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it still rains even on my best days
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Poems
RAJ NANDY
Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE
By Raj Nandy : Part One
INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)
On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)
IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!
The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!
(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)
SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!
It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!
A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)
SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)
KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!
KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)
Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!
CONCLUDING INTRODUCTION TO INDIAN ART:
Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
•
The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
•
Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
•
First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
By Raj Nandy : Part One
INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)
On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)
IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!
The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!
(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)
SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!
It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!
A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)
SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)
KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!
KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)
Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!
CONCLUDING INTRODUCTION TO INDIAN ART:
Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
•
The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
•
Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
•
First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
Mateuš Conrad Aug 2018
tolerating Islam
Mateuš Conrad
Aug 2018
. 'as for those poets, only the perverse follow them. do you not see that they go too far in every direction and say things, which they cannot do?' (ash-shu'ara / the poets 26:224-226).
call them what you like,
the Huguenots,
for all i care...
you always side with
the "heretics"...
given that, "said" heretics
retain some cultural value
relativism of other cultures,
namely in the form of
depiction -
since why would, "the word"
be deemed holy,
****-naked,
rather than donning
a bikini of "iconoclasm"...
when words... are at
the meat-market of copyright -
what with © coca cola?
sunni islam would have
never allowed sufism...
but Farsi does...
and will continue...
since no Iranian will bow
before an Arab within the schematics
of history...
Sunni Islam, it's Wahhabi sentimentality...
so why persist in signing
the Adhan?
why not speak in a honing like
drone sentiment of plain speech?
i thought all music was banned?
the current Adhan is a form
of music... isn't it? BAN IT!
you never side with these Sunni
muslims, exploiting Bangladeshi labor,
you side with the heretics of Iran...
these *******, i can at least respect...
no fast cars, convenient ongoing
cultural insurrections -
Sufism...
Afghan women's poetry,
and all that much closer to Hindu mysticism...
yeah... "islamophobia":
but only against Sunni Islam...
but Shia Islam?
no problem...
i could stomach these peoples
like i could stomach the in-between
of the Turkish variant -
no ideology - simply, pure, power throttle...
i could make a great Janissary -
with a Turkish barber...
for a great trim of hair and beard...
i'd cast a shadow on some
obscure chocolatier of Brussels
who thinks himself a politician...
but there are certain aspect of Islam
i am willing to tolerate...
what happened to the son in law
of Muhammad, namely, Ali...
was raw ******* kicking...
promises, promises...
no promises...
Shia Islam, as an European,
i can tolerate, Turkish Islam, i can tolerate...
Turkey is incrementally shy
of being treated at the 2nd variant of Iran...
at least with Iran, we share a history
via the insurrection into the ancient
texts through Greece...
come to think of it...
whenever i listen to
matta's song echo babylon...
i start feeding myself goosebumps,
reminding myself
of Cyrus... Nebuchadnezzar...
and the dim-wit that was
Belshazzar...
always siding with the heretics...
if not on economic groundwork,
then at least motivating,
rather than monetizing an idea...
and the Shia muslims are...
one way or another...
unlike the gluttons of Dubai...
the barbie dolls of postage stamp
"proof" of progress,
in size, and worth...
Sunni Islam would have
never allowed poetics to remain
a viable form of expression -
the Persian tradition that is,
far beyond the western concern
for a comment section...
Shia Islam allows patronage
of the arts, notably poetry,
without concern for monetary
funding, it, at least, doesn't prohibit it...
given the pride of the Persians...
Sunnis and their continual quest
for finding water...
sure... poetry is pointless within
such restrictions of
existential concerns...
but... given the current, civilized
establishment?
sky-scrapers in *******
sand dunes?
the qu'ran should have
forbidden the architectural ambitions
equivalent to the tower of babel
being erected, in environments,
that could never sustain said projects...
and who originally spewed the term
islamophobia?
