Sketches of Pallas Athene

..

athene's owl

..

2-athene-and-centaur-meet-perseus-1957

Athene was the Greek warrior goddess.  She might correspond to India’s Durga.  Her magnificent grey eyes were filled with light;  she came across the seas, larger than life, to inspire Perseus and other heroes on their dangerous odyssey. She lent them her weapons, her bearskin and Hermes’ gold sandals and cloak of invisibility.  Her creature is the Owl.  May her wisdom be our courage.

When I was a child, reading Charles Kingsley’s The Heroes, I copied out my favourite pages from the tale of Perseus and the Gorgon – how we face our shadow –  and illustrated them.  Botticelli’s allegorical painting of Pallas Athene and the troubled man who is half a horse, puzzled me.

I had last year in the back of my mind’s eye, Athene’s face as she strokes the centaur’s head.  When I was small, my grandmother must have told me the story, because always since then, I hear her crisp voice explaining this picture, perhaps she talked to me about the shield and the bearskin and the centaur and the spear.  Later, I learned to read.   An archetype behind my grandmother’s presence – the true picture (like a Botticelli or Leonardo) -transcends the suggestive physical form. The Presence of that art stood subtly behind Helen Ede’s face, her flavour and her voice.

Each child has a special feeling for her grandmother perhaps.  This is my own.

..

4-botticellis-atheneaphrodite-centaur

The painting by Sandro Botticelli

..

3-centaur-athene-owl-87

One of my versions, in 1987.  I too was on my inner journey …

..

7-doll-hospital-1987

… to mend my dolls.

..

5-centaur-athene-child

I set forth into life, with Athene’s blessing and Hermes’ sandals

..

6-a-lesson-with-owl

Do I learn from books, or do I really look and see?  Wake up!

..

8-ceres-john-1987

Here are Ceres and John, the deep unfolding bud within Revelation.

..

9-drawing-of-centaur-athene-after-botticelli

When I did this drawing – copying Botticelli’s – towards the end of last year, the allegory or mystery within it came up to the touch. She seems to raise the human animal body with all its memory and mythos, through levels of awakening:  they behold one another, astonished.  I particularly enjoyed drawing the centaur.

It was very difficult for me to draw Athene. When she at long last began to look like a goddess (not Botticelli’s look-like, but in her own right) I became deeply interested in the Centaur.   With him, the painting’s archetypal resonance emerges.  He is the daemon, the living creature of the woods:  his face is twisted like a root:  he is as we were when the Spirit world still shone through our irregular features –   a tall, noble, careworn personage, Cheiron who guided the Argonauts from his cave on Mount Pelion.  In the original Botticelli, he looks tall and spacious, but when I try to draw him, I discover his horse-body is a Shetland pony – short legs and haunches at the level of Athene’s knees.  So his distortion and its strange natural beauty in the Botticelli is curious:  the man body is long and powerful:  the horse body small and sturdy.

Try to imagine him here in this room:  great Devic man of the woods on a little Sheltie’s short legs which (relatively) scuttle him along like a small dog.

..

Version 2

I always imagined Centaurs as the proud neck of great stallions who leap fallen trees and rocks effortlessly, read the stars and regard bipeds with disdain.  This one’s human body is outsize. Athene in my drawing is super-human size, she has very big feet.  She is a goddess.  I used to love the leaves and flowers on her shining dress.  Her face was rather grown up and sorrowful.  In my rendering, it is sensual like a female Pan, an awakened child, a bit like Botticelli’s earthy angels.  She gazes wonderingly at the Centaur creature whose dark locks of hair she strokes – in my drawing she might pull his hair, gently draw him up to her height, to be seen.   She seems to unmask nature.   Her presence and touch lifts him from small pony body (or cart-horse) to the godlike stature of human, and still he is uncoiling from his shy woodland state:  he shields himself like Adam and Eve:  he twists like an old tree. His eyes and consciousness do not know what or Who this is, that lifts, shines and troubles him.

The allegory is now clear to me.  Like the Birth of Aphrodite, it is another portrait of Renaissance in the collective soul-body at the time.   I am fascinated by his daemon woodiness and the idea that in any sylvan glade in the woods, these two might emerge through transpositions of the light.

