View allAll Photos Tagged Internalizing
Internalizing Positive Energy
The story behind this picture is not simple. It is inspired by the positive energy brought by the rainbow’s 7 perfect color combinations when it was passed on my feet while I am walking along the river . It is an extraordinary event that rainbow created another image . Water and sunlight have produced a human face with illuminating light concentrating to internalize the positive energy.
Written by:
Jenifer Belarmino
Lillie Perkins, leader of the Unity Boys Choir (with daughter); 2008 Community Healer Awards Recipient
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
Kara Walton participates.
Emilio Jacinto (attrib.) “Katipunan nang manga A. N. B. – Sa may nasang makisanib sa Katipunang ito” (“The Kartilya”).
Printed for those applying for membership in the Katipunan.
Manila, ca. January, 1896
8 pages, 7 with printing and a grey paper cover
6" x 4 1/4" (15 cm x 11 cm)
Opening bid: PHP 500,000
Provenance: Epifanio de los Santos estate in 1988.
Literature: "Only known extant original Cartilla ng Katipunan". Philippine Free Press page showing photograph of the Cartilla, dated August 24, 1929.
The Tragedy of the Revolution, Adrian E. Cristobal, Studio 5 Publishing Inc., 1997. Full color photograph of first page on page 46 with description on page 47
ABOUT THE WORK
The Kartilya ng Katipunan: The Most Important Printed Document That Would Create the Filipino Nation by PROF. MICHAEL CHARLESTON “XIAO” BRIONES CHUA, PH.D. FILIPINO PUBLIC HISTORIAN Richardson clearly demonstrated in his study of the Kartilya that the document is largely drawn from the masonic documents which have two parts—the “Programa Masonica” and the “Codigo Masonico.” First it has a preamble of the objectives and principles of the Katipunan, expectations and commitment which Richardson calls the La“yon” part, and then a set of teachings called the “”Aral part. The Tagalog words that resound loudest in the Kartilya, beyond a doubt, are the equivalents of the Enlightenment’s defining watchwords: Liberty (“Kalayaan”), Equality (“lahat ng tao’y magkakapantay”), Fraternity (“kayong lahat ay magkakapatid”), Reason (“Katuiran”), Progress (“Kagalingan”) and Enlightenment itself (“Kaliwanagan”). Most, perhaps all, of these Tagalog equivalents had already been employed by ilustrado writers like Rizal and Del Pilar before the KKK was founded. The Kartilya ng Katipunan is the most studied of all texts from the Philippine Revolution today. At the time this printed version was circulated, it was an indispensable primer to the men who wished to join the movement that made us a Nation specially during the lead up to the National Revolution that started on August 1896. According to Epifanio de los Santos in Spanish, “Before the approval of the famous Cartilla (primer) of Emilio Jacinto, Andres Bonifacio had already prepared a similar primer, but he withdrew it because Emilio Jacinto’s seemed better to him.” Most are familiar with the list of thirteen items known as “Mga Aral nang mga Katipunan ng mga A.N.B.” (Rules of the Association of the Sons of the People), attributed to Emilio Jacinto, but this was actually part of a longer document called “Katipunan nang manga A. N. B. – Sa may nasang makisanib sa katipunang ito” (Association of the Sons of the People – To those who may desire to affiliate with this Association). For many years our source of the text that appeared in books came from the Spanish translation by Epifanio de los Santos in his short biography of Jacinto, and his son José P. Santos’s Buhay at mga Sinulat ni Emilio Jacinto. What is the nature of this document “Katipunan nang manga A. N. B. – Sa may nasang makisanib sa katipunang ito” or the Kartilya? Some of those who argue that the Katipunan was our first government, and Andres Bonifacio our first president, say that this is a constitution. Richardson clearly demonstrated in his study of the Kartilya that the document is largely drawn from the masonic documents which have two parts—the “Programa Masonica” and the “Codigo Masonico.” First it has a preamble of the objectives and principles of the Katipunan, expectations and commitment which Richardson calls the La“yon” part, and then a set of teachings called the “”Aral part. The Tagalog words that resound loudest in the Kartilya, beyond a doubt, are the equivalents of the Enlightenment’s defining watchwords: Liberty (“Kalayaan”), Equality (“lahat ng tao’y magkakapantay”), Fraternity (“kayong lahat ay magkakapatid”), Reason (“Katuiran”), Progress (“Kagalingan”) and Enlightenment itself (“Kaliwanagan”). Most, perhaps all, of these Tagalog equivalents had already been employed by ilustrado writers like Rizal and Del Pilar before the KKK was founded. And why was a moral code made into a list and not a constitution as a primer? Because the Ten Commandments resonated in a Catholic country. It was easy to follow and so familiar, many others adopted its format. Apolinario Mabini had his own, and so did Gregoria de Jesus, too. There are traces of Rizal in the first ““Aral which was lifted from El Filibusterismo, “A life which is not dedicated to a great ideal is useless. It is a pebble lost in the field without forming part of an edifice.” The Kartilya encapsulates the Filipino idea of human rights based on “pakikipagkapwa-tao.” However, the Kartilya was more personal than the Constitution’s Bill of Rights and was directed at the reader in the style of “kasabihan” or “salawikain.” This is how Jacinto taught equality, “Whether one’s skin is white or black, all persons are equal; it is possible that one may be surpassed in intelligence, in wealth, in beauty, but never in humanity.” He also said, “Defend the oppressed and fight the oppressor.” Jacinto said about women’s rights: “Consider the woman not as a mere object of pleasure but as a partner and companion in the difficulties of this life; earnestly respect her weakness and remember your mother who bore and raised you.” Jesus said, “Do to others what you would have them do to you.” (Matthew 7:12); so, Jacinto revised the golden rule to say, “Do not do to the wife, child and sibling of others what you do not want others to do to your wife, child and sibling.” Hence, the Kartilya, cannot be classified as a purely enlightenment text or merely a nativist text. It is sophisticated in terms of its cosmopolitanism and universality as something influenced by masonry and the enlightenment, yet, it retains the spirit of the indigenous which made it relatable to the populace, that they were willing to give their life to its promise of redemption, mentioned in the 14th often-left out passage of the “Aral”: “When these doctrines have spread and the brilliant sun of beloved liberty shines on these poor Islands, and sheds its sweet light upon a united race, a people in everlasting happiness, then the lives lost, the struggle and the suffering will have been more than recompensed.“ But the “Layon” part, though often neglected since it seemed very particular to the Katipunan, is significant in the reading of Philippine History for three reasons: 1) It tells you of the Katipunan’s clear concept of the Nation as a whole country, contrary to the early notion that their concept of the Nation was limited to the Tagalog people. The footnote clarification on uniting the hearts and minds of the Tagalogs defines it as all of those who were born in the archipelago which included Visayans, Ilocanos, Kapampangans, etcetera are also Tagalogs, perhaps invoking the old meaning of taga- “alog” as people from the river delta, as all Austronesians are maritime people; 2) It clarifies that the primary law in the Katipunan was not violence or the wanton killing of the enemy as critics say, but to love; 3) The list of expectations and commitments to be done tells us of the great sacrifices our forebears were willing to give just to make us free, including the offering of their lives to the cause of their children’s future. When the revolution broke out and Katipunan chapters, particularly the Magdalo Council, gave up its traditional initiation rites to mass recruitment for the contingency of the fighting, some of the new members perhaps did not internalize the Kartilya anymore and did not even count themselves as members of the Katipunan, which led to the misunderstanding of Bonifacio’s intentions for the Nation and which ultimately also led to the unfortunate event in the birth of our Nation: the death of its Father. Yet, the Kartilya, like Filipino Culture, is the melding of influences of the East and the West. Contrary to the notions of elitists that the Katipunan as a movement is archaic and outdated, it was as modern as it could be at the time with a clear concept of the nation we should become based on enlightenment, reason, righteousness and the Filipino perspective. Its words were a call to action, to fight but also to love. It is without a doubt the document that gave birth to the Filipino Nation.
