Friendly Friday Photo Challenge – Inspiration

Inspiration

As it is the start of a brand new Photography Challenge –
Friendly Friday , the one that I am co-hosting with Snow, from
TheSnowMeltsSomewhere, I felt compelled and indeed, wished, to join in!

Here is my photo depicting Inspiration; the prompt for this week.

It was hard to choose a photo for the theme Inspiration, but I feel that this work by Jasmine Kay Uy for her University of Texas at Austin Department of Art and Art History most inspiring.

How clever are the words? I also love the different interpretations and that one side is hidden from the other given two totally different meanings, depending on one’s orientation and perspective! Sort of like life can be, sometimes?

Instructions on Joining Friendly Friday

Friendly Friday will be posting each Friday – alternately between Snow’s blog TheSnowMeltsSomewhere and my blog Something to Ponder About

Each Friday, we’ll post a prompt and invite you to leave your response in the comments section.

You write a post, publish a photo and leave a hyperlink or pingback in the comments section directing us to your Friendly Friday blog post.

How we will find your post and how to post a linkback or pingback

If you are not sure what a hyperlink, link back or pingback is, it is how we find your blog post in the world wide web.

Just highlight, right click and “copy” the url of your PUBLISHED blog post [see below] that you want to link to, and then paste this along with your comment, on Amanda’s or Snow’s Friendly Friday Blog post, depending on who is hosting the challenge that week, in the same way you would post a normal comment to their post.

A url is the computer’s blog post address that you find at the top of the blog post itself. It should look something like this format but with your blog and post name inserted.

https://xxxx [blogname]/2019/01/06/xxx[name of blog post]/

More info on pingbacks

Tags

If you are really keen it would be fantastic to include in your post a Friendly Friday tag.

To do so, add the words Friendly Friday to the tags in your publishing settings on the side bar, before you hit ‘publish’. You might even want to add a hyperlink or link back to the host blogger’s blog – here is how to do that:

Firstly, Highlight, and right click the url for the host blog – https://forestwoodfolkart.wordpress.com https://forestwoodfolkart.wordpress.com – for Amanda’s blog

or https://thesnowmeltssomewhere.wordpress.com – for Snow’s blog

Secondly, paste this url in the draft post, by clicking on the chain link icon in your editor, (usually next to BOLD and Italic icons). A text box will pop up – and this is when you right click, paste or ctrl V. Press Enter and your link is then automated. if it works the text colour will change! Any problems, just ask for help!

Oh and if you happen to paste the wrong link, by mistake, just highlight and click the chain link icon again in your editor and the link disappears! Easy.

Created with Adobe Spark

Good luck and Have a Happy Week. Do stop by for my first Friendly Friday Post and a new theme – this Friday 8pm [ Australian time]


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Traditional Art – Buddhist Thangka

 

Very likely one of the oldest Buddist symbols, the Wheel of Life is a popular theme in traditional Tibetan Buddhist art and it is known as the Thangka. Historically this highly skilled art form is commissioned for both spiritual and mundane matters, such as aiding the sick,  or to gain merit during commemoration of religious events.

At one time, Buddhist monks used to draw beautiful and complex mandalas on the ground, using colored sand. Once the Mandala was completed, it was removed as conclusion of the ritual, a strong symbol of the impermanence of reality.

 

patan Temple Katmandu

 

 

 

 

One of our treasured artistic possessions from a trip to Bhaktapur, in Nepal, is a Tibetan Buddhist Thankgka painted on silk, pictured below.

 

Buudhist art Apologies for the reflection on the image.

 

Thangkas are painted by the monks themselves, and the art form demands great mastery over drawing, as well as a high understanding of the geometric and iconographic principles within this style of traditional art.

Lamas and pilgrims would carry them in ceremonial processions and Thangkas were hung in monasteries as a way to display Buddhist teachings, in pictorial form.

Certain pictorial elements are outlined in 24 carat gold and are still considered an important method for studying and preserving the religion, history, culture and traditions of the Himalyan countries of Tibet, India and Nepal.

Here you can see the painstaking and long hours needed to produce this work of art:
[youtube https://www.youtube.com/watch?v=4YyptY72-rk]

What do the Symbols Mean?

This art form is highly formalized typically seen as four or five concentric rings, or their symbolic equivalents, depicting the realms of existence associated with the journey towards enlightenment.

 

  • In the central ring, you will often find the intertwined images of a pig, a rooster, and a snake which symbolically depict the three “kleshas,” (mental states affecting actions), being ignorance, greed and aggression, called Samsara. These three states characterize the world of suffering and dissatisfaction.The snake and bird can be seen coming out of the mouth of the pig, indicating that anger and attachment arise from ignorance. At the same time the snake and the bird grasp the tail of the pig, indicating that they both promote even greater ignorance.

 

  • Half of the second ring depicts light, showing contented people moving upwards to higher states, possibly to the higher realms whilst the remaining half-circle, (usually dark), shows people in a miserable state being led downwards to lower states, or realms. These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions, the dark indicating negative action.

