Inch Abbey, county Down

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Inch Abbey is located in what is a still remarkably peaceful and secluded setting. Founded by John de Courcy in the 1180s as his atonement for his destruction of Erenagh Abbey on the other side of Downpatrick, Cistercian monks were brought here to populate it from Furness Abbey in Lancashire. According to the tourist board it is (along with Grey Abbey on the Ards peninsula) “the earliest example of Gothic architecture in Ireland and finest example of Anglo-Norman Cistercian architecture in Ulster.” There was a monastery on this site before the present monastery, a timber church and ancillary buildings surrounded by an earth bank, founded as early as 800 AD. But this was plundered by the Vikings on at least two occasions and destroyed before its re-establishment under John de Courcy.

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The nave

The view across the Quoile to Downpatrick and its cathedral gives an idea of its location near to the main settlement but quite separate from it.

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Looking across the Quoile to Down Cathedral

The cathedral was also originally established as a monastery by John de Courcy in the 1180s with Benedictine monks from St Werburgh’s monastery in Chester (see https://velvethummingbee.wordpress.com/2018/02/24/chester-cathedral-refectory/).

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Entrance to the chancel

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Base of column

The Cistercians followed a strict rule, with much silence, little music and a self-sufficiency that eschewed the use of meat. There would have been a plentiful supply of fish for them here, the site originally was an island.

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Chapter house

Around the ruins of the Abbey there are the remains of what have been identified as the kitchen, a bakehouse, a guest house, the infirmary and a well. The Abbey was dissolved in 1541.

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Abbey well

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Sefton Park Heron

In Liverpool recently I was pleased to get these pictures of the heron in Sefton Park. The heron seemed quite unperturbed by my presence and that of many other people quite nearby as he watched the lake for signs of a potential meal.

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Slaves of Fashion New Works by the Singh Twins

I first met the Singh Twins many years ago when I was studying at the University of Manchester and took a course entitled ‘Religion and the Arts’. Amongst the participants were the Singh Twins and it was clear then that they were destined for higher things. It was an excellent inter-disciplinary course that engaged very directly with art in religious contexts and covered such areas as Christian and Islamic architecture, Greek Art, Buddhist Gandhara sculpture, Russian Orthodox icons and much more. It was wide ranging and took the students out of the lecture room and into religious buildings and other places. It had a great influence on me and I suspect it must have had an influence on the Singh Twins who are now such established artists.

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Ancient Roots: The Wonder that was India

 

Details from Ancient Roots

 

I was glad, by chance, to get the chance to see this exhibition which is both beautiful and challenging at the Walker Art Gallery in Liverpool. It is a very impressive exhibition. The painterly skills of the twins are well displayed in these new works and the display of eleven of the major pieces on digital lightboxes enhances the effect tremendously. Even these photographs snapped on my camera phone help to show something of the power of their art. Each of these works depicts an historical figure (ten of them women) who wear a different textile. Around the central figure are depicted aspects of the process of production and trade of that fabric.

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Chintz: The Price of Luxury. Depicting Queen Catherine of Braganza who married Charles II in 1662 bringing Bombay (Mumbai) as part of her dowry

 

The exhibition explores the history of Indian textiles in the context of empire, enslavement and exploitation and the way high fashion has always been intimately bound up with unequal terms of trade between western society and the lands where most of these textiles are produced.

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Indiennes: The Extended Triangle. Depicting the slave trade

 

They have such an eye for detail and incorporate in each of the eleven major works vignettes from the history of the interaction between luxury consumption, trade, and imperialism. It asks so many questions about ethical trade and the history of consumerism and Liverpool is such an appropriate place for this appear. The image at the top of this page is a detail taken from their work ‘Cotton: Threads of Change’, a raw material produced originally in India and central to the economic development of Liverpool as a port as part of the ‘Atlantic Trade’.

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Cotton: Threads of Change

 

The bottom of ‘Cotton’ shows an imagined historical skyline of Liverpool which begins symbolically in China and Egypt and ends in New York. Some of the buildings of Liverpool fly the Confederate flag, a pointed but accurate assertion for a city that was so tied to slavery for so long and which in many cases supported the South in the American Civil War. A grand ball was held by the citizenry in St George’s Hall to support the Confederacy.

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Calico: Merchant Thieves (detail)

 

Some of the new paintings feature Theresa May, Boris Johnson, Angela Merkel and Donald Trump and in one room is a large collection of objects from around the world from the Museum’s collection which shed further light on the history and issues bound up in this interaction between fashion, empire and trade. There are also preparatory works in the show and time-lapse films of the works being created.

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Silks and Quilts: Exploration and Exploitation. Queen Isabella of Castile

 

It is an incredibly impressive and thought provoking exhibition which I am glad I got to see. It is in Liverpool until 20th May 2018 after which it will move to Wolverhampton Art Gallery from 21st July to 16th September.

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Details from Silks and Quilts