Lot 122 of the Leon Gallery online and live auction on 9 March 2024. Please see leon-gallery.com for more information.
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
In the end we are left to question why. There is never an answer that can fully satisfy that need for understanding. So you are left with your grief. How you internalize that pain and make it a part of you will color your soul forever.
This work takes place through Operation Acolhida, which is an organized response by the Brazilian government in partnership with PAHO and other international organizations and Brazilian institutions.
Operação Acolhida involves actions at the border, welcoming, protecting and internalizing migrants and refugees, offering assistance from the first contact.
The municipality of Pacaraima is approximately 200 kilometers from the capital of Roraima, Boa Vista. In both locations, Operação Acolhida offers shelters equipped to guarantee food, safety and health. These shelters have specific spaces for groups in vulnerable situations, such as indigenous people, LGBTQIAPN+, elderly people and people with disabilities.
As soon as they arrive, migrants undergo a health screening, receiving the vaccines provided for in the Brazilian Vaccination Calendar through the SUS.
They also have access to all health services in the country, including Primary Care, with prenatal care, diagnosis and treatment of communicable diseases, among other health care, both in Boa Vista and in its next destinations, which are defined in the internalization process.
PHOTOS ARY ROGERIO SILVA
Lee Jaehyo
【Korea】
Three globes that suddenly appear in the scenery. As one approaches, one realizes that these are constructed out of logs. The natural material changes with the passage of time, altering the spirit internalized in the objects as well as their relationship to their surroundings.
9. “LukoLoco”2008
Digital collage with photographed painting. International Flickr collaboration. 11"W x 14"H.
Every young adult must make a journey of discovery to find their place in the world. For some, the search for identity can be complicated by forced assimilation and cultural dislocation. “LukoLoco,” Filipino slang for “crazy“ or “silly,“ explores the struggle to find balance amid conflicting messages external or internalized—about sexual orientation, gender, religion, culture, tradition and work. The painted image of a young woman (acrylic on canvas with found objects) is digitally collaged with a traditional silk malong, flower petals, spices, and “Manila Slum,” a photo by Eric Talmadge (etalmadge on Flickr.com), used with permission).
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A person's self image is the mental picture, generally of a kind that is quite resistant to change, that depicts not only details that are potentially available to objective investigation by others (height, weight, hair color, gender, I.Q. score, etc.), but also items that have been learned by that person about himself or herself, either from personal experiences or by internalizing the judgments of others. A simple definition of a person's self image is their answer to this question - "What do you believe people think about you?" A more technical term for self image that is commonly used by social and cognitive psychologists is self-schema. Like any schema, self-schemas store information and influence the way we think and remember. For example, research indicates that information which refers to the self is preferentially encoded and recalled in memory tests, a phenomenon known as "Self-Referential Encoding"
(Rogers et al. 1977).
[S.O.O.C]
Strobist Info: Opus H-150 @ 1/4 (Grid + Blue Filter)
The ladies of The Rock Church, The Rock Garden, met at the Starling home on May 9, 2011. The theme was a Tea Room with chicken salad on croissants, various salads, chocolate desserts, and chocolate biscuits. Kacilyn spoke about ways parents should teach their children to ensure Christian truths are internalized.
Boaz Barkan
Our Other Body
With brutality and humor, Barkan digs through a living body to reveal our internalized racism. Our Other Body is a performance about domination and racism today. It explores how these forces are embodied in us. The performance uses the body as a theater for an intimate, playful and sincere discourse about these critical influences in our life.
The performance was part of Warehouse9's CPH Stage festival programme.
Article Title: Auxin cell biology in plant pattern formation
Author: Adriana E. Caragea, Thomas Berleth
Citation: Botany, 2017, 95(4): 357-368, doi.org/10.1139/cjb-2016-0156
Source: dx.doi.org/10.1139/cjb-2016-0156
Caption: Fig. 2. Schematic representation of Arabidopsis embryo development and of the coupled auxin distribution. (A) After the first division of the zygote, PIN7 (blue arrow) promotes the auxin transport from the suspensor (s.) towards the apical cell. (B) Octant stage: the apical–basal subdivision in the upper tier (u.t.) and lower tier (l.t.); auxin is distributed homogenously in the embryo by PIN1 (red arrows). (C) Dermatogen stage: the protoderm is specified (pd.) through which auxin is distributed through PIN1 towards the apex. (D) Globular stage: the divisions of the inner cells (i.c.) are oriented in the apical–basal direction; auxin flow, directed by PIN1, is internalized towards the uppermost suspensor cell; the flow of auxin by PIN7 in the suspensor is also reverted. (E) Heart stage: the upper tier developed in two symmetrical cotyledon primordia (c.p) and the lower tier to the vascular tissue (v.t); the uppermost suspensor cell forms the hypophyseal cell (h.c.); the auxin flux is oriented in the epidermis (ep.) towards the incipient cotyledons and internalized through the vascular tissue towards the root pole. (F) Mid-torpedo stage: the cotyledons (co.) are enlarging as well as the hypocotyl (hy.), the shoot apical meristem (SAM) and the root apical meristems (RAM) are defined (Izhaki and Bowman 2007; Capron et al. 2009; Petrasek and Friml 2009; Wabnik et al. 2013). Figure modified from figure 2 in Petrasek and Friml 2009. www.nrcresearchpress.com/journal/cjb
For rights and permission, click he86 re [bit.ly/1pL1c5f]
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
This work takes place through Operation Acolhida, which is an organized response by the Brazilian government in partnership with PAHO and other international organizations and Brazilian institutions.
