Female Resistance to Male Authority Part One

Humans seem to possess an innate abhorrence of subservience to authoritative figures. Even when someone is subjugated to someone else through the laws of the nation or the customs therein, the person will uncover ways to subvert the authority of the person set above him or her. Most often, these ways are of passive resistance since they are much less confrontational to the dominant person. By studying Murasaki Shikibu's The Tale of Genji and Marguerite de Navarre's The Heptameron as social-historical documents, one can uncover evidence of the limitations imposed upon women by laws and social expectations and the means they undertook to overcome those limitations.

The first pArt of this essay will examine the lives of women in the tenth-century court of Heian Japan, and the second pArt will discuss women of the court of sixteenth-century France. Although divided by custom, religion, and six hundred years of time, there are many similarities among these Eastern and Western women in their attempts to oppose male authority, along with many differences. In tenth-century Japan, the resistance women displayed was overwhelmingly passive, while in sixteenth-century France women exhibit more assertiveness towards male dominant figures.

Female Code of Conduct in the Court Life of Japan

Women in medieval Japan had little protection against male domination. The customs of the time expected women to be submissive to men, even to the point of rape. Men had no fear that they would be punished for rape, as evidenced in Genji's attitude:

Quickly and lightly he lifted her down to the gallery and slid the door clos ed. Her surprise pleased him enormously. Trembling, she called for help. It will do you no good, I am always allowed my way. Just be quiet, if you will, please. (Shikibu 137-38)

Although the 'lady of the misty moon' is upset about Genji's attack, she is more concerned with not having Genji to think her wanting in good manners (Shikibu 138). The implication is that women are expected to give their bodies to men who want them as a token of hospitality.

The personality characteristics that women were expected to possess can be discerned through the specific qualities Genji praises in this novel. The 'lady of the evening faces' is the first woman mentioned in the novel that Genji is extremely enamoured of. Genji describes her thus:

She was of an extraordinarily gentle and quiet nature. Though there was a certain vagueness about her, and indeed an almost childlike quality, it was clear that she knew something about men. She did not appear to be of very good fam ily. What was there about her, he asked himself over and over again, that so drew him to her? (Shikibu 41)

What Genji finds so appealing about the lady of the evening faces is her pliability and her desire to please, her tendency to submit to the most outrageous demands (Shikibu 42). These are the characteristics that women of the Japanese court were praised for.

An extreme example of females being treated as objects can be discovered through Genji's actions in connection with the child Murasaki. When Genji first sees Murasaki, she is about ten years old. He is struck by her resemblance to Fujitsubo, his father's consort whom Genji has long desired. Genji decides then and there that Murasaki must stand in the place of the one whom she so resembled (Shikibu 72). Though the child is already betrothed to another man, Genji is determined to take her into his house and make her his ideal (Shikibu 74).

When Genji learns that Murasaki's father, Prince Hyōbu, is soon to take Murasaki to his home, Genji acts quickly. Unconcerned with how others would perceive his actions, he kidnaps the child from her guardians and hides her from her father at his home in Nijō. Murasaki is understandably terribly frightened by all this. Genji tells her:

You are not to sulk, now, and make me unhappy. Would I have done all this for you if I were not a nice man? Young ladies should do as they are told. (Shikibu 103)

Genji's 'lesson' to Murasaki is that her fear and unhappiness is no more than being ill-natured, that ladies are supposed to do what men tell them and to endeavor to make men happy, and that kidnapping her is not a bad thing, but shows how much Genji cares for her and is willing to do for her. Genji informs Murasaki that she must think of him as her teacher; in this manner Genji begins instructing Murasaki in the characteristics and accomplishments that his 'ideal' woman would possess.

