{"id":1387,"date":"2014-02-06T20:59:02","date_gmt":"2014-02-06T19:59:02","guid":{"rendered":"http:\/\/hst254.host03.loswebos.de\/wp\/?page_id=1387"},"modified":"2014-02-06T20:59:47","modified_gmt":"2014-02-06T19:59:47","slug":"preface-of-volume-one-by-andy-lim-and-some-bow-makers","status":"publish","type":"page","link":"https:\/\/darlingpublications.com\/wp\/?page_id=1387","title":{"rendered":"Prefaces of Volume One by Andy Lim and some Bow Makers"},"content":{"rendered":"

An Address of Welcome to the Distinguished Reader
\n<\/strong>
\nand how everything began …
\n<\/em>
\nAfter some years of Music Fair abstinence, I decided in 2004 to visit the Musicora Music Fair in Paris again, after an invitation by Gilles Nehr, when I discovered his spectacular \u201et\u00eate-b\u00e8che\u201c bow in the internet. I spontaneously called him in Lissabon, where he was living then. He was going to exhibit at the Musicora 2004 with his cousins, Jean-Pascal and Pierre Nehr at a \u201efamily-booth\u201c. I only knew the name of Jean-Pascal Nehr, and was happy to meet the Nehr family.
\nThere I also met for the first time some of the other contemporary bowmakers I have heard about, but actually never saw any work from. The first booth I visited, was the booth of Yannick Le Canu, Sylvain Bigot and Christophe Collinet. There were plenty of nice bows to see! Standing in front of some bows, displayed on a wall, I soon noticed someone standing next to me, also looking at the same bows. I looked to my side and saw a japanese gentleman, dressed in unformal black, sneakers and a multiple bow case in the hand. He did not look like someone from the violin trade, neither a typical asian visitor of music fairs like the Musicora, nor a musician. His way of looking at the exhibited bows though showed a very trained and professional eye. As polite as I am, I said \u201eHello, do you speak English?\u201c and got as an answer back a very brief \u201eYes\u201c. As curious as I am, I was wondering what he did, so I asked him what he did. He said to my surprise that he was a bowmaker. I never have even heard from a japanese or other oriental bowmaker! Actually, not even to this day. On my request to see some of his work, he opened the bow case and I was shown a stunning quartet of bows with a style of chamfers I have never seen before. He told me by the way that he just was awarded the title \u201eun des Meilleurs Ouvriers de France\u201c with that quartet of bows and a frog-copy of Jean-Dominique Adam.
\nI just met Mitsuaki Sasano.<\/p>\n