Operação Acolhida involves actions at the border, welcoming, protecting and internalizing migrants and refugees, offering assistance from the first contact.
The municipality of Pacaraima is approximately 200 kilometers from the capital of Roraima, Boa Vista. In both locations, Operação Acolhida offers shelters equipped to guarantee food, safety and health. These shelters have specific spaces for groups in vulnerable situations, such as indigenous people, LGBTQIAPN+, elderly people and people with disabilities.
As soon as they arrive, migrants undergo a health screening, receiving the vaccines provided for in the Brazilian Vaccination Calendar through the SUS.
They also have access to all health services in the country, including Primary Care, with prenatal care, diagnosis and treatment of communicable diseases, among other health care, both in Boa Vista and in its next destinations, which are defined in the internalization process.
PHOTOS ARY ROGERIO SILVA
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
Kara Walton participates.
Choch is also a feature length narrative film, independently produced and shot in Calgary on a shoestring budget by the award-winning creator of Generation Why.
The film is a portait of a man struggling with an unattractive and misleading “choch” identity he’s developed for himself over a number of years. Day after day he recoils at the things he says and does, but is confined to complacency and self-hate by the same insecurities that birthed his false persona in the first place. A cycle of regret and resignation seems doomed to repeat itself until circumstance manifests a confrontation between the outward and the inner self, suggesting that perhaps there is hope for this partially assembled soul to be more than what he pretends to be.
Combining anti-aesthetic vérité photography and ostentatious new-wave editing with internalized and heavily improvised performances, Choch offers a highly symbolic and sparingly evocative portrait of a post-modern self in crisis.
This small red eft -- it would have just gone nose-to-tail across an Eisenhower dollar -- was out to internalize just a hint more warmth today.
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
After an adventure in space, the superhero 'Guitar Hero', one of the PC's in our M&M Game, internalized the cosmic energy he formerly used his alien guitar weapon to control.
He also abandoned the face-paint, deciding to abandon his 'superhero costume' in favour of appropriately superhero-ey retro t-shirts.
The Player playing GH seemed unimpressed by this re-design, but fuck it. I still like it.
STREET URCHINS
In psychology there has long been a debate about which has more influence on a person’s life: nature (their inherent tendencies and characteristics), or nurture (the environment in which they are raised and in which their development occurs).
I believe that this set of wild weed flower photos helps to answer that question.
But first, some background.
- - - - -
Yesterday (Thursday, April 14) was a strange day: An odd energy was in the air; time itself seemed to be distorted or experienced in an unusual way. Strange phenomena occurred.
We experienced a weird session of what seemed to be aerial spraying in the skies:
en.wikipedia.org/wiki/Chemtrail_conspiracy_theory
Afterwards there were odd contrails and clouds with strange halos about them, and the sun’s light became hazy and weird.
And then I experienced yet another odd occurrence…without resetting my camera’s controls I removed the battery to recharge it, and when I replaced the battery and turned my camera on my camera’s EV setting changed to -3, which I didn’t notice until I took photos and noticed that the camera’s shutter was acting strange (you can tell from the duration of the shutter’s click how fast it is closing) and seemed to be sluggish, and then when I processed the photos I noticed that they looked dark.
I reset the EV to zero; checked to make sure that all of the other controls were normal, and reshot my photos…the weed flowers in my set I have titled “Street Urchins.” For these little flowers are literally street urchins: Rather than the photos of the symmetrical, healthy, pretty little weed flowers that have grown in my yard and been lovingly admired these photos are of weed flowers that have grown wild along the roadside, and they have been subjected to a much different energy than the others, and it shows in the photos!
As my Brother and Friend in Ukraine, Alex, said when we were discussing these obvious differences, these little flowers appear to be “damaged inside.” The wild energy they have experienced from passing cars, motorcycles, bicyclists, walkers with their dogs, animals wild and otherwise, and the whimsies of nature they seem to have internalized in a much different way than the “well cared for” little weed flowers in my yard, and it is visible externally: Their growth is asymmetrical, uneven, distorted. Their colors are odd, refusing to normalize even through extensive post-processing. They were even difficult to focus on, difficult to photograph normally. Odd artifacts and distortions appear.
The most dramatic example is in the difference between these two photos, the first one being the weed flower that grew in my yard, the next photo being an identical weed flower but growing wild by the roadside:
www.flickr.com/photos/motorpsiclist/5602779832/in/set-721...
www.flickr.com/photos/motorpsiclist/5621647826/in/set-721...
So obviously nurture is extremely important for a thing’s well-being in all respects and regards, be it human, animal, plant, etc. But nurture will not change a thing’s inherent nature: If a person is inherently evil, then the best environment will simply turn out a well-dressed, better educated criminal.
Life’s lessons learned from the realm of weed flowers; powerful, large lessons from something so tiny and seemingly insignificant.
All photos and writings are copyright © by me, John Russell, and all rights are reserved.
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Other examples of these wild weed flowers are in my set, "Street Urchins:"
www.flickr.com/photos/motorpsiclist/sets/72157626502223588/
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The photographs in my set, "Weed Flower Micros," may appear to be close-ups of regular-sized flowers – they are not!
These are micro (macro) photos of tiny little flowers which bloom on ordinary weeds.
How tiny? The largest weed flower in the set is only, when measured across its widest part from petal tip to petal tip, 3/4" in diameter!
Some of these miniscule flowers are so small that the entire blossom you are looking at is 1/4" in diameter…again that’s measuring from petal tip to petal tip across the widest part of the bloom!