Through the character of Genji , one may discern the personality traits that were undesirable for women to have. Genji resents chilliness in females (Shikibu 36), women who are impossibly forceful in [their demands (Shikibu 48), and ones who display jealous ways (Shikibu 48). Boldness in matters of sexual intercourse was also considered unbecoming feminine conduct. It is significant that the only female character who openly displays her sexuality is an old lady of sixty with dark and muddy eyelids and rough and stringy hair (Shikibu 124). Because Naishi enjoys sex and is unashamed to hide it, she is also portrayed as not very discriminating in her sexual pArtners (Shikibu 124), and inexhaustibly amorous (Shikibu 126). Genji dislikes Naishi's aggressiveness and impatience (Shikibu 127), but being Genji he still finds Naishi suitable for his 'no cturnal wanderings.'

Female Resistance to Japanese Code of Conduct

Despite female subservience being a pervasive cultural trait, women in medieval Japan managed to find some ways to resist complete dominance by men. These ways can be characterized as passive resistance, e.g. verbal reproaches, feigning sickness and misunderstanding, standoffish behavior, and isolating oneself from men. In The Tale of Genji, most of the female resistance is due to sexual overtures or excesses by Genji.

Through Genji's wife Aoi, one can understand the extremity of Genji's sexual conduct. Being busy with his numerous affairs, Genji doesn't spend much time visiting his wife at her father's Sanjō mansion, a fact that she does not let him forget when he does come to visit her. Aoi exhibits standoffish behavior to Genji to express her displeasure with his neglect of her, as seen in the following conversation between them:

Genji: It would be nice, I sometimes think, if y ou could be a little more wifely. I have been very ill, and I am hurt, but not really surprised, that you have not inquired after my health.

Aoi: Like the pain, perhaps, of awaiting a visitor who does not come?

Genji: You so rarely speak to me, and when you do you say such unpleasant things. 'A visitor who does not come' that is hardly an appropriate way to describe a husband, and indeed it is hardly civil. I try this approach and I try that, hoping to break through, but you seem intent on defending all the approaches. Well, one of these years, perhaps, if I live long enough. (Shikibu 83, 84)

Genji begins this conversation by trying to remonstrate with his wife for her cold behavior towards him, in not being overjoyed that he has come to see her. She, in turn, reproaches him for his neglect of her by likening him to a visitor rather than a husband. Aoi resists Genji in the only manner available to her, that of verbal reproaches and withholding displays of affection from Genji.

The lady at the Akashi shore employs another method of passive resistance to her father and Genji; she feigns sickness and attempts to isolate herself from Genji. When Genji first begins courting her, which her father actively promotes, the lady at first resists answering Genji's letter and says she is not feeling well (Shikibu 296). After being pressured by her father to write back, she pretends not to understand Genjis poem: How can you sorrow for someone you have not met? (Shikibu 297). She reads his letter literally and answers in that sense, not wishing to acknowledge the letter as an attempt at flirtation and seduction. After her father arranges for Genji to visit her, unbeknownst to herself, she flees to an inner room and bars the door (Shikibu 303). Although Genji doesnt force his way through the door, in some manner that the novel does not mention, he does gain access to the inner room where the lady is hiding. There Genji imposes himself upon her (Shikibu 303). To Genji, this encounter with the Akashi lady is a contest of wills in which he would look rather silly if he lost to the lady (Shikibu 303). Female conquest is, then, a matter of honor among men of the court.

Some women go to extremes to resist male sexual advances, such as when Fujitsubo enters the convent to escape Genji. To Genji, Fujitsubo is the model of sublime beauty (Shikibu 26). But, alas, she belongs to his father, the Emperor. Genji pays no heed to that; with the help of one of her ladies, he manages to gain access to Fujitsubos room. Fujitsubo is determined that there would not be another meeting between Genji and herself and is shocked and distress[ed that Genji has come to her again (Shikibu 86). She tries to make Genji leave, but these efforts delight[ him while causing shame also (Shikibu 86). However Genji still has his way with her, Fujitsubo becomes pregnant, and she passes off the boy as the Emperors son and Genjis brothe r.

