands
  • 5.11 Piet Mondrian, Composition No. 2, 1913, oil on canvas, Krőller-Műller Museum, Otterlo, Netherlands
  • 5.12 Piet Mondrian, Composition with Red, Yellow, Blue, 1937–42, oil on canvas, Tate Gallery, London, United Kingdom
  • 5.13 Piet Mondrian, Composition No. 11, 1940–42—London with Blue, Red, and Yellow, oil on canvas, 1940–42, Buffalo, AKG Museum, Buffalo, New York
  • 5.14 Graphic: red, yellow, blue, black, white, horizontal, vertical (author)
  • 5.15 Piet Mondrian, Composition No. II with Red and Blue, 1925 (original date 1929), oil on canvas, a. without frame; b. with frame, Museum of Modern Art, New York, New York
  • 5.16 Piet Mondrian, a. Composition No. 12 with Blue, 1936–42, oil on canvas, with red initials and date indicated, National Gallery of Canada, Ottawa, Ontario
  • 5.17 Piet Mondrian, Composition No. 9, 1939–42, oil on canvas, Philips Collection, Washington, DC
  • 5.18 Piet Mondrian, Composition with Blue (Schilderij No.1), 1926, oil on canvas, precisely 84.9 cm. x. 84.9 cm., Philadelphia Museum of Art, Philadelphia, Pennsylvania
  • 5.19 Piet Mondrian, Composition with Blue (Schilderij No.1), detail with initials “PM” and date “26” (author)
  • 5.20 Piet Mondrian, Farm near Duivendrecht, ca. 1916, oil on canvas, The Art Institute of Chicago, Chicago, Illinois
  • 5.21 Piet Mondrian, a. Self-Portrait, 1900, oil on canvas, Philips Collection, Washington, DC; b. Self Portrait, 1918, oil on canvas, Philips Collection, Washington, DC
  • 5.22 Piet Mondrian, a. Broadway Boogie-Woogie, 1942–43, oil on canvas, 127 cm. x 127 cm., Museum of Modern Art, New York; b. Victory Boogie-Woogie, 1942–44, oil and colored tape on canvas, 127 cm. x 127 cm., Kunstmuseum Den Haag, The Hague, Netherlands
  • 5.23 Piet Mondrian, Broadway Boogie-Woogie
  • 5.24 Piet Mondrian, Broadway Boogie-Woogie, detail, yellow and gray paint
  • 5.25 Piet Mondrian, Victory Boogie-Woogie
  • 5.26 Piet Mondrian, Victory Boogie-Woogie, detail of pieces of tape added
  • 5.27 Piet Mondrian, Broadway Boogie-Woogie, with dotted circles at the center and periphery of the canvas surrounding left and right rectangles of color areas
  • 5.28 Piet Mondrian, Victory Boogie-Woogie, detail of yellow and white painted rectangles
  • 5.29 Piet Mondrian, Victory Boogie-Woogie, with horizontal and vertical axes and off-center square
  • 5.30 Piet Mondrian, Victory Boogie-Woogie, with horizontal and vertical axes and extended asymmetrical rectangle
  • 5.31 Piet Mondrian, Broadway Boogie-Woogie, in situ
  • 5.32 Piet Mondrian, Victory Boogie-Woogie, in situ

