My father lives on a very cool street. He’s got a little place on a small lake. When I visit, I spend hours watching critters on and in the water.
And then I take a stroll down the road, because Dad has artist neighbors. The Ferros’ artwork decorates the street.
The Ferro home is chock full of art, almost all of it made by Tino and Carole. When Carole kindly gave me and Dad’s partner Judy a tour of the house, I couldn’t stop taking photographs. Every single inch of space contained something interesting and wildly creative.
The 1920’s home originally belonged to Tino’s parents.
They added on, sourcing materials from old buildings in the area that were being torn down. These ceiling beams came from a church.
They run a gallery, just a few miles away.
Sculptures adorn the outside lawns; here is only a sample.
Two of the couple’s offspring joined them to create the gallery. Ninety percent of the materials they use are recycled or pre-used. The Ferro family also produces smaller pieces, glass work, and paintings. Click on the thumbnail photos for a closer look.
I loved the female figures made of recycled metal strips from factory punches and stamps.
Tino and Carole worked and raised their family in Portugal from 1988-2008. Tino tells me Europeans still collect their art work.
The Ferros run a second gallery in North Carolina. I can only imagine what’s in that one. But I’m sure those neighbors love having Tino and Carole down the street!
NOTES:  For a similar post on sculpture, go to my earlier post Wine and Sculpture.  Contact info:
My sister Pam is a teacher for international schools. For the last three years she’s been located in the Hong Kong area. It’s a great place to visit: the languages are Cantonese and English, the transportation system is so simple that anyone can feel clever using it, and contrasts between modernity and tradition are everywhere you look.
Pam and her family live in the New Territories. This part of China is on the mainland north of Hong Kong. While Hong Kong is the most densely and vertically populated city on the planet, the New Territories are still relatively quiet. The landscape consists of steep, lush jungle peaks that end in bays and inlets.
The region is growing, and changing fast. On the bus from the apartment we pass villages on hillsides or tucked into hamlets and harbors. Several floating villages of traditional houseboats are minutes away. And then the high rises suddenly appear, row after row after row.
It’s not far to Man Fat Tsz, the Ten Thousand Buddhas Monastery in Sha Tin. It was founded by the devout layman Venerable Yuexi (the Chinese月溪法師; pinyin: yuè xī). Building began in 1949 as Yuexi and his disciples carried everything up from the foot of the mountain. For eighteen years they constructed the buildings – and 12,800 Buddha statues.
You head up through a bamboo forest and statues line both sides of the path to the monastery. There are roughly 500 Arhan  statues in plastic, painted gold. Each one is unique.
Their expressions represent the experience of enlightenment. Other statues await once you reach the summit. (Click on any of the thumbnail photos for a closer look.)
I felt like I was in a tacky Buddhist Disneyland until I got to the top and entered the main temple. Before the altar is a glass case, and it contains Venerable Yuexi’s preserved body! His body (still perfectly intact) was exhumed eight months after his April 24, 1965 death. Yuexi was next embalmed with Chinese lacquer, his head and face covered in gold leaf. The Diamond Indestructible Body of Yuexi’s robed corpse sits in the lotus position. I was oddly moved by his preserved body: with the sight, I had a glimpse of religious truth. 
That feeling became surreal as we headed back to the bus stop.
We climbed down a different set of steps past my least favorite creatures: wild monkeys.
And from the meditative hillside of Ten Thousand Buddhas, we neared and then entered the shopping mall complex at Sha Tin.
As I say, the New Territories has both the traditional and the modern. They all line the same path.
NOTES:  To quote Wikipedia, “…in TheravadaBuddhism, an Arhat (Sanskrit: अर्हत् arhat; Pali: arahant; “one who is worthy”) is a “perfected person” who has attained nirvana. In other Buddhist traditions the term has also been used for people far advanced along the path of Enlightenment.”
 Taking pictures inside the temple is not allowed.
Uwe and I put an exclamation point at the end whenever we talk about Khajuraho! We visited last January, and we’re still talking about it.
In the interests of proper grammar I’m leaving out the exclamation point from now on. You may add it in for yourselves if you like.…
When we visited, Khajuraho could only be reached via a long trek on bad roads. Since we’re talking about India, this means the roads are bad indeed.
