Orientations Magazine

28/02/2025

Around the World: March

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern arts.

- “Delighting Krishna: Paintings of the Child-God”, National Museum of Asian Art, Washington DC, Mar 15 to Aug 25, 2025
- “Hokusai | Monet”, Minneapolis Institute of Art, Feb 8 to Aug 10, 2025
- “(Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell amid the John D. Rockefeller 3rd Collection”, Asia Society New York, Mar 9 to Aug 10, 2025
- “Eltiqa: How to Work Together? A Collective Artistic Practice from Gaza”, Jameel Arts Center, Dubai, Feb 6 to Jul 20, 2025
- “Asia Week New York”, New York, Mar 13 to 21, 2025
- “TEFAF Maastricht”, MECC Maastricht, Mar 13 to 20, 2025
- “Art Basel Hong Kong”, Hong Kong Convention and Exhibition Centre, Mar 28 to 30, 2025
- “Art Central 2025”, Central Harbourfront, Hong Kong, Mar 26 to 30, 2025

27/02/2025

Interestingly, the answer came swiftly, as further research by Barjeel into women artists revealed another significant category of representation: that of female political engagement. Paintings such as the Syrian Leila Nseir’s The Martyr (The Nation) (1978) and Maysoun Jazairi’s Awaiting the Return (1970), for instance, focus on women’s contributions to violent political struggle. The Sudanese Kamala Ibrahim Ishaq’s Zaar (1973) reveals involvement in mystic spiritual practices, while the Egyptian Zeinab Abdel Hamid’s Quartier Populaire (1956; see image 1) reflects on the urban modernisation of Alexandria. Other subjects likewise emerged that broadened the representation of women beyond this initial profile, such as the engagement of women with ideas of outer space and the cosmos, including Menhat Helmy’s Space Exploration/Universe (1973) (see image 2). The ways that women’s artwork complicates accepted binaries between fine art and craft is also beginning to emerge in the Middle East. Barjeel recently acquired three small, ungainly assemblages made of nails, pushpins, and other miniature metallic items, which sit somewhere between satellites and creatures, made by the Iraqi-Jewish artist Joyce Mansour. Women’s access to craft techniques means that the media in which women chose to work far surpasses the narrow band of oil painting that dominated Barjeel’s previous exhibitions.

Read more in Melissa Gronlund's article "The Barjeel Art Foundation and the History of Modern Arab Art" in our current issue.

Images:
1. Quartier Populaire
Zeinab Abdel Hamid (Egyptian, 1919–2002); 1956
Oil on canvas; 116 x 81 cm
Collection of Barjeel Art Foundation, Sharjah
2. Space Exploration/Universe
Menhat Helmy (Egyptian,
1925–2004); 1973
Oil on canvas; 123 x 123 cm
Collection of Barjeel Art
Foundation, Sharjah

26/02/2025

The collection celebrates this engaged politics. In Egypt, Inji Efflatoun was jailed for her communist activism from 1959 to 1963, an incarceration she uncannily foresaw in her 1957 painting of a woman holding her hands up in surrender, while a figure
beside her holds their head in their hands (The Prisoners, 1957). Hamed Owais’s portrait of a rural Egyptian fighter protecting his community with his firearm (The Protector of Life, 1967–68; see image below) speaks to the importance of the fellahin in safeguarding Egypt’s citizens after the 1967 Arab-Israeli War. In Sudan, Ibrahim El-Salahi was jailed in 1975 for alleged involvement in an anti-government coup; he responded with The Prison Notebook (1976; not in the Barjeel collection but reissued by the Sharjah Art Foundation), which addresses wrongful imprisonment. In Iraq, Kadhim Hayder used the story of the martyred Prophet Ali Hussein to provide a metaphor for the persecution of artists and cultural figures, particularly those with affinities to the Communist Party, under the new Ba’athist regime in his cycle of works The Epic of the Martyr (1963). In Palestine, until his death, Abdul Hay Mosallam Zarara made reliefs showing typical scenes of Palestinian life, keeping alive these practices as a counterweight against right-wing Israeli elimination of Palestinian culture. These political works are accompanied by a diversity of non-engaged work, but Barjeel shows that they are not adjunct or second-rate. They are the art history. By exhibiting them, Barjeel also exhibits the history of the political grassroots commitment of a region that struggled with huge losses for self-rule during the 20th century.