Chapter 6: Breaking the Law of the Excluded Middle—Ai-no-ma

  • 6.1 View of Walden Pond with the location of Thoreau’s cabin to the left of the rock cairn, ca. 1908 (Library of Congress)
  • 6.2 Thoreau’s Cove, Walden Pond, ca. 1900–10 (Library of Congress)
  • 6.3 Kyoto, Japan, looking west (author)
  • 6.4 Alcove (tokonoma) in Jun’ichirō Tanizaki’s home, called Sekison-tei (House of the Stone Village), Kyoto, Japan (author)
  • 6.5 Ai-no-ma (pictogram)
  • 6.6 Ai-no-ma (pictogram), “merging space” (author)
  • 6.7 Hachiman shrine, Usa, Ōita Prefecture, Japan, 8th century, ai–no–ma indicated (author)
  • 6.8 Takaragaike, Iwakura, Japan, early morning, murasaki purple (author)
  • 6.9 a. Either P (this) or Non-P (that); b. multiple ways of knowing (author)
  • 6.10 Hachiman-style sanctuary and worship hall, plan (author)
  • 6.11 Hachiman-style sanctuary and worship hall, elevation (author)
  • 6.12 a. Roman empire (ca. 117); b. walled Rome; c. Aurelian wall, Rome (ca. 270); d. Hadrian’s wall, Northumbria, United Kingdom (ca. 122 CE); e. Christo and Jeanne- Claude, Running Fence, Sonoma and Marin Counties, California, 1972
  • 6.13 Utagawa Hiroshige (1797–1858), Sudden Shower at the Shin-Ohashi Bridge, 1857, wood block, Fine Arts Museums of San Francisco, San Francisco, California
  • 6.14 Kyoto, Japan, looking toward the northeast and Mt. Hiei (author)
  • 6.15 Road to Ōhara, Japan, mountain rice field (author)
  • 6.16 Steps to Sanzen-in, Ōhara, Japan (author)
  • 6.17 Sanzen-in, Ōhara, Japan South Gate (author)
  • 6.18 Sanzen-in, guesthouse (kyakuden), veranda (engawa), with shin-shaped pond and Temple of Rebirth in Paradise (Ōjō Gokuraku-in) (author)
  • 6.19 Sanzen-in, main garden, looking from west to east toward the Temple of Rebirth in Paradise (author)
  • 6.20 Sanzen-in, Temple of Rebirth in Paradise view from the southeast (author)
  • 6.21 Sanzen-in, Temple of Rebirth in Paradise, view from the southeast with single illuminated candle (author)
  • 6.22 Sanzen-in, Temple of Rebirth in Paradise, view from the east with two illuminated candles (author)
  • 6.23 Sanzen-in, approaching the Temple of Rebirth in Paradise (author)
  • 6.24 Sanzen-in, arrival at the Temple of Rebirth in Paradise (author)
  • 6.25 Sanzen-in, entry into the Temple of Rebirth in Paradise (author)
  • 6.26 Sanzen-in, Temple of Rebirth in Paradise , with gilded figure of the Amida Buddha (author)
  • 6.27 Sanzen-in, Temple of Rebirth in Paradise, face of Amida Buddha (author)
  • 6.28 Sanzen-in, Temple of Rebirth in Paradise, Amida Buddha with Seishi and Kannon (author)
  • 6.29 The Goshima in the entryway (genkan) to their home, Kyoto, Japan (author)
  • 6.30 Sanzen-in, Temple of Rebirth in Paradise, Seishi and Kannon bowing (author)
  • 6.31 Sanzen-in, Temple of Rebirth in Paradise, Seishi (author)
  • 6.32 Sanzen-in, Temple of Rebirth in Paradise, Kannon (author)
  • 6.33 Sanzen-in, Temple of Rebirth in Paradise, detail of lotus blossom (author)
  • 6.34 Sanzen-in, Temple of Rebirth in Paradise, altar with Amida Buddha flanked by Seishi and Kannon (author)
  • 6.35 Welcomed guest in thrall to the Temple of Rebirth in Paradise (author)
  • 6.36 Temple of Rebirth in Paradise, grounds (author)
  • 6.37 Temple of Rebirth in Paradise, grounds (author)
  • 6.38 Temple of Rebirth in Paradise, viewed from the imperial meditation room through entryway and engawa with rolled bamboo curtains and connecting veil (author)
  • 6.39 Temple of Rebirth in Paradise, viewed from the imperial meditation room (author)
  • 6.40 Will you turn toward me? I am lonely too, this autumn nightfall … Matsuo Bashō (author)
  • 6.41 Amida Buddha with Seishi and Kannon (author)
  • 6.42 At the departure gate; holding fast to the fleeting joy of the moment (author)
  • 6.43 Shinju-an, Outer Gate from the west, Daitoku-ji, Kyoto, Japan (author)
  • 6.44 Daitoku-ji, East Gate, Kyoto, Japan (author)
  • 6.45 Entry into Daitoku-ji (author)
  • 6.46 Daitoku-ji, Imperial Messenger Gate (author)
  • 6.47 Daitoku-ji, Triple Gate leading to the Dharma Hall (Hattō) and Main Hall (Kondō) (author)
  • 6.48 Shinju-an, arrival from the west, Daitoku-ji (author)
  • 6.49 Shinju-an, discontinuous transition (author)
  • 6.50 Shinju-an, Inner Gate and genkan from the west (author)
  • 6.51 Shinju-an, Inner Gate and genkan, facing southwest (author)
  • 6.52 Shinju-an, southern veranda (engawa), facing west (author)
  • 6.53 Shinju-an, southern veranda (engawa), facing east (author)
  • 6.54 Shinju-an, southern veranda (engawa), with visitors kneeling at the entrance to the altar room of the Main Hall (Hōjō) (author)
  • 6.55 Shinju-an, eastern veranda (engawa), with entry to the ante-room and tea house (author)
  • 6.56 Shinju-an, anteroom to the tea house (author)
  • 6.57 Shinju-an, anteroom to the tea house, with visitor (author)
  • 6.58 Shinju-an, Abbot’s genkan to the Hōjō, with sandals (author)
  • 6.59 Ryoan-ji, lingering light, Kyoto, Japan (author)
  • 6.60 Ryoan-ji, gravel path (author)
  • 6.61 Ryoan-ji, fountain I (author)
  • 6.62 Ryoan-ji, fountain II (author)
  • 6.63 Ryoan-ji, steps to the genkan (author)
  • 6.64 Ryoan-ji, approaching the genkan (author)
  • 6.65 Ryoan-ji, genkan gate (author)
  • 6.66 Ryoan-ji, genkan, interior (author)
  • 6.67 Ryoan-ji, genkan, window and sliding paper and wood panels (shōji) (author)
  • 6.68 Ryoan-ji, view from the genkan toward the eastern veranda (engawa) (author)
  • 6.69 Ryoan-ji, eastern veranda (engawa) (author)
  • 6.70 Ryoan-ji, view of the study alcove (shoin) with tokonoma and shōji from the east veranda (engawa) (author)
  • 6.71 Ryoan-ji, northern veranda (engawa) (author)
  • 6.72 Ryoan-ji, western veranda (engawa) I (author)
  • 6.73 Ryoan-ji, western veranda (engawa) II (author)
  • 6.74 Ryoan-ji, main devotional hall (Hōjō) from the western veranda (engawa) (author)
  • 6.75 Ryoan-ji, main devotional hall (Hōjō) with the founder’s altar from the western veranda (engawa) (author)
  • 6.76 Ryoan-ji, main devotional hall (Hōjō) with view to the east and south toward the meditation veranda (engawa) (author)
  • 6.77 Ryoan-ji, meditation veranda (engawa), facing west (author)
  • 6.78 Ryoan-ji, meditation veranda (engawa) and dry rock garden (karesansui), facing west (author)
  • 6.79 Ryoan-ji, meditation veranda (engawa) and dry rock garden (karesansui), with visitors I (author)
  • 6.80 Ryoan-ji, meditation veranda (engawa) and dry rock garden (karesansui), with visitors II (author)
  • 6.81 Ryoan-ji, meditation veranda (engawa) and dry rock garden (karesansui), with my student Josh (author)
  • 6.82 Ryoan-ji, meditation veranda (engawa) and dry rock garden (karesansui), with an anonymous visitor (author)
  • 6.83 Ryoan-ji, rock group # 1 (author)
  • 6.84 Ryoan-ji, rock group # 2 (author)
  • 6.85 Ryoan-ji, rock group # 3 (author)
  • 6.86 Ryoan-ji, rock group # 4 (author)
  • 6.87 Ryoan-ji, rock group # 5 (author)
  • 6.88 Ryoan-ji, rock group # 5 in shadowed light (author)
  • 6.89 Ryoan-ji, Rock group # 5, with ripples (author)
  • 6.90 Ryoan-ji, Rock group # 5, pond with two rocks and widening ripples (author)
  • 6.91 Ryoan-ji, pond with Mandarin ducks (author)
  • 6.92 Ryoan-ji, dry rock garden (karesansui), facing southwest (author)
  • 6.93 Ryoan-ji, dry rock garden (karesansui), detail of the gravel center (author)
  • 6.94 Ryoan-ji, dry rock garden (karesansui) with snow and leafless cherry tree (author)
  • 6.95 Ryoan-ji, dry rock garden (karesansui) with blossoming cherry tree (author)
  • 6.96 Daisen-in, approaching from the west in early morning, Kyoto, Japan, entry indicated; Shinju-an in the distance (author)
  • 6.9 Daisen-in, Outer Gate and genkan, from the southwest in early morning (author)
  • 6.98 Daisen-in, dry rock garden (karesansui), view toward the southwest (author)
  • 6.99 Daisen-in, dry rock garden (karesansui), detail with two mounds of raked gravel (author)
  • 6.100 Daisen-in, meditation veranda (engawa) of the main devotional hall (Hōjō), facing west (author)
  • 6.101 Daisen-in, Abbot Soen Ozeki standing in the genkan wearing formal dress (author)
  • 6.102 Daisen-in, Soen Ozeki wearing working clothes lecturing from garden (author)
  • 6.103 Daisen-in, Soen Ozeki lecturing; showing the agitated man’s white-socked feet extended (author)
  • 6.104 Daisen-in, Soen Ozeki kneeling into the veranda (engawa), touching the feet of the agitated man (author)
  • 6.105 Daisen-in, Soen Ozeki sitting with the group of visitors in the veranda (engawa) (author)