\tHaving obviously a mutual theme of interest, we got stuck in a non-stopping conversation about bows and bowmakers, as one could expect. We visited together the booth of the family Nehr. Jean-Pascal Nehr taught the art of bowmaking\u00a0to his brother Pierre and cousin Gilles, who just came back to Europe. Pierre, an accomplished and today, also an established maker showed his early bows, which were already promising. Jean-Pascal showed a beautiful quartet, modelled after Tourte. The Swiss bowmaker Pierre-Yves Fuchs came by with news from the 2004 London Competition where he, as expected, was again a prize winner, another one on his list of numerous awards and medals. For Tino Lucke from Berlin, whom I met several months ago, who just received the 2004 Gold Medal in London, it was his first Gold Medal ever, beating tough competitors.
\n\tNoticable was that most people were mainly looking at the head and frogs, discussing about the proportions, style and craftmanship. For me as a cellist, still the part of the bow, responsible for the playing qualities, was the most important. But that part was seldom looked at, except for the beauty of the wood. Another thing I could find very often in contemporary bows was, the combination of aesthetics inspired by Persois, Tourte and Pajeot models with a 20th century style cambers (understandably to meet today\u2019s overall players\u00b4 demand), but stylisticly sometimes not very matching in my opinion. This theme was discussed with Mitsu for quite some time, and my conclusion was, that by showing only the heads and frogs in all reference books, this was not going to put more attention on the camber and head-stick-frog connection. There I came up with the idea about publishing a book to document the incredible high standard of todays bow making, but at the same time the entire bow in full-size, showing the bow in its overall glory (including the stick and it\u2019s camber).
\n\tWhen Mitsu told me that he lived nine years in Germany, where he started bow making, and sometimes visited his friend Josef Gabriel. I was struck by surprise to hear that name.\u00a0 Already at the end of the 1980s, I saw a beautiful cello bow stamped by a bowmaker Gabriel from whom I have never heard of, probably the only German bowmaker with not a typical German name!. I still remember that cello bow, an elegant Lamy style bow, exquisitely made and great to play! I told Mitsu to send my regards although we haven\u2019t met and my compliments. When Mitsu told Gabriel at his next visit in Erlangen about my intention to make a book displaying the entire bow, it seemed that Gabriel told Mitsu to pass me on the following message; namely to give up this idea, as it was absolutely not going to work! Gabriel was sort of right, as soon as the problem of the desired 90-degree angle view on every cm of the bow came up. Everybody can notice that, for a close examination, the bow is moved from tip to frog right under the eye to obtain the needed 90 degree angle. The rules of optics prevent unfortunately the possibility of making, even from a far distance, a 90 degree photo of the entire bow, as the two outer ends of the bow will always have a non-90 degree view. Believe me, many, many tests has been done; analogue large format – via digitally stitched photos with manually pushing forwardly the bow in intervals of 10 cms \u2013 to high resolution medium format digital backs at distances up to 15 meters!\u00a0 Every attempt failed, until a friend who is a\u00a0 photo engineer, Markus M. Molthoff, told me about a project he did with his former Professor Jaroslav Poncar, who scanned the entire relief walls from the temple complex Angkor Wat in Cambodia with a custom made analogue Seitz Roundshot Panorama camera from Switzerland in slit scan technology. Markus and I then, made a trip to Switzerland.\u00a0Several months later, a digital version was made based on my design.\u00a0After many months experimenting with lighting, the \u201eProject Big Bow Book\u201c was launched.
\n\tConvincing the bowmakers to participate was the next step. It was sometimes not easy, as many did not believe in the possibility or the necessity of such a project. Different reasons from \u201ctoo much stress\u201d, \u201ctoo little time\u201d till quite blunt und impolite rejections are now in my repertoire of favourite anecdotes about the \u201cThe making of the Big Bowbook\u201d. Being treated like an unwelcome Jehova\u2019s Wittnesses at the door with my enthusiastic proposal to join this freshly born and still fragile project, gave me extra energy to accomplish my intent. That\u2019s why I decided to include their names in the list of acknowledgments at the end of this book, as they were indeed very motivating too.
\n\tAt the Musicora Music Fair in Paris 2006, I presented a prototype of the book. At this fair, it was a double premi\u00e8re: the first time that the fair took place in the \u201eCaroussel du Louvre\u201c and the first time ever I participated at a fair as an exhibitor. Eighteen great bowmakers from several continents exhibiting on this 18 meter long booth made it a historical event. Six months later, in the same year of 2006, a similar presentation was done at the Mondomusica in Cremona. Five years of hard work followed; organising, scanning, shipping, organising, scanning, shipping etc. etc., days and days of assisting and helping unraveling the hundreds of files, each with confusing names like \u201eBigot-violin-SE-2011-okt-2006_0329_014939.bmp\u201d, \u201cDubroca-violin-ivory classique-dunkel.psd\u201c or \u201eLeCanu-violin-GT-2007B2007_0312_113355.tif\u201c.
\n\tFinally this publication could be realized, only with special thanks to the challenged and helpful Marco Lietz, whos\u00b4 experience and competence turned this project visuably in printed matter. Printed with greatest care and every book being stitched and bound by hand, both in Germany, the utmost effort possible was made to document the passion, both of this project and the bowmakers, undiluted and unbiased. The ultimate goal was to present this to the distinguished bow- and book enthusiast, without loosing any of the initial megalomania and idealistic pureness.
\n\tAlthough the journey, once upon a time, started naively to accomplish this book (only the first volume even after seven years) was exiting, it did cause a certain amount of stress. At the same time it brought me many new experiences and friends. But above all, the feeling of arriving at the longed-for destination is uncomparable!\u00a0 Arriving at the destination I sincerely endeavour to reach, is what always counted for me, and not \u2013 as buddists quite often seemingly favour \u2013 the journey itself.\u00a0
\n\tToday, in the year 2011 and after 7 years, the \u201eBig Bow Book\u201c is printed and bound. Today. the initial sceptic and doubter Josef Gabriel became in the meantime a dear and close friend. Volume One is ready to be presented to an interested audience, maybe eventually owned by the few privileged connoisseurs and admirers of the Contemporary Art of Bowmaking, who sincerely appreciate it. This publication shows of each maker 19 examples, works from earlier periods to the present time. Sylvain Bigot finished the latest bow only 14 days before the scanning, processing, the lithograhy and the actual printing! Those who understand the intentions and ambitions of this project will discover a world of creativity in this publication, combined with the display of the highest craftmanship in bowmaking ever reached. Only through the collective effort, passion and enthusiasm of 15 talented bowmakers, their work and my humble self, it was possible to present in Volume One (of two intended volumes) the 285 pictured beautiful bows. And this in a way, before for many not imaginable: my unconditionably desired 90 degree view of the entire bow in full-size print!
\n\tAs a \u201ebonus\u201c, 15 Violoncello bows, each created and mounted at my request for this project with a Micro-photo lens, as a hommage to the picture bows of the great Jean-Baptist Vuillaume. But this time it is not Vuillaume, Stradivarius or the Octobass to be discovered in the tiny lens, but the beloved Shar-Pei dog Darling II., the publisher\u2019s mascotte (Darling I. was the name giver of the publishing house since 2002). This little dog was six months old at the time of the launch of this project in Paris 2004. Since the beginning of this project, he witnessed so many bowmakers making an exceptional Micro-photo lens cello bows inspired by his portrait.
\n\tSo today I am grateful that \u2013 although it took quite long \u2013 this mammoth project succeeded. And I am convinced that \u201dThe Great Contemporary Bowmakers from the 21th Century \u2013 Volume One\u201c was worth waiting for, as it will be the same for the Volume Two, in which more bows not only from the established makers like St\u00e9phane Thomachot, Charles Espey, Noel Burke, Edwin Clement, Robert Morrow, Ole Kanestrom, the Nehr & Grunberger family etc. etc. can be expected, but also the rising stars of tomorrow\u2019s generation of great bowmakers.
\n\tI wish the reader a great time with the following 285 bows!<\/p>\n