Sunni Islam...
i never liked this strand of belief...
i hate the Sunnis like
a Shia partisan...
p.s. it's called patriotism is America...
but nationalism in Europe...
you sure that's not a synonym?
Europeans can't be patriotic,
and Americans are never nationalistic?
...
well: how could i ever convert to islam,
i do enjoy the adhan from time to time,
"sorry", but i do...
i can't help it:
if i'm a sucker for pop songs,
i'm also a sucker for the adhan...
crusader songs, templar songs become
stuffy after a while...
and last time i checked:
there were the northern crusades
against the baltic people:
notably prussians, lithuanians...
with that cushion of: mediating the
escalation of war by the polacks...
coming from the east:
last time i checked the mongols
didn't reach leipzig...
buffer zone people...
and what of the ottoman onsalught
of vienna 1529: the ****** winged hussars
won the charge...
so, coming back to heidegger... aphorism 26
ponderings IX... how am i to not be
the historical animal?
perhaps in german, in germany
i might become a non-historical animal,
to begin: anew, but with a terrible
past to hide, to negate...
i could do that: if i were a german,
speaking german, in germany...
but i'm in england:
i might have some roots in
Silesia, but it's "hard" to not be a historical
animal, an "animal" with a sense of time,
i.e. a future a past a present...
esp. under the english conditions
of: the biological animal momentum narrative,
like a tsunami, like an earthquake...
ripples throughout...
i can't move forward with
the english championing darwinism every
single ******* step of the way...
why can't they hide darwin like the polacks
hid copernicus...
given the motto: copernicus -
who moved the earth, and stopped the sun...
why wouldn't i escape into history
if the current biological reality is:
(a) a yawn... the cruel nature of per se?
the courting of pigeons on a t.v. antenna...
pigeons get rejected all the time,
lesson learned, he bows and bows,
coos... expands his tail feathers upon
the bow then folds them... she flies away...
repeat...
(b) i can't escape being a historical
animal in the way that what the current
facts are being repeated have encountered
a whiff of Chernobyll...
history is inclided to answer reality...
biology? not so much... not from what i've
seen and heard...
truly a schizophrenics disney dream:
to walk among the newly insane feeling
like the only sane among them...
beau-ti-ful!
well... given the current criteria
of being bilingual as being synonymous
with being a schizophrenic...
magic!
now the crescendo...aphorism 24
ponderings X:
the word designates, the word signifies,
the word says, the word is (heidegger)...
i found that you can only write
"philosophy" with a neat, fixed vocab. regime,
clarity of boundaries...
quadratic events in vocab.:
i.e. the reflexive: yourself, himself, itself etc.
and the reflective: your, self....
his, self...
it, and the self...
ergo? atheistic scissors,
the two articles, indefinite and definite
a / the "self"...
i'm not playing "identity politics",
when i say that only two peoples ever managed
to sack Moscau... the mongols and the polacks
with the help of lithuanians,
"identity politics" only happens in
post-colonial society, akin to the english,
i'll speak the english,
but i will not be a cucked indian of
the former raj: i will eat the fish & chips,
i will eat the sunday roast,
i will eat the english breakfast with great
delight...
but i will not do what these former
colonial masters expect of me:
integrate at the expense of making my
mutterzunge into hubris!
stubborness contra pride...
hard to tell the difference...
and why do i like heidegger so much?
i'm not into the ad homine arguments...
my grandfather, was, a communist party member...
so?
i like heidegger... because he appreciates
poetics, i like that poets can share the same
values as philosophers,
thanks to heidegger: we have been requested
back into the republic...
if plato and islam didn't like us, hanging around,
some offshoot german thinker / promenade
enthusiast like used enough to,
i suppose: ban the theatre puppeteers...
i am not playing identity politics...
biological reality is not enough...
but archeological reality?
can you really advance to counter?