 

III. Heading Home

Chapter 7: From Lust to Solitude—From Grasping to Acceptance

  • 7.1 Béguinage, Bruges, Belgium (author)
  • 7.2 Cover illustrations: a. Cosmopolitan, August 2000, cover illustration; b. GQ
  • 7.3 a. Eros as infant, 3rd –2nd century BCE, marble, Civico Museo Archeologico di Bergamo, Bergamo Italy; b. Milo (James Kalambokis)
  • 7.4 Crouching Aphrodite, 1st-century copy after 3rd-century Greek original, marble, Metropolitan Museum of Art, New York, New York
  • 7.5 Edgar Degas, Bather, 1886, pastel, Musée d’Orsay, Paris, France
  • 7.6 Torso of Aphrodite, 2nd century BCE, marble, Museo Archeologico Nazionale di Napoli, Naples, Italy
  • 7.7 Knidian Aphrodite, 2nd century BCE, marble, Musée du Louvre, Paris, France
  • 7.8 Esquiline Aphrodite, 2nd century BCE, marble, Palazzo dei Conservatori, Rome, Italy
  • 7.9 Esquiline Aphrodite, 2nd century BCE, marble, Musée du Louvre, Paris, France
  • 7.10 Aphrodite with Flowing Gown; Roman copy of Greek original, 2nd century BCE, marble, Museo Nazionale Romano, Palazzo Massimo alle Terme, Rome, Italy
  • 7.11 Rembrandt van Rijn, Woman Bathing in a Stream, ca. 1655, oil on canvas, National Gallery, London, United Kingdom
  • 7.12 Aphrodite Bathing, 3rd–2nd century BCE, marble, British Museum, London, United Kingdom
  • 7.13 Praxiteles, Knidian Aphrodite, 2nd-century Roman copy of 4th-century BCE original, marble, Roman copy, Glyptothek, Munich, Germany
  • 7.14 Eros Asleep, 3rd–2nd century BCE, bronze, Metropolitan Museum of Art, New York, New York
  • 7.15 Crouching Aphrodite, 3rd-century BCE, marble, Museo Archeologico Nazionale di Napoli, Naples, Italy
  • 7.16 Capitoline Aphrodite, Roman copy of 3rd-century BCE original, marble, Capitoline Museums (Museii Capitolini), Rome, Italy
  • 7.17 Masaccio, Expulsion, 1427, fresco, Brancacci Chapel, Florence, Italy
  • 7.18 Hugo van der Goes, Adam and Eve, ca. 1470, oil on wood, Gallerie degli Uffizi, Florence, Italy
  • 7.19 Albrecht Dürer, Adam and Eve, 1504, engraving, Metropolitan Museum of Art, New York, New York
  • 7.20 Titian, Adam and Eve, ca.1550, oil on canvas, Museo Nacional del Prado, Madrid, Spain
  • 7.21 Rembrandt van Rijn, Adam and Eve, 1638, etching, Art Institute Chicago, Illinois
  • 7.22 Diane Arbus, A husband and wife in the woods at a nudist camp, N.J., 1963, gelatin silver print, The Art Institute of Chicago, Chicago, Illinois
  • 7.23 Medici Venus, 1st-century BCE, Roman copy of 4th-century BCE original, marble, Gallerie degli Uffizi, Florence, Italy
  • 7.24 a. Aphrodite Bathing; b. Medici Venus
  • 7.25 Kallipygos Aphrodite, 1st century BCE, marble, front and back, Museo Archeologico Nazionale di Napoli, Naples, Italy
  • 7.26 Kouros (male youth), ca. 6th century BCE, marble, Metropolitan Museum of Art, New York, New York
  • 7.27 Kritios Boy, 5th century BCE, marble, Acropolis Museum, Athens, Greece
  • 7.28 Young Athlete, 4th century BCE, marble, Staatliche Kunstsammlungen, Dresden, Germany
  • 7.29 Hermes with the Infant Dionysos, marble, copy after Praxiteles, ca. 340 BCE, Olympia, Greece
  • 7.30 Charioteer of Delphi, 470 BCE, bronze, Delphi Museum, Delphi, Greece
  • 7.31 Apollo (Apollo Belvedere), 2nd century, Roman marble copy of 4th-century-BCE Greek bronze, Vatican Museums, Pio Clementino Museum, Vatican, Rome, Italy
  • 7.32 Aphrodite of Melos, ca. 150–125 BCE, marble, Musée du Louvre, Paris, France
  • 7.33 Zeus of Artemision (Zeus or Poseidon), 5th century BCE, bronze, National Archeological Museum, Athens, Greece
  • 7.34 a. Aphrodite of Melos, torso; b. Zeus of Artemision, torso
  • 7.35 a. Aphrodite of Melos, face; b. Zeus of Artemision, face
  • 7.36 “The champagne panty. At the soda-pop price,” n.d., advertisement, New York Times