Read more in Melissa Gronlund's article "The Barjeel Art Foundation and the History of Modern Arab Art" in our current issue.

Images:
1. Le Gardien de la vie (The Protector of Life)
Hamed Ewais (Owais) (Egyptian, 1919–2011); 1967–68
Oil on canvas; 132 x 100 cm
Collection of Barjeel Art Foundation, Sharjah
2. He Told Us How It Happened
Kadhim Hayder (Iraqi, 1932–1985); 1957
Oil canvas; 96 x 65 cm
Collection of Barjeel Art Foundation, Sharjah

21/02/2025

19/02/2025

Although the scope of the exhibition does not include the founder of the empire, Babur, the linkage of the Mughal emperors to their Timurid ancestors is clearly indicated by the beautifully carved and inscribed white jade wine tankard of Timur’s grandson, Ulugh Beg (1394–1449). Recognized as one of the greatest rulers of the empire, Akbar became the emperor at a very young age of fourteen. Even though he is known to have been unable to read or write, he did not exclude himself from cultivating his interest in literature and visual art. During his reign, new imperial workshops were established, commissioning highly exquisite works of art. In the House of Books (Ketab-khana), beautiful manuscripts were made and stored, including the Hamza-Nama (Book of Hamza), the first major project commissioned by Akbar, which recounts the exploits of the legendary Muslim warrior Amir Hamza against a variety of unbelievers (image below).

Read more in the exhibition review "The Great Mughals: Art, Architecture and Opulence" by Haoyang Zhao, see our current issue: https://www.orientations.com.hk/past-issues/p/jan-feb-2025

Images:
1. The Giant Zumurrud Shah and his army flee Hamza’s forces
From the Hamza-Nama; c. 1562–77
Opaque watercolour and gold on cotton
backed with paper, 67.1×52 cm
MAK – Austrian Museum of Applied Arts/Contemporary Art, Vienna: B1 8770-28
Photo by the author

2. Rama and Lakshman hear from Sugriva, King of the Monkeys
about the completion of the bridge to Lanka
Lahore, completed 25 Sha’ban AH 1002 (16 May 1594)
Opaque watercolour and gold on paper; 38.5×25.5 cm
The David Collection, Copenhagen: 16/1992
Photo by the author

17/02/2025

Solace in Painting explores the foundational question of how we raise awareness about and effectively characterize the artwork of conflicted artists of the diaspora who never produced overt ‘conflict art’. This question is examined through the lives and artwork of three Asian diasporic painters: Chao Shao-an (also known as Zhao Shao'ang,1905–1998, Keisho Okayama (1934–2018), and Ann Phong (b. 1957). Beyond their biographies that have been similarly touched by major U.S.-led conflicts in East and Southeast Asia over the course of the twentieth century, these artists were also selected based on resonances among their philosophical and technical approaches to painting their experiences.

Each of these artists intimately explores the legacies of conflict across the diaspora without representationally depicting those themes. Ranging from classical Chinese bird-and-flower ink paintings to monumental abstract acrylic canvases, the artworks in the exhibition, upon initial encounter, resist biographical interpretation.

Read more in Fletcher Coleman's article "Solace in Painting? Diasporic Artists and the Market for Conflict".

Solace in Painting explores the foundational question of how we raise awareness about and effectively characterize the artwork of conflicted artists of the diaspora who never produced overt ‘conflict art’. This question is examined through the lives and artwork of three Asian diasporic painters:...

14/02/2025

Ann Phong is a Vietnamese American painter whose work reflects on her escape from Saigon at the end of the Vietnam War, as well as the cross-generational experiences of the Vietnamese diaspora in the United States (image 2). Her recent paintings also tackle the localized effects of pressing global issues such as climate change on Vietnamese and American communities. Phong’s works in Solace in Painting focus on the manifold aspects of her identity as a diasporic artist, as well as the increasingly devastating effect of broad global calamities on Vietnamese communities. Despite her harrowing life as a young woman and striking body of work, she has not yet been the subject of focused academic research on the post–Vietnam War Vietnamese diaspora.

