The Dangers Of Dengue
Jun. 26th, 2013 09:45 pmAfter a 20 hour journey, I finally made it home around lunchtime on Tuesday. About two hours later, I started to feel a lump in my throat and by the end of the day, I was developing a fever of some kind. Wolfie and I went out for a meal last night, after which we hit a few bars and eventually ended up in BrewDog, where we thought it would be a good idea to buy more shares and get our photo taken for a rogue's gallery on the bar wall. We got home past midnight, rather drunk, and proceeded to fall asleep. In the middle of the night, I was awoken to hallucinations and the need to go to the bathroom, which resembled a Chinese man's house rather than my own home's. The imagery eventually morphed into that of my own bathroom, after which I traipsed back to bed, eventually waking up with a thumping headache, an aching throat and pain in my lower legs. I have been this way ever since. I don't know what it is but the worst it could be is Dengue. My feeling is it's dehydration after breathing recirculated air on a 15 hour flight. I'm hoping it's the latter. Anyway, while I am suffering, I have a few more days of my holiday to write about, days which I couldn't write about at the time due to how busy I was.
Last Thursday, I was awoken hideously early in the homestay on Matsu as our flight off the island, back to Taipei, was scheduled to depart at 8.10am. After a breakfast of meaty pancakes and folded up egg, the homestay owner kindly drove us down to the airport, where we boarded the cute little prop plane whose capacity was a mere 50 persons, many of whom were army guys who had been training on the archipeligo. Fifty minutes later we were back in the Taiwanese capital and a further 30 minutes after that, we were on the road to the National Palace Museum in the northern district of Shilin.
The National Palace Museum is one of the most visited tourist attractions in Taipei, as evidenced by the vast number of mainly Chinese tourists who were roaming the building. Outside, a group of around ten monks were sat in permanent meditation, protesting against political prisoners that the mainland government had allegedly incarcerated. We were handed a leaflet concerning this at the top of the huge rolling stone staircase which is at the forefront of the imposing Museum, which is set upon a hill looking down on a rather shabby collection of flats.
The National Palace Museum is most famous for its priceless collection of Chinese art, much of which was smuggled out of China in February 1949 as Taiwan's founder Chiang Kai-shek retreated from Communist forces shortly before the fall of the city of Nanjing. Understandably, the Chinese now want their art back but the Taiwanese point to the fact that had they not taken it with them in 1949, it could have been destroyed in the Cultural Revolution which China underwent in the 1960s and 70s. While the Palace Museum in Beijing's Forbidden City does have more works of art, the most valuable and outstanding is on display in Taipei, hence why the repatriation of the works is such a contentious political issue. Indeed, the belief was that the artwork remaining in Taiwan was to be a temoprary thing - it wasn't until 1965 when the Museum was created, at a point when the political dispute between China and Taiwan was so intense that any agreement was deemed unlikely.
The pieces on display span five thousand years of Chinese history, and the collection includes pottery, metalworks, furniture, tapestries, documents and writings. There are 654,500 pieces so not all of them are on display, but the order of the exhibits is logical, starting with the earliest works on the top floor and the newer ones on the ground. We only had two hours to spare in the Museum so we couldn't visit every exhibition, or indeed do it much justice, but we did get to see some of the highlights, including the fantastic Jadeite Cabbage with Insects, an exquisitly crafted piece of jade which is breathtakingly beautiful. We had to queue amongst the Chinese tour groups, and were often jostled by impertinent tourists, but seeing this Qing dynasty piece was truly magical.
Another highlight for me was the range of stunning bronzes on display on the top floor. At a time when Western Europe was still struggling with simple pots, the complex designs of these giant cooking recepticles and ritual vessels was mindboggling. The pieces were all crafted between the Neolithic Period and the end of the Han dynasty in 220AD, and the sheer amount of detail that had gone into them was mindblowing. Each dynasty had a different theme, and you could chart the development of techniques and the evolution of belief systems throughout the ages. The same is true of the jade pieces which are also on display here, with their designs showing how humans' relationships with the spirits changed over the course of time. The highlight in this room is the San P'an Basin, which is a ritual water vessel upon which is written a 350 character inscription. The range of bells - eight of them in total, all differing sizes - highlighted the importance of music in this period, while the vast range of different cooking pans demonstrated the importance of food and ritual during this time. It was the patterns though that were the highlight for me, their intricate nature highlighting the importance of these vessels, while the animal mask design of the early Neolithic period added a nice furry element too.
On the second floor, we walked around the exhibits charting the rise of Chinese calligraphy, but not being able to read Chinese was certainly a drawback here. I could admire the neat writing though, which at least was something. I got more out of the ceramics section, which showed the range of different pots and vases used across the differing warring states which made up China throughout the ages. The change in glazing and paint through time and across regions was something of particular interest as it helped to provide a technological narrative through history of the changes being made in the area. China's golden age, the Tang Dynasty, was well represented here, which was one of the few times when curvaceous plump women were deemed more attractive than thin ones. The artwork on the pottery reflected this. I tried to find the rare ceramic Narcissis Basin but despite being green-blue in colour, it was difficult to find.