Chapter 8: Dream of Reason—Redeemed by Humility

  • 8.1 Sunset at Chartres, France
  • 8.2 Jan van Eyck, Madonna in the Church, ca. 1440, oil on wood, Gemäldegalerie, Berlin, Germany
  • 8.3 Albrecht Dürer (?), Madonna and Child (“The Madonna with the Iris”), ca. 1500–10, oil on wood, National Gallery, London, United Kingdom
  • 8.4 Albrecht Dürer, a. Iris,1503, watercolor, Kunsthalle, Bremen, Germany; b. Tuft of Cowslips, 1526, gouache on vellum, National Gallery, Washington, DC
  • 8.5 Albrecht Dürer, a. Portrait of His Father (attributed), oil on canvas, 1497, National Gallery, London, United Kingdom; b. Portrait of His Mother, drawing, 1514, Stiftung Preussischer Kunstbesitz, Berlin, Germany
  • 8.6 Albrecht Dürer, Pope Julius II (?), 1506, drawing, study for Feast of the Rose Garlands, Stiftung Preussischer Kulturbesitz, Gemӓldegalerie, Berlin, Germany
  • 8.7 Albrecht Dürer, Self-Portrait, 1484, silver point, Graphische Sammlung Albertina, Vienna, Austria
  • 8.8 Albrecht Dürer, Hare, 1502, watercolor, Graphische Sammlung Albertina, Vienna, Austria
  • 8.9 Albrecht Dürer, The Little Owl, 1506, watercolor, Graphische Sammlung Albertina, Vienna, Austria
  • 8.10 Albrecht Dürer, View of Nuremberg, 1496–97, watercolor, Kunsthalle, Bremen, Germany
  • 8.11 Albrecht Dürer, View of Antwerp, drawing, 1520, Graphische Sammlung Albertina, Vienna, Austria
  • 8.12 Albrecht Dürer, Draftsman Drawing a Lute, 1525, woodcut in The Painter’s Manual, translation Walter S. Strauss, Abaris Books, 1978
  • 8.13 Chuck Close, Working photograph for Phil, 1969, gelatin silver print, ink and masking tape, George Eastman Museum, Rochester, New York
  • 8.14 Albrecht Dürer, Draftsman Drawing a Recumbent Woman (Aphrodite and Hephaestus?), 1525, woodcut in The Painter’s Manual, translation Walter S. Strauss, Abaris Books, 1978
  • 8.15 Albrecht Dürer, Self-Portrait in a Fur Cloak, 1500, oil on wood panel, Alte Pinakothek, Munich, Germany
  • 8.16 a. Albrecht Dürer, Self-Portrait in a Fur Cloak; b. Jan van Eyck, God the Father from the Altarpiece of the Mystic Lamb, 1432, oil on panel, St. Bavo, Ghent, Belgium
  • 8.17 a. Villard de Honnecourt, Geometric Man, ca. 1230, drawing, (H. Hahnloser), Bibliothèque nationale de France, Paris, France; b. Leonardo da Vinci, Study of a Male Nude, ca. 1503–09, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom Royal Collection Trust / copyright Her Royal Majesty Queen Elizabeth II 2018
  • 8.18 Leonardo da Vinci, The Proportions of the Human Figure (after Vitruvius), ca. 1490, drawing, Galleria dell’Accademia, Venice, Italy
  • 8.19 Leonardo da Vinci, Studies of the Human Hand, ca. 1490, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.20 Leonardo da Vinci, The Sexual Act in Vertical Section (“genito-urinary system”), ca. 1490, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.21 Leonardo da Vinci, Embryo in the Womb, ca. 1510, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.22 a. Textbook image of fetus in utero (D. Stabler and J. Rankin, Physiology in Childbearing, 3rd edition, Elsvier Health Sciences, 2010); b. Limbourg Brothers, Paradise from the Trѐs Riches Heures du Duc de Berry, 1416, manuscript, Musée Condé, Chantilly, France
  • 8.23 Leonardo da Vinci, The Brain (of an ox?), injected to demonstrate the shape of the cerebral ventricles, ca. 1490, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.24 Leonardo da Vinci, Study of the Human Skull in Sagittal Section, from front, 1489, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.25 Leonardo da Vinci, Giant Wisk, ca. 1490, drawing, Royal Library, Windsor Castle, Windsor, United Kingdom
  • 8.26 Leonardo da Vinci, Last Supper, 1495–98, fresco (oil and tempera on plaster), Convent of Santa Maria delle Grazie, Milan, Italy
  • 8.27 Refectory wall, 15th century, Convent of Santa Maria delle Grazie, Milan, Italy
  • 8.28 Leonardo da Vinci, Last Supper, a. detail of disciples to Christ’s right; b. detail of disciples to Christ’s left
  • 8.29 Leonardo da Vinci, Last Supper, linear perspective indicated in white, central axis of figures indicated in red (author)
  • 8.30 Leonardo da Vinci, Last Supper, detail of the figure of Jesus
  • 8.31 Refectory, Convent of Santa Maria delle Grazie, 15th century, Milan, Italy
  • 8.32 Refectory with visitors, 20th century
  • 8.33 Refectory, Mont St. Michel, 13th century, Normandy, France
  • 8.34 Antoine Lafrery, Seven Pilgrimage Churches of Rome, 1575, “old” basilica of St. Peter indicated), engraving, Metropolitan Museum of Art, New York, New York
  • 8.35 Old basilica of St. Peter, conjectural reconstruction, ca. 1450, Rome, Italy (H. W. Brewer, 1891)
  • 8.36 Old basilica of St. Peter, 4th century, Rome; a. conjectural reconstruction of the interior program; b. conjectural reconstruction of the apse mosaic (after Maffeo Vegio, 1407–55)
  • 8.37 a. Old basilica of St. Peter, plan showing longitudinal movement east to west; b. Michelangelo, plan for the crossing of the new basilica of St. Peter, 1546–64