After the death of Genjis father, Genji attempts to rekindle the affair with Fujitsubo. She had done all she could to avoid Genji and had even commissioned religious services in hopes of freeing herself from Genjis attentions (Shikibu 202). Sadly, her elusiveness just excites more interest for Genji. Fujitsubo is unable to convince Genji to leave, and she begins to experience chest pains and fainting spells (Shikibu 203). She begins to feel better later, when she believes Genji has left but as soon as he appears before her again, she sinks to the floor in sheer terror (Shikibu 204).

Genji tries to obtain compassion from Fujitsubo by asserting that he would die from love of her (Shikibu 205). Genji feels Fujitsubos conduct is cruelty (Shikibu 207), and decides to make her feel sorry for him (Shikibu 206). So he retires to his house at Nijō where he refuses to write to her and sulks. But Fujitsubo is not so filled with pity that she submits to Genji; instea d she resolves to give up her title as Empress and to become a nun (Shikibu 206). She realizes this is the only path available to her to escape Genjis sexual advances completely.

While the women of the court in Heian Japan did not enjoy much freedom from masculine authority, they did utilize whatever means were available to them to resist complete subjugation. Women in sixteenth century France fared little better than Eastern women. In the intervening six hundred years from the writing of The Tale of Genji to the writing of The Heptameron, women had made little progress in liberating themselves. Women in France were expected to be subservient to their fathers and husbands as were Japanese women, but in The Heptameron women are depicted as being more aggressive in protesting male abuses.

Bibliography

Navarre, Marguerite de. The Heptameron. Trans. P.A. Chilton. London: Penguin Books, 1984.

Shikibu, Murasaki. The Tale of Genji. Trans. Edward G. Seidensti cker. New York: Random House, 1990.

Mary Arnold holds a B.A. in literature and history. She is an author on http://www.Writing.Com/ which is a site for Fiction Writing.

Her writing portfolio may be viewed at http://www.Writing.com/authors/ja77521

Author:: Mary Arnold
Keywords:: Medieval Japan, Renaissance France
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Representation of Female "Figure and Character" in Art and Literature of Pakistan

Female figure has always been in the limelight in the works of artists and authors, who commented on the society, collective Psyche and behavioral changes through gradual evaluation of centuries. First in Subcontinent and subsequently in Pakistan, due to great influence of Hindu Mythology women have been depicted either as goddesses or witches, in accordance to their relationship to the class they abode in.

In Pakistan, Art & Literature depicted woman as the tragic icon. In 1947, during cruel process of genocide she became the target of violence, all this changed the concept of her personality, and during each freedom movement she had to endure all the consequences.

In Art, Ustad Allah Baksh, in his mystic, supernatural and metaphysical paintings like Talism-e-Hoshruba, portrayed women as angels, fairies or witches. Afterwards under the mixed influence of Art and Literary movements, Realism, Romanticism, Expressionism, Impressionism, Symbolism, Cubism, and Hum anism, woman became the symbol of glamour and Sensuality. Shakir Alis abstract approach towards nature and beauty made his treatment of presenting female figure simple but very rangy, both in terms of apparent sketch as well as the inner meanings. The sharp edges of his brush presented the balance and beauty of figure, influenced by distortions, felt and absorbed. Whereas Sadeqain explored this enchanting manifesto through his Pen N Ink technique while presenting nudes with all the essential details, even of less beautiful or non beautiful parts of female figure, but it is hard to find any character in those drawings on the contrary to Sadeqains male figure based paintings and drawings.

Later Iqbal Hussain portrayed her, sitting in the posture full of elegance, romanticism and temptation. In Saeed Akhtars work we find a woman with elegant and snobbish look. Rahat depicted her with soft touch of innocence. Collin David and Jamil Naqsh focused on the centuries old tradit ion in art THE NUDES, which was a dare step in society like Pakistan where it was not acceptable openly. Collin David explored the female figure as the symbol of beauty and presented woman as woman with all her subtlety and femininity, while Naqsh was a bit ambiguous in his approach, adopted a hazy expression that was, due to its un clear expression, more sensuous.