In the painting they are on the shore of a lake by a temple; in the distance behind them sails a little boat. In my mind’s eye they are deep in the woods, among the trees. My early impress of childhood awakens to a transformed sound:  as I began to draw the Centaur, I heard and felt the ‘quickening’ in my body.  It is easier and a relief to draw his battered face than to try to represent a Botticelli beauty … I had a long struggle with her.  He is of the curled roots and loamy sharp smells of the woods.  Pan-like, he gives me his energy.

Like when I copied Botticelli’s Primavera Mercury some years ago, I understand God’s ‘twist’ and brush-stroke in our design, which we endure:  body’s spiral movement – face’s anxious uplift – essential in the overall design to support it like a pillar, like Atlas.

QLF49 Mercury April allegory.JPG

Mercury – Hermes – copy after Botticelli’s Primavera

..

A week or two later, I did the same drawing, this time with my left hand.  Why?  Because my left hand – the surfacing subconscious or feminine, has not yet acquired bad habits.  It is less facile, so it is aware.  The lines come from within, slow, sensitive and deliberate, I seem to see where they should go.  I didn’t have to erase much.

10-centaur-athene-with-left-hand

Centaur and Athene after Botticelli – drawn with left hand

..

Athene herself looks amazed at what she uncovers.  It is related to her allegories of unmasking with Perseus and the Gorgon, and to my feeling with this drawing.  Her shield and bears-head and owl are not visible, but all are implied in her raising of the Centaur to the light.   In my right-hand version, there wasn’t much room on the paper to draw her big axe-head on the staff she holds, and there was no room at all for the Centaur’s bow.

Centaurs are the Sagittarian Archer.  Traditionally the Sags are small, dark and lithe, and swift with their arrows which travel far … until they reach the Saturn field of Capricorn.   In winter there is this tidal pressure and restraint:  centrifugue and centripetal movement, Jupiter and Saturn across the Tree:  winter.

..

11-woman-in-sea-with-shadow

Aphrodite comes ashore with shadow.

..

11-ear-shell-foot

Hear the sea.  Walk in the sand.

..

..

..

**

Copy of Sandro Botticelli's self-portrait detail from "Adoration of the Virgin"

Copy of Sandro Botticelli’s self-portrait detail from “Adoration of the Virgin”

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

All art and creative writing in this blog is copyright © Janeadamsart 2012-2017. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

The Mellowing

Woodland 1986

Woodland 1986

..

Walking in the beech woods near Great Missenden, I was thinking about being the childhood, and I wrote this down:

jane & quince at ventonwyn copy

Elder age is not only four
hop skip jump,
but the Mellow
just as good.

No repeat
but savour
through and through
the NOW

my elder age’s
same unlettered quality
to find itself
not a drag!

What a gem. It came when I bent down to see what it is like to be just child-high off the ground. And then stood tall again. It isn’t about recapturing that odd, rhapsodic little girl physically and interiorly. The whole organism is by now as different as a fruit tree from the sapling. The organs and pulses and hormones and appearance are changed. The pressure of life in children and kittens and lambs makes them skip irrepressibly, enchantingly.   (It still skips in me at 67). The pressure of life in we older folk has a slower tempo, the character of a river rather than mountain brook … which carved its way … the same ESSENCE unbrokenly unique.   The way to enter the stream is here now.

..

little boy by the sea 1954

little boy by the sea 1954

..

Childhood is full of hassle – growing pains and hateful grownups and bad dreams and tedium and fear and need. Elderhood is full of hassle – just the same. It isn’t about what I become, it is being.   Savour the slow distillation at this point: river of leaf mould, sky and rain, river great snake slipping along its curving channel, the revelation turns discreet, subtle and lingering, an old wine.   It has to find its way through anxious mental arteries and conditioned stone walls and erratic absence and getting weary & cross. The marvel and mystery is here for the looking, and I love it so.

..

Little girl in a meadow, 1955

Little girl in a meadow, 1955

..

The mellowing. The living mystery is in the mellowing.   The child’s ferment is the bouquet in the elder one. You need a trained palate to really taste the wine: to become still where the child goes skip hop.   And then it takes you by the sea!

I’m reminded of Yehudi who played the violin perfectly when he was a little boy. When he grew up he lost it (terrifyingly) and had to learn how to do it: fingering, posture, technique, tone, bowing and behaviour.   He became a great humanitarian and yogi, and a musical ambassador for peace.

..

Yehudi Menuhin joyously 1986

Yehudi Menuhin joyously 1986

..