  • 8.38 a. Old basilica of St. Peter, conjectural reconstruction of the nave, transept and apse; b. New basilica of St. Peter, 16th century, Vatican, Rome, Italy, view of the chancel beyond the dome from the nave, centered on the baldichino of Gian Lorenzo Bernini, 1624–32
  • 8.39 Sistine Chapel, Vatican, Rome, Italy, a. before 1508; b. after 1512
  • 8.40 Michelangelo, Drunkenness of Noah, 1508–12, fresco, ceiling of the Sistine Chapel, Vatican, Rome, Italy
  • 8.41 Michelangelo, ceiling of the Sistine Chapel, 1508–12, viewed from east to west, Drunkenness of Noah indicated
  • 8.42 Michelangelo, ceiling of the Sistine Chapel, 1508–12, fresco, viewed from west to east (lower to upper), Separation of Light from Darkness indicated
  • 8.43 Michelangelo, Separation of Light from Darkness, 1508–12, fresco, ceiling of the Sistine Chapel, Vatican, Rome, Italy
  • 8.44 Michelangelo, Creation of the Sun, Moon, and Planets, 1508–12, fresco, ceiling of the Sistine Chapel, 1508–12, Vatican, Rome, Italy
  • 8.45 Michelangelo, Gathering of the Waters, 1508–12, fresco, ceiling of the Sistine Chapel, Vatican, Rome, Italy
  • 8.46 Michelangelo, The Creation of Adam, 1508–12, fresco, ceiling of the Sistine Chapel, Vatican, Rome, Italy
  • 8.47 a. Cathedral of Chartres, France, 12th –16th century, north porch, location of sculpture indicated; b. detail, Creation of Adam (author)
  • 8.48 Michelangelo, Last Judgment, 1534–41, fresco, altar wall of the Sistine Chapel, Vatican, Rome, Italy
  • 8.49 a. Cathedral of Reims, France, 13th century, west façade, Coronation; b. Michelangelo, Last Judgment, 1534–41, fresco, figures of Christ and Mary, altar wall of the Sistine Chapel
  • 8.50 Cathedral of Reims, France, 13th century, center portal of west façade
  • 8.51 a. Cathedral of Reims, France, 13th century, west façade; b. Sistine Chapel, 16th century, Vatican, Rome, Italy
  • 8.52 Galleria dell’Accademia, Florence, Italy, with Michelangelo’s David and visitors
  • 8.53 a. Donatello, David, 1408–09, marble (6′ 2”), Museo Nazionale del Bargello, Florence, Italy; b. Michelangelo, David, 1501–04 marble (17′), Galleria dell’Accademia, Florence, Italy pd?
  • 8.54 Donatello, David, 1408–09, marble (6′ 2”), Museo Nazionale del Bargello, Florence, Italy
  • 8.55 Donatello, David, c. 1425–30, bronze (5′ 2 ¼”), Museo Nazionale del Bargello, Florence, Italy
  • 8.56 Polykleitos, Doryphorus (spear-bearer), Roman marble copy (6′ 6”), after a bronze original, c. 450–440 BCE, Museo Nazionale di Napoli, Italy
  • 8.57 Donatello, David, c. 1425–30, bronze (5‘ 2 ¼”), Museo Nazionale del Bargello, Florence, Italy; a. detail of feather against David’s leg; b. detail of Goliath’s beard between David’s toes
  • 8.58 Donatello, David, ca. 1440, bronze (5‘ 2 ¼”), viewed from front, side, and back, Museo Nazionale del Bargello, Florence, Italy
  • 8.59 Galleria dell’Accademia, Florence, Italy with Michelangelo’s David, 1501–04, and “Slaves,” c. 1530–34
  • 8.60 Michelangelo, David, 1501–04, marble (17′), viewed from below center, Galleria dell’Accademia, Florence, Italy
  • 8.61 Michelangelo, Captive Atlas, ca. 1530–34, marble, Galleria dell’Accademia, Florence, Italy
  • 8.62 Michelangelo, David, raised view
  • 8.63 Michelangelo, David, viewed from the right
  • 8.64 Michelangelo, David, detail of face viewed from the right
  • 8.65 a. Donatello, David, 1408–09, head and face in shadow; b. Michelangelo, David, head and face
  • 8.66 Francisco Goya, The Third of May 1808, 1814, oil on canvas, Museo del Prado, Madrid, Spain
  • 8.67 Elliot Erwitt, Young boy observing Guernica, 1995, Museo Nacional Centro de Arte Reina Sofia. (Erwitt/Magnum Photos)
  • 8.68 Francisco Goya, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798, Etching and aquatint, The Metropolitan Museum of Art New York, New York
  • 8.69 Gian Lorenzo Bernini, David, 1623–24, marble, Galleria Borghese, Rome, Italy
  • 8.70 a. Donatello, David, 1408–09; b. Donatello, David, ca. 1425–30; c. Michelangelo, David, 1501–04; d. Gian Lorenzo Bernini, David, 1623–24
  • 8.71 Cathedral of Chartres, France, 12th–16th century, King David, north porch
  • 8.72 Old Town Square, Prague, Czech Republic (author)
  • 8.73 Astronomical Clock, 1410, restored 1948, City Hall, Old Town, Prague, Czech Republic, people gathering (author)
  • 8.74 Astronomical Clock, City Hall, Old Town, Prague, Czech Republic, Procession of Apostles Thaddeus and Philip (author)
  • 8.75 Astronomical Clock, City Hall, Old Town, Prague, Czech Republic, Procession of Apostles completed (author)
  • 8.76 Astronomical Clock, City Hall, Old Town, Prague, Czech Republic, waiting … (author)
  • 8.77 Leonardo da Vinci, Studies for a Madonna and Child with a Cat, c. 1478–80, pen and ink, British Museum, London, United Kingdom
  • 8.78 Leonardo da Vinci, Adoration of the Magi, 1481–82, drawing in charcoal, watercolor ink, oil on wood, Gallerie degli Uffizi, Florence, Italy
  • 8.79 Leonardo da Vinci, Perspective study for the background of Adoration of the Magi, 1481, pen and ink, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe, Florence, Italy
