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RAJ NANDY Nov 2015
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.


During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.


“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
RAJ NANDY Feb 2015
By Raj Nandy : Part One

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.)

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!)

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
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
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
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!

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)

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!)

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!

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!


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
Hope you liked my Introduction, being posted after
almost forty days!
E-Mail: rajnandy21@yahoo.
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 '', 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
Nigel Morgan Oct 2012
There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .

Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours

He then realised what the date was . . . and slowly let his hands fall to his lap.
An artistically woven
turquoise woolen
pullover made
out of the finest
moher fabric
made my day.

Made for you,
to be caressed
and cherished
as a perfect

It looked so good
on you, my darling!

Rainbow colors always
bring me happiness and
I gently touch you,
feeling already safe
as a deer in a flowering
forest; within narcotically
scented alluring hug, we
embrace again, tightly,
you and me, entwined.

Whiffed winds melody
played through tall pine
tree tops as a flute song
swaying branches. It seemed
as they are affirming our walk
along the shore, where the river
meets an ocean, hand in hand,

And, yet, every time the
strong cool breeze exposes
your magnificent masculine
figure in that woolen top,
my coolness faints into the
void and dissolves itself.

Our urge emerges!
I feel your fingertips touch
as a passionate flame dance
over my face, you turn my
head up toward your loving
gaze, wanting it so much,
slightly pulling me up
then burning my lips.

Our hurried steps are heard,
echoing as a rushed tempo
on the salty path, fresh air
lingers around us, leading
us to our charming summer
suite, to undress. And love.
Imagined by
Impeccable Space
Poetic love Poet
Eleanor Rigby Jul 2015
His thoughts are colours,
His hands are brushes,
And he touches me
Quite artistically.

-- Eleanor
Anita Daniel Sep 2016
It is the way my traditional head cloth covers my head artistically.
Giving me a sense of a gracefully hand made Crown.
Passed on from generation to generation by
My ancestors from all corners of Africa.

It is the way my hands flatter when I narrate a story.
Giving me a sense of articulation.
Pride, dances through my veins.

It is the way my body moves to rhythm from hip to hip.
Shoulders momentarily shaking to the sound of unique beads woven Shekere.
Legs aggressively moving to the talking drum.

It is the way  I speak to my elders with respect.
Knees on the floor when taking or giving them something.
Sweep the compound when asked to.
Adherence of instructions turn to turn.

Heritage moves with me in one accord.
I am proudly African. My words speak for themselves. Know where you are from it will help you go further with life.
Gibson Jun 2017
I can’t write this poem
I can’t write this poem because the last time I opened up to someone artistically they told me it was pretty dark and I should keep it to myself.

I can’t write this poem
I can’t write this poem because I was raised in a culture that was anti love and pro meaningless ***. I saw endless commercials about movies that glamorize a lifestyle in which your body is fulfilled but your heart is ignored and at that impressionable age I learned my heart came second but my allure came first and the less I cared that happier I would be and I carried that belief around with me the way I used to carry around a Bible as a child.

I can’t write this poem
I can’t write this poem because of the time that I opened my father’s phone to reveal a family secret I would hold to this day against my own moral instincts unraveling miles of insecurities wondering if I’m not a good enough daughter or if he stopped loving my mother or if true love was never real and although I had been taught marriage was my purpose, it was what I believed would make me happy, maybe rings aren’t enough to stay in love and maybe people’s feelings change and maybe no one actually has a “one true love” and that this purpose I had been taught was really an endless wild goose chase that only lead to broken families and lost souls.

I can’t write this poem
I can’t write this poem because sometimes I still wonder why I fell into an abyss of toxicity at such a young age. And when I say wonder I don’t mean a trivial ponder, I mean I contemplate every possible reason why the person who I once believed held the universe in her eyes would lie to my face, why she never kissed me in public and our love was always a secret, why she valued girls with blue hair but my blonde hair was not good enough, why I had to hide bruises from my family when I was still in high school or more importantly, why at the time, I thought I deserved them. These thoughts, this lingering paranoia that I am undeserving of healthy love, they muddy my interpretations of real life and distort reality and effect my relationships. My doctor would call these intrusive thoughts, my best friend would tell me they’re symptoms of PTSD, but I have come to realize that I’ve been burned and I am damaged and I hope to god I can recover.

But you,
Oh god, you
You can write this poem. You can be my safety net while I’m free falling in love. You can be the one to listen to my mental tilt-a-whirls, you can be the one that introduces my body and my heart, you can be the one that calms the storms in my mind when I’m questioning the love I’m deserving of. You are the one who makes sure I fall asleep in my bed after drunk nights, you are the one that still sees my value after acknowledging my flaws.
You can write this poem.
brandon nagley Aug 2015
I tatawid sa kanya fane
bilang ako pamasahe sa kanyang utak;
Ang aking Paraluman.

( Filipino tongue)

(English tongue)

I shalt go to her fane
As I fare into her brain;
Mine muse.

