James N. Muir
SCULPTURE STROLL FEATURE
1. Man in the Maze
by James N. Muir
"The longest journey is the journey within." As a maze is a network of interconnecting paths designed to confuse the traveler, the Native American symbol traditionally called," the man in the maze" is actually the man in the labyrinth. A labyrinth is an ancient unicursal path found in many cultures around the world which depicts a spiritual journey in physical form. Labyrinths have been found in almost every religious tradition in at least the last five thousand years to include such diverse places as Egyptian tombs, Cretan coins, Celtic stones, Greece and even Minoan representations found in Arizona and New Mexico dating to the start of the Bronze Age, c 3000 to 1200 B.C. (note: Minoans mined 1/2 billion pounds of copper for bronze from known mines in Michigan's Upper Peninsula.) More specifically, it is also an enigmatic symbol recognized in at least five of the Native American cultures of the Southwest: the Hopi, Zuni, Gila, Tohono O'odham (formerly known from the Spanish, "Papago") and is the Great Seal of the Salt River Pima Maricopa Indian Community outside of Phoenix. As noted, the "maze," known as the house of litoi" (Hopi) or "Se-eh-ha" (Pima) is actually a labyrinth and the legend has been used by the native cultures for centuries to help children understand the meaning of life: a visual allegory depicting the experiences and choices we make in our journey through life. It illustrates the search for balance- physical, mental, spiritual as well as social. Symbolically, the journey has been interpreted as either a journey out of the original darkness in the center (Tohono O'odham) or the reverse- a journey from the outer world into the spiritual center (Pima) where are to be found a person's dreams and goals and, when we reach it, the Sun God is there to greet us, bless us, and pass us into the next world. In actuality, both interpretations are correct in viewing the totality of the human spiritual journey out from the center of creation into the physical world and back again through the seeming" maze" that isn't a maze, to re-find our Divine Center. While there are many forms of labyrinth, depicted is a "Seven Path Classical Labyrinth". Its circle, with its seven rings, is a symbol of wholeness and unity and is reflective of the world we live in and our longing for wholeness. The man, (I' itoi/ Se-he-ha, "Adam") represents the totality of all humankind successfully completing the journey without, and within, and standing, as in this sculptural depiction in the Hopi "Sipipu"), the "anteroom" wherein a retrospective life review, "Self-judgement Day", to repent and purify takes place. This spiritual overview reveals the true significance of the twists and turns life's Path takes as actually having been guided by a Higher Power for the highest good of ourselves and others. It is a journey of Faith and Divine Instinct. And, since Faith comes from the heart, our traveler, like the mythical vagabond flute player of yore, the Hopi "Lalenhoya" or "Kokopelli" (-ieu), has been playing his guiding flute from the Heart. Symbolically this is depicted as a "drone" or dual flute tuned to F#, (the frequency of the heart) which allows the "musician" to play his own unique melody on one side while always keeping in harmony with a constant F# Heart chord of the other. His flute is decorated with the blue feather of Truth coupled with the white feather of Surrender, under the all seeing eye of the Spirit Eagle soaring high above the earth. With this his only possession, the Traveler stands at the threshold. reviewing at his feet the shining map of his Journey through the Labyrinth of Life. the winding path that adds up to the successful completion of his Journey to At-ONE-mentjust *One small step for man, but a giant leap for mankind." The sterling silver title plate affixed to the olivewood base depicts a matched pair of male and female flute playing" Traveler" reflecting the duality inherent in each Soul in harmony balance Historical/contemporary note: "Clew" (clue) - the skein of Ariadni's thread that Theseus used to lead himself out of the Labyrinth in Crete after tracking down and killing the Minotaur. Sym. the golden thread of the "High Self" (Ref: "Trinity") guiding the traveler by Divine Instinct (Heart) through the Labyrinth of Life and overcoming the debased animalistic "Low-self" side of his own nature (ego). Thus, walking the labyrinth is both a spiritual act and a physical meditation that is being rediscovered during our time that is believed to help clear the mind and bring deep personal insight into the spiritual journey along with new ways of perceiving the challenges of life. A walk in the labyrinth can be a healing and sometimes very profound experience or it can just be a pleasant walk.