  • 8.80 Leonardo da Vinci, Adoration of the Magi, detail of Mary with and the Child reaching for the offered chalice
  • 8.81 Leonardo da Vinci, Study for the Adoration of the Magi, 1481, pen and ink, Musée du Louvre, Cabinet des Dessins, Paris, France
  • 8.82 Leonardo da Vinci, Adoration of the Magi, detail of the Child’s hand and the king’s offering
  • 8.83 Leonardo da Vinci, Adoration of the Magi, detail of blind man
  • 8.84 Leonardo da Vinci, Adoration of the Magi, with overlay of compositional triangle (author)
  • 8.85 Leonardo da Vinci, Adoration of the Magi, with overlay of compositional triangle, oval, and circle (author)
  • 8.86 Hugo van der Goes, Nativity from the Portinari Altarpiece, ca.1476, oil on wood, Gallerie degli Uffizi, Florence, Italy
  • 8.87 Filippino Lippi, a. Adoration of the Magi, 1496, oil on wood, Gallerie degli Uffizi, Florence, Italy; b. detail of the Christ child
  • 8.88 Michelangelo, David, a. frontal view; b. oblique view from the right
  • 8.89 Michelangelo, Bruges Madonna, 1501–04, marble, Onze Lieve Vrouwkerk, Bruges, Belgium
  • 8.90 Anonymous, Virgin and Child in Majesty (Sedes Sapientiae), 1150–1200, polychrome, walnut, Metropolitan Museum of Art, New York, New York
  • 8.91 Michelangelo, Bruges Madonna, 1501–04, marble, detail of the Christ child’s left hand, Onze Lieve Vrouwkerk, Bruges, Belgium
  • 8.92 Onze Lieve Vrouwkerk, Bruges, Belgium, with Bruges Madonna in situ (author)
  • 8.93 Anonymous, Röttgen Pietà, c. 1360, polychrome, wood, Rheinisches Landesmuseum, Bonn, Germany
  • 8.94 Michelangelo, Roman Pietà, 1498–99, marble, Chapel of the Pietà, St. Peter’s Basilica, Vatican, Rome, Italy
  • 8.95 Michelangelo, Roman Pietà
  • 8.96 a. Michelangelo, Roman Pietà, detail of Mary’s face; b. Anonymous, Röttgen Pietà, detail of Mary’s face
  • 8.97 Michelangelo, a. Bruges Madonna; b. Roman Pietà
  • 8.98 Michelangelo, Rondanini Pietà, ca.1555–64, marble, view from the front, Castello Sforzesco, Milan, Italy (author)
  • 8.99 Michelangelo, a. Florentine Pietà, ca. 1550, marble, Museo dell’Opera del Duomo, Florence, Italy; b. Palestrina Pietà (attributed?), ca. 1555, marble, Galleria dell’Academia, Florence, Italy; c. Rondanini Pietà, ca.1555–64
  • 8.100 Michelangelo, Rondanini Pietà, viewed from the right front (author)
  • 8.101 Michelangelo, Rondanini Pietà, detail of Mary’s two faces
  • 8.102 Michelangelo, Rondanini Pietà, detail, viewed from the left (author)
  • 8.103 Michelangelo, Rondanini Pietà, viewed from the left (author)
  • 8.104 Leonardo da Vinci, Adoration of the Magi, with overlay of concentric circles (author)
  • 8.105 Leonardo da Vinci, Adoration of the Magi, detail of Mary’s face
  • 8.106 a. Leonardo da Vinci, Adoration of the Magi; b. Michelangelo, Rondanini Pietà
  • 8.107 a. Michelangelo, Rondanini Pietà, viewed from the left; b. Constantin Brancusi, Bird in Space, 1928, bronze, Museum of Modern Art, New York, New York
  • 8.108 a. Leonardo da Vinci, Adoration of the Magi; b. Cathedral of Chartres, France, 13th century, rose window of the north transept, stained glass, iron, lead, and stone tracery
  • 8.109 Albrecht Dürer, Self-Portrait as the “Man of Sorrows,” 1522, drawing with lead pencil on blue-green primed paper, Kunsthalle, Bremen, Germany
  • 8.110 Albrecht Dürer, Dream Landscape, 1525, watercolor, pen and ink, Kunsthistorisches Museum, Vienna, Austria
  • 8.111 Michelangelo, Rondanini Pietà, in situ, Museo Pietà Rondanini, Castello Sforzesco, Milan, Italy
  • 8.112 Michelangelo, Rondanini Pietà, viewed from the front
  • 8.113 Michelangelo, Rondanini Pietà, pre-2015 installation; a. viewed from the left; b. viewed from the front (author)
  • 8.114 Autun, France
  • 8.115 St. Lazarus, Autun, France, 12th century, west portal, narthex
  • 8.116 St. Lazarus, Autun, France, 12th century, west portal, tympanum
  • 8.117 St. Lazarus, Autun, France, 12th century, west portal, inscription, Gislebertus hoc fecit
  • 8.118 St. Lazarus, Autun, France, 12th century, conjectural reconstruction of the north portal with the figure of Eve (after Grivot and Zarnecky)
  • 8.119 Gislebertus (?), Eve, ca. 1130, Musée Rolin, Autun, France
  • 8.120 Gislebertus (?), Eve, ca. 1130, detail
  • 8.121 St. Lazarus, Autun, France, 12th century, present state of the north portal entrance (author)
  • 8.122 St. Lazarus, Autun, France, 12th century, west portal tympanum with crouching figure indicated
  • 8.123 St. Lazarus, Autun, France, 12th century, west portal lintel, detail of crouching figure
  • 8.124 Cathedral of Amiens, France, 13th century, viewed from the northwest, late afternoon (author)
  • 8.125 Cathedral of Amiens, west façade (author)
  • 8.126 Cathedral of Amiens, center portal of the west façade, with door closed beneath the Last Judgment in the tympanum (author)
  • 8.127 Cathedral of Amiens, the nave viewed from west to east
  • 8.128 Cathedral of Amiens, viewed from the nave through the transept to choir
  • 8.129 Cathedral of Amiens, choir
  • 8.130 Cathedral of Amiens, looking up into vaults of the choir