The final section we visited was on the ground floor and dealt with more modern history, specifically trading routes in the seventeenth and eighteenth century. This was my period of history at university but as is often the case, it is the European perspective that was taught rather than the Far Eastern one. Details of trade with other nations, as well as the establishment of fishing villages and ports, added greater flavour to the Chinese story and it was great covering so many periods of history in such a short time. Granted, we didn't see everything in the museum and I did have a bit of an argument with Cheetah about the need to visit an umpteenth gift shop - I would have preferred another 10 minutes looking at the exhibits - but for what little time we had, we did the place justice. However, we had to go as we had a date in Taichung, a city some 150km south and we couldn't be late...
Last Thursday, I was awoken hideously early in the homestay on Matsu as our flight off the island, back to Taipei, was scheduled to depart at 8.10am. After a breakfast of meaty pancakes and folded up egg, the homestay owner kindly drove us down to the airport, where we boarded the cute little prop plane whose capacity was a mere 50 persons, many of whom were army guys who had been training on the archipeligo. Fifty minutes later we were back in the Taiwanese capital and a further 30 minutes after that, we were on the road to the National Palace Museum in the northern district of Shilin.
The National Palace Museum is one of the most visited tourist attractions in Taipei, as evidenced by the vast number of mainly Chinese tourists who were roaming the building. Outside, a group of around ten monks were sat in permanent meditation, protesting against political prisoners that the mainland government had allegedly incarcerated. We were handed a leaflet concerning this at the top of the huge rolling stone staircase which is at the forefront of the imposing Museum, which is set upon a hill looking down on a rather shabby collection of flats.
The National Palace Museum is most famous for its priceless collection of Chinese art, much of which was smuggled out of China in February 1949 as Taiwan's founder Chiang Kai-shek retreated from Communist forces shortly before the fall of the city of Nanjing. Understandably, the Chinese now want their art back but the Taiwanese point to the fact that had they not taken it with them in 1949, it could have been destroyed in the Cultural Revolution which China underwent in the 1960s and 70s. While the Palace Museum in Beijing's Forbidden City does have more works of art, the most valuable and outstanding is on display in Taipei, hence why the repatriation of the works is such a contentious political issue. Indeed, the belief was that the artwork remaining in Taiwan was to be a temoprary thing - it wasn't until 1965 when the Museum was created, at a point when the political dispute between China and Taiwan was so intense that any agreement was deemed unlikely.
The pieces on display span five thousand years of Chinese history, and the collection includes pottery, metalworks, furniture, tapestries, documents and writings. There are 654,500 pieces so not all of them are on display, but the order of the exhibits is logical, starting with the earliest works on the top floor and the newer ones on the ground. We only had two hours to spare in the Museum so we couldn't visit every exhibition, or indeed do it much justice, but we did get to see some of the highlights, including the fantastic Jadeite Cabbage with Insects, an exquisitly crafted piece of jade which is breathtakingly beautiful. We had to queue amongst the Chinese tour groups, and were often jostled by impertinent tourists, but seeing this Qing dynasty piece was truly magical.
Another highlight for me was the range of stunning bronzes on display on the top floor. At a time when Western Europe was still struggling with simple pots, the complex designs of these giant cooking recepticles and ritual vessels was mindboggling. The pieces were all crafted between the Neolithic Period and the end of the Han dynasty in 220AD, and the sheer amount of detail that had gone into them was mindblowing. Each dynasty had a different theme, and you could chart the development of techniques and the evolution of belief systems throughout the ages. The same is true of the jade pieces which are also on display here, with their designs showing how humans' relationships with the spirits changed over the course of time. The highlight in this room is the San P'an Basin, which is a ritual water vessel upon which is written a 350 character inscription. The range of bells - eight of them in total, all differing sizes - highlighted the importance of music in this period, while the vast range of different cooking pans demonstrated the importance of food and ritual during this time. It was the patterns though that were the highlight for me, their intricate nature highlighting the importance of these vessels, while the animal mask design of the early Neolithic period added a nice furry element too.
On the second floor, we walked around the exhibits charting the rise of Chinese calligraphy, but not being able to read Chinese was certainly a drawback here. I could admire the neat writing though, which at least was something. I got more out of the ceramics section, which showed the range of different pots and vases used across the differing warring states which made up China throughout the ages. The change in glazing and paint through time and across regions was something of particular interest as it helped to provide a technological narrative through history of the changes being made in the area. China's golden age, the Tang Dynasty, was well represented here, which was one of the few times when curvaceous plump women were deemed more attractive than thin ones. The artwork on the pottery reflected this. I tried to find the rare ceramic Narcissis Basin but despite being green-blue in colour, it was difficult to find.
The final section we visited was on the ground floor and dealt with more modern history, specifically trading routes in the seventeenth and eighteenth century. This was my period of history at university but as is often the case, it is the European perspective that was taught rather than the Far Eastern one. Details of trade with other nations, as well as the establishment of fishing villages and ports, added greater flavour to the Chinese story and it was great covering so many periods of history in such a short time. Granted, we didn't see everything in the museum and I did have a bit of an argument with Cheetah about the need to visit an umpteenth gift shop - I would have preferred another 10 minutes looking at the exhibits - but for what little time we had, we did the place justice. However, we had to go as we had a date in Taichung, a city some 150km south and we couldn't be late...