©Brandon nagley
©Lonesome poets poetry
©あある じぇえん
Maria Starchild May 2016
To the man who never loved me back
I have died over and over
On this canvas to paint you
I commit suicide for you
Every time I create an artwork
So that I could live
But still you cannot love me back

Sometimes I wish
To be emotionally and artistically barren
So I cannot therefore create
I cannot therefore write
I’ll just lay by your side
Maybe by then you’ll love me back

Your eyes tell me the words you cannot utter
The words you cannot whisper
These are the prayers I cannot answer

I know I am physically and mentally impaired
There are things that I can never give you
But I will never apologize
I will never say sorry to you
I will offer you the things that she cannot give you,
The experiences only I can tell you
The pictures only my eyes can show you:
My time
My art
My death
I plead:
Will you now love me back?

I love you more than you love yourself.
I love you so much I forgot how to love myself.
I love you more than I loved myself.
Now, nobody loves me
Not even me
Why can’t you love me back?

Tell me honestly
Am I really hard to love?
Am I asking for too much?
How many more deaths do I have to take?
Tell me.
How can you love me back?

I have died a thousand times
Waiting for you to answer me
I have risen from the dead a thousand times
Still you are still
Still you remain silent
You cannot answer me back
But why can’t you?
Why can’t you love me back?

I am dying again
I thought I am already dead
And you are beyond death
Even if I die a thousand times again
I can never reach your death
For you are dead and blind
You are dead and deaf.
You are not lifeless
But you are dead
I am dead
But I am full of life

I think I’m alive because I love you
But loving you makes me feel dead
You’re the only one I live for
Yet you ****** me over and over again
You always rip me in half
You always break my heart.
You always ****** me
But the sun will always rise
From then I’ll be set free

You always break my heart
But not the soul inside of me
The caterpillar is born to be
A humble butterfly and free

You always break my heart
You always incinerate me
But I always rise like the phoenix
From the ashes I’m set free

You always break my heart
I am a willing martyr.
I am a *******,
You are my sadist.
I love you so much
I don’t care facing death
Again and again
Because you are the reaper of my soul
And I trust you
You take my life away with you
In exchange for the answer I am longing for
But you betray me
Still you cannot love me back

I am now hopeless
Now I am dead and lifeless.
You have lost my soul in space
Where it is impossible to find
For there are millions of souls lost in space: the stars
Crying as they twinkle
Waiting for the same answer
I’m waiting for:
When will you love me back?

Now I am emotionally and artistically barren.
I cannot create anything now
I am turning red and yellow
I am smiling
I am laughing through the pain
Happiness is immobilizing me
Writing this line kills me yet still
I write
For you
Can you now love me back?

I have died a thousand times to live.
You have taught me that
Death is rebirth
You said being dark blue is
Being beautiful
In deep sadness I can **** myself
And from the void I’ll be born again
I followed you
I became dark blue
But still
You never loved me back.

I am tired of being your toy
I am tired of being your doormat
I am tired of pleading
I am tired of being a fool
I thought I was tired of being alone
That’s why I needed your love
But now
All I want is to be alone
Because you’ll never love me back

I am tired of waiting for an answer
I am tired of waiting for your love
I am tired of dying over and over for you
I am tired of asking
Why can’t you love me back?

Now, I am waking up from the dead
Facing the reality:
I loved you,
So much
But you never loved me back.
I still love you so much
But still you cannot love me back

I have died a thousand times living for you.
I murdered myself to be someone you wanted to love
But still you made me feel like I am so hard to love.

I have died a thousand times living for you.
You murdered me to be someone who I am not
And now, I don’t know who I am anymore.

I have died a thousand times living for you.
I am not scared to die again
For I have seen death a million times
But if I will die again
It will be for my own sake
It will be for me
And not for you

I thought I would die without you
But without you,
I felt so much alive
I am better off without you
I would rather be alone forever
And die again and again alone
Than to be with you eternally

I am now tired of wanting you to love me back
I just want my lives back.
You are my death
Yet you are the elixir that revives me
You ****** me over and over again
And you bring me back to life again and again
But now why can’t you give me my life back?

I am tired of loving you now.
I am tired of dying
I am tired of living.
Forget my love for you
I just want my life back

I have died a thousand times living for you.
Now I don’t want to die loving you
Because I know you will not love me back

I have died a thousand times living for you.
Now I just want to live again.
I just want my life back.
Give me my life back.

-from the girl you never saw inside me.