On the other hand just after partition Saadat Hassan Manto, Asmat Chugtai, Bano Qudsia, and Qurat-ul-Ain Haider presented her as victim of sexual assault and violence. In Bano Qudsias work we find womans struggle and internal conflict, how she survives in the social setup. Hajra Masroor and Khadija Mastoor highlighted the problems faced by middle class woman, injustice and inequity faced by ordinary woman, encroachment upon their rights. Different shades of her personality conveyed through stream of consciousness technique by QuratulAin Haider. In the work of above mentioned writers and artists, we become fa miliar with the emotional and sentimental picture of traditional female figure, her confrontation with society, changes in behavior due to unequal socioeconomic status.

In Parveen Shakirs poetry we find a subtle image of woman with all feminine emotions and qualities. All these painters and writers tried to lay a foundation and give a direction to their successors. Female figure being a strong character in different ways, in a society gives birth to new dimensions in Art and Literature.

I want to disclose the hidden realities and socio-economic, emotional and psychological facts that caused writers and painters to capture feminist values.

In our society the role of women is essential in all cultural and social activities, none of our rituals is complete without female character, folk songs are sung and expressed by women, moreover, she is expressed through her dance.

The little innocent daughter or younger sister is an epitome of affection, Love and c are, while the young girl of our society is to remain modest and noble in all means, so she is the center of all concerns by her parents and this concern, in our society is the cause of many traditional subjects of our art and literature. Young womans body has been described in detail even in our mystic poetry as Waris Shah in his narrative piece of poetry (Heer) did. While the painters and sculptors found the female shape and contours, the universal phenomena to understand and express the real sense of beauty, apart from that external value, the sentiments of a women, being a tender character in our society, always have attraction to feel, observe and express, so, the outer shape as a figure and the inner quality as a character always inspired artists and writers to ponder on a women, even more than needed.

The bridal activities start from woman and end on her as well as she is the center of attraction in this festival, while the groom is a silent figure who just has to sit idle in all the activities, his mother, sisters and afterwards his wifes sisters and friends are active in all the rituals connecting to a wedding ceremony. Being the most wanted and awaited ceremony in our folk culture, and the only platform for folk women to express their artistic qualities, wedding becomes a vital source of cultural information regarding women character.

Same is the case in funeral procession in our society, male are responsible just to burry the dead body accordingly while female characters as mother, sister, daughter and wife are the core characters to enhance the element of sorrow and pain through a dare, open and above board expression of mourning. In our art, it is not very obvious but the grief and sorrow has been painted through female portraits without any detail of circumstances while literature has got its very base for mourning songs (Marsia) through womens voice. The pain of dear departed as son, brother or husband is always depic ted in literature through womens expression and feelings. Moreover, all the rituals regarding deaths directly influence female of our society like widow has to go through (Iddat) after the death of her husband, avoid color clothes in connection with century old Hindu tradition that has influenced our society a lot.

My proposal basically reaches out to reveal social, economical, cultural, and ritual factors and reasons that make our female figure and character prominent and its influence on our society. This research will discuss and disclose the restraints and barriers those are in common practice in society but broken through art and literature regarding women. The research will go a long way into the roots of our concepts that are pruned by religion, ethics, myths, media and education through a process of century old evaluation and the shape we are into, in twenty first century. It will also enable us to analyze our status in the modern multi-culture or global cultur e scenario.

Painter, Sculptor, Photographer, Researcher and Poet.

Author:: Nadeem Alam
Keywords:: Female Figure, Female Character, Love, Motherhood, Sensuality, Glamour.
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Madness or Malady: What REALLY Happened to King George?