i was born near:
Krzemionki Opatowskie, a Neolithic and
early Bronze Age complex of flint mines
for the extraction of Upper Jurassic (Oxfordian)
banded flints...
personally? i don't believe in
the African genesis conundrum...
i believe "my" people originated from
the Indian sub-continent,
as, associated with the complex:
Indo-European categorization of language;
i'm still to see an African phonetic
encoding system, beside the hieroglyphics...
i, was, born, there! i'm not a displaced
post-colonial debacle between former master
and former slave...
i have: roots... i'm not ******* up to the fish & chips
brigade with a friday night's worth of curry...
i cook my own curry,
and by god: it is the food of the gods...
i'll give the blue indians that counter...
but sure as **** not the worth of mead
or whiskey...
if they only tolerated themselves,
sure, learn the english language,
but know this much:
english is the modern lingua franca...
it's the language of economics,
forget the natives, too ignorant to learn
either deutsche or française:
island-folk...
what else, what other attitude?
even the russians are like:
that land of the weirdos? the idiosyncratics?
yes, we know that land...
the only "thing" that shelters the english
are the h'americans, the south africans,
the australians etc.,
sure as **** the scots aren't sheltering them...
and, mind you?
if the i.r.a. really wanted to plant
a bomb?
a real bomb? they'd revert from speaking
any english to begin with... resorting
to revising their usage of gàidhlig:
ga-id-hlig... gaelic...
like the welsh, stubborn people, proud people,
retaining their Çymraeg...
celt: said kelt...
the glaswegian football team?
Çeltic... not: keltic...
borrowed from the greek: sigma (ς: cedilla to ****)...
wow! all the particulars in the english tongue!
guess it would take an ausländer to spot them!
U-21 european championships,
england versus romania:
a magnificent match...
the youngsters playing better football
than the oldies in their mid to late / early 30s...
i'm trying to tolerate Islam,
it's not in my nature...
hell... i enjoyed visiting a turkish barber
shop, i still have an unflinching opinion that,
the turks are the best barbers in the world...
but...
this quote, is going to **** you:
same aphorism / pondering (24 / X) -
*** fight videos - count dankula...
you know what i'd love to do to these little
snarky *****?
the french revolution isn't enough...
n'ah, them hanging, is not enough....
ever heard of the butchers' hook?
it's also callled close-up fishing...
imitation hang-man...
you insert a fishing hook...
and you let the sweeney todd ****** dangle...
on a hook, rather than a noose...
lords of salem come your way?
i'd rather the snarky teen hanging off
a fisherman's hook than dangle
like some lynched ******...
beside the suffocation,
i'd like them with a fisherman's hook entombed
in their hard palette...
i don't want them hanging...
what am i? a sadist?
i want them on the fisherman's hook!
when suffocating without a broken spine absorbed
by the neck isn't enough!
fisherman's hook gallows is a
masterpiece... of suffering...
most certain...
when cheap comedy is being towed...
making fun of bums, or homeless people...
the current society is so welcome
to bypass all the "adventures" of Loki...
but akin to the lords of Salem...
burn!? such a limitated imagination!
ah... right... digressing...
the reflexive / reflective quadratic...
language - only if speech has acquired
the highest univocity of the word does it
become strong (enough) for the hidden
play of its essential multivocity
(as withdrawn from all "logic"),
of which poets and thinkers alone
are capable, in their own respective modes
and their own directions of sovreignty.
we do live in a time of a lost sense
of dialectic, since we do not live in a time
of etertaining dialogue,
perfectly sensible opinions,
that's all we have...
if one of these snarky *******
came up to me...
they'd get a chance to experience a rubric
of 4, knuckles...
what's 189 centimeters in empirical?
6ft2... oh!
see where imagination takes you?
and here i was: thinking i was without it!
butcher's hangman...
oh, not so easy...
fame by no association to fame...
just the tears of parents who raised their children
to be nothing more than rugrats...
annoying gnat like bothersomes;
and nothing quiet special to be associated
with weimar berlin...
just, these,
h'american mall onlookers
with pwetty-guy-for-a-white-fly-mentality,
as borrowed from californian
1990s punk;
re-used ****** losers.
mad-hatter's fraction: 10/6....
