I have been awared the Stylish Blogger Award by Colette of NH Design Blog. Isn’t that a pip?!
As part of this award one is supposed to share some stylish things. I would like to use this opportunity to show a few more images (which I hope are reasonably stylish) relating to ‘Japaneseness’ and ‘Britishness’, in response to the throughtful comments on a recent post on the subject of preconceptions.
The images in this and the earlier post are all of artefacts that have been taken out of their original context and appropriated by someone for whom they were not originally intended. In all these cases this was done lovingly and with admiration, but inevitably the meaning of the objects changed along the way, although that might not be obvious at first glance. One might call this elusive pattern of change the secret life of objects.
The Japanese artefacts at Snowshill were originally made either for the Japanese market or for the export trade. They must have been bought by a British visitor or entrepreneur, probably sold again in Britain at some point and then picked up by Charles Wade, who was continuously adding to his Aladdin’s cave at Snowshill in the 1920s and 1930s.
Wade admired Japanese objects as examples of fine craftsmanship, which he saw as being in decline in Britain. That response drove his collecting mania, which has made Snowshill what it is today. But the previous lives of these objects are interesting as well. Was the suit of armour sold by an impoverished samurai family after the abolition of the military class in 1871? Was the wind god part of the decoration of a temple, and if so why was it disposed of?
The Japanese garden at Kingston Lacy was created for Henrietta Bankes around 1910. Even though she clearly wanted a ‘genuine’ Japanese garden it was inevitably influenced by its time and place.
Furthermore, its current appearance is a recent restoration, after it had become overgrown and almost lost. It was recreated as faithfully as possibly, but inevitably the result is slightly different from the ‘original’ – which itself was a recreation on foreign soil of a Japanese original. Nevertheless these echoes, and echoes of echoes, are now part of the genius loci, the spirit of place, of Kingston Lacy.
At Hill Top Beatrix Potter preserved the old Lake District farmhouse and collected local furniture and furnishings. She played an important role in preserving parts of the Lake District, but at the same time her view was inevitably that of a well-off, philanthropically-minded outsider. Originally cottage gardens and interiors like this would not have been quite as pretty as she made them, with her artist’s eye.
We owe Beatrix Potter a great debt of gratitude, but at the same time we should not forget that her vision of the place is a particular one, coloured by her Edwardian aestheticism. Today, of course, Hill Top receives many visitors from far and wide (including from places like Japan), who know it through the illustrations in Potter’s famous children’s books, and of course they see it through a slightly different lens again. And so the secret life of objects continues.