Andy Lim, Cologne, 2011<\/p>\n

Prefaces from some bowmakers:
\n<\/strong>
\nMorgan Andersen:
\n<\/strong>
\n1
\n Sometime in 2005 I received a phone call from someone who introduced himself as Andy Lim. He mentioned that some of my colleagues had told him to contact me about a project he had in mind and he proceeded to describe an early concept of this book. I found him amiable, refreshingly honest and stimulating to talk to but frankly did not know what to think about his book idea. I held off judgment until we had a chance to discuss things further and to see if he followed though with developing his ideas.<\/p>\n

As we spoke over the following year I began to see that he was serious about making a book of full length photos of contemporary bows. I learned he was experienced in book publishing and knew what he was getting into. While not independently wealthy, he had spent a small fortune on the equipment needed to produce this book and was in the process of building a significant bow collection. He was also promoting contemporary bows in a number of other ways.<\/p>\n

As a cellist and collector of bows he had become aware of how important the choice of wood, graduations and camber are to defining the quality of the final product. A book that has photos of either end of a bow can not relate these aspects to the viewer and thus was born Andy\u2019s vision of a book of full length bow photos. He has proved to be as obsessed with overcoming the difficulties of producing such a book as he is with bows themselves and considers the form of a book as an artistic statement in itself separate from but complimentary to its content.<\/p>\n

2.<\/p>\n

I found many of Andy\u2019s ideas interesting, rather unique and in opposition to conventional approaches to business. The more time he had to explain his bow book idea to me the more he seemed unrealistically wedded to a concept of uncompromising quality and perfection. I had warmed to him as a person but I wondered if he might be a little crazy. The project he described, while wonderful, made no economic sense. What he wanted to do would be horribly expensive to produce and have an extremely limited audience. Would anyone in their right mind follow through with such a plan? <\/p>\n

Not only was he taking on a huge endeavor himself with the book, he was asking a significant amount of time and effort from all of those who were to be its subjects. After much thought I told him I didn\u2019t think I would participate. I felt it could be a costly distraction that had a rather high risk of failure. <\/p>\n