0.666...
well: to the given extent:
1.666666(7)....
1, 0, /6,
no number is divisible by 0,
every number, divisible by 1:
is the same number...
mad hatter's 10/6...
re-used ****** losers...
i like that phrase...
7 for every 6, 7 for every 6...
until the 0. fraction comes
a 1.: exponential serf of 0...
0 being the multiplier...
i really am growing a beard to less
don it, but rather to experience
a relief from patience...
war robots?
the first non n.p.c. game...
i like that, very much...
and when i did:
you know my first experience of
love at first sight?
the younger sister of my then girlfriend...
****** up ****...
love at first sight is a terrible phenomenon...
i was nearing 18, she was barely 13...
i was dating her older sister...
but it was love at first sight,
the trouble with: love at first sight:
it doesn't lie...
it tries to lie...
but it can't lie...
paedophilia? a bit... untouched bodies
though... bodies of people who were
never supposed to touch...
i once said to a fwend:
well wouldn't it be ****** up if i touched
her?
she's a muse, which doesn't translate
into vacating her as a busy body
worth of a touch, does it?
if only my old friend samuel said
otherwise:
sylvester "contra" tweety:
my first girlfriend...
but her sister?
i was nearing 18, she was about 13...
love at first sight...
untouched, cradled, unscathed...
and so she remained...
until she did what every girl would
have done...thank god she remained
a figment of my imagination...
rammstein: rosernrot...
i have seen love at first...
such a load of ******* that it had to be
the younger sister of a girl i was dating...
and the **** that i had to be 18 and see
was just beginning her teenage transition...
the world unfair i grant
the most justifications... as being
the (just - unnecessary adjective) arbiter...
love at first sight becomes a forbidden love...
love at first sight was always a forbidden
love...
and the sort of "love" that achieves
a perspctive of change that doesn't
translate into old age...
love at first sight is soon translated
into a love of affairs closely associated
with middle-age disenfranchised
state of affairs...
i.e. to love again...
how else to feel relief from
having lost both one's inhibitions
as well as one's ambitions?!
in the conundrum of the mortal
"question" of the continuum being
preserved?
call them what you like,
the Huguenots,
for all i care...
you always side with
the "heretics"...
given that, "said" heretics
retain some cultural value
relativism of other cultures,
namely in the form of
depiction -
since why would, "the word"
be deemed holy,
****-naked,
rather than donning
a bikini of "iconoclasm"...
when words... are at
the meat-market of copyright -
what with © coca cola?
sunni islam would have
never allowed sufism...
but Farsi does...
and will continue...
since no Iranian will bow
before an Arab within the schematics
of history...
Sunni Islam, it's Wahhabi sentimentality...
so why persist in signing
the Adhan?
why not speak in a honing like
drone sentiment of plain speech?
i thought all music was banned?
the current Adhan is a form
of music... isn't it? BAN IT!
you never side with these Sunni
muslims, exploiting Bangladeshi labor,
you side with the heretics of Iran...
these *******, i can at least respect...
no fast cars, convenient ongoing
cultural insurrections -
Sufism...
Afghan women's poetry,
and all that much closer to Hindu mysticism...
yeah... "islamophobia":
but only against Sunni Islam...
but Shia Islam?
no problem...
i could stomach these peoples
like i could stomach the in-between
of the Turkish variant -
no ideology - simply, pure, power throttle...
i could make a great Janissary -
with a Turkish barber...
for a great trim of hair and beard...
i'd cast a shadow on some
obscure chocolatier of Brussels
who thinks himself a politician...
but there are certain aspect of Islam
i am willing to tolerate...
what happened to the son in law
of Muhammad, namely, Ali...
was raw ******* kicking...
promises, promises...
no promises...