George William Frederick, (4June 1738-29January 1820), or King George III, is said by many to have gone mad, necessitating the Regency. But is this what really happened?

Not according to recent research.

Actually, the research isn't all that new, which is why it is inexcusable, to my thinKing, to continue to characterize the King as merely having gone mad.

In 1994 the movie, The Madness of King George tried to set the record straight-sort of. If I remember correctly, there was a little blurb at the end stating that the King actually suffered from Porphyria, a disease of the blood. One is inclined to think, however, that most people never Read the blurb, though this is, in fact, the modern consensus of what the King's malady actually was. Porphyria.

So-what, we ask, is porphyria? Dicti onaries will merely tell you that it is a metabolic disorder that affects the blood, secondarily. The main cause of symptoms, however, is not a result of how the blood is affected, but the accumulation of porphyrins in the body, which are toxic to tissue in high concentrations.

Porphyrins, in turn, are actually precursors of heme-an essential part of the blood. In the disease state, porphyrins are not manufactured into heme as they should be, thereby leaving them to roam the system, which is the root of the trouble.

There are differing types of porphyria, which result in differing symptoms, but the King is thought to have had the blood type (hepatic porphyria) which affects the nervous system, and results in abdominal pain, neuropathy, seizures and mental disturbances, including hallucinations, depression, anxiety and paranoia. (Little wonder that 19th century doctors thought he was nuts!)

Interestingly, research has shown that the disease is hereditary an d plagues the British royal family, stemming from Scottish monarchs James 1 and Mary 1 of Scotland. Queen Anne of Great Britain, Queen Victoria's granddaughter Charlotte, and prince William of Gloucester (not to be confused with the current Prince William) almost certainly suffered from the Illness (as well as Vincent Van Gogh).

They suffered from what is called, Acute Intermittent Porphyria which is certainly what the King had, as can be attested by his record of attacks;

1.1765 - a brief episode.

2.1788 -a longer episode. A Regency Bill is discussed.

3.1810-final,debilitating attack; the King is considered insane and Parliament meets to enact a Regency Bill.

The King never returned to his senses, or to power, and he was locked away at Windsor Castle where he also fell subject to the misinformed and sometime brutal treatment of his physicians, and to eventual neglect.

Some of the mystifying behaviour he was said to display? For starters , he claimed to talk to angels. By itself, and by modern standards, we would likely not label him insane for such claims. (Questionable, eccentric, or odd, perhaps, but probably not mad.) But there's more.

He spoke for hours on end without pause; and he once greeted an oak tree as though it were King Frederick William III of Prussia. Sadly, before he died, he prattled incessant nonsense for upwards of 50 hours, then lapsed into a coma and death.

King George was a popular monarch in Britain for most of his reign. Here in the States we tend to think badly of him, no doubt due to the fact that our forefathers saw fit to blame him entirely for all the injustices and wrongs we suffered as a British colony. (Parliament is not mentioned in the Declaration--only the King.)

But he was a thoughtful, domestic family man; he loved to cultivate crops and build gardens and was dubbed farmer George because of it. He remained faithful to his wife for his lifetime, which was singular for a Hanoverian monarch and much admired by the British people. And he espoused thrift and economy; ( the very opposite of what his son, the Regent, later did.)

In short, I cannot help but to like this King. He was not able to foster a good relationship with his eldest son, and in fact, was disliked by his own father. But he was a King with a conscience, and, except for an occasional stubborn streak (which he showed in his refusal to give up the colonies for so long), he was a reasonable man, savvy enough in the political arena to retain the power of the throne during his reign, and had a sincere desire to do what was right.

As to the misfortune of his having had porphyria, the best thing I can say is that, if not for the disease, we would not have had the Regency. That, indeed, would have been a great loss--at least to us Regency Authors!

