Jean-Louis Giovannoni
VENGO A DEJAR MI INOCENCIA
Sólo llevaré para el camino de regreso
los ojos del asombro.
No quiero saber por dónde vine
ni la ruta que me espera.
Quiero ignorar los límites.
Todo tiene que ser desconocido
no para después nombrar las cosas
sino para escapar de la memoria.
Nominar es matar.
El árbol desconocido
será siempre un misterio.
Cuandose dice roble
se está diciendo silla, mesa,
recipiente de vino.
Existo porque no sé quien soy
es imposible encontrarme
tras las letras de un nombre
no pertenezco a una casa
ni a una ciudad, ni a un país
ni siquiera al mundo.
Este es mi último viaje como dador
como portador de algo
como reclamante.
Intento dejar aquí mi inocencia
para recorrer los caminos
sin esa luz,
entre verde y dorada, de la infancia.
Saldré de esta noche
y el sol de mañana no podrá dibujarme.
No seré ni alto ni pequeño,
ni moreno ni blanco.
Nadie podrá decir si mis pasos me llevan
o si son los sitios, los límites los que se mueven.
No me importará llamar la lluvia
ni hurgaré en el corazón de los cactus.
Si alguien quiere preguntar
el momento es ahora.
Cuando vuelva la espalda
no habrá huellas, ni canto, ni humedad.
Waldo Leyva (Cuba,1943)
Photo with 5 notes
ciego de ensueño y loco de armonía on Flickr.
Oquedad y memoria
en nervaduras
sucediendo su sed,
en todo infinito.
Edna León
Photo reblogged from Artemis Dreaming with 28 notes
Bijin removing a hairpin and contemplating her reflection, 1926
Chigusa, (Kitani Chigusa, the go or art name of Yoshioka Eiko, 1895 - 1947)
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Painting depicting a Bijin or Beauty removing a hairpin and contemplating her reflection, in sumi ink, mineral pigments, gold and gofun or clamshell gesso on silk, in the original lacquer frame. Signed by the artist on the lower left: Chigusa, and sealed (Kitani Chigusa, the go or art name of Yoshioka Eiko, 1895 - 1947). Circa Taisho 15 or 1926.
A paper label affixed to the reverse of the painting titles the work: Genroku Fujin or A Lady of the Genroku (Era), and indicates the painting’s provenance as part of the collection of Prince Kuni No Miya (from the Fushimi branch of Imperial princes, Kunihiko Kuni No Miya, born 1873, whose daughter Nagako married Hirohito, the Showa Emperor, in 1924).
Kitani Chigusa was born in Dojima in Northern Osaka. Showing an early talent for painting, she was sent at the age of 13 to Seattle for two years to study Western style painting. Returning to Japan, she moved to Tokyo when she was 18 to study Japanese style painting under Ikeda Shonen. At the age of 20 Chigusa first exhibited one of her works, at the first Daiten Exhibition (held in Koraibashi in Osaka). The same year she was invited to exhibit a painting at the 9th Bunten Art Exhibition. In 1918 she participated in the Osaka Bijutsu Tenrankai as well as showing at the 12th Bunten, and with the introduction of Takeuchi Seiho became a pupil of Kikuchi Keigetsu. In 1920 Chigusa exhibited at the 2nd Teiten and married Kitani Hogin, bearing a son the following year. Balancing a career as a painter with her roles as wife and mother, she continued to paint and exhibit. In 1922 at the 4th Teiten and at the Hakuyosha Exhibition; in 1923 at the Nihon Bijutsu Tenrankai; in 1924 at the 5th Teiten and Osaka Bijutsu Kyokai Exhibition; in 1925 at the 6th Teiten. The same year Chigusa helped form the all-women painting group, Himawari Kai. In 1926 she was one of the founding members of another association of women painters, the Yachigusa or the Eight Plants of Autumn, and participated in the group’s first Yachigusa Kaiten Yachigusakai Exhibition. This painting was her entry at that exhibition, and can be seen in the background of a photograph of the painters taken at the opening, reprinted in Josei Nihonga-ka Kitani Chigusa: Song Shougai to Sakuhin (Woman Nihonga Artist Kitani Chigusa: Her Life and Art), a catalogue for a 2002 retrospective of Kitani Chigusa’s work, published by the Ikeda Shiritsu Rekishi Minzoku Shiryokan, illustration Number 58, page 27. The eight classical plants of autumn used in flower arranging are called Chigusa, the art name which Kitani Chigusa had taken and then incorporated in the new association’s title, an indication of her status and reputation by then among her fellow painters. In 1927 Kitani Chigusa exhibited at the 3rd Kikuchijuku Exhibition of work by Kikuchi Keigetsu’s students, and with the Yachigusakai Shisaku Exhibition. This pattern continued through the 1930s and early 1940s, with frequent participation in the Teiten, later the Shinbunten, and among other venues the exhibitions of the Yachigusakai and the Kikuchijuku. The fire bombing of Osaka destroyed the family business in 1945, and caused the family to move several times. Kitani Chigusa died at 6:00 PM on January 24 of 1947.