Shia Islam, as an European,
i can tolerate, Turkish Islam, i can tolerate...
Turkey is incrementally shy
of being treated at the 2nd variant of Iran...
at least with Iran, we share a history
via the insurrection into the ancient
texts through Greece...
come to think of it...
whenever i listen to
matta's song echo babylon...
i start feeding myself goosebumps,
reminding myself
of Cyrus... Nebuchadnezzar...
and the dim-wit that was
Belshazzar...
always siding with the heretics...
if not on economic groundwork,
then at least motivating,
rather than monetizing an idea...
and the Shia muslims are...
one way or another...
unlike the gluttons of Dubai...
the barbie dolls of postage stamp
"proof" of progress,
in size, and worth...
Sunni Islam would have
never allowed poetics to remain
a viable form of expression -
the Persian tradition that is,
far beyond the western concern
for a comment section...
Shia Islam allows patronage
of the arts, notably poetry,
without concern for monetary
funding, it, at least, doesn't prohibit it...
given the pride of the Persians...
Sunnis and their continual quest
for finding water...
sure... poetry is pointless within
such restrictions of
existential concerns...
but... given the current, civilized
establishment?
sky-scrapers in *******
sand dunes?
the qu'ran should have
forbidden the architectural ambitions
equivalent to the tower of babel
being erected, in environments,
that could never sustain said projects...
and who originally spewed the term
islamophobia?
Sunni Islam...
i never liked this strand of belief...
i hate the Sunnis like
a Shia partisan...
p.s. it's called patriotism is America...
but nationalism in Europe...
you sure that's not a synonym?
Europeans can't be patriotic,
and Americans are never nationalistic?
...
well: how could i ever convert to islam,
i do enjoy the adhan from time to time,
"sorry", but i do...
i can't help it:
if i'm a sucker for pop songs,
i'm also a sucker for the adhan...
crusader songs, templar songs become
stuffy after a while...
and last time i checked:
there were the northern crusades
against the baltic people:
notably prussians, lithuanians...
with that cushion of: mediating the
escalation of war by the polacks...
coming from the east:
last time i checked the mongols
didn't reach leipzig...
buffer zone people...
and what of the ottoman onsalught
of vienna 1529: the ****** winged hussars
won the charge...
so, coming back to heidegger... aphorism 26
ponderings IX... how am i to not be
the historical animal?
perhaps in german, in germany
i might become a non-historical animal,
to begin: anew, but with a terrible
past to hide, to negate...
i could do that: if i were a german,
speaking german, in germany...
but i'm in england:
i might have some roots in
Silesia, but it's "hard" to not be a historical
animal, an "animal" with a sense of time,
i.e. a future a past a present...
esp. under the english conditions
of: the biological animal momentum narrative,
like a tsunami, like an earthquake...
ripples throughout...
i can't move forward with
the english championing darwinism every
single ******* step of the way...
why can't they hide darwin like the polacks
hid copernicus...
given the motto: copernicus -
who moved the earth, and stopped the sun...
why wouldn't i escape into history
if the current biological reality is:
(a) a yawn... the cruel nature of per se?
the courting of pigeons on a t.v. antenna...
pigeons get rejected all the time,
lesson learned, he bows and bows,
coos... expands his tail feathers upon
the bow then folds them... she flies away...
repeat...