After a period of not communicating, Andy began calling again to talk about bows and to tell me of progress on and changes to the book. We realized we were both going to be in New York at the same time in 2008 and arranged to meet. The following year I traveled to Germany where we spent more time together.<\/p>\n

Ultimately, Andy\u2019s degree of interest in contemporary bows and their makers and his passion for realizing his personal vision of a book on the subject became impossible to resist. Despite my initial reservations, I found myself drawn to be a part of it.<\/p>\n

.3.
\n If lacking a certain type of reason is crazy, then my early concern that Andy might be a little crazy has proved to be true. But he is crazy in a wonderful way that makes the world a more interesting place. People who have a vision and pursue it purely for their conviction and not because it makes economic sense may not be the most rational people, but they hold the potential to produce things of unique artistic merit.<\/p>\n

I believe it is this quality in Andy to pursue a passion at all cost that has resonated with many of today\u2019s foremost contemporary bow makers. Taking the time to make a bow the very best you can, finding the most exceptional materials and being uncompromising in every detail of your workmanship and style is what makes bow making interesting to many of us, but it is far from being the most economically rational approach to the business. We recognize something of a kindred spirit in Andy and yet are still amazed at the lengths he has been willing to go to produce a document of our work unlike any other.<\/p>\n

It has been an honor to be a part of this project and I sincerely hope it inspires not only as a record of bow making at this point in time, but as a symbol of pursuing one\u2019s visions. This book and the man that made it embody that timeless aspect of the artistic ideal. <\/p>\n

Yung Chin
\n<\/strong>
\nMany years ago I received a phone call at my shop in New York City \u00a0from a gentleman in Europe looking to acquire some cello bows. \u00a0I had never heard of this person and the caller let me know very quickly he was very sure of what he would like to acquire. He presented his thoughts in a very forward and rather direct manner. \u00a0This was my first and only contact with Andy Lim for many years. \u00a0Years later, I met Andy in person for the first time at Musicora in Paris. We had an extended discussion on many subjects and he reminded me of our first phone call years before.\u00a0Oh, now I remembered him! \u00a0After meeting him in Paris, I understood my first phone call many years before in a much better light.\u00a0
\n\u00a0 \u00a0 The contemporary bow book is a fascinating project for all those involved. It is not only beneficial to the makers and aficionado of bows but the concept and the technology of the book has great potential to be applied to many other subjects besides bows. Only Andy could come up with such a grandiose book project \u00a0and we thank him for his prodigious effor<\/p>\n

Josef P. Gabriel
\n<\/strong>
\nLieber Andy,ich denke ich konnte so ziemlich von Beginn an, an Deinem verr\u00fccktenBogenbuchprojekt, ein wenig teilhaben. Nach der langen und arbeits -intensiven Zeit f\u00fcr Dich, freue ich mich jetzt sehr auf das Buch. Durch die jeweils 19abgebildeten Bogen, bekommt man einen guten Einblick indie Arbeit des jeweiligen Bogenmachers. Auch \ufb01nde ich die Linsenb\u00f6gen,die nur durch das Buch zustande kamen, einfach Klasse. Dem Betrachterw\u00fcnsche ich viel Spa\u00df mit dem beeindruckenden Buch. <\/p>\n

Eric Grandchamp<\/strong><\/p>\n

Bien que ce livre nous paraisse d\u00e9mesur\u00e9, j\u2019aimerais encore \u00e9largir le format de cet ouvrage en y associant toutes les personnes qui, en coulisse, ont contribu\u00e9es a ce succ\u00e8s.
\n Mes premi\u00e8res pens\u00e9es vont vers Andy Lim & Suzy qui ont eu un immense courage de conduire ce projet.
\nQuel bel hommage \u00e0 n\u00f4tre Ma\u00eetre Bernard Ouchard dont son subtil enseignement a su fa\u00e7onner une nouvelle g\u00e9n\u00e9ration d\u2019archetiers si riche en cr\u00e9ativit\u00e9\u00a0!
\nEt enfin, je n\u2019oublierai pas ces femmes d\u2019archetiers qui supportent au quotidien la passion d\u00e9vorante de n\u00f4tre m\u00e9tier.<\/p>\n