(1,079 words)
A picture paints a thousand words!
Is Monet a dictionaryist?
logan misseldine Nov 2014
Even plastic collects dust
Bright fibres of pink become dull magentas
From the countless years and endless days of Still life Sharp lines and smooth contours of artistically machined plastic toys become fuzzy as hazy dust
And overflows
From one
Unappreciated worth?
None of these
The dust collects
Even overflows
The things that the dust is attracted to
That the dust clings to
Are the things that in comparison to the things that are imparitive to our existance and our health
Are useless
Are plastic
pat pakla Jun 2012
Fatima Latima**

I had wished I had no gift of sight
That the worst I could endure is hear you speak
And not snapshot the footfall of your gradation

You may not be a thief
Nor ****, daughter of the dayspring
But definitely my heart you stole

I speak of the daughter of Arabia  
Aesthetically, she rocks
The queen of the pilgrim sands
And aeonian desert stones

Beyond the hijab
Artistically knead with consummate craft
Like the relics of Mecca
Blest by the prophet’s bones
The blessed

I see torches
Beaming with intelligence
Within those mascaras
Exquisitely trimmed and vibrant
A lulu class botany

She fixes a searching gaze
As she saunters close
And the stride and tread
Beats a drum entrancing
Soothed in her solacing spell
I give in, to her lullaby

She halts her perambulation
Stands magniloquent and stupefy
Like some pop diva magazine pose
Or Victorian secret shot
A tactical derangement of her gluteals
As she rests her palm in its cleft
I feel contractions, my dartos muscles

The blew of summertime
Gently beats her exceptional form
Her belt submerge her thigh crevice
Cleft by the sundered rift of fleshy fat
Built by the dainties and delicacies
Seasoned by the finest Arabian chef
As her silken dress slithers and gowns
Under the breeze bulging and blooming
Like a rose blossom or sunflower fore

As she bends down
To assuage the burlesque
The sun specula lilts her sensational
Her smile apologetic bids me stillness
I am caught staring
Guzzling down her scent and
Feasting on empty imaginations
Of What If that accentuate the mind and
Speed a hormone
And I pray I sin no more
Next time we meet and I see her again

For I am but a writer
Learning to use my pen and paper
And hope you but forgive
My linguistic impotence
When I make my confession
Employing too plain a language
When I say thus;

Her smile is classical
Her walk magical
Her beauty celestial
Her stride sensational
Her religion ethical
Her character spotless
And that leaves me breathless

And forgive if I step on broken toe
And try speak of the unspoken
Her ****** is sacred
Her being a type that dresses up
In the milliards of brutes dressing down
And shamelessly style it fashion

I must see a priest
One confession I ought to utter
And even vociferate abroad
For once I had fallen in love
With an Arabian Beautie
A ****** of Mecca.
I have fallen into the snare of love; whether or not I wish it, I must love; and strugglingly, whether or not my heart desires to taste it, I have to go through it. I have tried, certainly, with beads of weird sweat, to crawl along its muddy channel; a muddy channel adorned only with tears and grievousness, but still I have failed to pass it. I have failed to pass my heart onto it, my poor little heart; and relieve it with comfort love might just ever have.

How I once desired to call thee, hath now ceremoniously gone; my stomach flips and churns itself like a whirling streak of poor butter being invaded by endless chains of ***** charms. My heart is plain, bleak, and can only whisper to me the pain it feels; my heart has beats still, but neither air nor breath. Its air has been radiantly tossed away; and superseded by a chance of madness it had always averted--at least before the very incident took place. It is now, thus, pale and has no shimmer nor glitter on its surface; its tale is as bare as a thin wintry raspberry branch might be. Ah, Immortal, my Friday morning; my Saturday evening; my Sunday afternoon. Immortal; with his faded grey hat strolling comfortably alongside a smiling me; our love was growing mutually on a warm Saturday morning. I told thereof, some minuscule bits of anecdote-like poetry; and his laugh afterwards warmed up all the butterflies that had hitherto laid down lazily around the grounds on their coloured stomachs. Immortal with his arduous bag hoisted onto his sturdy shoulders; and greeted me softly, with a rough morning voice; as he padded down the stairs--smelling like honey and trees and a flying bumblebee. Immortal with his love settling onto his voice; his shaky lips as he uttered a verse he remembered from a novel he had (unsuccessfully) tried to read. Immortal with his reddish lips, and innocent brownish glances--as he walked down the stairs. Immortal with my love encircling every swing of his steps; Immortal with my little heart within him. Immortal my dearest darling; his treasures were always brown--at least twice a week, and the smell of his perfumed blossom-like shampoo clinging all too gently onto the way down his white neck, and waist.