The smallest part of a weed flower that I have managed to successfully shoot and achieve good detail in is a photo I made of a bud that measured LESS than 1/16" in diameter across its widest part! For a reference to its size I have also included a photo of that bud next to the head of an ordinary paper match, which dwarfs the bud.
I am delighting in discovering the beauty, complexity, and variety in something so small that it’s easily ignored or downright difficult to see with the naked eye.
And it’s an even greater delight to realize that this incredible beauty has been growing wild in my lawn, year after year, right under my un-seeing eyes as I’ve repeatedly mown them down with my lawn mower, never realizing the unseen beauty that I was trampling under my feet.
I hope you enjoy viewing these as much as I do. I have a lot of fun making them for us to look at!
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See more of these incredible, tiny jewels in my set, "Weed Flower Micros:"
www.flickr.com/photos/motorpsiclist/sets/72157626023965740/
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All photographs, paintings, videos, poems/poetry, recipes, and derivative works are copyright by me, John Russell, and all my rights are reserved. I sell my photos and works of art, and I also have other projects in the works, so I take my copyright seriously: under penalty of law none of my images or other properties may be downloaded, copied, duplicated, reproduced, altered, or otherwise used in any manner whatsoever without my written permission.
Do not use any of my images, paintings, recipes, videos, photos, poems/poetry or other works of art on any websites, blogs, or in or on any other media without my written permission. Copyright © John Russell; all rights reserved.
Randy Halberstadt "Evening Jazz Extra" class at 2015 Port Townsend Jazz Workshop. "Wrapping Your Ears Around A Tune." Learn to internalize the melody and harmony of a standard tune by breaking it down into its components and singing each one. Bring your vocal cords (even if you think you can't sing!)
Barbra Batshalom is founder and Executive Director of The Green Roundtable in Boston, an independent non-profit organization whose mission is to mainstream sustainable development and ultimately become obsolete.
Barbra's emphasis is on practical implementation and team building - empowering teams to reach their best potential and internalize the capacity to transform their practice from initial aspiration through detailed project delivery. With a diverse background of fine arts, social psychology and sixteen years in architecture and consulting, Barbra brings a variety of skills to all of her work and unique perspective engaging the human dynamics of decision-making and creative collaboration to technical work to ultimately optimize building system integration, enhance quality and performance of projects. Barbra has pioneered new approaches in consulting, education and policy work, inventing creative models to solve unusual problems.
GRT’s innovation is represented in its project: NEXUS: Green Building Resource Center, a 10,000 SF full-immersion resource center providing the community with everything it needs to learn about green building, change professional practice and ultimately transform the market.
Barbra has worked with local governments (state & city) around the US to facilitate, organize, create and implement green building and development policies for both public and private sector. Most notable are the Mass. State Sustainability efforts (two separate processes under different administrations) and Boston Green Building (the first city in the country to require green building of private sector developers). Barbra has facilitated groups ranging in size from 10-58 who work together in short focused exercises to long, 2 year efforts.
Mags like to clean the other dogs’ faces, but only Finnick and O-Ren will tolerate it. (Which is a shame, seeing as Peedee’s face is always dirty, and I’d rather turn the job of washing it over to Mags.)
It occurs to me that when I think of this behavior in relation to Mags, I categorize it as “maternal.” But Peedee does the same thing with ears, and I’ve only ever thought of it as gross, never nurturing. Possibly there might be a difference in motivation - Peedee enjoys the taste of the ear wax, methinks, whereas Mags doesn’t seem to derive a gross kind of pleasure out of consuming eye snot - but still. Internalized gender roles much?
Salvation Story of Daughter #3
As I was going through the thousands of pictures on my hard drive, I found this picture of my third daughter. So, it got me to thinking that I would share the Salvation Story of Daughter #3. First and foremost, here is a picture of my daughter. This was taken at the exact moment she expressed to me her desire to know and follow her Lord and Savior, Jesus.
On October 16, 2015
This picture was taken. For some odd reason, no one was at home. I'm not sure where everyone was but they are all gone and this was before Hunter came to live with us. G was 14 years old. When she was about 6, she was "saved" every year at every church or school they went too. We first thought it was real and then realized that it was more for the attention than the true meaning. After about the 3rd or 4th time (I mean, she had been baptized at least 2 times before this picture was taken)...we just thought she was too young to truly understand the meaning. It would come, in time. In God's time, not our time.
Struggles
G had struggled since before she came to us at 6 years old. There were lots of things going on in her life, that were completely out of her control. She was too young to be heard and so she internalized, as most children do.
She did some very brave things that helped bring justice to some people. She also kept herself alive and fed while also keeping her younger brother alive, fed, and safe.
barefootfaithjourney.com/2022/01/05/salvation-story-of-da...
Photo by Uiler Costa-Santos.
Indigenous, African, and European influences blend to create a unique culture within Brazil that includes religions like none other in the world. Afro-Brazilian religions have played an important contribution to Brazilian culture for generations; however, they are often pushed into the shadows and suffer from widespread misunderstanding, misrepresentation, and prejudice.
With practitioners of these religions forming a massive but disconnected community, Jayro Pereira de Jesus, Ashoka Fellow, saw an opportunity: organize across marginalized religious groups to not just gain the power to emerge into the mainstream, but to be able to demand respect. In a country dominated by European standards, these groups have often felt the pressure to uphold themselves to these standards in order to gain acceptance. According to Jayro, community is power. Through community building, practitioners unlearn these internalized attitudes and uplift their own culture as a moral compass.
The Afro-Brazilian religions with which Jayro works hold a distinct framework for problem solving than dominant Western religions. For example, there tends to be less of a dichotomy between good and evil within their belief systems. With these religions finally gaining the respect they deserve in the mainstream, Jayro is opening new pathways toward an Everyone A Changemaker world.
For Sunday Confessional. I might as well get it out in the open now, I don't go to church.
I was raised in a loosely roman catholic system, and I went through communion and confession, although I never got confirmed. I decided that organized religion wasn't for me because it tagged on all these rules in addition to being a good person, which is what I was taught.
All of a sudden it became "be a good person, but ALSO give us money" or "give us time". I couldn't give, so I turned to a more internalized form of faith. I agonized over what I believed for several years after I stopped attending mass, but I've come to an equilibrium of sorts that works for me.
Today I went to a church for a choir concert. It was a beautiful building, and I spent much of the time in awe of it.