Klaus Gr\u00fcnke<\/strong><\/p>\n

When Andy Lim approached me a couple of years ago with his idea of a fullsize bow book on modern makers, I was quite sceptical, I have to admit. But after visiting Andy and viewing his highly advanced technical and photographic equipment together with his dedication for the project, I changed my mind and joined in. In the years to come we established a very good working relationship which turned into a friendship. The makers invited and involved in this exceptional book project represent an exquisite selection of today\u2019s bow making from around the world. The overview of those craftsmen\u2019s works of art in diferent stages of their career is a documentation to last. In this full size format, the viewers of this picture book will get a whole new look at the artistically tool called the bow. The opportunity to observe and compare the entire stick with its bending and graduation makes the impression of a bow complete, no more nor less. <\/p>\n

Yannick Le Canu
\n<\/strong>
\nNotre premi\u00e8re rencontre eu lieu il y a une dizaine d\u2019ann\u00e9es \u00e0 Paris lors du salon \u00abMUSICORA\u00bb. Andy Lim, violoncelliste passionn\u00e9 \u00e9prouvait d\u00e9j\u00e0 un int\u00e9r\u00eat tout particulier pour notre profession. Son engouement et sa curiosit\u00e9 suscitaient en lui le besoin de mieux comprendre et d\u2019approfondir le fonctionnement le l\u2019Archet. Pour cela il d\u00e9taillait chaque mod\u00e8le esth\u00e9tique et m\u00e9canique. <\/p>\n

Aujourd\u2019hui \u00e9diteur sp\u00e9cialis\u00e9 dans les livres hors normes, il publie cet ouvrage ambitieux mettant en valeur ce qu\u2019aucun n\u2019avait jusqu\u2019alors d\u00e9voil\u00e9 : le cambre des archets. <\/p>\n

Ces prises de vues in\u00e9dites nous offrent la possibilit\u00e9 de comparer et d\u2019aborder plus facilement le sujet si complexe du r\u00e9glage. Ce livre immortalise nos cambres pour les g\u00e9n\u00e9rations futures, telle une gravure du 18\u00e8me aurait pu le faire pour Fran\u00e7ois-Xavier Tourte.<\/p>\n

Tino Joh. Lucke
\n<\/strong>
\nGro\u00dfen Dank an Andy Lim – dass Du mich eingeladen hast an Deinem Buchprojekt teilzunehmen.
\nMeine in diesem Buch abgebildeten Bogen zeigen den Versuch der letzten Jahre, umzusetzen was ich urspr\u00fcnglich als Idee im Kopf hatte. Schwer genug – wenn sich nur die Idee nicht\u00a0so oft \u00e4ndern w\u00fcrde.
\nIch wei\u00df, ich werde die endg\u00fcltige Form nie finden, \u00f6fters denken ich h\u00e4tte sie gefunden, mich kurz dar\u00fcber freuen, um mit gewissem Abstand zu entdecken was beim n\u00e4chsten Bogen anders gestaltet werden m\u00fc\u00dfte.
\nOb\u00a0anders\u00a0= besser\u00a0ist?
\nWer wei\u00df?\u00a0
\nWie spannend!<\/p>\n

Mitsuaki Sasano
\n<\/strong>
\n\u3053\u306e\u672c\u306b\u5bc4\u305b\u3066\u3001<\/p>\n