Sources: WordNet 2.0, 2003 Princeton University

Source: Wikipedia

Copyright 2006 Linore Ro se Burkard

Linore Rose Burkard is the Author of the Regency Romance, Before the Season Ends, the first book in a projected five-book series called,The Regency Light Chronicles. The second in the series is due out in late spring of this year. (2006) You can sign up for Ms. Burkard's FREE eZine, Upon My Word! Facts, Fashion and Figures of the Regency (from which this article was taken) by going to her website at: http://www.LinoreRoseBurkard.com/RegencyeZine.html Special Offer: Right now Ms. Burkard is giving eight FREE ebooks for the purchase of Before the Season Ends from her website. Go to http://www.LinoreRoseBurkard.com for details.

Author:: Linore Rose Burkard
Keywords:: King George III, King, Royalty, Regency, Romance, Madness, Illness, Author, History, British, Read
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Smart Art Investments Buy What You Love!

Collecting Art can be one of the most enjoyable ways to spend your money. But a painting can provide you with more than just viewing pleasure. It can be a financial investment. This weeks Advance is dedicated to exploring one of principals for selecting quality Art. Buy what you love! But what constitutes a painting that will be a pleasure to look at and increase in value?

There are some indicators for aesthetically pleasing Paintings that also bode well for wise investing. You need to be reasonably sure when buying for investment that you are purchasing a painting that is aesthetically appealing to others as well as yourself.

In terms of universal appeal, it helps greatly if aesthetically the painting is broadly liked. Paintings that are most likely to fall into this category usually have subject matter that is not imposing, that has broad appeal. As a comparison, landscapes are a popular painted and bought subject, people can relate to landscapes in a g reat number of ways. Portraits on the other hand, most often have a limited appeal because of the difficulty people have with associating or relating a representation of an unknown person with something and somewhere that is familiar to them. Consider balance, composition and colour of a painting. There is a balance and symmetry in life and nature. In a visually appealing painting balance and symmetry are also evident. Appealing Paintings generally dont have too much painted over one side or on the top or the bottom of the painting. When considering composition, as a viewer of a painting, your eye is drawn to the most important pArt of the Artwork. Good Paintings, lead your eye over the whole canvas, and then draw you to this point. Most Paintings are composed around a triangular structure, which leads your eye around the painting.

It goes without saying that colour is more than just considering whether the painting will match modern dcor. Its worth keeping in min d that colour is an important facet of our lives, most importantly, it affects our moods. Bright, vibrant colours encourage a lively, jovial atmosphere. Dark coloured Paintings can create sombre, reflective and perhaps more formal environments. White represents simplicity, cleanliness, winter. Orange is considered a warm colour and expresses energy. Blue is considered a business colour because it reflects reliability. Red is the colour that we pay the most attention. It is associated with danger. Colour choice can make or break a painting. If the wrong combinations of colours are used, it makes for a visually unappealing painting.

Consider balance, composition and colour when purchasing but also take a moment to consider your own feelings about the painting. Take note of the context of the painting. Does it draw your mind to much to the past and be in danger of becoming dated or old fashioned? Consider the mood of the piece. It is sombre or exciting? Is the pa inting an intelligent reflection of the Artists talents and knowledge of Art and Art history or is it childish or crudely composed? Consider how you relate to the painting. Has the Artist encouraged individual interpretations or is the painting one that can only be truly understood by the Artist. From an aesthetic point of view Art selection does come down to how you feel and relate to a painting.

Enjoy the Art you purchase. Whatever motivates you to buy Art collect those that give you enjoyment. Art Investment can for various periods of time and in most cases you will be living with the Artwork. Living with Art is different from just viewing it in a gallery. A well chosen Artwork can be enjoyed over time in changing lights and varying moods and will reveal different features, colours and detai ls.

Sian Whitehall is the co-founder for SmArt Art Investments. An Australian Art investment website. She has built a knowledge base of Australian Artists and Art investment information and would like to share her own knowledge and understandings with others.

Serious collectors will be pleased to know that http://www.smArtArtinvestments.com.au is committed to showcasing the work of quality Australian Artists.