Immortal in his black garments in last year's cold weather; and with a witty smile so meaningful that he was once like a candle to my darkened heart. Immortal and his bored face that always entertained my heart; and his anxiety about immaculate workloads that made everything but funnier than they already were. Ah, Immortal, Immortal, Immortal; my very own Immortal. Though thou might be Immortal no more, in thy mind; thou really art still my Immortal in every sense; and I can still but feel thy presence even from a very far distance. Immortal, thou art my blood; my jugular veins, and the definition of my very heartbeat! Immortal, how I am a fool to have confessed this; thou might remember me no more; but for thou knoweth--thou art my prince still, of whom I feel the humblest streak of pride; and for whom I shall still wipe my showering tears. Ah, Immortal! One day I had just emerged from my room with a jug of warm water, and a flavour of strange poetry in my literary mind; and my Immortal greeted me with a stamp of melancholy smile as he always does when he retreats from work. He looked tired but not submissive; he had a rain of spirit still--for the remaining ingress and egress of the raucous Monday evening. I was, indeed, explosively exhausted from my head all the way to my feet--and a lurid chat with him slowly melted my stern visage and restored its gleams. Ah, Immortal; my lover, my shiny petal; the missing wing of my eastern soul; my European moon. He is from Sofia; as how its chaotic--yet elaborative auras always danced around his face. The charms of Sofia were even better scented in his breath; he was always prophetic about the skies and the red-skinned suns of the summer. He thoughtfully suggested that I write of 'em; he breathed his relief and exhaustion only into my hands, how he trusted me and depended himself on me like a selfish little lad! On other occasions laughed with a pair of red cheeks--is aromatic and handsome my lover, indeed he is! My poor, poor lover; for the world hath now defined its triumph over him; and thus its terrifically evil proses his very regions. Ah, my darling, if only still-I could save, save, and save thee! Ah, 'em--doth thou, by any chance, hold any remembrance of 'em still? Our blessed, blessed offspring--and they but shall be nurtured and overjoyed and delightfully pampered, as the very special fruits of our love. The love that both of our souls enjoy; the love that our sides agree on. Your fatherliness is in our son; and just as how I am, our daughter shall enlighten our home with her poems; ah, dear, dear little giggles t'at would be ours, and verily ours only! Ah, Immortal, if only thou but knew--how panoramic my wifely love would be!

Immortal, my darling; my purplish sun; my picturesque sky; my starlet dream. Even the oceans across our splendid earth are not vacant, and innocent, as thy eyes; thy words are like a calming river whose odour once shrieked gently onto my ears. Every breath thou maketh is my poem; and thus in every single poem, or verse I write--there dwells a vast bulk of thy charms. Thou art alive still--in my lungs; in my humorous soul; thou art the eve to my nights; the leaf to my mornings. Even the only leaf that shall stay firm when autumn finally arrives. But unfortunately shall it arrives with dire terms; for shall it have revenge--due to its savagely desperate needs for reclaiming its once lost freedom. Ah, its freedom, that was consumed away by the compounded fires of the summer. Then, still there shall be no-one to replace thee, even about the adequate hills and valleys outside; I could find thee not this jubilant afternoon. Oh, how unceremonious! And how malicious my love is, for thee! And our song is, for thou knoweth, resembles the one echoing in yon marvelous Raphaelite painting; my hair sings of your love; just as my poetry speaks of thy bounteousness. Thou art not Him; but still--thou art more bountiful to my heart, than to all our frail counterparts may seem!

And by this I am still your little girl; I shall play with my bike and congratulate thee on crafting off the last bits of my poetry. Like in a nursery once, though I doth remember it thoroughly not; I played with my dolls and later created a bride and groom out of them; I shall perhaps play with them again and make the remembrance of our now astray marriage, this time, their illusionary sanctuary. Ah, Immortal, this love might be virtual--and thus not by any chance effectual; but do remember, in thy severed heart, that it was once real; and that it was, long ago, deeply heartfelt and actual. Immortal, the king of my moon; the very last spark of my charms, I hope thou wilt know one day--how I selflessly loved--and love thee still, purely and artistically, just as how I loveth His other creations and my beautiful poetry; and that I shall still supplicate that you be the first, and last mate in my arms-- for my love is sacred, humid, and eternal; and I want thee thus, to be my only immortal.

I love thee; and thee only, querida. Obicham te, obicham te, obicham te.
Cassis Myrtille Sep 2013
A llama mama who is ever so special
A swimmer glides through the water with so much grace
Artistically inclines, genius by birth; slacker by choice
Music.Lit.Bio.Lovely girl whom I very much admire
Strong girl who makes use of every opportunity
Another swimmer with heart and face so lovely
An elephant - the light o' every lil' chat
Candy- words so wise; heart so warm
Another brave girl; lots in common; in every way beautiful
Eloquent speaker  And A Violinist
Another swimmer with such a laugh!
Our dear walking dictionary; never fails to put a smile on my face
Runner and fighter ALL THE WAY
Vettypoop aka my spirit animal
Smiling dolphin
Laughing cheerful pop ****
Artyfarty girl with so much poise and grace
Artyfarty and a swimmer? Ooh la la
Cute and sweet and everything else with a tinge of the kpop
Disciplinarian and nice
1Der with a twinned soul
A cutie pie with a such a heart
Strange girl this one is but I love the way she talks and writes.
Strange laughter and even stranger words you say
Motherly touches
My lovely leader, with such a beautiful core
Craycray, stay craycray bubu
Smiler and such a high toned shriek
You my bestie; my listening ear
Ordinary Me
Meangirl99 at first sight, lovelygirl99 at the second
KimChi such a hard-worker
Another hard worker with a positive glow
A dancer on a note of sarcasm
Heart of gold; Mind of snow
Naughty naughty