Chapter 9: Circles of Affection—The Origin of Love

  • 9.1 a. Socrates (ca. 470–399 BCE), marble, Roman copy of lost bronze by Lysippus, 1st century CE, Louvre, Paris, France; b. Plato (ca. 424–348 BCE), marble, copy by Silenion, ca. 370 BCE, Musei Capitolini, Rome, Italy.
  • 9.2 Tomb of the Diver, Symposium Scene, ca. 480 BCE, fresco, Museo archeologico nazionale, Paestum, Italy
  • 9.3 Tomb of the Diver, detail
  • 9.4 Brygos Painter, cup (kylix) with Symposium Scene, ca. 480 BCE, terracotta, British Museum, London, United Kingdom
  • 9.5 A Cosmos of Color: Circles of Affection (schematic by author)
  • 9.6 Theater at Epidaurus, Greece, ca. 350 BCE, plan (after Picard-Cambridge)
  • 9.7 Theater at Epidaurus, plan with orchestra center and concentric circles (author)
  • 9.8 Theater at Epidaurus, orchestra with figure (author)
  • 9.9 Theater at Epidaurus, theater with view into the surrounding landscape
  • 9.10 Acropolis, Athens, Greece, view from the northwest
  • 9.11 Acropolis, approaching from the northwest
  • 9.12 Acropolis, approaching from the southwest, with the Propylaea and the Temple of Athena Nike indicated
  • 9.13 Reconstruction of the Acropolis, with the Propylaea, ca. 438–432 BCE, the Temple of Athena Nike, 427–424 BCE, along with references to Athena indicated
  • 9.14 Reconstruction of the Temple of Athena Nike, Acropolis, Athens, Greece, 427–424 BCE, with balustrade and frieze figure of Nike indicated
  • 9.15 Nike (Victory), ca. 410–407 BCE, marble, from the balustrade of the Temple of Athena Nike, removing her sandal. Acropolis Museum, Athens, Greece
  • 9.16 Nike, (Victory), with the cornice of the balustrade
  • 9.17 Acropolis, steep path to the Propylaea
  • 9.18 Acropolis, the Parthenon viewed from the Propylaea
  • 9.19 Reconstruction of the Propylaea, ca. 438–432 BCE, Periclean entrance to the sanctuary of Athena (after Gorham P. Stevens, Classical Buildings, plate V)
  • 9.20 Conjectural reconstruction of the Parthenon, 448–432 BCE (after Gorham P. Stevens)
  • 9.21 Threshold of Love I (author)
  • 9.22 Threshold of Love II: love the verb (author)
  • 9.23 Threshold of Love III: entering the threshold of love (author)
  • 9.24 Threshold of Love IV: rising light (author)
  • 9.25 Threshold of Love V: radiance of light; love the Noun; the Beloved (author)
  • 9.26 Frederick Church, Parthenon, 1871, viewed from the Propylaea, oil on canvas, The Metropolitan Museum of Art, New York, New York
  • 9.27 Threshold of Love VI: circles of affection—Silence (author)
  • 9.28 Sainte-Chapelle, Paris, France, 1241–48, viewed from the southwest
  • 9.29 Sainte-Chapelle, elevation and cross section (after Frankl)
  • 9.30 Sainte-Chapelle, interior
  • 9.31 Imperial Detached Palace, 17th century, Katsura, Japan, aerial view with moon-viewing platform indicated
  • 9.32 Imperial Detached Palace, moon-viewing platform
  • 9.33 a. Ishiyamadera, 747, Otsu, Japan, moon-viewing platform (author); b. Tsukioka Yoshitoshi, Shikibu Murasaki at Ishiyamadera, ca. 1882, hanging scroll, ink and color on silk, Metropolitan Museum of Art, New York, New York. Credit line: Purchase, Ryo Toyonaga and Alvin E. Friedman-Klein gift, 2019
  • 9.34 Ryoan-ji, Kyoto, Japan, anonymous meditation (author)
  • 9.35 Ryoan-ji, first light (author)
  • 9.36 Circles of Affection (author)

 