(b) i can't escape being a historical
animal in the way that what the current
facts are being repeated have encountered
a whiff of Chernobyll...
history is inclided to answer reality...
biology? not so much... not from what i've
seen and heard...
truly a schizophrenics disney dream:
to walk among the newly insane feeling
like the only sane among them...
beau-ti-ful!
well... given the current criteria
of being bilingual as being synonymous
with being a schizophrenic...
magic!
now the crescendo...aphorism 24
ponderings X:
the word designates, the word signifies,
the word says, the word is (heidegger)...
i found that you can only write
"philosophy" with a neat, fixed vocab. regime,
clarity of boundaries...
quadratic events in vocab.:
i.e. the reflexive: yourself, himself, itself etc.
and the reflective: your, self....
his, self...
it, and the self...
ergo? atheistic scissors,
the two articles, indefinite and definite
a / the "self"...
i'm not playing "identity politics",
when i say that only two peoples ever managed
to sack Moscau... the mongols and the polacks
with the help of lithuanians,
"identity politics" only happens in
post-colonial society, akin to the english,
i'll speak the english,
but i will not be a cucked indian of
the former raj: i will eat the fish & chips,
i will eat the sunday roast,
i will eat the english breakfast with great
delight...
but i will not do what these former
colonial masters expect of me:
integrate at the expense of making my
mutterzunge into hubris!
stubborness contra pride...
hard to tell the difference...
and why do i like heidegger so much?
i'm not into the ad homine arguments...
my grandfather, was, a communist party member...
so?
i like heidegger... because he appreciates
poetics, i like that poets can share the same
values as philosophers,
thanks to heidegger: we have been requested
back into the republic...
if plato and islam didn't like us, hanging around,
some offshoot german thinker / promenade
enthusiast like used enough to,
i suppose: ban the theatre puppeteers...
i am not playing identity politics...
biological reality is not enough...
but archeological reality?
can you really advance to counter?
i was born near:
Krzemionki Opatowskie, a Neolithic and
early Bronze Age complex of flint mines
for the extraction of Upper Jurassic (Oxfordian)
banded flints...
personally? i don't believe in
the African genesis conundrum...
i believe "my" people originated from
the Indian sub-continent,
as, associated with the complex:
Indo-European categorization of language;
i'm still to see an African phonetic
encoding system, beside the hieroglyphics...
i, was, born, there! i'm not a displaced
post-colonial debacle between former master
and former slave...
i have: roots... i'm not ******* up to the fish & chips
brigade with a friday night's worth of curry...
i cook my own curry,
and by god: it is the food of the gods...
i'll give the blue indians that counter...
but sure as **** not the worth of mead
or whiskey...
if they only tolerated themselves,
sure, learn the english language,
but know this much:
english is the modern lingua franca...
it's the language of economics,
forget the natives, too ignorant to learn
either deutsche or française:
island-folk...
what else, what other attitude?
even the russians are like:
that land of the weirdos? the idiosyncratics?
yes, we know that land...
the only "thing" that shelters the english
are the h'americans, the south africans,
the australians etc.,
sure as **** the scots aren't sheltering them...
and, mind you?
if the i.r.a. really wanted to plant
a bomb?
a real bomb? they'd revert from speaking
any english to begin with... resorting
to revising their usage of gàidhlig:
ga-id-hlig... gaelic...
like the welsh, stubborn people, proud people,
retaining their Çymraeg...
celt: said kelt...
the glaswegian football team?
Çeltic... not: keltic...
borrowed from the greek: sigma (ς: cedilla to ****)...
wow! all the particulars in the english tongue!
guess it would take an ausländer to spot them!
U-21 european championships,
england versus romania:
a magnificent match...
the youngsters playing better football
than the oldies in their mid to late / early 30s...
i'm trying to tolerate Islam,
it's not in my nature...
hell... i enjoyed visiting a turkish barber
shop, i still have an unflinching opinion that,
the turks are the best barbers in the world...
but...
this quote, is going to **** you:
same aphorism / pondering (24 / X) -
*** fight videos - count dankula...
you know what i'd love to do to these little
snarky *****?
the french revolution isn't enough...
n'ah, them hanging, is not enough....
ever heard of the butchers' hook?
it's also callled close-up fishing...
imitation hang-man...
you insert a fishing hook...
and you let the sweeney todd ****** dangle...
on a hook, rather than a noose...