so this is my class of 36
every girl
a wonderful light
and this 36 beautiful souls
make up the beautiful beautiful class
With varying teachers and varying situations,
we have stood by each other
With much faith I have in all of you
Let's soar to the skies
Pull each other
to soar
and soar
to heights never known
never reached.
I know we are going to make
our year
203's year to
amaze people like never before.
Prove every teacher we are the awesomest class on earth.
Trust me.
We will.
Every strength and weakness binded together;
203 is going to
SassyJ Jan 2016
Stencils and pencils
Sharpener mishaps
Doodles, scribbles
Scrambling shades
Blending sketches
Running axis points
Spherical shadows
Tinting hints and hues
Pencilled portraits
Cruel crooked eyes
The bendy nose
Philosophical muse
Artistically inspired
Shading and fading
Realistically amused
Fused within reality
Surreal tuned vices  
Meet-ups and sit ups
Outlines freakily patched
Attended a sketching meet up for the first time. The best ever environment where I can just be myself. Socialising via sketching is cool;)
Tramaine Powell Jul 2013
Creatively wit, artistically gifted -
politically inclined to design any archetype of freedom and how a woman should hold her head up high, like the almighty God she is.
Able to disfigure the illusions and misconception that the media and other forms of capitalistic control, teach her fellow sisters and Queen.
Prove to them that not only are they more than this '*** symbol',
And being blind to this facts, just helps perpetuate the conditioning of self-hate,
that you're not light enough or too dark - you're just something that helps the sun shine on their fare skin.
And you're ****** is worth nothing more than it was compensated fo' 450 years ago,
to birth being that yet again go through the cycle of supremacy.
But you say,
**** ALL THAT -
I'm a Queen, GOD IS SHE.
So kiss my fat *** and my appletree.
Because me and my sisters sill no longer accept your misogynistic disrespect and immoral, emotional neglect.
Your referendums for ****** favors in exchange what is due me, ****** freedom and freedom to do whatever the **** I please.
And ever since I saw those defining characteristics in thee,
Since, I've always respected you as my Queen.
Samir Oct 2012
Smiley was a face without features.  We called her smiley in grammar school because that is what she appeared to be since the doctors had sewn her lips shut in a permanent smile criss crossed with thread so as to appear more human.  She was my best friend, and I the town crazy.  She was seen as an animal because she often imitated the likeness of a feline and she would often lick the back of her hand and catwalk as well as lounge like one sometimes.  She would try to meow but only the slightest mew would come out, the faintest high e.  She could still open her mouth slightly after all so as to breath.  I would often photograph her in various environments with artistically appropriate themes and her image would appear slightly more angelic with every picture.  With every strip of film, she became more and more endearing.  Her outer shell really was the polar opposite of what her heart encompassed.  Her face was as if a beautiful girl’s however it was only the template before all the details were added.  She was a girl before her second face was put on in front of the vanity.  I loved her deeply.  She had not a clue, so caught up in herself and for good reason too.  I remained single and didn’t care for making it official or taking the next step because she was my best friend anyways and all we had was each other.  So for 10 years we grew old together.  10 years. 1, 2, 3, 4, 5, 6, 7, 8, 9-… just counting 10 seconds seems unbearable… but I enjoyed every second of the ten years as if it were melted butter clogging my arteries with their undeniable grasp on my taste buds.  Smiley was all I could ever want in a lady because she was unwanted by every other male.  She was a rose in glass casing, except that she too was made of glass.  
​So, I couldn’t take it anymore one day and so I staged for us to have a video shoot for an art video I was creating to go along with the song I had written about her several years back.  The guitar work had finally reached a level of mastery that I thought was appropriate for how much classical beauty I saw radiating from this girl’s unemotive face.  I called the song, “A blank canvas.”  I was actually part of this piece as well and so a cameraman was hired.  We went on a long crazy trip through the city on horse & carriage.  We went to a ball, danced and later on to a scenic restaurant overlooking the city and got some great shots of us holding each other on a transparent balcony and again with several different ice sculptures.  At the end of the video I finally mustered up the courage and with her eyes granting me permission in the way that only I would be able to recognize I took out my pocket knife… cut loose the thread… slowly pulled it through and finally unraveled her lips so as to kiss them for the first time in the rest of our lives together.
Em MacKenzie Jan 2019
I’m a written and published open book,
you just have to read past the first chapter.
You skimmed the pages and took a look
at the last line to see if there was a happily ever after.
But like most things it’s up to interpretation,
left open ended in way for a hopeful sequel,
‘cause like all things true it’s plagued with complication,
but our story has no end and it has no equal.

And you, you were my favourite memoir,
your depth lined the thesis of a never ending essay.
I became inspired so I held an impromptu seminar,
a whole panel to if your picture was sepia or artistically grey.
I memorized every single thing you said,
every cryptic metaphor, every perfect rhyme.
I’ve lost count of how often that I’ve fully read,
and I still don’t understand after all of this time.

You’re a novel and I’m a novelty,
but you need a title; what should it be?
I’ve been writing you so that the whole world can see,
the way you shine bright effortlessly.

You were my own personal thesaurus and dictionary,
providing different words to dress up each thought.
You’re a first and only edition; what a rarity,
laced with metaphors and satire that’s barely caught.
You’re what Shakespeare aspired to always write,
and you accomplished it simply by being born.
I’d translate you to brail so those without sight,
could hear about you and the beauty they now mourn.