Part IV. Via Amoris

Chapter 10: Homecoming and Departure

  • 10.1 Cathedral of Chartres, France, 12th–16th century; viewed from the southwest, (author)
  • 10.2 Cathedral of Chartres, north tower, location of the “frightened cat” indicated (author)
  • 10.3 Cathedral of Chartres, north tower archivolts with the “frightened cat,” (author)
  • 10.4 Cathedral of Chartres, “frightened cat,” detail (author)
  • 10.5 Cathedral of Chartres, “frightened cat’s” view from the north tower to the parvis below (author)
  • 10.6 Cathedral of Chartres, viewed from the west (author)
  • 10.7 Cathedral of Chartres, schematic location of rose window within the façade rectangle (author)
  • 10.8 Cathedral of Chartres, approaching the “soaring presence” of the rose window (author)
  • 10.9 Cathedral of Chartres, schematic overlay of the “soaring presence” of the western rose window within the façade (author)
  • 10.10 Cathedral of Chartres, schematic rendering of the perceptual relativity of the western rose window within the façade (author)
  • 10.11 Cathedral of Chartres, detail of the west façade with the asymmetrical relation of the lancet and rose windows indicated (author)
  • 10.12 Cathedral of Chartres, western rose window, a. exterior; b. interior
  • 10.13 Robert Sweeney, Chartres, 1974, pastel on paper, private collection
  • 10.14 a. Chaim Soutine, Cathedral of Chartres, 1933, oil on panel, Museum of Modern Art, New York, NY; b. Jean-Baptiste-Camille Corot Cathedral of Chartres, 1830–72, oil on canvas, Musée du Louvre, Paris, France
  • 10.15 Cathedral of Chartres, view of the nave from the east (author)
  • 10.16 Cathedral of Chartres, western rose and lancet windows in late afternoon light (author)
  • 10.17 Cathedral of Chartres, royal portal of the west façade in late afternoon light (author)
  • 10.18 Cathedral of Chartres, royal portal with the central doorway opened (author)
  • 10.19 Rembrandt van Rijn, Two Women Teaching a Child to Walk, ca. 1635–37, red chalk on gray paper, 103mm x128mm, British Museum, London, United Kingdom
  • 10.20 Cécil Baboulѐne, a. L’histoire de la Terre, evolutionary spiral; b. indicated detail (credit: Les éditions Entouca)
  • 10.21 Uji River Bridge, Uji, Japan, early morning (author)
  • 10.22 Byōdō-in, Uji, Japan, north gate in early morning light (author)
  • 10.23 Byōdō-in, Phoenix Hall (Hōōdō), 1053, morning light (author)
  • 10.24 Byōdō-in, full light (author)
  • 10.25 Byōdō-in, afternoon light (author)
  • 10.26 Byōdō-in, evening light (author)
  • 10.27 Byōdō-in, lingering light (author)
  • 10.28 Byōdō-in, center bay in morning light (author)
  • 10.29 Byōdō-in, center bay in morning light, detail (author)
  • 10.30 Byōdō-in, Amida Buddha in first light (author)
  • 10.31 Byōdō-in, Amida Buddha by Jōchō, ca. 1053, wood covered by gold leaf
  • 10.32 Book of Durrow, 7th century, “carpet page” and In Principio Verbum (John 1:1), ink, color and gold leaf on calfskin (vellum), Trinity College, Dublin, Ireland
  • 10.33 Book of Durrow, carpet page
  • 10.34 Book of Durrow, carpet page, detail
  • 10.35 Cathedral of Chartres, the labyrinth viewed from above
  • 10.36 a. Book of Durrow, detail of carpet page, b. Cathedral of Chartres, view of the labyrinth at eye level

Chapter 11: A Point of Renewal

  • 11.1 Rebuilt Hiroshima, Japan, aerial view with Peace Memorial Park (white sign on left) and hypocenter (white sign on right), the location of the explosion of the bomb at “air zero,” 1,968 feet above Shima hospital: “T minus 15 seconds and counting …” (courtesy of Hiroshima Peace Institute; photo credit: www.nikokidos.com; Carole Bos, “Aerial View of Hiroshima”
  • 11.2 Aioi Bridge, 2007, Hiroshima, Japan; site of planned “ground-zero,” (author)
  • 11.3 Model of the Nakajima area of Hiroshima before bombing, with the target bridge and the Hiroshima Prefectural Industrial Promotion Hall indicated, Peace Memorial Park Museum (author)
  • 11.4 Model of the Nakajima area of Hiroshima, after bombing, Peace Memorial Park Museum (author)
  • 11.5 Actual “ground-zero,” (hypocenter), Hiroshima Prefectural Industrial Promotion Hall indicated (photo credit: United States Strategic Bombing Survey)
  • 11.6 Hiroshima Prefectural Industrial Promotion Hall, opened August 5, 1915
  • 11.7 Prefectural Industrial Promotion Hall, Hiroshima, Japan, after bombing, August 6, 1945 (photo credit: Peace Park Memorial Museum, Hiroshima, Japan)
  • 11.8 Peace Memorial Park, Hiroshima, with visitors, 2007 (author)
  • 11.9 A-Bomb Dome, Hiroshima, early evening, 2007 (author)
  • 11.10 A-Bomb Dome, Hiroshima, at sunset, 2007 (author)
  • 11.11 Blossoming cherry tree, Kyoto, 2007 (author)
  • 11.12 Kamo River, Kyoto, 2007 (author)
  • 11.13 Imadegawa Bridge, Kyoto, 2007 (author)
  • 11.14 Bird and Turtle Bridge, Kyoto, 2007 (author)
  • 11.15 Two birds, Kyoto, 2007 (author)
  • 11.16 Two bridges in evening light, Kyoto, 2007 (author)
  • 11.17 Goshima-san and his wife in the engawa of their home, Kyoto, 2007 (author)
  • 11.18 Goshima-san and his wife bowing in the engawa, Kyoto, 2007 (author)
  • 11.19 Georgia O’Keeffe, Blue Lines 10, 1916, watercolor and graphite on paper, The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1969
  • 11.20 “Hall of the Bulls,” Lascaux (Montignac, Dordogne, France) 15,000–10,000 BCE (photo credit: Bruno Barbey, Magnum Photos, 1984)
  • 11.21 “Hall of the Bulls,” with visitors (photo credit: Alex Whitaker, Ancient Wisdom Foundation, 1984)

 

Coda: Returning Home

  • 12.1 Rembrandt van Rijn, Return of the Prodigal Son, ca. 1669, oil on canvas, State Hermitage Museum, St. Petersburg, Russia
  • 12.2 a. Rembrandt van Rijn, Return of the Prodigal Son, 1636, etching, pen and ink. The Metropolitan Museum of Art, New York, New York, Bequest of Harry G. Friedman,1965; b. Rembrandt van Rijn, Return of the Prodigal Son, ca. 1669
  • 12.3 Rembrandt van Rijn, Return of the Prodigal Son