Come off it! I am not referring to the euphemistic colloquial description of testicles. Or am I ?
I am just recounting my own experience with words and language. As a non-native English speaker I often wonder where some English words or phrases come from. In fact I was taking those words literally for quite a while because it was embarrassing to ask for its true meaning, and that many are as clueless as I am, even for native English speakers.
So with the advent of the web, I can do a lot of searching on my own, its authenticity and correctness notwithstanding. At least it is a starting point. Now I know the phrase probably refers to the iron cannonballs falling off a brass tray which holds them. Freezing and unfreezing supposedly cause the cannonballs to contract and shift, thus the stack collapses off the brass tray. However, even this explanation is refuted by some.
Recently I had an experience with a nationally televised program which title borrows from Confucius and food. The show tries to explore the intricacies of Chinese cuisines and in a tongue in cheek way tries to identify the origin of different foods by asking questions of the competing cultures; allowing them to assert dips on the origin of that food. An example is whether cured ham, cured meat, pizza etc. originated from China. You get the picture. The host chef would visit chefs from different countries to get their opinion, and sometimes the show would even seek archaeological documentation and historians to support the claim. We all know that this is not going to settle anything, but the production delves into a wide aspect of food related topics and culture and practices and the spin is fun and educational and certainly entertaining.
In episode #203 the host chef summoned a lot of effort to explain to the audience that the Chinese word
食 (eat) is made up of
人 (man) and
良 (good) by writing the Chinese character out on a chalkboard. The assertion was that the Chinese word "eat" means it is good for a person (to eat). I suppose such gallant and theatrical effort augments the sincerity and the authenticity of the explanation.
Except that I found the explanation to be contrived. Novel, perhaps.
As a native Chinese speaker I had taken the word for granted and never gave it any second thoughts. Fueled by my questioning mind I explored the etymology of the word. I wished I had my
辭源 ( a Chinese dictionary compendium of meaning, application and etymology of Chinese words) with me, but failing that I resorted to
Baidu.
In this Chinese version of web encyclopedia, it stated that
良 actually means quite a few things; "nice", "quite", "docile", "eternal", "virtuous" are some of the choices. Thus the word
食 (eat) which combines "man" and "nice" could be construed to mean " to eat is good for a person", as the program suggested.
In the Chinese dictionary
辭海, the word
食 is treated as a radicle from which other words are built upon and not as separate radicles of "man " and "nice". In other words, Chinese language and writing treats
食 as a single word, and not divided into two separate components as asserted by the food show program. Allow me to draw a parallel with English words: alcoholic means containing alcohol, acidic means sour. These are examples of separating a word into 2 components to get the gist of word. The same rule however does not apply to the word "antic".
Actually the word 食 has nothing to do with either "man" or "good" or "nice" The word 食 is a transformation from ancient pictography which painted a picture of food with a cover on it.
The left symbol is the original oracle bones script version, depicting a lid on edibles; and the word on the right is the modern day version.
I also consulted a Chinese site Guoxuedashi (國學大師) and it again points to the hieroglyphic script that shows a roof cover or lid or top, with the middle part resembling the vessel that holds food and the bottom part depicting a base that supports the vessel and the lid. For the viewers who read Chinese, here is the excerpt from the site
I am attaching a picture of one such item (perhaps ?) from my fireplace mantel to show the lid and the container with base.
Thank you to the programming for leading me down the rabbit hole to explore my own culture.
I contacted the program to share with them my findings. Their explanation is that Chinese characters can be analyzed at multiple levels, and that they had consulted with people who are Chinese born and educated in Chinese cuisines. Now the first part of the sentence is correct but the second part is as valid as asking an avid British air traveler about the history of their Comet Airliner. Better yet, what is the meaning of the archaic word Husbandman? Any guesses as to how many native English speaker know the meaning of that word (Answer: farmer). I am a native born Chinese for more years than I care to elaborate, and yet I didn't know the true derivation of the word 食. So the program producer pitted one native Chinese against another. I posed the same question to some of my ethnic Chinese friends, and none of them could give me the correct answer. We, as native Chinese, have taken our own writing for granted. Equating a native Chinese as the de facto authority in Chinese word etymology is a slippery slope. I understand that the prime objective of the food show is perhaps entertainment and not accuracy. As they put it, that is subject to interpretation. Perhaps they have bit off more than they could chew.
Picture me trying to elucidate "freeze the balls off brass monkey" by placing a monkey made of brass on a table and try to freeze its balls off? Pretty absurd, isn't it?
Our local culture venue clearly had the same assumption by inviting Chinese calligrapher and painter to do demonstration of the brush art. As these artists gyrated their brushes, slanting the shafts of their instruments into a dance, the audience, and the venue deemed beautiful and credible art was made. The audience was given an opportunity to learn about the art of Chinese calligraphy and painting. That was the intention.
This is an example of the calligraphy of the day
Notice the lack of definition in the turns in the blue circle. This is due to failure to control the down force, forcing the hairs of the brush to work beyond their capability. The heavy line preceding the blue circle is an indication of this impending doom.
Contrast that with this example
notice how all the twists and turns are resolute and decisive. The energy of the brushstroke does not diminish throughout the writing. The calligrapher had utmost control of the writing instrument.