Kaleidoscope Exhibition
A Life-Sized Kaleidoscope
Eliana Weiner
BHA Psychology and Architecture
Welcome Have you ever wondered whether your reactions to a space are visceral or controlled? What about the effects of the environment on your mood, productivity, or focus? For part of my senior capstone project, I am exploring these factors; the relationship between simple spatial and environmental cues and how one internalizes them on an emotional and cognitive level.
The 'space', this installation, is one aspect of my exploration. My hope is to create a momentary experience that instills an awareness of one's self in the space, both physically and mentally. My overarching question is what spatial factors are valued over others and how can we incorporate these aesthetics into the built environment to better the experience of the user? And so, I would like to gauge your reaction to an array of sensory and spatial cues. I would truly appreciate you taking a moment to experience this space and reply to my questionnaires. Please leave the cards either in the space or return them here.
Thank you for participating. Enjoy!
Ross Bleckner, 1949 (White Clock Painting, 2009), Albertina - Sammlung Batliner
The Play between Realism and Vagueness
Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.
Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.
Das Spiel zwischen Realismus und Unschärfe
Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.
Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.
The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.
Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.
Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.
Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.
From the museum label: By 1912 many avant-garde artists across Europe had internalized the Cubist concepts of multiple viewpoints, a flattened sense of space, and fragmented distortions of form. Riverbank dates from Lhote's early connection with other French Cubists such as Raymond Duchamp- Villon, Marcel Duchamp, and Fernand Léger. While the trees and sky are recognizable within the picture, the balance and harmony of the composition as a whole takes precedence over naturalistic representation. Rhythmic alternation between light and dark areas unifies the image, and the undulating forms of the trees add dynamic contrast.
The Suzuki method (スズキ・メソード, Suzuki mesōdo?, also called Talent Education, mother-tongue method, or Suzuki movement) is an educational philosophy which strives to create "high ability" and beautiful character in its students through a nurturing environment. Its primary vehicle for achieving this is music education on a specific instrument (often violin or piano, but see below for a more complete list). The 'nurture' involved in the movement is modeled on some of the factors present in native language acquisition, such as immersion, encouragement, small steps, and an unforced timetable for learning material based on each person's developmental readiness to imitate examples, internalize principles, and contribute novel ideas. The term "Suzuki method" is also sometimes used to refer solely to the Suzuki repertoire of sheet music books and/or audio recordings which have been published as part of its music education method.
Photo by Uiler Costa-Santos.
Indigenous, African, and European influences blend to create a unique culture within Brazil that includes religions like none other in the world. Afro-Brazilian religions have played an important contribution to Brazilian culture for generations; however, they are often pushed into the shadows and suffer from widespread misunderstanding, misrepresentation, and prejudice.
With practitioners of these religions forming a massive but disconnected community, Jayro Pereira de Jesus, Ashoka Fellow, saw an opportunity: organize across marginalized religious groups to not just gain the power to emerge into the mainstream, but to be able to demand respect. In a country dominated by European standards, these groups have often felt the pressure to uphold themselves to these standards in order to gain acceptance. According to Jayro, community is power. Through community building, practitioners unlearn these internalized attitudes and uplift their own culture as a moral compass.
The Afro-Brazilian religions with which Jayro works hold a distinct framework for problem solving than dominant Western religions. For example, there tends to be less of a dichotomy between good and evil within their belief systems. With these religions finally gaining the respect they deserve in the mainstream, Jayro is opening new pathways toward an Everyone A Changemaker world.
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Public Meeting and The Ongoing Saga OfAtrocities On Dalits : Challenges Ahead .
eaker Prof. Gopal Guru cPs. JNu .
caste abuse in Periyar hostel is an eye-opener for those who After nearly 60 years of having a constitution which live under the illusion that casteism is no longer a threat that promises a dream where caste-based discrimination belongs to a distant past, we still witness the most gruesome and needs to be addressed. In this incident, an objection was raised when a dalit .
barbaric incidents of atrocities on dalits. In 2006, an entire student wanted to put up a picture of Dr. Ambedkar in his .
dalit family in Khairlanji was murdered and the women raped. room. The manner in which the hostel administration dealt This incident shockingly took place in full public view, with .
the connivance of hundreds of onlookers. Their only crime with this situation reveals the open reluctance to strongly .
was that they had dared to be educated and break the oppose a casteist mentality. By his own admission, the Chief warden treated this incident as a simple case of a mild .
shackles of an exploitative caste order. Two years later, 6 people have been sentenced to death, and two with life difference of opinion of two roommates over something innocuous. The chief warden openly states that he does not .
imprisonment. The caste dimension of this incident was see a caste dimension in this incident' .
always clearly evident, and yet the guilty were charged under the IPC, and not under the SC/ST (Prevention of Atrocities) Education is supposed to be about learning and Act. This attempt to sanitize the brutality of its casteist inte-nt internalizing new values. It is the responsibility of a campus .
belies any claim of honestly in dealing with the entrenched to inculcate democratic values in students. In the Periyar hostel case, ideally, the Chief warden should have ·explained.
casteism in society. to the roommate of the dalit student that any opposition to Khairlanji is most unfortunately not an aberration the picture of Dr.Ambedkar reveals a casteist bias. Intolerance or an isolated incident. Caste-based discrimination and to a symbol of dalit assertion is the first step towards caste atrocities are a chilling reality in every part ofthe country. segregation. Such an attitude is plainly unconstitutional, and Just to remember some of the cases reported in 2008 .
should not be entertained at any cost. .
a/one: In a bizarre New Year Eve honour killing, an Indian father set fire to his daughter's home in the USA killing Instead, the Chiefwarden chose to ignore the entrenched .
his pregnant daughter, son-in-law and their three year casteist mindset that this incident revealed. In his own words, old son, because he could not bear the fact that she had he tried to "negotiate", and "mediate" between the students, married a lower caste immigrant. In January, the eye of a by asking the complainant to remove Dr.Ambedkar's portrait,a .
dalit youth in Maharashtra's Nanded district. was gouged suggestion which the warden thinks has "no problem". .
out and acid from a car battery poured into it, simply for Dr. Ambedkar had warned that simply instituting laws is .
eloping with a minor girl belonging to the upper caste not enough to tackle a centuries old exploitative Brahminical .