The driver we’d hired was there to meet us at our hotel in Agra, and off we went. Five bone-jolting hours later we reached our destination.
Along with its inaccessibility, Khajuraho is notorious for 1,000 year old, perfectly preserved, UNESCO World Heritage erotic carvings.
Somehow this site survived a millennia (millennia, people!), in a spot that had no fortresses or fortifications to speak of. The temple complex existed simply for the purpose of worship.
And what worship. Every single inch of the temple buildings are carved in high relief, depicting gods, tender lovers, voluptuous attendants, monkeys, elephants, assistants for the sexual act….
Hundreds of skilled stonemasons were hired to build the site. The Khajuraho region has excellent sandstone, and the sandstone temples were built with granite foundations. All were constructed without mortar! Instead, gravity holds the stones together with mortise and tenon joints. Some of these stones are megaliths weighing up to 20 tons.
The glory of sandstone is that it loans itself to delicate carving. Even viewing the temple walls from the ground we could see the wrinkles in Ganesh’s trunk; the fingernails of the apsaras and the beads in their strands of jewelry; the sheer layers of veils over their thighs and buttocks.
Uwe vanished almost immediately with his camera, leaving me alone with the young male guide. I could feel my face go red, and it wasn’t a hot flash or sunburn. I was terribly afraid of how embarrassed I was going to be. But the guide pointed out the various depictions of the act of love and spoke in a clear calm voice, explaining the significance (pull your minds of out the gutter, dear readers) in terms of energy, religion, and esoteric philosophy.
It was mid-January, past the usual Christmas tourist season. It was also a two-week period when northern and central India get swathed in fogs – something smarter tourists than we knew. As a result we had the pleasure of being two of the few Westerners at the site.
Most of the others were Indians on holiday, and I was touched to see that at Khajuraho, this meant young married couples. They walked around the compound, standing in front of particularly erotic carved panels, heads together in discussion.
While only 10% of the carvings depict sexual acts, you can guess which panels elicited the most commentary. These were the love-making couples known as maithunas. Other carvings depict everyday activities: playing musicians, potters, farmers, soldiers on horseback, etc.
The temples were probably built in the one hundred year period between 950 and 1050 AD, during the Rajput Chandella dynasty. According to historical records, by 1100 Khajuraho contained 85 temples covering 20 square kilometers. Roughly 20 temples still stand. They were located 60 kilometers from Mahoba, the medieval capital of the Chandela kingdom.
When Muslim rulers took control, heathen places of worship were systematically destroyed. Ironically, even centuries ago the remoteness of these temples helped secure their survival. Nature did the rest as vegetation and forest reclaimed the site. For years the temples were covered by dense date palm trees which gave the city its name: in Hindi, Khajur = date. (The more ancient name was Vatsa.)
The scenes explain Hinduism’s four goals for life: dharma (right way of living), kama (aesthetic enjoyment), artha (prosperity) and moksha (liberation). The complexity of the geometric layout and the grid pattern of the temples with their circles, squares and triangles, the importance of geographic orientation and bodies of water and the carvings’ iconography is beyond my very weak grasp. Instead, here is an excerpt from the UNESCO website:
Greatly influenced by the Tantric school of thought, the Chandela kings promoted various Tantric doctrines through royal monuments, including temples. Sculptors of Khajuraho depicted all aspects of life. The society of the time believed in dealing frankly and openly with all aspects of life, including sex. Sex is important because Tantric cosmos is divided into the male and female principle. Male principle has the form and potential, female has the energy. According to Hindu and Tantric philosophy, one cannot achieve anything without the other, as they manifest themselves in all aspects of the universe. Nothing can exist without their cooperation and coexistence. In accordance with ancient treaties on architecture, erotic depictions were reserved for specific parts of the temples only. The rest of the temple was profusely covered with other aspects of life, secular and spiritual. Source: UNESCO/CLT/WHC
Khajuraho remained forgotten by the outside world until 1838 when a British army engineer, Captain T.S. Burt, was carried in via palanquin. I laughed so hard when I read that the Victorian officer was shocked by what he found….