Phong’s ten works in this exhibition represent the evolution of these themes in her work over the last twenty-five years. They are selected from her two primary bodies of work—series titled ’Immigrant’ and ’Environment’. Each of these groups include subseries of works that examine topics ranging from her flight out of postwar Vietnam, to the destructive impact of humanity on the environment, to the challenging experiences of Americans of Asian descent during the global pandemic. Woven throughout all is an exploration of the relationship between personal biography and the shared challenges of human existence, particularly as they affect immigrant communities around the globe.

Read more in Fletcher Coleman’s article "Solace in Painting? Diasporic Artists and the Market for Conflict" in the current issue.

Images:
1. Searching for the Hill to Climb (detail)
Ann Phong (United States, born Vietnam, 1957), 2022
Acrylic on canvas; 121.9 x 213.4 cm
Collection of the artist, Orange County, California

2. Ann Phong in her studio, 2021
Photo courtesy of the artist, Orange County, California

12/02/2025

Chao Shao-an was a Hong Kong painter who shaped modernist approaches to Chinese ink painting (image 2). Surviving all twentieth-century conflicts in China, from the fall of the Qing dynasty in 1911 to the return of Hong Kong to the People’s Republic of China in 1997, Chao ruminated on these events through the metaphorical subject of bird- and-flower painting. He spent most of his life separated from mainland China but is currently being reclaimed as an apolitical traditionalist by museums and art historians of China. This exhibition, by contrast, highlights Chao’s work as an innovative modernist who advanced the expressive possibilities of ink painting and subtly reflected on his biography within an otherwise staid genre. The fourteen album-leaf paintings selected for display represent a period late in the artist’s life when he examined intimate moments of transition within the natural world to reflect on the many seismic changes that had occurred across his own long life (image 1).

Read more in Fletcher Coleman’s article "Solace in Painting? Diasporic Artists and the Market for Conflict" in the current issue.

Image 1:
Joyous Song
Chao Shao-an
(Hong Kong, 1905–1998), 1970–90
Ink and pigment on paper;
30 x 38 cm
Estate of the artist, Hong Kong
Image 2:
Chao Shao-an demonstrating
at the M. H. de Young Memorial
Museum, San Francisco, 1960
Photo courtesy of the
Hong Kong Heritage Museum

10/02/2025

The fourth example also features a peripheral coat of arms centred on a crossbar within a drawing for a design of a silver swing by Ragavaji Mawji, a silversmith active in Bhuj, Gujarat in the late nineteenth century (see image 2). The coat of arms highlights two horned bulls flanking a shield with a spread-wing bird, surmounted by a dhow sailing ship. It represents the state of Bhavnagar. The components all speak to South Asian precedents, but organizing them within and around the shield and elevating the meaning of such decorative elements to formal coat of arms was a British form. The British terminology of ‘granting’ or ‘awarding’ a coat of arms was first made manifest for South Asian aristocrats at the inaugural Delhi Durbar in 1877. Maharaja Raol Sir Takhtsinhji Jaswantsinhji (Maharaja of Bhavnagar, r. 1870–96) received this ‘honour’ upon his attendance at the durbar.

The remainder of the imagery and the purpose behind the swing are largely based within South Asia. Two sari-clad women posed in mirror image hold flower baskets while balancing vases on their heads, forming caryatid columns. Bejewelled kneeling putti, one playing a harp, the other singing, are at their feet. Peacocks with fanned tail feathers face peahens atop rectangular pillar capitals.

Read more in the article “Silver and Soft Power in Late 19th Century South Asia” by Katherine Anne Paul in our latest issue.

Image 1:
Salver
India, Maharashtra, Mumbai (Bombay); about 1903–06
Silver; 1 x 33.3 x 33.3 cm
Birmingham Museum of Art, Alabama
Generous gift of Harish K. Patel (2022.119)

Image 2:
Drawing for silver swing design
By M. R. Bhuj Ragavaji Mawji
India, Gujarat, Bhuj, Kutch; late 19th century (after 1877)
Ink and pencil on paper; 61 x 45.7 cm
Birmingham Museum of Art, Alabama
Generous gift of Harish K. Patel (2022.221)