Marathas. In Jan, a brahmin priest in Kanpur abused caste order. .
and beat up a dalit and his three friends on Tuesday when the latter tried to enter the famous Mahadev "Democracy is not a form of government, but a form of social organization... .[the formal framework of democracy] .
temple to offer prayers. In Feb, the owner of a sweets involves .. .an attitude of mind, and attitude of respect and shop pushed his dalit employee into a large pot of .
equality towards their fellows. '' .
boilinlg oil, resulting in his death, after the man refused .
to work for him in Uttar Pradesh's Etawah district. In Oct, a We are currently seeing an extremely dangerous trend dalit woman committed suicide in front of the Betul in JNU, wherein attempts are being made to convert JNU into .
district Collectorate, when no action was taken the a laboratory for fanning a communal frenzy. Instead, this .
campus should become a platform where democratic secular.
sarpanch's son, who had raped her twice. These are just .
some of the incidents of caste brutalities. and egalitarian values are inculcated. .
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Even in UP, where Mayawati's victory sharpened the Join a public meeting tonight (Sep 26) at 9.30 pm, .
Sutlej mess on " Khairlanji And The Ongoing Saga Of.
aspirations of dalits for democracy and empowerment, dalits .
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continue to bear the brunt of casteist assaults and atrocities. Atrocities On Dalits: Challenges Ahead" to be addressed .
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We have not forgotten how a young dalit student, by Prof. Gopal Guru. .
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admission into an engineering college. in Periyar hostel, JNUSU demands that the Equal Opportunities 'He is fulfilling his jatigat kartavya (caste obligation).' -Office looks into the matter in all its seriousness. Today, the JNUSU .
that's what the President of tJ1e BSP Pratapgarh Unit said 's.
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Educational institutions also reveal this entrenched Before the warden came to the office, a studentwho happened to be present used unfair and objection_able language. We strongly casteist mentality. We have seen how SC students in AIIMS .
are subjected to segregation, caste abuse and victimization. disapprove and condemn such behaviour. We also strongly condemn In our own campus, we have seen how casteism is prevalent, the subsequent response ofsome ofthe residents of Periyar hostel abetted not just by some sections of the student community belonging to the ABVP, who gathered and physically forced him out of the hostel..
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Chitra, also spelled as Citra, is an Indian genre of art that includes painting, sketch and any art form of delineation. The earliest mention of the term Chitra in the context of painting or picture is found in some of the ancient Sanskrit texts of Hinduism and Pali texts of Buddhism
NOMENCLATURE
Chitra (IAST: Citra, चित्र) is a Sanskrit word that appears in the Vedic texts such as hymns 1.71.1 and 6.65.2 of the Rigveda. There, and other texts such as Vajasaneyi Samhita, Taittiriya Samhita, Satapatha Brahmana and Tandya Brahmana, Chitra means "excellent, clear, bright, colored, anything brightly colored that strikes the eye, brilliantly ornamented, extraordinary that evokes wonder". In the Mahabharata and the Harivamsa, it means "picture, sktech, dilineation", and is presented as a genre of kala (arts). Many texts generally dated to the post-4th-century BCE period, use the term Chitra in the sense of painting, and Chitrakara as a painter. For example, the Sanskrit grammarian Panini in verse 3.2.21 of his Astadhyayi highlights the word chitrakara in this sense. Halls and public spaces to display paintings are called chitrasalas, and the earliest known mention of these are found in the Ramayana and the Mahabharata.
A few Indian regional texts such as Kasyapa silpa refer to painting by others words. For example, abhasa – which literally means "semblance, shining forth", is used in Kasyapa-shilpa to mean as a broader category of painting, of which chitra is one of three types. The verses in section 4.4 of the Kasyapa-silpa state that there are three types of images – those which are immovable (walls, floor, terracota, stucco), movable, and those which are both movable-immovable (stone, wood, gems).[5] In each of these three, states Kasyapa-shipa, are three classes of expression – ardhacitra, citra, and citra-abhasa. Ardhacitra is an art form where a high relief is combined with painting and parts of the body is not seen (it appears to be emerging out of the canvas). The Citra is the form of picture artwork where the whole is represented with or without integrating a relief. Citrabhasha is the form where an image is represented on a canvas or wall with colors (painting). However, states Commaraswamy, the word Abhasa has other meanings depending on the context. For example, in Hindu texts on philosophy, it implies the "field of objective experience" in the sense of the intellectual image internalized by a person during a reading of a subject (such as an epic, tale or fiction), or one during a meditative spiritual experience.
In some Buddhist and Hindu texts on methods to prepare a manuscript (palm leaf) or a composition on a cloth, the terms lekhya and alekhya are also used in the context of a chitra. More specifically, alekhya is the space left while writing a manuscript leaf or cloth, where the artist aims to add a picture or painting to illustrate the text.
HISTORY
The earliest explicit reference to painting in an Indian text is found in verse 4.2 of the Maitri Upanishad where it uses the phrase citrabhittir or "like a painted wall". The Indian art of painting is also mention in a number of Buddhist Pali suttas, but with the modified spelling of Citta. This term is found in the context of either a painting, or painter, or painted-hall (citta-gara) in Majjhima Nikaya 1.127, Samyutta Nikaya 2.101 and 3.152, Vinaya 4.289 and others. Among the Jain texts, it is mentioned in Book 2 of the Acaranga Sutra as it explains that Jaina monk should not indulge in the pleasures of watching a painting.
The Kamasutra, broadly accepted to have been complete by about the 4th-century CE, recommends that the young man should surprise the girl he courts with gifts of color boxes and painted scrolls. The Viddhasalabhanjika – another Hindu kama- and kavya–text uses chitra-simile in verse 1.16, as "pictures painted by the god of love, with the brush of the mind and the canvas of the heart".
The nature of a chitra (painting), how the viewer's mind projects a two dimensional artwork into a three dimensional representation, is used by Asanga in Mahayana Sutralamkara – a 3rd to 5th-century Sanskrit text of the Mahayana Buddhist tradition, to explain "non-existent imagination" as follows:
Just as in a picture painted according to rules, there are neither projections nor depressions and yet we see it in three dimensions, so in the non-existent imagination there is no phenomenal differentiation, and yet we behold it.
— Mahayana Sutralamkara 13.7, Translated in French by Sylvain Levi
According to Yoko Taniguchi and Michiyo Mori, the art of painting the caves at the c. 6th-century Buddhas of Bamiyan site in Afghanistan, destroyed by the Taliban Muslims in the late 1990s, were likely introduced to this region from India along with the literature on early Buddhism.