Paintings of beauties are one of the classical subjects of Japanese painting. During the Late Meiji and Taisho Eras many painters became famous for their images of bijin. Partly this was because a significant audience and market existed for them, and partly in the case of women painters because the subject matter was considered appropriate. Most often though bijinga echoed the ukiyo-e tradition, and the imagery seems stylized and mask-like. Perhaps because Kitani Chigusa also studied Western painting, this depiction of a beautiful woman encompasses a psychological dimension rarely seen in the genre or prior to the 1920s.
Chigusa places her beauty in a historical context, in the Genroku Era some two hundred years earlier. She kneels in front of fusuma painted with grasses and peony blossoms, lit by a flickering candle that illuminates the gold lacquer of her hair comb and creates a soft halo about her. Kimono slightly disordered, this woman of about thirty years holds a hair pin trailing one of her hairs, both details erotically suggestive in the 1920s. One hair escapes her coiffure over her face. She holds a fabric wallet used for a small mirror, and perhaps love letters. Caught in contemplation, has she just returned from meeting her lover? A woman of her age would have been thought at the height of her beauty, on the bitter sweet edge of middle age. Chigusa’s haunting masterpiece adds a dimension to portraits of beauties beyond the traditional horizons of Japanese painting.
The famous painter and essayist Kaburaki Kiyokata published a commentary admiring this painting, Genroku Fujin, in Taisho Nihon Bijinga Zenshu. kagedo.com
Source: artemisdreaming
Post with 1 note
The Flame
‘Tis not a game that plays at mates and mating,
Provençe knew;
‘Tis not a game of barter, lands and houses,
Provençe knew.
We who are wise beyond your dream of wisdom,
Drink our immortal moments; we ‘pass through’.
We have gone forth beyond your bonds and borders,
Provençe knew;
And all the tales of Oisin say but this:
That man doth pass the net of days and hours.
Where time is shrivelled down to time’s seed corn
We of the Ever-living, in that light
Meet through our veils and whisper, and of love.
O smoke and shadow of a darkling world,
These, and the rest, and all the rest we knew.
‘Tis not a game that plays at mates and mating,
‘Tis not a game of barter, lands and houses,
‘Tis not 4of days and nights’ and troubling years,
Of cheeks grown sunken and glad hair gone gray;
There is the subtler music, the clear light
Where time burns back about th’ eternal embers.
We are not shut from all the thousand heavens:
Lo, there are many gods whom we have seen,
Folk of unearthly fashion, places splendid,
Bulwarks of beryl and of chrysoprase.
Sapphire Benacus, in thy mists and thee
Nature herself’s turned metaphysical,
Who can look on that blue and not believe?
Thou hooded opal, thou eternal pearl,
O thou dark secret with a shimmering floor,
Through all thy various mood I know thee mine;
If I have merged my soul, or utterly
Am solved and bound in, through aught here on earth,
There canst thou find me, O thou anxious thou,
Who call’st about my gates for some lost me;
I say my soul flowed back, became translucent.
Search not my lips, O Love, let go my hands,
This thing that moves as man is no more mortal.
If thou hast seen my shade sans character,
If thou hast seen that mirror of all moments,
That glass to all things that o’ershadow it,
Call not that mirror me, for I have slipped
Your grasp, I have eluded.
Ezra Pound
Photo reblogged from less human, more being. with 57,600 notes
words that don’t exist in the english language:
L’esprit d’escalier: (French) The feeling you get after leaving a conversation, when you think of all the things you should have said. Translated it means “the spirit of the staircase.”
Waldeinsamkeit: (German) The feeling of being alone in the woods.
Meraki: (Greek) Doing something with soul, creativity, or love.
Forelsket: (Norwegian) The euphoria you experience when you are first falling in love.
Gigil: (Filipino) The urge to pinch or squeeze something that is unbearably cute.
Pochemuchka: (Russian) A person who asks a lot of questions.
Pena ajena: (Mexican Spanish) The embarrassment you feel watching someone else’s humiliation.
Cualacino: (Italian) The mark left on a table by a cold glass.
Ilunga: (Tshiluba, Congo) A person who is ready to forgive any abuse for the first time, to tolerate it a second time, but never a third time.
Source: margattackz
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