The red circle again signifies a heavy smudge resulting from a failure to lift the brush. As if to extinguish a cigarette. In other words, lack of control of the brush.
Now look at an example of a proper brushstroke
notice in the first character within the blue circle, the lift to a point immediately preceding the dot and also notice the dagger like down stroke from the second character. And while you are at it, appreciate the twists and turns in the brushstrokes of this calligraphy piece. They are resolute and carry the energy through the strokes.
The green circle is a most abhorrent example. When it comes to the extended brushstroke, the tip of the brush must absolutely be smack in the center and the energy of stroke must be demonstrated as relentless. The stroke should feel and look like a dagger or a lightning rod, ready to discharge. The calligrapher that day put down a dead snake with severed vertebrates and skin peeling off (my graphic animation is not meant to be derisive but to make a point). It is obvious that instead of putting the tip of the brush right down the middle, he instead placed it on the left. This is the same as driving a car with incorrect toe-in or toe-out angles.... your front tire is worn unevenly on the sides. Then he decided to dress up the writing by making the line longer and pressed down again. Unfortunately he never had the correct placement of the tip to begin with, so now the belly of the brush sat down and formed the triangular sliver hanging by a thread.
This is how it should be done
Thus the calligrapher of the day was not paying attention to the tip of the brush and that is the basis of Chinese brush calligraphy. The tip to Chinese calligraphy is to know your tip. He was clearly outside of his
tessitura, to quote a vocal term.
When it came to painting demonstration, another artist presented a example of his work to validate his skill in brush painting
and then proceeded to give the audience something like this during the demonstration:
It simply did not compute. Where did he learn to paint a highway lane dividing line as contour line of a mountain. How did the brushstrokes from his sample work deteriorated into pencil drawing?
What I am alluding to here are examples of the failure of learning by rote. We as students learn and study by emulating, copying works from classical masters. This is true for calligraphy students and painting students alike. Except that a lot of us, myself included, fail to internalize the fundamentals of the craft. Thus we are forever in a state of emulating, stifling any sense of originality. The result is when the source material, the
Tie for example in calligraphy, is taken away, we are left with striking an awkward pose, like an amateur model.
Incidentally, Chinese seldom refer to brushstroke as a brushstroke per se. We use the word
筆觸 (brush contact, brush touch) to denote brushstroke. Thus more emphasis is placed on the contact patch than the simple act of motion of the brush. There is a subtle yet critical difference in the interpretation of the brush movements.
It is not my intention to be especially harsh or nitpicking with these artists. It is perhaps my fervent desire to separate fact from fiction; fad from substance. Chinese brush art is a somewhat arcane form of art and some of the aesthetic cues are not evident to the casual onlooker. The fact that some native Chinese can write something with a brush doesn't automatically qualify him as a Chinese calligrapher or a painter. For that matter, anybody who wields a Chinese brush. By knowingly maintaining my silence and not pointing out the proper yardstick to use I would be contributing to the ignorance and the platitude. To me, Chinese brush art appreciation and wine drinking, especially the red variety, share some similarities. A wine consumer does not necessarily have to know the science of tannins, but one should be able to at least tell the difference that tannins contribute to the brew. The average red wine drinker might not be able to identify a Shiraz from a Malbec, but should be at the very minimum able to taste the difference. I am just trying my best to show the tannins in Chinese brush works.
Speaking of being esoteric, I retrieved a painting from my friend's garbage can. It was discarded because my friend thought the painting was a failure, obviously.
I looked at the painting and was amazed at the quality of the brushstrokes. To me, that was a prime example of how to "write" a painting. I was in fact, jealous.
It reminded me of a past encounter, the Iquazu Falls, only more poetic
One has to appreciate all the discrete brushstrokes; the way the thundering water is depicted:
No smudging, not much of a wash. Absolutely not a fill in the space with color type of "painting".
Even the simple birds are written strokes and not painted strokes. As if a word is being written.
and be engulfed by the turbulent torrent.
So I convinced my friend to reconsider.
She did.
Incidentally the only alteration she did to the piece after reviving it from the garbage can was to add in the flock of birds to give the waterfalls some perspective.
The painting was entered in a local arts showcase competition but failed to jury in.
I know art appreciation is very subjective, but I also know that not all jurors here possess the education to properly appreciate Chinese brushwork. I believe a lot of them are like the audience and the sponsors in the demonstration; skimming the surface and being ignorant of the tannins. This is not a passive consolation or sour grapes. It is just my perceived reality.
So my friend entered her painting at an international Chinese brush painting competition. Second Place she was awarded. Perhaps this is due to the nature of the competition, being limited to the genre of Chinese brush painting, instead of the local open call. Nonetheless, justice and vindication at last.
Again, I am not trying to be a snob and be critical about the Foodie program or the local art scene that I described, not in a malicious way anyways. I am trying to point out the less obvious and to address some of the misconceptions; about somethings that we often take for granted.
I am grateful that the Foodie program stirred me to find meaning in something as fundamental as
食.
I am grateful that the brass monkey is not a primate.
I am grateful that balls of brass monkey are not anatomical features.
Now I just need to investigate how cold the witch's tits are.