Author:: Sian Whitehall
Keywords:: Art investing, basic rules, Art collecting, Australian Art, Paintings, resale value, Art, Artists
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No Single Nation Can Impose Democracy on Another

Imposing Democracy on Another nation is something that many academics and philosopher types have debated over many decades. Some believe that no single nation can impose Democracy over Another nation. Indeed these same people will argue that no group of nations should impose democracy over Another either. And this would also include any group called a League of Nations, United Nations or One World Government.

However there are many who are in the United Nati ons who believe that there are many instances when such imposition would be necessary to prevent war, human rights abuses or and out of control government regime. It is for this reason that many could argue that there will be circumstances when it will be necessary to remove a radical regime such as a dictatorship and replace that governments leadership with a Democracy.

What do you do with a Nation State whose leadership insists on funding and sponsoring International Terrorists or even giving them nuclear weapons to use on large civilian populations and cities? Perhaps a protocol is needed of when to impose a legitimate democracy on Another nation and rather than allowing the Security Council of the United Nations, which is totally political, to decide when to do something about a menacing problem which is bound to get worse. Consider this in 2006.

Lance Winslow

Author:: Lance Winslow
Keywords:: No Single Nation, Can Impose Democracy, Another
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The Art Of Cleaning Art

Art is a pArt of life and for some, it is their way of life. Others usually consider Art as a worthy investment. Regardless of how you see Art, restoring and preserving A rt pieces are important techniques to maintain their value. Painting restoration is a serious matter; that is why most people prefer to have their paintings professionally restored. However, if you like the thought of restoring your own pieces, lots of practice and familiarity with techniques are necessary. Because according to statistics, more paintings and Art works are destroyed each year by inept restoration and cleaning than by accidental burning or fire.

Clouded varnish, dirt, and smoke are the usual culprits that cause paintings to become dirty. Restoring paintings by cleaning it is the logical step of most owners. However, wiping paintings with rags or whatever liquid is damaging. Art restoration professionals recommend researching restoration techniques on the internet or attending seminars on restoring paintings before embarking on a restoration mission.

Art works look more elegant and classic when preserved in their original frames. As it is, detaching paintings from their frames is necessary and important before the actual cleaning. Non-removal of the frames not only causes discomfort and unease in cleaning, it also causes scratches and abrasion. Remove the frames by laying the picture backside up on a flat surface layered with foam or cushion to avoid scratching the frames. Vacuum accumulated dust on the frames' back and remove nails gently with a metal ruler and pliers. Secure the nails on board with labels of their previous positions. For example, secure and label the nails plucked from the lower right side of the frame as lower right. This way, each nail fits exactly on its previous place without causing added strain on the frame. Marking the frame is also a good idea to be able to return it to its original position.

After removing paintings from their frame, it is better to inspect the kind of dirt build-up on the paintings. Knowing the kind of dirt to be removed is necessary in finding and using the right product and tools. Anti-mildew solutions remove mildew build-up or foxing effectively. However, soaking the painting in these solutions damages the colors and the painting. To prevent this, soak or spray the solution on a cotton pad and wipe on the area affected with foxing. Follow up with a water-dipped cotton pad and wipe dry. Periodically check cotton pads to see if some color or paint was dissolved. For dirt build-up that requires light to medium cleaning, slicing an onion in half and dipping it in lemon juice remove grime and dirt off Art work. Rub paintings with lemon-soaked onion using a circular motion for even application. Slice the onion regularly to expose a fresh layer. An alternative is using warm water with lemon detergent or washing soda. Finish either treatment by wiping their painting with a moist sponge and leaving it to dry. Art works respond to this treatment with improved depth of color.

Experts recommend leaving varnish removal and painting repair to the professionals. Art works do not sell well or look good if extensively damaged. As these types of restoration require complicated techniques, the chances of botching the job are high if done by amateurs. The job is expensive but make the value of your paintings appreciate.