Andy\u3068\u521d\u3081\u3066\u4f1a\u3063\u305f\u306e\u306f\u30012004\u5e74\uff14\u6708\u30d1\u30ea\u306eParc de la Villet \u3067\u958b\u50ac\u3055\u308c\u3066\u3044\u305fMusicora\u3067\u3057\u305f\u3002\u3053\u306e\u6642\u3001\u305f\u307e\u305f\u307e2004\u5e74\u306eMOF\u3067\u53d7\u8cde\u3057\u305f\u5f13\u3092\u6301\u3063\u3066\u5f13\u4f5c\u308a\u306e\u53cb\u9054\u306e\u30b9\u30bf\u30f3\u30c9\u306b\u304a\u90aa\u9b54\u3057\u3066\u3044\u305f\u6642\u3001\u79c1\u306e\u5f13\u3092\u898b\u305b\u3066\u304f\u308c\u3068\u8a00\u3063\u3066\u304d\u305f\u306e\u304cAndy\u3067\u3057\u305f\u3002
\n\u305d\u306e\u5f8c\u3001\u5f13\u5168\u4f53\u3092\u4e00\u679a\u306e\u5199\u771f\u306b\u53ce\u3081\u308b\u3068\u3044\u3046\u4e8b\u3067\u4f55\u5ea6\u3082\u5f53\u6642\u4f4f\u3093\u3067\u3044\u305f\u30d1\u30ea\u304b\u3089\u30c9\u30a4\u30c4\u306e\u30b1\u30eb\u30f3\u3092\u5f80\u5fa9\u3057\u3001\u884c\u304f\u5ea6\u306b\u30ab\u30e1\u30e9\u306e\u6a5f\u6750\u304c\u5909\u308f\u3063\u3066\u3044\u307e\u3057\u305f\u3002\u672c\u306e\u5927\u304d\u3055\u3092\u805e\u3044\u3066\u3073\u3063\u304f\u308a\u3057\u305f\u306e\u3092\u899a\u3048\u3066\u3044\u307e\u3059\u3002
\n\u3042\u308c\u304b\u3089\uff17\u5e74\u3001\u3084\u3063\u3068\u672c\u304c\u5b8c\u6210\u3057\u672c\u5f53\u306b\u5b09\u3057\u304f\u601d\u3044\u307e\u3059\u3002
\nAndy,\u3059\u3070\u3089\u3057\u3044\u672c\u3092\u3042\u308a\u304c\u3068\u3046\uff01<\/p>\n

St\u00e9phane Thomachot:
\n<\/strong>
\nQuand en 1971 la classe d\u2019archetiers ouvre dans l\u2019\u00e9cole de lutherie de Mirecourt, l\u2019arch\u00e8terie fran\u00e7aise est moribonde, seuls quelques archetiers subsistent \u00e0 Paris et \u00e0 Mirecourt.<\/p>\n

L\u2019arch\u00e8terie allemande se porte beaucoup mieux gr\u00e2ce aux grands ateliers parfois centenaires.<\/p>\n

En Angleterre, la maison Hill donne ses derniers archetiers et aux USA, les premiers sont form\u00e9s par William Salchow.<\/p>\n

Dans les ann\u00e9es 80 apr\u00e8s la disparition du ma\u00eetre et professeur de l\u2019\u00e9cole Bernard Ouchard, l\u2019arch\u00e8terie fran\u00e7aise commence \u00e0 retrouver une place pr\u00e9pond\u00e9rante gr\u00e2ce au dynamisme des \u00e9l\u00e8ves form\u00e9s \u00e0 Mirecourt.<\/p>\n

Au cour des ann\u00e9es 90, les archetiers fran\u00e7ais commencent \u00e0 \u00e9changer leur savoir faire avec leurs coll\u00e8gues anglais, allemand et am\u00e9ricains, parfois dans leurs ateliers souvent dans des ateliers d\u2019\u00e9t\u00e9, aux USA ou ailleurs, o\u00f9 la convivialit\u00e9, le partage et la bonne humeur vont influencer toute une nouvelle g\u00e9n\u00e9ration d\u2019archetiers.<\/p>\n

Et enfin les ann\u00e9es 2000 voient une explosion de talents autant sur le vieux que sur le nouveau continent.<\/p>\n

L\u2019arch\u00e8terie mondiale ne s\u2019est jamais aussi bien port\u00e9 qu\u2019aujourd\u2019hui malgr\u00e9 les difficult\u00e9s rencontr\u00e9es pour l\u2019approvisionnement du bois de pernambouc \u2026<\/p>\n

Et cet ouvrage est l\u00e0 pour vous le d\u00e9montrer.<\/p>\n","protected":false},"excerpt":{"rendered":"

An Address of Welcome to the Distinguished Reader and how everything began … After some years of Music Fair abstinence, I decided in 2004 to visit the Musicora Music Fair in Paris again, after an invitation by Gilles Nehr, when I discovered his spectacular \u201et\u00eate-b\u00e8che\u201c bow in the internet. I spontaneously called him in Lissabon, … Prefaces of Volume One by Andy Lim and some Bow Makers<\/span> weiterlesen →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1204,"menu_order":30,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1387","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1387"}],"version-history":[{"count":2,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1387\/revisions"}],"predecessor-version":[{"id":1389,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1387\/revisions\/1389"}],"up":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1204"}],"wp:attachment":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}