‘There she weaves by night and day<\/em>
\u00a0A magic web with colors gay<\/em>
\u00a0She has heard a whisper say<\/em>
\u00a0A curse is on her if she stay<\/em>
\u00a0To look down to Camelot…<\/em><\/p>\n\u00a0And moving thro’ a mirror clear<\/em>
\u00a0That hangs before her all the year<\/em>
\u00a0Shadows of’ the world appear,<\/em>
\u00a0There she sees the highway near<\/em>
\u00a0Winding down to Camelot..’<\/em><\/p>\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Uit: ‘The Lady of Shalott’
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Tennyson, 1832<\/p>\n<\/div><\/div><\/div><\/div><\/div>
‘There she weaves by night and day<\/em>
\u00a0A magic web with colors gay<\/em>
\u00a0She has heard a whisper say<\/em>
\u00a0A curse is on her if she stay<\/em>
\u00a0To look down to Camelot…<\/em><\/p>\n\u00a0And moving thro’ a mirror clear<\/em>
\u00a0That hangs before her all the year<\/em>
\u00a0Shadows of’ the world appear,<\/em>
\u00a0There she sees the highway near<\/em>
\u00a0Winding down to Camelot..’<\/em><\/p>\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Uit: ‘The Lady of Shalott’
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Tennyson, 1832<\/p>\n<\/div><\/div><\/div><\/div><\/div>
..I read.
At the time, I spent long afternoons in the Royal Library in The Hague reading a non-lendable book;\u00a0“The symbolism of vanitas in the arts, literature and music” <\/strong>(Liana DeGirolami Cheney, 1989)
In a section dealing with the symbolism of mirrors I found a story about a woman (The Lady of Shalott) in a tower room on an island. She wove. And although the text went deeper into the meaning of the poem, I was more gripped by a line about the craft;
“This work is unique in that it appears to be the only version of the scene in which the mirror is correctly used – that is, in a position behind the loom to reflect the pattern which is being woven, as traditionally the weaver works from the back and cannot see the pattern woven on the front of the tapestry without the aid of a mirror.”
<\/span><\/i>Was that so?\u00a0
It was. In the technique of visual weaving, with which tapestries are made, for example, a mirror can be very useful to check the weaving pattern appearing on the front while working on the back.
Until it is finished, the maker works on the back, in a jumble of color and thread.
In a sense, you are working without seeing what you are doing, interacting with the loom.\u00a0
Creating something. Being there. And by doing something become another.\u00a0<\/p>\nThere are edifying texts about our life-garment being turned at the Gates of Heaven, and the revelation of the thus far hidden golden thread of the Divine at that particular moment.
I can\u2019t say I necessarily view life as an assignment, or a divine gift but it is surely hopeful and purifying on its own to suspect gold at the place where you are wrestling with threads of mud, or simply to coincide with what you are embarking upon, melting in flow with, seeking, or just attempting to bring to an magnificent ending.\u00a0<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>
..I read.
At the time, I spent long afternoons in the Royal Library in The Hague reading a non-lendable book;\u00a0“The symbolism of vanitas in the arts, literature and music” <\/strong>(Liana DeGirolami Cheney, 1989)
In a section dealing with the symbolism of mirrors I found a story about a woman (The Lady of Shalott) in a tower room on an island. She wove. And although the text went deeper into the meaning of the poem, I was more gripped by a line about the craft;
“This work is unique in that it appears to be the only version of the scene in which the mirror is correctly used – that is, in a position behind the loom to reflect the pattern which is being woven, as traditionally the weaver works from the back and cannot see the pattern woven on the front of the tapestry without the aid of a mirror.”
<\/span><\/i>Was that so?\u00a0
It was. In the technique of visual weaving, with which tapestries are made, for example, a mirror can be very useful to check the weaving pattern appearing on the front while working on the back.
Until it is finished, the maker works on the back, in a jumble of color and thread.
In a sense, you are working without seeing what you are doing, interacting with the loom.\u00a0
Creating something. Being there. And by doing something become another.\u00a0<\/p>\nThere are edifying texts about our life-garment being turned at the Gates of Heaven, and the revelation of the thus far hidden golden thread of the Divine at that particular moment.
I can\u2019t say I necessarily view life as an assignment, or a divine gift but it is surely hopeful and purifying on its own to suspect gold at the place where you are wrestling with threads of mud, or simply to coincide with what you are embarking upon, melting in flow with, seeking, or just attempting to bring to an magnificent ending.\u00a0<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":27,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4273","page","type-page","status-publish","hentry"],"yoast_head":"\n
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