You’re a novel and I’m a novelty,
no need to proofread, no cause for editing.
I’ve been writing you so that the whole world can see,
the way you shine bright, always illuminating.

I’m a prologue,
and we’re the conclusion.
My authors note; the words of a demagogue,
but the details still lack any illusion.

You’re a novel and I’m a novelty,
I’ve memorized every word and dissected them cautiously.
I’ve been writing you so the whole world can see,
and once they skim the synopsis; they’ll never stop reading.
kara lynn bird Feb 2013
Artistically determined to create
homemade valentines
cut with precision
like your lips
meeting mine,
saturated with color-
of all things bright
wishing on stars
with each letter I write,
painting soft lines
like my fingertips
meeting your collar bones
If only I wasn't alone
We could kiss
and create
A homemade valentine of our own.
She was a fiery seashell,
  lost 'neath convoluted oceans
     amongst opuses of pure poetry,
artistically outspoken
   'tween invertebrate reality
secretly devouring mankind,
  beware Herr Lucifer,  
she rose from the gaseous chamber
   to live amidst ashes of immortality
         & renowned marital infamy,
      the eternal burning spirit of Lady Lazarus

Out of the ash
I rise with my red hair  
And I eat men like air.

                 - Sylvia Plath
Ode to the one and only illustrious Sylvia
Hours, invested in front of the mirror-
Masquerading traces of imperfection.
Artistically designing an ideal 'beautiful'
Subjecting God's product to correction.

Stepped forward a mere lady. Modified-
And strolled away in a goddess' shoes.
You are picture perfect; ideal, just right,
But still lacking divinity's perfect hues.

Your foundation's more rare than most;
Down to earth as if curved out of dirt.
Your inner person's a wonder of nature.
Your unique body language, foreign; curt.

You would never have to alter your looks-
If my hazel eyes were to be your mirror.
Because through them, you would see-
How your positives are much more clearer.

The way your smile stretches on your face;
The tight grip of truth in your soft voice;
The way your body says 'art from heaven;'
The way I stare like my eyes have no choice.

Not the most flashy of earth's accessories,
But still captures the attention of my heart.
Not various items of weighty price tags,
Your beauty is more of God's internal art.

I love every touch of God's image on you;
Dark fair skin, wide hips and daring eyes.
Sweet lips, your nose, chin; your everything.
That's the makeup which money never buys.

I love your makeup. For it is neither worn-
Nor victim of the winds of time and change.
I love your makeup cuz you can wake in it-
And its not so much as to make you strange.

Not mascara, face powder or eye shadow.
Your makeup doesn't enhance your beauty.
I love your makeup cuz come what may-
Your makeup is the you my heart will see.

Keep Smiling
Valsa George Jan 2018
Like a warm breath of air
He hovers in my memory
No superman, a meek soul
Not one to squander his time
But one who worked day in and out
To feed those
Whom he loved and sired
What was he?
A teacher, a farmer or an artist

I cannot say precisely...
All I can say;
He was each of these
Rolled into one

On holidays I saw him
Shut in the loft
a brush in hand
His fingers moving over the canvas
The steaming tea by his side
Untouched and getting cold as ice
Unmindful of everything around
He sat by the easel in the attic
Focussed only on the strokes that fell

When a distinct image shoots out
As the moon from behind clouds
A wave of satisfaction would gleam
Across his face,
His frantic nerves at once hushed
Bearing the look of one
Who, in an instant, conquered kingdoms

He would view it from different angles
Never seeking anyone’s opinion
But gloating if he saw
Our admiring eyes fell on it

Being artistically inclined
He lived more in the world of art

But gradually things changed
To his fright, he found his hands shaky
And the lines on the canvas
Going tremulous and disjointed
Couldn’t hold a brush!

On diagnosed of Parkinson’s disease
His world abruptly lost its sheen
He saw the disease weeding
Its way into his life
Suddenly grown old
He lost interest in everything
We saw him sitting in his armchair
So immobile, for hours on end
His eyes stretched to a far horizon

We displayed before him
Paintings once born of his imagination
To see if his world would brighten
And it worked!

Recently, in one of my dreams
I saw him sitting at the foot of Michael Angelo
To learn the art, he couldn’t perfect
In his life time!
As one grows old, when evening approaches, memories too lengthen like shadows.
Now I remember more often of my parents wondering how much of sweat and toil they had shed to make their children comfortable, how much of love they lavished and what all sacrifices they endured. A snap shot of my father who was a teacher by profession but more of an artist at heart.
Losing myself in a song
on canvas
the notes flowing through
my fingertips
Colours flooding my
vibrating soul
spilling through my body
soaring on
a cascading melody.
© Annilda Esterhuysen. All rights reserved.
judy smith Jul 2016
Veteran fashion designer Tarun Tahiliani believes that the Indian fashion industry has become more organised and a little more professional.

Best known for his ability to infuse Indian craftsmanship and textile heritage with European tailored silhouette, Tahiliani believes that the Indian fashion industry has become more strategised and cemented over the last 20 years.

"India's propensity to consume is gaining an international audience and this is changing the competitive landscape," Tahiliani told IANS in an email interview.