lords of salem come your way?
i'd rather the snarky teen hanging off
a fisherman's hook than dangle
like some lynched ******...
beside the suffocation,
i'd like them with a fisherman's hook entombed
in their hard palette...
i don't want them hanging...
what am i? a sadist?
i want them on the fisherman's hook!
when suffocating without a broken spine absorbed
by the neck isn't enough!
fisherman's hook gallows is a
masterpiece... of suffering...
most certain...
when cheap comedy is being towed...
making fun of bums, or homeless people...
the current society is so welcome
to bypass all the "adventures" of Loki...
but akin to the lords of Salem...
burn!? such a limitated imagination!
ah... right... digressing...
the reflexive / reflective quadratic...
language - only if speech has acquired
the highest univocity of the word does it
become strong (enough) for the hidden
play of its essential multivocity
(as withdrawn from all "logic"),
of which poets and thinkers alone
are capable, in their own respective modes
and their own directions of sovreignty.
we do live in a time of a lost sense
of dialectic, since we do not live in a time
of etertaining dialogue,
perfectly sensible opinions,
that's all we have...
if one of these snarky *******
came up to me...
they'd get a chance to experience a rubric
of 4, knuckles...
what's 189 centimeters in empirical?
6ft2... oh!
see where imagination takes you?
and here i was: thinking i was without it!
butcher's hangman...
oh, not so easy...
fame by no association to fame...
just the tears of parents who raised their children
to be nothing more than rugrats...
annoying gnat like bothersomes;
and nothing quiet special to be associated
with weimar berlin...
just, these,
h'american mall onlookers
with pwetty-guy-for-a-white-fly-mentality,
as borrowed from californian
1990s punk;
re-used ****** losers.
mad-hatter's fraction: 10/6....
0.666...
well: to the given extent:
1.666666(7)....
1, 0, /6,
no number is divisible by 0,
every number, divisible by 1:
is the same number...
mad hatter's 10/6...
re-used ****** losers...
i like that phrase...
7 for every 6, 7 for every 6...
until the 0. fraction comes
a 1.: exponential serf of 0...
0 being the multiplier...
i really am growing a beard to less
don it, but rather to experience
a relief from patience...
war robots?
the first non n.p.c. game...
i like that, very much...
and when i did:
you know my first experience of
love at first sight?
the younger sister of my then girlfriend...
****** up ****...
love at first sight is a terrible phenomenon...
i was nearing 18, she was barely 13...
i was dating her older sister...
but it was love at first sight,
the trouble with: love at first sight:
it doesn't lie...
it tries to lie...
but it can't lie...
paedophilia? a bit... untouched bodies
though... bodies of people who were
never supposed to touch...
i once said to a fwend:
well wouldn't it be ****** up if i touched
her?
she's a muse, which doesn't translate
into vacating her as a busy body
worth of a touch, does it?
if only my old friend samuel said
otherwise:
sylvester "contra" tweety:
my first girlfriend...
but her sister?
i was nearing 18, she was about 13...
love at first sight...
untouched, cradled, unscathed...
and so she remained...
until she did what every girl would
have done...thank god she remained
a figment of my imagination...
rammstein: rosernrot...
i have seen love at first...
such a load of ******* that it had to be
the younger sister of a girl i was dating...
and the **** that i had to be 18 and see
was just beginning her teenage transition...
the world unfair i grant
the most justifications... as being
the (just - unnecessary adjective) arbiter...
love at first sight becomes a forbidden love...
love at first sight was always a forbidden
love...
and the sort of "love" that achieves
a perspctive of change that doesn't
translate into old age...
love at first sight is soon translated
into a love of affairs closely associated
with middle-age disenfranchised
state of affairs...
i.e. to love again...
how else to feel relief from
having lost both one's inhibitions
as well as one's ambitions?!
in the conundrum of the mortal
"question" of the continuum being
preserved?