07/02/2025

The silhouette of the trophy in the image below is derived from European precedents, as are the dragon handles. The dragons are rendered with k***s on their heads and backs, and long wings folded close to the body. Each has only two clawed feet and a spade-shaped tail. These are European rather than Asian dragon features. Created fully in the round, Krishna stands cross-legged playing a flute on the pericarp of a lotus, bedecked with a peacock feather crown, necklaces, garlands, bracelets, anklets, a pleated dhoti, and a patterned shoulder scarf (see image). Each element is faithful to sacred depictions of Krishna found throughout South Asia. On one side of the trophy’s belly, a four-armed form of the all-powerful goddess Durga (grasping a bow, arrow, and discus) rides her lion. Four pillars support a floral arch decorated with two winged birds to shelter the goddess. All are on a raised rectangular base. These architectural details reference temporary pandal shrines, historically constructed from pith and created each year for the puja (ceremony) for Durga in Bengal.

Read more in the article “Silver and Soft Power in Late 19th Century South Asia”by Katherine Anne Paul in our latest issue.

Image:
Trophy
India, Bengal, Kolkata (Calcutta); about 1860
Silver with gold wash interior; 65 x 48 x 25 cm
Birmingham Museum of Art, Alabama
Generous gift of Harish K. Patel (2022.87a-b)

06/02/2025

Around the World: February

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern arts.

- “The Art of Armaments — Qing Dynasty Military Collection from The Palace Museum”, Hong Kong Palace Museum, Jan 22, 2025 to Jan 21, 2026
- “Recasting the Past: The Art of Chinese Bronzes, 1100-1900", the Metropolitan Museum of Art, New York, Feb 28 to Sep 28, 2025
- “A Love for Detail: Indian Painting from the Museum Rietberg Collection”, Museum Rietberg, Zurich, Feb 27 to Jun 29, 2025
- “Resonating Treasures of Chinese Ceramics—Shanghai Museum X The Museum of Oriental Ceramics, Osaka”, the Museum of Oriental Ceramics, Osaka, Oct 19, 2024 to Mar 30, 2025
- “Lê Phô, Mai-Thu, Vu Cao Dam: Pioneers of modern Vietnamese art in France”, Musée Cernuschi, Paris, Oct 11, 2024 to Mar 9, 2025
- “Splendours of the Atlas: A Voyage Through Morocco’s Heritage”, Museum of Islamic Art, Doha, until Mar 8, 2025
- “Becoming Lim Tze Peng”, National Gallery Singapore, until Mar 23, 2025

31/01/2025

The animal repertoire is also present in this decoration, visible on the grip button at the top of the lid, which is decorated with a unique pattern of three snake-like animals coiled around it. On closer examination, these are actually schematically depicted as dragons. From an iconographic point of view, the presence of serpentine dragons may be questionable, given that the vessel was once used to house relics and perhaps as a liturgical object. This ornamentation was probably only fully understood in its original context. In East Asia, the dragon is a mythical animal of good fortune, whose iconography became more precise and widespread during the Liao dynasty (images above). From the time of this nomadic dynasty, and later in an even more ostentatious manner during the Mongol Yuan period, dragons appeared on the clothing or objects of the social elite, while the animal itself became a symbol of the emperor. At that time, dragons were usually depicted chasing a flaming pearl, and the goldsmith did not treat this symbol in accordance with contemporary codes of representation. The reason for this is that he was probably not a Mongolian silversmith, but rather a craftsman perhaps from Europe or the Middle East, who was less familiar with iconographic codes. It is also worth noting that although dragons were readily depicted on the silver furnishings and silk garments of the Liao aristocracy, the Mongols later issued sumptuary laws in 1270 that forbade the unrestricted use of certain images, particularly dragons, thus reserving their symbolic significance for the imagery of the imperial court.

Read more in "Between East and West: The Cup of Saint Sigismund and the Workshop of Guillaume Boucher" by Guilhem André in our latest issue.