"It has certainly become more organised and a little more professional, and obviously the market has exploded, but I think that we still have a long way to go in terms of being more business oriented and there's still room to get more organised and professional," the designer added.

Eulogizing the new and younger crop of designers, Tahiliani, who has over two decades of experience in the industry, believes that they are doing well in terms of the handloom and textile industry.

"What's really heartening to see is that there are so many younger designers who are going places and are doing so well in terms of the handloom and textile industry... it has become more organised. I think handloom was very localised in terms of weavers with a certain look from a certain area sold through certain channels," said the Co-Founder of Ensemble -- a multi-designer boutique.

"There has been a lot more creative freedom and other regions are experimenting with textile alien to their region, especially if they are more lucrative. As long as people appreciate traditional craftsmanship and embroideries, machine work will never replace the richness of hand embroidery," he added.

Asked if the plus-size models are yet to move into the mainstream industry in India?

"Well, they should have moved into the mainstream long back. But are not normally associated with very expensive high fashion and couture," Tahiliani said.

Having draped most of the leading ladies of Bollywood like Priyanka Chopra, Aishwarya Rai Bachchan and Madhuri Dixit-Nene in his creations, Tahiliani says that fashion is his muse, not a Bollywood star.

"Art, architecture, interiors, history, travel and maharajas... My inspiration comes from many things. Sometimes it's from beautiful inlay work that I've seen in a fabulous monument; other times my inspiration can be something as simple as a beautiful kanjeevaram weave," he said.

"Ultimately, however, my inspiration comes from India's rich traditions of craftsmanship, particularly when it comes to things like embroideries that we have in India. Nothing is more amazing than beautifully executed, intricate and fine technique. I don't design clothes keeping a Bollywood star in mind, but rather for the new age contemporary woman," he added.

Tahiliani is all geared up to showcase his collection The Last Dance of the Courtesan at the FDCI India Couture Week 2016 on Thursday here. He has artistically blended fabrics like cotton jacquards, cotton silks, crepes and cutwork jamdanis with Swarovski crystals for the range.

That's not all. He will next participate in the Vogue Wedding Show and then the prestigious Lakme Fashion Week, to be held in Mumbai in August.

"I will present my Ready to Wear Autumn Winter 16-17 collection at Lakme Fashion Week. It has been inspired by the works of Mrinalini Mukherjee (late sculptor) and the journey only gets bigger and better from here," he said.Read more at: |
Gaby Comprés Aug 2014
if i knew how to play
the guitar i would
write the sappiest love
songs for you
but sadly, darling, i am
musically impaired

if i knew how to paint
i would color
the most glorious sunsets
just for you
but sadly, darling, i am
artistically limited

if i knew how to sew
i would patch up
the torn seams
of your heart
but sadly, darling, i have no
idea how to use a needle

if i knew how to cook
i would make your
favorite desserts
to sweeten up your day
but sadly, darling, my
only specialty is burnt eggs

oh darling,
i am not good at many
things but if there is
one thing that i
can do well, oh my darling,
that is loving you.
Pierre Ray Mar 2012
Astonishingly! This poetry analogy is partially of a prodigy poet! It is of his endearment and endeavorment in our great Government that desecrated, medicated, sedated and segregated him. Doped! Desperately copping and hoping he made it! To add, no dad! An artistically rad-lad through the bad, the glad, the sad and mad. This destiny of a poet is also of apologies, felonies, formalities, legalities and theories.

Furthermore it’s of mournful and scornful-laughter! Capture and rapture, dreamingly and seemingly, chapter after chapter... Pondering and wondering is there a happily ever after? This destiny of a poet is heavenly,  randomly and religiously, tellingly of lots of many thoughts! Some adventuresome, awesome, burdensome, fearsome and gruesome! Some loathsome, lonesome and wholesome!

Some of dreams, schemes and many themes! Some deemed and seemed differently, discriminately, indecently or racially true, from some views. Some askew and blue! Some of clues, of Jews, of taboo, tattoos and voodoo! This destiny of a poet; stunningly who could’ve and would’ve thought once, twice or thrice of this price? Of the cheers and peers, the jeers, the leers,
the tears and weary years... Therefore I say, some artist’s

clever art may create, dictate, relate and translate similar-thriller craftsmanship with negative, positive or relative penmanship. However, typically some probably will publicly criticize as a travesty. Some will harmonize, some will publicize or socialize, some will disrespect as imperfect, some will neglect, some will respect as perfect! Hark! I remark; brethren, children and women keep and upkeep that