SCULPTURE STROLL FEATURE
4. Sons of Liberty
by James N. Muir
In the ancient democracies of Greece and the Republic of Rome only "Freemen" were allowed to be armed; "slaves" have never been allowed to carry weapons. The founding fathers of the Republic of the United States of America recognized that a government that feared an armed citizenry of free individuals was a government to be feared by that citizenry. So vital was the assurance of human liberty's continual triumph over any form of tyranny that its fate could not be allowed to rest in any but the hands of an informed and enlightened people. Thus it is that immediately following and protective of the First Amendment guarantees of Freedoms of Religion, Speech, the Press, Assembly and petitioning Government comes the inviolate Second Amendment Right to keep and bear arms. The original definition of "Militia" was, and still is, automatically inclusive of every male citizen age sixteen to forty-five (age sixty-five for those having served in the armed forces) and now, with equality under the law this includes women citizens as well. The original citizens' Militia were first organized by towns, then counties, then colonies, and finally by states. In the long tradition of American independence, everything had its foundation at the local level of the individual. From the times of the Indian troubles each local company had within it a contingent of "minutemen" who were required to be fit and ready "to take up arms at a minute's notice." In addition to these para-military citizens groups were those patriots of the political movement whose purpose it was to gain and protect Liberty at all levels within, and without, government by peaceful means wherever possible. The sum total of all these freedom-loving and courageous individuals called themselves "Sons of Liberty." In addition to personal arms of every calibre, make and description, in 1775 the predominant military long arm was the "Brown Bess" musket. The first model or "Long Land", adopted during the reign of King George I, had a 46-inch barrel of 75 cal. and, as depicted, was the most familiar, available, and widely used firearm of the militia even after a 42-inch barrel "Short Land" model of 1740 was adopted by the British in 1765. The brown finish on the gun stocks gave them the nickname Brown Bess, as previous British muskets had the wood painted black. Powder and ball were carried either separately in a powder horn and pouch or, preferably, in the more military cartridge box in the form of pre-made paper or linen cartridges. By way of comparison, a modern day descendent and heir to the title of "Sons of Liberty" might typically be equipped with the now ubiquitous Colt's Model M-16/AR-15 in .223 cal. with spare cartridges carried in a cloth bandolier or in magazine pouches. In either era these noble patriots' rock-solid stand in the path of Tyranny symbolizes not a threat but a warning. As Thomas Jefferson professed: "The strongest reason for the people to retain their right to keep and bear arms is as a last resort against tyranny in government."
SCULPTURE STROLL FEATURE
9. The Dance
by James N. Muir
The Dance represents a couple dancing in complete joy on their wedding day somewhere in the old West. She has brought her husband a rose to symbolize the gift of her heart. He wears his sidearm to fulfill his new role as protector of his mate. They both proudly display their "prairie diamond wedding rings" as, since real diamonds were rare on the frontier, these horseshoe nail rings would have to suffice, for now. Allegorically, The Dance represents the final re-union, marriage, of the masculine and feminine "compassion to temper the male reason, " while he offers her a balance, in return. Thus, after unnumbered turns on the wheel of life, these two opposites are finally re-united as ONE in the joyous "Dance of Life." To paraphrase the great dancer, Isadora Duncan, when asked what did her dance meant? "If I have to explain it, why dance?" So, let the sheer joy of this loving couple dancing speak for itself simply share the moment with them in the joy of our own "Dance." The original citizens' Militia were first organized by towns, then counties, then colonies, and finally by states. In the long tradition of American independence, everything had its foundation at the local level of the individual. From the times of the Indian troubles each local company had within it a contingent of "minutemen" who were required to be fit and ready "to take up arms at a minute's notice." In addition to these para-military citizens groups were those patriots of the political movement whose purpose it was to gain and protect Liberty at all levels within, and without, government by peaceful means wherever possible. The sum total of all these freedom-loving and courageous individuals called themselves "Sons of Liberty." In addition to personal arms of every calibre, make and description, in 1775 the predominant military long arm was the "Brown Bess" musket. The first model or "Long Land", adopted during the reign of King George I, had a 46-inch barrel of 75 cal. and, as depicted, was the most familiar, available, and widely used firearm of the militia even after a 42-inch barrel "Short Land" model of 1740 was adopted by the British in 1765. The brown finish on the gun stocks gave them the nickname Brown Bess, as previous British muskets had the wood painted black. Powder and ball were carried either separately in a powder horn and pouch or, preferably, in the more military cartridge box in the form of pre-made paper or linen cartridges. By way of comparison, a modern day descendent and heir to the title of "Sons of Liberty" might typically be equipped with the now ubiquitous Colt's Model M-16/AR-15 in .223 cal. with spare cartridges carried in a cloth bandolier or in magazine pouches. In either era these noble patriots' rock-solid stand in the path of Tyranny symbolizes not a threat but a warning. As Thomas Jefferson professed: "The strongest reason for the people to retain their right to keep and bear arms is as a last resort against tyranny in government."
