World Nature Art
Editorial
Nature does not know itself as nature. That's what we name her. And in that naming lies an image: our image of nature. To some extent this image says something about nature, but it also expresses how we see ourselves in relation to nature. Consequently, it forms a reflection of our self-image. Nature image and self-image are closely connected. (Matthijs Schouten)
The concept of the exhibition was developed in cooperation with D'ARTS art historical bureau and exhibition architect Yusuf Kho. The physical limitations of an exhibition forced the organisers to choose four cultures (or rather cultural groups), although they are wide-ranging: the West, Islam, the East and the indigenous peoples. These are cultural groups with great differences and great similarities.
The cultural groups
The Indigenous Peoples
For the indigenous peoples of Africa, America, Australia and Asia nature is animated. Man, nature and the world of gods and spirits are linked in all kinds of ways. African peoples believe that man is surrounded by invisible forces which may be to his advantage but may also present a danger. For this reason a balance must be maintained between good and evil forces in dealing with nature. Evil can be averted through sacrifices, rites and prayers. For the Australian aboriginals there are traces of the creation everywhere in nature, for example, in animals, trees, woods or mountains. Rites, songs and dances bring the original creation back to life and cause the cycle of the seasons. For the North-American Indians the relationship with nature is based on reciprocity: one gives to replace what one takes. Especially when hunting, it is important to deal with the catch with respect, and to put bones or claws back in nature so that the spirit of the dead animal does not make others of its species refuse to be caught.
The East
Hinduism and Buddhism originated in India. Both religions believe in the principle of reincarnation: all living beings are subject to the cycle of death and rebirth. How one is reincarnated depends on karma, that is, the effects of one's actions. Like a law, the sum of all the deeds in a life determines the next birth in a higher or lower order of being. In other words, whoever is now a human being may come back as a worm. Because of this, Hinduism and Buddhism both have great respect for nature. In Hinduism, the older of the two, its followers believe that the entire cosmos, thus including nature and man, is permeated by the divine.
In understanding his divinity, which is the Hindu's highest aim in life, man also becomes aware of his connection with the cosmos and nature. He can no longer see himself as separated from them, and this experience of unity gives rise to a deep respect for the earth and nature. In Buddhism, which broke away from Hinduism about 2500 years ago, brotherly love and compassion are extended to all fellow creatures. Buddhism has no God, but does believe in the connectedness of all life. Consequently, a Buddhist must ensure that his acts do not cause suffering.
Islam
The most important images of nature in Islam come from the Koran, the sacred book for Muslims. In contrast to what is often thought outside Islam, the Koran does not contain a ban on portraying nature. There is, however, some reserve in Islam as regards depicting living beings. Man may not take on the role of creator or produce objects that could lead to idolatry. The Koran contains many passages describing the garden which awaits the devout and just person after his death. This heavenly garden, in contrast to the desert landscape (where Islam came into being!), has heavily laden fruit trees, rivers and ample shade. Appointed caliph by Allah in His creation, Man creates his own garden on earth. In the Islamic garden water always has an important role. The presence of fountains, water basins and watercourses alludes not only to the heavenly garden but also to the creation story. According to the Koran, the creation began with water. By having water come down from heaven, Allah brought plants into existence; he also brought forth the animals from water. Images of gardens are often seen in poetry and in painting and carpets.
The West
The Greeks and Romans did not like wild nature. Their ideal of civilisation was the city. Outside it, in the wilderness, they often saw chaos and barbarism. But they did create an image of an ideal landscape, half natural, half wild, which they named Arcadia after a region of Greece. In art Arcadia may be presented in different variants. Sometimes its uncivilised aspect is emphasised, with satyrs and fauns in a mountainous landscape, and sometimes its charms, with shepherds and shepherdesses amid laden fruit trees and clear streams.
In the Christian Middle Ages a wilderness came into being where monstrous creatures lived. In forests and mountains one might encounter wolves, or worse, the wild man, the man-eating beast. The wilderness was a place visited only by the hermit. There he could conquer the demonic forces of nature, as he did with his own inner wasteland.
In the early modern period man extended his control over the wilderness. While in the Renaissance garden an attempt was made to create a so-called third nature, an ideal combination of human intervention and spontaneous naturalness, in the Baroque garden man completely imposed his will on the landscape. Western man was also to impose his hostility to the wilderness on the territories he colonised.
The Industrial Revolution, which began in the 18th century, did so much damage to landscapes in the 19th century that ideas about nature changed: now that it was in danger of disappearing, the wilderness was more and more appreciated. For the Netherlands it was already too late: wild nature had given way to cultivated nature. Nowadays attempts are being made to reverse this process by giving pieces of land back to nature.
The exhibition
The key to this exhibition thus lay in a design which would give a coherent picture of the view of nature of each cultural group on the one hand, while making it possible to compare the views of nature of the different cultures on the other. This key was found in a spectacular and ingenious design: four circles lying around each other, one for each cultural group; viewed from the outside towards the inside - the Western, Islamic, Eastern and indigenous cultures. Each circle offers a tour of one of the cultural groups, but like rays intersecting these circles certain themes that play a role in every culture are highlighted, for instance, the creation, the wilderness, cultivated nature, etc.
So in each ray there are four works of art with the same theme, one for each cultural group. For each culture works have been chosen whose form is typical of that culture. In the case of Western art that form is the painting: one looks as if through a window at a perspectival imitation of reality. In the case of Islam the form is decorative arts; here everyday objects are shown, usually with an abstract representation of nature, because in Islam the imitation of God's creation is considered disrespectful. The Asian circle contains mainly sculptures and scrolls, objects expressing the Eastern devotion to nature. And for the indigenous peoples, lastly, works of art were chosen that were used to make contact in a ritual fashion with the spirits in nature.
The paintings from Western culture are shown against a glass background. These glass walls are attached to a ring of tall columns that surround the exhibition. At the height of seven metres the columns are connected to an encircling cove, creating a Stonehenge-like structure. The Islamic decorative arts are shown in decorated display cases inside the circle; the Eastern sculptures on bamboo pedestals stand in the circle inside that. The ritual objects of the indigenous peoples, lastly, are displayed in a round case at the heart of the exhibition; at its core, after all, every culture has a 'primitive' origin.
Because of its remarkable design and arrangement, the exhibition will be perceived as spectacular and transparent. On entering the church's nave, the visitor will initially experience the exhibition as a forest of art. The circles on the floor and the graphic indication of the theme rays will provide the required visual coherence.
Explanation
Thus there are several ways of looking at the exhibition: one can walk round the cultural groups circle by circle, or one can wander along the rays to make thematic comparisons, but one is also free to just stroll through a forest of multicultural art.
Each visitor will receive a guide containing all the legends and thematic comparisons as background information. The guide is in the form of a 'colour fan': each flap deals with a particular theme (corresponding, thus, to a ray) and is divided into four coloured strips, one for each cultural group. In addition, two other introductions are available: an audiovisual guide in the choir and an introduction space for each culture in the circles.
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