For more valuable information on Art, please visit http://www.Artbyelaine.com

Author:: William Teleo
Keywords:: Art, Art restoration
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The Democracy Monument Bangkok the Silent Sentinel of Freedom

The Democracy Monument in Ratchadamnoen Avenue was erected in 1939 to commemorate the 24 June 1932 coup. That was the year when the People's PArty led by Pridi Banomyong and the military faction under Phibun Songkhram staged a coup that changed the face of Thai politics for years to come.

The 150-year-old absolute monarchy came to an end and Thailand changed to a constitutional government.

It was an Italian Artist and sculptor, Corrado Feroci who designed the Democracy Monument with a symbolism to capture the spirit of the occasion.

The monument has four curved columns arching inwards. Each column is 24 m in height to signi fy 24 June, the date of the revolution.

There is a protective ring of 75 cannons at the base of the Democracy Monument to symbolize the Buddhist year of the revolution 2475. The original 1932 constitution is kept in a pedestal at the center of the four columns.

Owing to its emotional appeal, the Democracy Monument has been a natural rallying point for democracy movements and demonstrations throughout Thai political history.

In October 1973, one such demonstration took place before the Democracy Monument. It was a massive groundswell of public protest against the military dictatorship of Field Marshall Thanom Kittikachorn and to demand the release of 13 students arrested by the military.

Organized by students of Thammasat University with tremendous public support, the demonstrators numbered almost 200,000, the biggest in Thai history.

In the days that followed, tensions soared. On 14 October 1973, the military moved in to disperse th e demonstrators forcibly with tragic consequences. As a result, the government collapsed and Field Marshall Thanom had to leave the country.

The traumatic impact of 14 October 1973 on Thai society is vividly described in Salisa Pinkayan's historical novel, Chalida. It's also no coincidence that there are hardly any books giving an account of what actually happened.

Further along Ratchadamnoen Avenue is the 14 October 1973 Memorial, a monument dedicated to those who made the supreme sacrifice, brave young men and women who stood up and died for a cause.

Unfortunately, Field Marshall Thanom returned to Thailand three years later and in that ill-fated month of October, history was to repeat itself.

On 6 October 1976, the military stormed Thammasat University where students were gathered to protest the return of the Field Marshall. In the brutal crackdown that ensued, more lives were lost.

Later in May 1992, the Democracy Monument and Ratchadamnoen Avenue were to witness further carnage. General Suchinda Kraprayoon, who seized power through a coup a year earlier, reneged on a promise not to be Prime Minister.

Widespread protests mounted, the demonstrators rallied again and another disaster was impending. In what became known as Black May 1992, another tragedy was added to Thai political history. General Suchinda left office after a royal rebuke televised live nation wide.

At the height of the military crackdown, several demonstrators fled for their lives and sought refuge in a nearby hotel in Ratchadamnoen Avenue near Sanam Luang, the Royal Field. The hotel hid them, fed them and gave them staff uniforms and passes to get past the military checkpoints the next day.

That magnanimous act was to save their lives and the hotel where they sought refuge, the Royal Hotel, won the heArts of the democracy movement and took its place in history.

In the two decades from 1973 1992, the area around the Democracy Monument has witnessed three major upheavals resulting in bloodshed. It is hoped that there would be no more.

Today, the Democracy Monument stands in a peaceful Ratchadamnoen Avenue, a silent sentinel of freedom, in the Land of the Free.

For more on the coups in Bangkok.

The Democracy Monument, first appeared in Tour Bangkok Legacies, a historical travel site on people, places and events that shaped the landscape of Bangkok. The author Eric Lim, a free-lance writer, lives in Bangkok Thailand.

Author:: Eric Lim
Keywords:: Democracy Monument, 24 June 1932, 14 October 1973, 06 October 1976, Corrado Feroci, Black May 1992
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