SCULPTURE STROLL FEATURE
10. The Lighted Lantern
by James N. Muir
This sculpture depicts a pioneer couple in the late 1870's on their journey west, lighting the way for themselves and others. They have found the courage within, and, balanced by the heightened strength of their union, hold aloft the Lantern Light of Hope for a brave new world of Freedom for all... Additional Historical Notes: He is wearing an early model rain slicker while his hat reflects his U.S. Cavalry background. His rifle is a Model 1876 Winchester Cal..45-75 (Centennial of the date of the Declaration of Independence). He stands on the Book of Truth. She wears a modified U.S. Infantry Officer's "great coat" (Infantry is the "Queen of Battle" reflecting Chess pieces). Her hair is loosely patterned after the style of the Lady of Liberty while the buttons of her dress bear the "Lone Star" of Freedom, as does the Civil War Texas State belt plate. On her belt she discreetly, but significantly, carries a Smith & Wesson "Safety Hammerless" revolver. They wear their wedding rings of "prairie diamonds", their hands interwoven in a "lover's knot," with both touching her cameo bearing the rose of spiritual blossoming.The broken wagon wheel symbolizes the end of one journey and the beginning of another, while at a higher level, it symbolizes the completion of one era of human history with the way forward into a new Era being illuminated by the Lantern of Truth and Freedom held aloft by the "Lady of Liberty. " Both figures are at the same level signifying complete equality - she holds the Light aloft while her mate guards and protects her. It is symbolic of, not the changing of the guard, but the balancing.The female holding the light for the way ahead, yet each plays an equal role in that forward journey.
SCULPTURE STROLL FEATURE
13. Traditions
by James N. Muir
As the six core values are inseparable in the formation of character, they are also inseparable in the rendering of an artistic depiction: representative individuals working in unison to accomplish the mission of perfecting excellence of character in the A&M Graduate. A limestone tower of character, built upon the "solid rock" foundation of granite, stands as a Cenotaph in Memorium to all the Texas A&M/AMC graduates who have shaped their lives by the guiding principles of the "Six Core Values." Designed to rise twenty-four feet high, for the twenty-four hours of every day, the edifice begins with the rough surface of raw character - the "rough ashlar" of the stone mason/sculptor being gradually worked and refined to become the geometrically "perfect ashlar" upon which shines the emblem of Texas A&M. This block of perfected character is, itself, directly supported by the "Tradition" block of those who have gone before and have since scattered to the four corners of the earth, as indicated by the four corner columns. In turn, the perfect ashlar of character supports the six columns of the "Core Values" standing in unity to uplift the ultimate three-tiered "capstone" of perfection of Body, Mind, and Spirit. In all there are twelve levels to the tower representing not only the twelve months of the year but also each has its own symbolically specific dimensions and shapes relating to life's journey. The Arch symbolizes the inner journey to perfection, as well as the outer journey of passages through different levels of experience. At the very top of the arch is "LEADERSHIP", the Commander of the Corps, setting the example of leadership by helping up his fellow "values" to accomplish their mission. Next comes "INTEGRITY" in a firm forearm grip with Leadership, dressed in the simple working clothes of an engineer, the "M" in A&M, wearing a compass on his wrist signifying unfailing determination of direction and purpose. "LOYALTY" is next, with a locked grasp to Integrity above. He is dressed in the mode of a farmer/ rancher, in harmony with the earth as well as with Humanity, the "A" in A&M, bare-chested to show the muscular strength of his determination and loyalty. Over his shoulder is his bag of "good seeds" to sow in the fertile ground of character. His strong grip to the figure below is one that cannot slip or fail. Next comes "EXCELLENCE," "the Great Equalizer." This is a female student, now on the scene after so many years of A&M's being an all-male institution. She is in the gown and cap of the aspiring graduate. In her left hand she clutches the yellow/gold Rose of Excellence, and Texas, which will be placed upon the highest level once she has risen to the very top. "Excellence" is being supported up the rough base of the arch by "SELFLESS SERVICE", depicted as one of the A&M recipients of the Congressional Medal of Honor, extending his hand to help others. Wearing the USAAF uniform and "crush cap" of a 1943 aviator; around his neck is the Medal of Honor - the symbol of ultimate selfless service. He is reaching out, in a challenging invitation, to all who would join in the quest for perfection of character. On each side of the Cenotaph tower is a bas-relief of the respective emblems of the A&M ring with the center seal on the front. Beneath the seal are chiseled the Six Core Values: RESPECT • LEADERSHIP • INTEGRITY • LOYALTY • EXCELLENCE • SELFLESS SERVICE Followed by the word, "TRUTH", upon which all values are based. The chisel and hammer of the heritage of the A.M.C., left by the original carvers, rest below on the granite Book of Knowledge. Above stands a member of the elite Ross Volunteers, in dress uniform with distinctive red sash, offering a sabre salute in RESPECT for the noble Values and Tradition of Texas A&M.