Images:
Cosmetic case with dragon motif, from the grave of Princess of Chen and Xiao Shaoju
China, Inner Mongolia; Liao dynasty (916–1125), late 10th century–early 11th century
Partly gilded silver; height 21 cm, diameter 25.4 cm
Research Institute of Cultural Relics and Archaeology of Inner Mongolia
(After Hsueh-man Shen, ed., Gilded Splendor: Treasures of China’s Liao Empire (907–1125), cat. 96a-f., New York, pp. 322–23)

29/01/2025

From a technical perspective, the workmanship of the Cup of Saint Sigismund aligns with Asian traditions of the time. With regard to the material, techniques used to cast and refine the metal in Central Asia have been identified, but detailed studies are still lacking. Some extraction sites are known, however, and processing methods have been identified, relying in particular on cupellation for refining. The indication of Asian production is linked to the use of a specific shaping technique, which consists of working the metal sheets around a pivot element that determines the centre of the piece. This axis can be seen in the centre of the star decoration on the cup’s bowl, lid, and knop. In the bowl, regular concentric marks appear to be the result of turning to hammer the shape, while on the lid, marks radiating from the pivot trace relate to the mechanical attachment of the knop, which was made separately. This pivot also determines the use of a centred decoration, which was chased and then gilded. The origin of this type of work is well identified in the production of Sasanian Persia (224–642), although in these early cases the marks are often off-centre. Given their oval shape, they would have been used to fix the object to define its initial shape or for final polishing. As a result of the historically documented transfer of Sasanian craftsmen to China at the time of the exile of the Sasanian prince Peroz III (636–c. 679) to the Middle Kingdom, between 670 and 674, the taste for goldsmithing and the techniques used to produce it reached the court of the Tang dynasty (618–907), where it was perfected (see image 1).

Read more in Guilhem André's article "Between East and West: The Cup of Saint Sigismund and the Workshop of Guillaume Boucher", see linkinbio.

Images:
1. Cup and cover
China; Tang dynasty (618–907), second half of the 8th century–early 9th century
Gilt silver; diameter: 24.5 cm (cover), 24.3 cm (bowl)
Louvre Abu Dhabi
Photo © Department of Culture and Tourism, Abu Dhabi/Thierry Ollivier
2. Sens Cup, from the Sens Cathedral treasury
France; late 12th–early 13th century
Gilded silver; height 31 cm
Musées de Sens
Photo © Musées de Sens/J.-P. Elie

28/01/2025

From the team at Orientations, we wish all our readers a joyous and prosperous Year of the Snake in 2025.

To celebrate the Year of the Snake, we are offering 25% for 2025 on all past issues and books.

Follow the links below:

24/01/2025

The bringing together of viewer and subject is most evident in the last section of the scroll. Men are shown stretching and emerging from their tents, encircled by an array of red, yellow, and green banners. Several miniature figures appear within a copse of leafy trees, but no one else at the camp takes notice (image 1). As the scene continues, it becomes clear that the figures are floating in a dream bubble emerging from the head of the sleeping prince (image 2). Prince Kang has accepted his appointment as Grand Field Marshal of a division of the Song army at the request of Qinzong, and in the dream he encounters his brother in the palace. Qinzong takes off his red tunic and tries to hand it to the prince; because the exchange symbolizes the passing of the throne, Gaozong backs away in surprise and reluctance.

The dream bubble conveys the seemingly singular message of the scroll: a direct, uncontested transmission of imperial authority from Qinzong to Prince Kang. It does so under the guise of inviting the viewer into the most intimate of spaces, that of the prince’s own mind. The bubble’s vignette acts as an important conceit in the painting’s reasoning, probing the relationship between the external events of the war shown in the painting and the internal experience of the prince’s dream. These two states of mind are stitched together with a miniature version of a potted tree, whose straight trunk and dense foliage render it identical to the larger trees outside the bubble.

Read more in Catherine Zhu's article "Restoration and Reinvention in a Song Scroll" in our latest issue: https://www.orientations.com.hk/past-issues/p/jan-feb-2025

Images:
1. Detail of Illustrations of Auspicious Responses, section 12, showing dream sequence
Private Collection
Artwork in the public domain

2. Detail of Illustrations of Auspicious Responses, section 12, showing Prince Kang sleeping
Private Collection
Artwork in the public domain

22/01/2025

For all of the painting’s supernatural subject matter in the form of deities and dreams, its style is one of meticulous realism. The approach can be seen throughout the composition: the illusionistic spaces within the architecture, the legibility of spatial depth, and the exacting level of detail. For instance, the courtyards are undergirded by a series of parallel diagonals. Recession into space is mostly conveyed by a picture plane tilted towards the viewer, rather than figures or objects diminishing in size. The result is a sense of proximity to the actors and a crystalline clarity to the arrangement of each section. No detail is too small, as seen in the rendering of individual roof tiles, the texture of the woven window shades, and the embroidered patterns on the ladies’ fans. A flag in the final section is decorated with a green oval with the character 牙 ya (tooth; fang), marking the general’s headquarters. The details, taken together, intimate unobstructed access to the private domain of the prince.