creative spark! For in the dark or as you embark. Literally, morality and reality is in my poetry and story. Expect excellent, brilliant, decadent, resilient talent and testaments! Basically on final note! I positively devote, quote and wrote these eccentrically optimistic, rhetoric and theoretic poetically lyrical rhyming notes. Finally and bluntly, do not negatively amend, bend, pretend or transcend this end. Amen...
Anon C Mar 2013
Tears rain down endlessly
from the skies, from our eyes
imagine the day God's tears rain down acidic
painful and tainted from centuries of travesties
eroding the wasteland we so artistically painted
with blood, sweat and hatred
casting the Earth in turmoil and oppression
one more great flood, inevitably washing clean
creating fresh canvas with which to paint
Edna Sweetlove Jan 2015
Beethoven's Ninth;
Mozart's Thirty-Eighth;
What do they lack
Artistically speaking?
They lack the music of the buttocks,
The celestial odourous ****
Which charmeth all who hear it.
Although admittedly Schubert
Left an unfinished movement
On the floor near his piano
And the whiff was something horrid.
Paul Goring Aug 2011
not a papist or ****** or shapist
but enjoying a curve
not an escapist
lacking the nerve
not a florist, tourist or activist
unless its summer time
and certainly not an alchemist
no water into wine
a lovely smiley altruist or artistically quite loud
but sadly failed when drawing
kindness from the crowd
hoping to desist in being a monarchist
and always very eager on not being dogmatist
but still I really strongly emphatically insist
that faddist, fauvist fashion
is only a passing passion
for the narcissists among us

humbly suggesting that zeitgeist
is an ist
but failing to enjoy the line
being a fatalist
not a facist, xylophonist or anything with isms
just a bad contortionist
with creeping rheumatism  
determining the future through a timely
cruel twist
whilst realising ultimately
I’m just
a sad typist
M P Hill Feb 2013
I know, life starts the moment eyes hit hospital lights.
And I know just how seeds even when buried, suffocated, and drowned still make their way out.
And I know that currents couldn't push, without a mountain to run down, or a storm free itself.
I know we are the most complex, self loathing bright eyed artistically inclined destroyers.
And I know it so deep down that bones couldn't hold us together without the rest of our features.
I know that songs can't be sung without the willingness to inspire, and bring like souls together.
And I know tattering of twigs hitting glass the flashes of lightening and rumbles leave sinking guts.
And I know buildings are only going to get higher and technology more advanced.
I know that feelings will be misplaced and people are gonna stop doing what they can't.
And I know that important things like thoughts and sharing will be a thing of the past.
And I know that crumbling skyline hold more tears then lung disease cancer ash - tapped into a tray.
I know we give up the moment people turn blind eyes no gaze looking away.
And I know we treat our youth like fend for yourself stays hungry biting their legs.
And I know we treat our family worse then our enemy every day.
I know vibrancy is coveted by nature
more precious then jewels, but we are the only creature.
misty Dec 2014
You don't need to reply my text in a ten to make me like you
You don't need to have a perfect skin condition
You don't need a artistically beautiful shaped accent
Nor do you need to sweet talk me into anything
Because you see
The boy who I loved had none of those things
We talked till the sun rose though now if I ever get a text from him
I will be as excited as if there was a solar eclipse occurring
His skin had many pimples but and his hair was another story
But I looked pass those and saw the way the dimples on his cheeks
Rose out and I saw the way his brown eyes lit
They were the most beautiful things I have seen
I no longer know his imperfections because I have fell in love
With every one of them
He never could complete a sentence without stopping to clear his throat
Though now he speaks well and high
But I am still in love with his long pauses
His pimples
His little stupid comments
Maybe now I have learnt
Maybe now things would be better
Maybe love could be better
After all
What is worse than falling in love with the most
Stupid boy
this needs work
Rachel Mary Jun 2013
if i could think
wonderful thoughts
i would not hesitate
in portraying them to the world

if i could draw
i would not pause
in turning the pages for people to see

if i could write
beautiful words
i wouldn't stop
when handing them to people

so why is it
in the thing i do most
i am shy
and terrifed
for what people will say
when i am a ghost
Ego Galaxy Jul 2013
If you have not heard her laugh at your less-than-impressive joke at 4AM, when the cicadas are restless and the stars are waiting for a break, then you are the lucky one.

You have not crashed your vessel into her shores and died in her arms.

You have not been stranded in her sweet, melodic, songbird voice with no life vest to keep you from drowning in bliss.

You have not been warmed by her superior passionate flame.

You know not what you miss.

If you have not seen her in the sunbeams of 8 AM, when the pavement becomes hot then you are the lucky one.

You have not fallen into the tunnels of her soul through her rabbit hole eyes, and you have not gotten lost in her woods.

You haven’t seen the brass knots tied in tree trunks artistically and the pink creamy skies.

You have not really loved her, not through the night.

You know not what you miss.

If you have not kissed her with coffee breath at 9AM when the sandmans dust still rests in the corner of her eyes, then you are the lucky one.

You have not heard her stories of brown eyes and Oklahoma mornings.

You have not felt her rosehip lips against yours, and seen her eyelashes fluttering like butterflies emerging from heavens.

You know not what you miss.

If you have never loved her, you are the lucky one.

Because if you have loved her through the night, and you have seen her at midnight. You have seen heartbreak.

You have seen her shoulders turn to ice and her light dim to grief.

You have seen her flowers wilt and storms emerge from deep within her bones.

You have seen her not need you at all and be nobody’s girl.

You know you’re not enough.
Jack Aylward Aug 2015



©Jack Aylward

— The End —