About the Artist
James N. Muir was born in Indianapolis, Indiana 1945. He attended the United States Military Academy at West Point for one and a half years and completed his B.S. Degree at Indiana University in 1970, while also having served six years in both the U.S. Army and Air Force. His professional art career as a sculptor began in Sedona, Arizona 1980 where he has continued to be a full-time professional artist for the past three decades. He owned his own bronze casting foundry, Seraph M Fine Art Bronze, from 1982 to 1988 in Sedona, Arizona. He has completed over 100 sculptures to date, with over 60 life size monumental sculptures placed in public locations across the country and abroad.
Allegorical Art is a term Muir uses to describe his art as being filled with symbolic meaning. Bridging the centuries from his historical military subjects to today’s social, political and spiritual commentary, his sculptures speak eloquently of Duty, Honor, Courage, and Justice, but above all, of Truth and the ultimate triumph of the Human Spirit. He has built upon the recognition gained initially as an historical military sculptor to create an ever-expanding array of artistic commentary exemplifying the highest qualities of man.
Muir’s early interest in history and the military was reinforced by his experiences as a West Point cadet and to which he also attributes the cementing of his personal “Code of Honor.” Muir’s ever-deeper involvement with horses, and his continuing quest for spiritual Truth, led him to Arizona in 1979 for the freedom and inspiration of the great American West. He ultimately settled in Sedona, Arizona and there embarked on a full-time career in sculpting, initially specializing in historical subjects. In 1990 he began to expand his work to include contemporary subjects and accepting commissions in life size and monumental.
His meticulous attention to detail, coupled with an insightful grasp of the human experience resulted in exquisitely crafted and poignant bronzes. He quickly gained the acclaim of collectors around the country. Some of the public collections Muir’s work resides include: West Point Military Academy in New York, U.S. Cavalry Museum at Fort Riley, Booth Museum in Georgia, Birkenau Museum at Auschwitz, St. Louis University, Gettysburg Battlefield Museum, Vanguard University, GOW School, Pearce Western Art Museum, Sons of The American Revolution Headquarters, University of Arizona, Atlanta Historical Society, Paul Harvey News Broadcasting Headquarters, George W. Bush, Sr. office, and some of the most prominent private collections in America.
One long-term goal realized, was Muir’s first book, “Lanterns Along The Path“, published in 2004 with a second printing in 2005. The book was chosen to be offered nationwide by Barnes & Noble. A labor of love, Muir spent nearly seven years writing the book that showcases all of his sculptures with a flowing narrative which addresses the spirit of the human journey. The book is already being recognized as its own work of art: Muir received the “2004 Pinnacle Book Achievement Award” in the Inspirational Category.
Another goal also achieved in 2005 was the founding of “The Human Liberty ARTT Foundation“, (ARTT-Artistic Responsibility To Truth), whose mission is To proclaim and promote Human Liberty through the Arts and Education, place sculptures and monuments to Courage, Hope, and Freedom around the world, publish related books, present an annual art scholarship, and a “Human Liberty Award”.
In keeping with his deep spiritual convictions and social consciousness, Muir’s sculptural and philanthropic works reflect the critical nature of the times in which we live. Whether historical or contemporary, “The golden thread that ties it all together is still his never-ending quest for the essence of life – for Truth in its purest form.”
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