Propelled by their karma, beings take rebirth in the six realms of Samsara, as shown in the next ring.

 

  • The outer rim of the wheel is often divided into twelve section.  Whilst the three inner layers display the three poisons that lead to karma, and the suffering of the six realms, the twelve links in the outer rim show how this can happen. This is reference to cause and effect, or karma, over several lifetimes, demonstrating our current life and how our past lives and our present action influence us and our future.
  • The outer area contains decorative floral motifs and mythical animals, which were elements introduced into Buddhist painting in the mid – twentieth century by Newar artists of the Kathmandu valley.

 

 

  • Surrounding the wheel is either Mara, the fearsome demon who tempted Buddha, or Lord ‘Yama’, the Lord of Death, with his tiger skin hanging beneath the wheel, (indicating fearsome- ness), and it is he, who holds the wheel of life in his hands. Regardless of which figure is depicted, it represents impermanence and the transient nature of existence; everything within this wheel is constantly changing. The four limbs, (that clutch the wheel) symbolize the sufferings of birth, old age, sickness, and death.

By contemplating on the twelve sections of the outer ring, one gains greater insight into karma and this insight enables us to begin to unravel our habitual way of thinking and reacting.

  • The twelve outer sections, paired with their corresponding symbols, are:

lack of knowledgea blind person, often walking, or a person peering out

constructive volitional activitya potter shaping a vessel or vessels

consciousnessa man or a monkey grasping a fruit

name and form (constituent elements of mental and physical existence) – two men afloat in a boat

six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows

contactlovers consorting, kissing, or entwined

painan arrow to the eye

thirsta drinker receiving drink

graspinga man or a monkey picking fruit

coming to bea couple engaged in intercourse, a standing, leaping, or reflective person***

being bornwoman giving birth

old age and deathcorpse being carried

*** The images of the couple lying together in a sexual union, we were told, was never intended to be pornographic, but rather to excite and increase the potency of fertility, especially for males! Devotees consider all creation begins with the sacred union of male and female energies. To experience the pure creative passion between man and woman they believe; to know unconditional love, is to manifest the body, mind, and spirit of a Buddha.

Something traditional to Ponder About

Proverbial Friday – Global Wisdom

Proverbs and sayings provide us wise words from all corners of the world whose subtext is a moral lesson or statement. 

Best savoured a little at a time, these sayings are often handed down from generation to generation.

Each Friday, I post a saying, or proverb and a quote that I find thought-provoking. I hope you enjoy them as much as I do.

 

An American Indian Proverb this week that seems self-explanatory: –

 

 

 

Every accomplishment begins with the decision to TRY. Therefore, must we also, at this point, decide to be brave?

Or does the desire to be thought of as brave come later?

 

 

P1050912

 

There is little need for me to introduce the author of the quote, for this week. Perhaps you did not know that Ernest Hemingway talked about the FBI spying on him later in life. He was treated with electroshock.

It was later revealed that Hemingway was in fact watched, and Edgar Hoover had him placed under surveillance. Perhaps, in light of this, the following Hemingway quote is particularly apt.

 

 

Ron Mueck
Ron Mueck Figures

When people talk, listen completely. Most people never listen.”

– Ernest Hemingway

 

What do you make of the quotes?

Do you find many people don’t listen fully to what is said?

What factors influence whether they listen or not?

 

Some Wisdom to Ponder About this Friday*Blog

Now posting on Fridays*

What is the Art of the People?

rosemaling

Our identity is rooted in our history and icons from each person’s cultural heritage. Folk art, or the art of the people, comprises one aspect of this cultural heritage. But if folk art represents our history, then this must be constantly evolving and accumulating, with each passing year? It can not, by its nature, be static. As time marches on, so must our cultural heritage.

‘Folk art’ encompasses art produced from an indigenous culture, or by peasants, or other laboring tradespeople. In contrast to fine art, folk art is primarily utilitarian and decorative rather than purely aesthetic. – [Wikipedia]

The art of the people or ‘ folk’ represents a moment in time; it talks of what life was, and is, like, for those folk,or people. Is it important to preserve that for future generations?

marimekko

What is today’s cultural heritage or folk art? Traditional artifacts, or everyday objects and memories that are relevant for individual people?slow cooker

Scandinavian festival

“Even though many objects produced today are mass produced consumables, with a short lifespan, they represent an important pillar for our identity.”

[Valdres FolkeMuseum, Fagernes]
IMG_20140914_113038 (Small)

 

Iconic objects that have strong personal or cultural meaning may also comprise folk art and memorabilia of today’s society.

yeahnah

Some objects may represent passion or tell a story, have some aesthetic frame around people’s lives or have some meaning in a cultural sense.

 

Family 2014 017-001

 

What objects would you include in a museum exhibit from this decade?

What object has meaning to you, in today’s society? What could represent your folk art, or cultural heritage from this decade? Is it a photograph, CD, machine, or artwork?