TEXTS
There are many important dedicated Indian treatises on chitra. Some of these are chapters within a larger encyclopedia-like text. These include:
Chitrasutras, chapters 35–43 within the Hindu text Vishnudharmottara Purana (the standard, and oft referred to text in the Indian tradition)
Chitralaksana of Nagnajit (a classic on classical painting, 5th-century CE or earlier making it the oldest known text on Indian painting; but the Sanskrit version has been lost, only version available is in Tibet and it states that it is a translation of a Sanskrit text)
Samarangana Sutradhara (mostly architecture treatise, contains a large section on paintings)
Aparajitaprccha (mostly architecture treatise, contains a large section on paintings)
Manasollasa (an encyclopedia, contains chapters on paintings)
Abhilashitartha chinatamani
Sivatatva ratnakara
Chitra Kaladruma
Silpa ratna
Narada silpa
Sarasvati silpa
Prajapati silpa
Kasyapa silpa
These and other texts on chitra not only discuss the theory and practice of painting, some of them include discussions on how to become a painter, the diversity and the impact of a chitra on viewers, of aesthetics, how the art of painting relates to other arts (kala), methods of preparing the canvas or wall, methods and recipes to make color pigments. For example, the 10th-century Chitra Kaladruma presents recipe for making red color paint from the resin of lac insects. Other colors for the historic frescoes found in India, such as those in the Ajanta Caves, were obtained from nature. They mention earthy and mineral (inorganic) colorants such as yellow and red ochre, orpigment, green celadonite and ultramarine blue (lapis lazuli). The use of organic colorants prepared per a recipe in these texts have been confirmed through residue analysis and modern chromatographic techniques.
THEORY
The Indian concepts of painting are described in a range of texts called the shilpa shastras. These typically begin by attributing this art to divine sources such as Vishvakarma and ancient rishis (sages) such as Narayana and Nagnajit, weaving some mythology, highlighting chitra as a means to express ideas and beauty along with other universal aspects, then proceed to discuss the theory and practice of painting, sketching and other related arts. Manuscripts of many these texts are found in India, while some are known to be lost but are found outside India such as in Tibet and Nepal. Among these are the Citrasutras in the 6th-century Visnudharmottara Purana manuscripts discovered in India, and the Citralaksana manuscript discovered in Tibet (lost in India). This theory include early Indian ideas on how to prepare a canvas or substrate, measurement, proportion, stance, color, shade, projection, the painting's interaction with light, the viewer, how to captivate the mind, and other ideas.
According to the historic Indian tradition, a successful and impactful painting and painter requires a knowledge of the subject – either mythology or real life, as well as a keen sense of observation and knowledge of nature, human behavior, dance, music, song and other arts. For example, section 3.2 of Visnudharmottara Purana discusses these requirements and the contextual knowledge needed in chitra and the artist who produces it. The Chitrasutras in the Vishnudharmottara Purana state that the sculpture and painting arts are related, with the phrase "as in Natya, so in Citra". This relationship links them in rasa (aesthetics) and as forms of expression.
THE PAINTING
A chitra is a form of expression and communication. According to Aparajitaprccha – a 12th-century text on arts and architecture, just like the water reflects the moon, a chitra reflects the world. It is a rupa (form) of how the painter sees or what the painter wants the viewer to observe or feel or experience.
A good painting is one that is alive, breathing, draws in and affects the viewer. It captivates the minds of viewers, despite their diversity. Installed in a sala (hall or room), it enlivens the space.
The ornaments of a painting are its lines, shading, decoration and colors, states the 6th-century Visnudharmottara Purana. It states that there are eight gunas (merits, features) of a chitra that the artist must focus on: posture; proportion; the use of the plumb line; charm; detail (how much and where); verisimilitude; kshaya (loss, foreshortening) and; vrddhi (gain). Among the dosas (demerits, faults) of a painting and related arts, states Chitrasutra, are lines that are weak or thick, absence of variety, errors in scale (oversized eyes, lips, cheeks), inconsistency across the canvas, deviations from the rules of proportion, improper posture or sentiment, and non-merging of colors.
LIMBS OF THE PAINTING
Two historical sets called "chitra anga", or "limbs of painting" are found in Indian texts. According to the Samarangana Sutradhara – an 11th-century Sanskrit text on Hindu architecture and arts, a painting has eight limbs:
Vartika – manufacture of brushes
Bhumibandhana – preparation of base, plaster, canvas
Rekhakarma – sketching
Varnakarma – coloring
Vartanakarma – shading
lekhakarana – outlining
Dvikakarma – second and final lining
Lepyakarma – final coating
According to Yashodhara's Jayamangala, a Sanskrit commentary on Kamasutra, there are sadanga (six limbs)[note 5] in the art of alekhyam and chitra (drawing and painting):
Rupa-bhedah, or form distinction; this requires a knowledge of characteristic marks, diversity, manifested forms that distinguish states of something in the same genus/class
Pramanani, or measure; requires knowledge of measurement and proportion rules (talamana)
Bhava yojanam, or emotion and its joining with other parts of the painting; requires understanding and representing the mood of the subject
Lavanya yojanam, or rasa, charm; requires understanding and representing the inner qualities of the subject
Sadrsyam, or resemblance; requires knowledge of visual correspondence across the canvas
Varnika-bhanga or color-pigment-analysis; requires knowledge how colors distribute on the canvas and how they visually impact the viewer.
These six limbs are arranged stylistically in two ways. First as a set of compound (Rupa-bhedah and Varnika-bhanda), a set of joining (middle two yojnam), and a set of single words (Pramanani and Sadrsyam). Second, states Victor Mair, the six limbs in this Hindu text are paired in a set of differentiation skills (first two), then a pair of aesthetic skills, and finally a pair of technical skills. These limbs parallel the 12th-century Six principles of Chinese painting of Xie He. {refn|group=note|The Hua Chi of Teng Ch'un, a 12th-century Chinese text, mentions the Buddhist temple of Nalanda with frescoes about the Buddha painted inside. It states that the Indian Buddhas look different from those painted by Chinese, as the Indian paintings have Buddha with larger eyes, their ears are curiously stretched and the Buddhas have their right shoulder bare. It then states that the artists first make a drawing of the picture, then paint a vermilion or gold colored base. It also mentions the use of ox-glue and a gum produced from peach trees and willow juice, with the artists preferring the latter. According to Coomaraswamy, the ox-glue in the Indian context mentioned in the Chinese text is probably the same as the recipe found in the Sanskrit text Silparatna, one where the base medium is produced from boiling buffalo skin in milk, followed by drying and blending process.
