eCAM: Proteomics, BioArt and Integrative Medicine?

For 2010, we now begin the 10th year of the 21st century and eCAM has occupied five of them. eCAM covers have presented art to focus on some of the cultures, where integrative medicine was born and still thrives side by side with western medicine. These have been represented by art from Japan, Korea, India, Italy, China. Other vibrant cultures where CAM flourishes were not intentionally omitted, merely due to problems of space and necessary, sometimes complicated, paperwork associated with borrowing from museums. Here are descriptions of covers that represent art and culture spanning several millennia and those that were devoted to origins of CAM and integrative medicine. Volumes 1 and 2—Japan (2004–05): The woodblock print by Hiroshige of a traveler on a bridge reflects our hope that CAM will bridge cultures as well as CAM and modern biomedicine. There is no quick indication of a connection to Kampo that surely existed during that period. Volumes 3 and 4—Korea (2006–07): A Korean screen (artist unknown from the 18th century Cho-San Dynasty), pictures 12 representations of long life, including sun, moon and clouds, mountain, bamboo, pint tree, rocks, turtles, cranes, deer, water and mushroom (Ganodermae). This cover symbolizes the strong connection in Korean culture between nature and healing; already, the inclusions are sources of products used in ancient medicines. Volumes 5 and 6—India (2008–09): Keeping a focus on Ayurveda, this cover is entitled: Tree Worship (India, Rajasthan, ca. 1730–50, whose artist is unknown). Like the two previous covers from Korea and Japan, there is a fair amount of symbolism relevant to CAM. Supplement 4—Europe (2007): ETM 2007 European Traditional Medicine International Congress, Vinci, Italy, October 4–6, 2007. ‘Star of Bethlehem: (Family Liliaceae, Ornithogalum umbellatum L.)’, Leonardo da Vinci, Italy; pen and ink over chalk on paper. Reproduced with kind permission from the Royal Collection 2006, Her Majesty Queen Elizabeth II. The concept of nature is fundamental in Leonardo’s art. The Star of Bethlehem is an ornamental plant; its florescence can bear 20 flowers. A toxic plant and poisonous if ingested, yet its parts contain cardiac glycosides with the bulbs containing a higher percentage of toxin. Preliminary analyses (1970s) were devoted to its possible treatment of heart failure but were abandoned. Supplement 6—Korea (2009): Sasang Constitutional Medicine: as a holistic tailored medicine. The Banquet of Seowangmo (Xiwangmu), Queen Mother of the West, Joseon dynasty (1392–1910), 18th–19th century Screen/scroll, painting, Eight-panel screen, ink, color and gold on silk. These ancient cultures now tend to dispel references to that which is ‘art’, appealing to the senses and not proven through the rigors of exact science. Closer to us, eCAM was founded with the intention of adding scientific definitiveness, precision and subsequent reproducibility centered on evidence-based analyses. Thus, we have two representations: ancient art and a beginning exodus from ancient biomedicine. Now we come to Volume 7 and again a chance to make two culture statements concerning aspects of contemporary art that with some imagination and introspection may reflect the refinement of evidence-based CAM; after all art if viewed now is everywhere, even in the products of test tubes and Petri dishes! Volume 7 (2010) represents a transition from ancient medicine and ancient medical practice to eCAM and 21st century contemporary art (BioArt). We begin volume 7 with a figure taken from the paper by a For reprints and all correspondence: Edwin L. Cooper, Laboratory of Comparative Neuroimmunology, Department of Neurobiology, David Geffen School of Medicine at UCLA, University of California, Los Angeles, CA 90095-1763, USA. Tel: +1-310-825-9567; Fax: +1-310-825-2224; E-mail: [email protected] eCAM 2010;7(1)1–2 doi:10.1093/ecam/nep235