Please share your thoughts.

 

 

 

Try some Traditional Art – Hallingdal Rosemaling

Hallingdal Rosemaling

Norwegian Rosemaling is the style of traditional painting now very popular in America, where it is a favoured style of interior decorating, especially amongst those folk with Scandinavian heritage. Each region, or ‘fylke’, in Norway, developed its own individual interpretation of traditional Rosemaling style and design, which initially appeared back in  the 18th century and even earlier.

Hallingdal style on a cupboard in Geilo

History of Rosemaling

In the 17th century, itinerant painters brought new ideas and artistic trends, from the cities of Europe, into the mountains and Valleys of rural Norway, painting Renaissance and Baroque motifs on the walls of the wooden Norwegian Stave churches. In the Hallingdal, Telemark and Vest Agder provinces, it was their relative geographic isolation that led to further development and evolution, of a peasant folk art form, into a highly distinctive and unique art.  Reaching its zenith in Norway during the 18th century, Rosemaling was then revived by the Norwegian peoples during a fiercely Nationalistic decorating movement in the 19th and 20th centuries, following the country’s political separation from Sweden. Following this, a similar resurgence in Norwegian traditional painting began amongst Norwegian immigrants, living in the American Midwest, in the mid to late 20th century, and this trend continues to flourish there today.

Read more here

Hallingdal style of Rosemaling

The Halling Valley, itself, is situated in an area of southern central Norway, covering towns such as Gol, Ål and Hol and this is where one finds many examples of Hallingdal Rosemaling, appreciated and loved, even today.

Elements of Halling style can be found in the Embroidery on the Norwegian women’s national costume, (called the Bunad), in Norwegian wood carving, on hanging cupboards, and on wooden objects around the Norwegian home.

Features of this Style:

  • Hallingdal Rosemaling colours: rich, varied, exuberant and strong
  • Background colours: red/orange-red, in later years, blue and green
  • Black appeared as a background colour following influences from Telemark
  • Flowers colours: – Blue, White, or Gold on Red grounds; Red and gold on blue/ green backgrounds
  • Early Hallingdal Rosemaling had more floral elements; scrolls were minor. Over time, scrolls became a frame around which the flowers were placed, in order to achieve a sense of balance, either side of the design’s vertical axis. Scrolls still maintained a simplistic form, with little or no shading, and were heavier than the lyrical scrolls seen in the Telemark area
  • Motifs: symmetrical in round/rectangular design shapes, often depicted in mirror image split along the vertical axis
  • Round floral patterns could also be segmented into 4, 6 or 8 divisions, typically with blossoms of four or more petals
  • Leaves: large, often surrounding a central flower,  or mirror image split vertically
  • Design elements are sometimes filled in with fine, cross – hatched lines.
  • Flower shapes of Hallingdal are classified into 3 groups: circles, triangles or half circles.

Claudine Schatz

Circle Flowers

  • A circular centre is painted first and then concentric bands of colour added
  • Petals are added around the central circle in an even number, four or more, with petal length limited by the sectional diameter of the circle, and defined with liner work.
  • Ball flowers are circular flowers painted as a series of round balls surrounding a centre circle.

Triangular Flowers

  • Simple flowers with three petals, similar to a tulip; usually painted in strokes from the outside tip down to a base at the centre.
  • Blooms with more than three petals can have an oval centre, similar to a daisy.  Are  also combined into more elaborate and complex floral designs.
  • Triangular flower petal strokes can double as leaf forms.

Half circle Flowers

  • Usually are seen as larger elements within the Hallingdal design.
  • Comprise a semi-circular band of colour around a base.
  • Adorned with over strokes and details that illuminate the flower in a new way.
  • Half circles can also become petals of a flower form.

Leaves

Two types are seen in Hallingdal Designs

  • Stroke – work leaves, similar to the triangle flower petals
  • Shaded leaves, which are large and heavy and used in conjunction with large round central flowers. They do have some liner work stems.

 

A design by Tore Christiansen

Scrolls

  • Scrolls may represent leaves, but take the form of C and S shapes.
  • They are not shaded or blended in Hallingdal designs.
  • Used as a frame around flowers or as a cartouche border in a band that circles a round floral motif.
  • Painted in one colour; the light source is indicated by over strokes of white/ lighter colour on the top side of the scroll.
  • Scrolls are quite tight. They are not airy and lyrical, as in pieces seen in Telemark regions

Hallingdal Rosemaling even had some features borrowed from Oriental art forms. It was although typical in many ways, also malleable to outside influences. These characteristics overlap and interlace with other Rosemaling styles, and as such, should not be used as limits or boundaries, in one’s own Rosemaling journey, but merely to establish guidelines when one is starting to study this beautiful art form.

Why not get a feel for Hallingdal Rosemaling by painting or colouring in this design:

Free project

Something to Ponder About

 

[Parts of the description of features of Hallingdal style was taken from Rosemaling in the Round by Pat Virch, 1976]