Nov 15, 2025
glasgow, scotland // june 2017 // ©
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glasgow, scotland // june 2017 // ©
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What does it cost to walk slowly when the entire street is watching? The oiran parade was performance as power. A top-ranking courtesan didn't walk to her appointment - she processed through Yoshiwara in towering geta, moving in a figure-eight step that took years to master. Katsushika Hokusai's "Courtesan Making a Parade" (c.1816) freezes one such woman mid-ritual on bare paper. No crowd, no architecture. Just her. That black kimono isn't just black - it's covered in pale pine branch motifs (matsu), a symbol of endurance. An interesting choice for a woman whose profession was built on performing it. The striped shoulder wrap in rust-red and Prussian blue, the kanzashi bristling from that towering hairstyle, the layered collars in coral and pink at the neck - every element is a code. Status, season, house affiliation. The poem in the upper left is classical Chinese verse about moonlight, wine, spring clouds. The name 天翁 beside it marks the poet, not Hokusai. Two voices sharing one sheet. Hokusai was mid-fifties here, decades before the Great Wave, already understanding that the parade was never about beauty. It was about legibility. Quelle: meisterdrucke.com
The Roman style "Corinthian" columns are so impressive, they always catch my eye.
Kelvingrove Glasgow Scotland 9/24
There was a lot to adore at the two Sparks concerts in London and Glasgow: 1. Russell Mael's polka dot suit, pink shirt and pink trainers (I kind of want to get married in this) 2. Trolling even the hardcore fanbase by pulling out almost nothing but deep cuts and B-sides. 3. Opening with the Royal Chelsea Hospital Choir and a pumping house DJ for the Glasgow night: two such left-field choices they have to belong to Sparks. 4. They performed tracks from my favourite album, but not the titular one, instead being 2 deep cuts they NEVER perform ("Sherlock Holmes" and "Mickey Mouse") 5. The Goth girl dancing all the way through, not giving a fuck what anyone thought. 6. The sheer queer and trans joy of the event. 7. The young person who came dressed as the front cover of "Angst in My Pants", complete with red outfit and a teddy bear dressed as Ron the Bride: they were on the front row, and Russell acknowledged them, subsequently they melted with glee. 8. The Kelvingrove is a stunning venue, and it didn't rain! 9. SPARKS! 10. I almost forgot: I wish I enjoyed anything as much as their guitarist Eli Pearl enjoyed being there
Prehistoric Petrosphere, Aberdeenshire, 3300 to 2000BCE, Kelvingrove Museum, Glasgow, Scotland
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kelvingrove museum, glasgow.
On May 2nd May 1901 The Glasgow International Exhibition in Kelvingrove opened.
The second of 4 international exhibitions held in Glasgow was opened on 2 May and ran until 9 November, covering roughly 73 acres of ground in Kelvingrove Park. Among the multitude of temporary buildings was this concert hall on the banks of the River Kelvin, with seating for 3,000 people. A full programme of concerts was organised for the duration of the exhibition, featuring performers from all over Europe.
Its centrepiece was the new Art Galley and Museum which appropriately housed the Fine Art section, including work by the “Glasgow boys” who were by now acknowledged as internationally important artists. But the exhibition’s main building was the temporary Eastern Palace; its architect was James Millar who won an open competition with his design which satisfied the extravagance demanded by the public. This Oriental fantasy, with its strong suggestions of 16th century Spanish Renaissance architecture, was topped by a grand dome adorned by an electric-torch wielding golden angel of light. There were also separate buildings for industrial and machinery displays, concert halls, foreign pavilions, numerous restaurants and cafes, as well as many minor buildings covering subjects such as agriculture and heating and lighting. Some idea of the sheer scale and grandeur of the enterprise can be realised in examining the exhibition plan in the first picture.
It’ hard to imagine the planning that went into this and the scale of the whole thing, for example, a whole Russian village of 7 buildings, there was a model farm complete with working dairy, windmill and grieve’s house, a Grand concert hall with seating for more than 3,000, and a new sports ground at Gilmorehill with a four-lap cement cycle track, cinder pedestrian course, football pitch and stand accommodation for 25,000 spectators. The suggestion of limitless resources was enhanced by the breathtaking electrical illuminations which lit up many of the attractions by night.
Although it lacked the novelty of 1888, Glasgow’s second major exhibition was still enormously popular, resulting in attendance figures of over a staggering 11,000,000.
Thanks to the railways, journeys were now relatively easy and inexpensive, and tourism was growing. Visitors from afar were encouraged to explore further, and the beauty of the surrounding countryside was heavily promoted in the publicity literature.
The Palace of Fine Arts at the exhibition remained as a permanent legacy, now known as Kelvingrove Art Gallery and Museum
me taking a power nap
Kelvingrove Art Gallery Museum
photo by heartgash ♡