Read more in Catherine Zhu's article "Restoration and Reinvention in a Song Scroll" in our latest issue: https://www.orientations.com.hk/past-issues/p/jan-feb-2025

Images:
1. Detail of Illustrations of Auspicious Responses, section 5,
showing gold embroidery patterns
Private Collection
Artwork in the public domain

2. Detail of Illustrations of Auspicious Responses, section 6,
showing roof tiles
Private Collection
Artwork in the public domain

3. Detail of Illustrations of Auspicious Responses, section 12,
showing banners and drums
Private Collection
Artwork in the public domain

17/01/2025

Moreover, the ceramic Tang-style cups in Riga, Stockholm, and Moscow fit into a much wider global trading pattern. Tang ceramics were exported to the West, but they usually travelled by ship to Iran or the Middle East. The best example is the famous Belitung cargo, circa 830, consisting mainly of a wide variety of early 9th century Tang ceramics, salvaged from an Arab shipwreck near Indonesia in 1998 and now housed in the Asian Civilisations Museum in Singapore. The trove includes multi-coloured Changsha bowls, Yue green wares, and plain white wares, as well as precious silver and gold vessels.

This reference to the Belitung cargo is also an introduction to the questions surrounding the Riga cup. Although of a slightly earlier date, the Belitung cargo can be used to exemplify the popularity of cups with a handle as a type for foreign export markets. Indeed, a variety of such cups of slightly different shapes—all with a foot and with the characteristic elegant, rounded handle—was found among the white wares in the wreck. They were made in the Gongxian kilns of Henan province, and it is obvious that they are of much higher quality than the Riga cup. Not represented in the Belitung cargo, but in collections elsewhere, are similar white-ware cups without a foot but on a flat base, which more closely resemble the Riga cup. Examples are in the National Museum of Asian Art (Freer Gallery of Art) in Washington, DC (image 1), and in the former Eumorphopoulos collection.

Read more in "A Tang-Style Cup from a Viking Tomb" by Christiaan J. A. Jörg in the latest issue: https://www.orientations.com.hk/past-issues/p/jan-feb-2025

Images:
1. Cup
China(?); second half of the 10th century
Stoneware; widest diameter 6.3 cm, height 4.8 cm
Swedish History Museum, Stockholm (5035 B)
2. Cup
China, Henan province, Gongxian kilns; 8th century
Stoneware; widest diameter 6.3 cm, height 4.7 cm
National Museum of Asian Art, Washington, DC
Gift of Dr and Mrs George J. Fan (F 1993.21)

16/01/2025

The cup would have been rare and precious at the time, worthy of being included as a burial gift for an important man. However, it did not attract any scholarly attention until 1938, when it was discussed by T. J. Arne, a Swedish scholar (Arne, 1938). He mentions two other cups that are clearly of the same type as the Riga cup. Both were excavated from 11th century tombs, one in Sweden, the other in Russia. The Swedish cup was found before 1896 in a woman’s tomb in Hemse, Gotland, together with an Islamic coin from the year 900. The Russian cup was found in shards during excavations in 1852 in the village of Ves, Vladimir province, northeast of Moscow. By sheer luck, they too are still extant.

The fact that three cups have survived clearly indicates that they were part of a trading system, and so it is quite possible that there were even more of them, although archaeologists may not have paid proper attention when cups or shards were excavated elsewhere in the Baltic area. It is also clear that they fit into a wider context, as we know of the remains of other objects of eastern provenance found in the Viking area, dating from the 6th to the 10th century.

Read more in "A Tang-Style Cup from a Viking Tomb" by Christiaan J. A. Jörg in the latest issue: https://www.orientations.com.hk/past-issues/p/jan-feb-2025

Images:
Riga cup (various views)
China (?); second half of the 10th century
Stoneware; widest diameter 5.8 cm, height 4.4 cm
Latvian Museum of National History, Riga (RDM ###IX-9)
Gift of C. von Manderstiern
Photo: Robert Kanins