The six limbs in Jayamangala likely reflect the earliest and more established Hindu tradition for chitra. This is supported by the Chitrasutras found in the Vishnudharmottara Purana. They explicitly mention pramanani and lavanya as key elements of a painting, as well as discuss the other four of the six limbs in other sutras. The Chitrasutra chapters are likely from about the 4th or 5th-century. Numerous other Indian texts touch upon the elements or aspects of a chitra. For example, the Aparajitaprccha states that the essential elements of a painting are: citrabhumi (background), the rekha (lines, sketch), the varna (color), the vartana (shading), the bhusana (decoration) and the rasa (aesthetic experience).
THE PAINTER
The painter (chitrakara, rupakara) must master the fundamentals of measurement and proportions, state the historic chitra texts of India. According to these historic texts, the expert painter masters the skills in measurement, characteristics of subjects, attributes, form, relative proportion, ornament and beauty, states Isabella Nardi – a scholar known for her studies on chitra text and traditions of India. According to the Chitrasutras, a skilled painter needs practice, and is one who is able to paint neck, hands, feet, ears of living beings without ornamentation, as well as paint water waves, flames, smoke, and garments as they get affected by the speed of wind. He paints all types of scenes, ranging from dharma, artha and kama. A painter observes, then remembers, repeating this process till his memory has all the details he needs to paint, states Silparatna. According to Sivatattva Ratnakara, he is well versed in sketching, astute with measurements, skilled in outlining (hastalekha), competent with colors, and ready to diligently mix and combine colors to create his chitra. The painter is a creative person, with an inner sense of rasa (aesthetics).
THE VIEWER
The painter should consider the diversity of viewers, states the Indian tradition of chitra. The experts and critics with much experience with paintings study the lines, shading and aesthetics, the uninitiated visitors and children enjoy the vibrancy of colors, while women tend to be attracted to the ornamentation of form and the emotions. A successful painter tends to captivate a variety of minds. A painter should remember that the visual and aesthetic impact of a painting triggers different responses in different audiences.
The Silparatna – a Sanskrit text on the arts, states that the painting should reflect its intended place and purpose. A theme suitable for a palace or gateway is different from that in a temple or the walls of a home. Scenes of wars, misery, death and suffering are not suitable paintings within homes, but these can be important in a chitrasala (museum with paintings). Auspicious paintings with beautiful colors such as those that cheer and enliven a room are better for homes, states Silparatna.
PRACITICE
According to the art historian Percy Brown, the painting tradition in India is ancient and the persuasive evidence are the oldest known murals at the Jogimara caves. The mention of chitra and related terms in the pre-Buddhist Vedic era texts, the chitra tradition is much older. It is very likely, states Brown, the pre-Buddhist structures had paintings in them. However, the primary building material in ancient India was wood, the colors were organic materials and natural pigments, which when combined with the tropical weather in India would naturally cause the painting to fade, damage and degrade over the centuries. It is not surprising, therefore, that sample paintings and historic evidence for chitra practice are unusual. The few notable surviving examples of chitra are found hidden in caves, where they would be naturally preserved a bit better, longer and would be somewhat protected from the destructive effects of wind, dust, water and biological processes.
Some notable, major surviving examples of historic paintings include:
Murals at Jogimara cave (eight panels of murals, with a Brahmi inscription, 2nd or 1st century BCE, Hindu), oldest known ceiling paintings in India in remote Ramgarh hills of northern Chhattisgarh, below on wall of this cave is a Brahmi inscription in Magadhi language about a girl named Devadasi and a boy named Devadina (either they were lovers and wrote a love-graffiti per one translation, or they were partners who together converted natural caves here into a theatre with painted walls per another translation)
Mural at Sitabhinji Group of Rock Shelters (c. 400 CE Ravanachhaya mural with an inscription, near a Shiva temple in remote Odisha, a non-religious painting), the oldest surviving example of a tempera painting in eastern states of India
Murals at Ajanta caves (Jataka tales, Buddhist), 5th-century CE, Maharashtra
Murals at Badami Cave Temples (Hindu), 6th-century CE, Karnataka (secular paintings along with one of the earliest known painting of a Hindu legend about Shiva and Parvati inside a Vaishnava cave)
Murals at Bagh caves (Hallisalasya dance, Buddhist or Hindu), Madhya Pradesh
Murals at Ellora caves (Flying vidyadharas, Jain), Maharashtra
Frescoes at Sittanavasal cave (Nature scenes likely representing places of Tirthankara sermons, Jain), Tamil Nadu
Frescoes at Thirunadhikkara cave temple (Flowers and a woman, likely a scene of puja offering to Ganesha, another of Vishnu, Hindu), Travancore region, Kerala-Tamil Nadu
Paintings at the Brihadisvara temple (Dancer, Hindu), Tamil Nadu
Manuscript paintings (numerous states such as Gujarat, Kashmir, Kerala, Odisha, Assam; also Nepal, Tibet; Buddhist, Jain, Hindu
Vijayanagara temples (Hindu), Karnataka
Chidambaram temple (Hindu), Tamil Nadu
Chitrachavadi (Hindu, a choultry–mandapa near Madurai with Ramayana frescoes)
Pahari paintings (Hindu), Himachal Pradesh and nearby regions
Rajput paintings (Hindu), Rajasthan
Deccan paintings (Hindu, Jain)
Kerala paintings (Hindu)
Telangana paintings (Hindu)
Mughal paintings (Indo-Islamic)
CONTEMPORARY CULTURE
Kalamkari (Hindu)
Pattas (Jain, Hindu)
WIKIPEDIA
No Lilly really isn’t a pothead, however in this photo she has a pot over her head. Actually Lilly is the cat that would probably benefit the most from a little ganja. Mind you just for medicinal purposes to calm her anxiety and mellow her out. Better yet do they make Xanax for cats?
In this photo Lilly is cowering just outside the backdoor. She wants to come inside but her fear of every living creature, especially Gracie, keeps her frozen to the porch until hunger or fear of something in the yard causes her to flee inside. This is what happens when a cat doesn’t deal with their issues. She internalizes everything and suffers from low self esteem. The other cats see she is scared and that empowers them to take advantage of her. If ever there was a cat which is in dire need of a sozo she is it. I need to find a cat whisperer.