This tells me that the creature the child grows up into has a special responsibility and value, because he or she does and is all kinds of things that the eternal inner child could not yet. Life is not just easy, at any stage of the game.

..

Red roofs, Cornwall, 1956

Red roofs, Cornwall, 1956

..

..

..

Elisa & Mary in Iona - 2016

Elisa & Mary in Iona – 2016

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Human Landscape – Sketches of Beethoven

 

Beethoven at Zum Roten Igel

Beethoven at Zum Roten Igel

Last week, I got very excited about this link:

https://elenedom.wordpress.com/2015/07/21/beethoven-guest-blogger/

Here, Elene explores a musician friend’s contact with Beethoven, comparing it to her own subtle relation with him and with Chopin.

It inspired me to dig out my old sketches of Ludwig Beethoven, and to see what happens: to try perhaps a new one.   I am reminded of a dream I had in 2011, of my hands like a child, and Beethoven touching them and looking onward … or mine resting on his:

My dream with Beethoven, 29 May 2011. He had Pluto and Venus in Capricorn - a musician's Hades-Persephone marriage.  Pluto is again in Capricorn - 2008-2024 - completing a cycle since Beethoven's day.    Pluto is the depth dredger in human affairs, but also represents - particularly in Capricorn - a depth and enduringness of human values, such as those which Beethoven  sang and wrote - as fresh these days, as ever.

My dream with Beethoven, 29 May 2011. He had Pluto and Venus in Capricorn – a musician’s Hades-Persephone marriage. Pluto is again in Capricorn – 2008-2024 – completing a cycle since Beethoven’s day. Pluto is the depth dredger in human affairs, but also represents – particularly in Capricorn – a depth and enduringness of human values, such as those which Beethoven heard, sang as he walked, and wrote. These values seemingly hidden by today’s turbulence, are perenially fresh for those who touch and find.

The Pluto Venus Capricorn glyph in this drawing speaks to me of the master’s depth and tenderness.

Journal 29 May 2011
“I dreamed – An eager young man, with some arrangement with Beethoven, built an Ascension vehicle which lifted us high to behold his vision and his project, for which he was gathering souls like mine, for faith and ballast.  The landscape was stupendously beautiful – a great smooth sunset sea surrounded by distant mountains, their crazy, graceful outlines rimmed with supernal light.  It was heart-catching: awe.  The sea – the LENS – was like a very large bay or inlet, because ‘inland’ or harbour seemed to be to the right, below.  It is my perennial vision of the human coastline and hinterland.  Have faith!

“The man spoke of it all, and somewhere I touched the back of Beethoven’s hand.  The vision was – as in the Eroica – of Beethoven’s divine pride and purpose.  Beethoven was immediately to hand, the writing all joined up.  It was time to go with the man and put it all into action …  the young man’s voice had an Australian twang … …

“… I listened to Beethoven’s Adieux, Therese, the Goblins and the Fourth piano concerto, all played by Arrau … Artists and musicians are forgiven much.  Grumpy old Beethoven – chunks of humanity off the old block – are put there for us to listen to their musical integrity, not to be wise or polite.

“I draw very slowly the line – and it was really hard to get a Beethoven likeness – eventually found photo of his sculpted head, taken from the life mask.  I think this is the one he didn’t like, as the weight of the plaster dragged down his face – so we ALL think he went around with mouth down turned at the corners, and maybe he didn’t.  He is said to have pursed his lips when concentrating, and certainly he stuck the lower one out.  His chin was cleft like a great shell.  His nose was ‘three cornered, like a lion’, his eyes rather small and exceptionally alive – changing colour, dark greenish hazel perhaps.  He tended to roll them upwards.  He was swarthy, pock marked, with leonine black hair ‘like a Spaniard’, and much hair over his body and hands.  He dressed elegantly when he was young.  When a fine lady complemented the nobility of his brow, he said ‘Salute it then, Madam’ and offered it to kiss.”

..

Here is one of my efforts to sketch him yesterday – the young Beethoven, from the Hornemann portrait 1802:  before his deafness and at the height of his performing powers.

Young Beethoven, after Hornemann

..

This drawing was done perhaps in the 1970s:  the older man bends close to the keys in his struggle to hear.

Beethoven plays

Beethoven plays

..

The above portrait was inspired by this painting by an unknown artist – my father has the sepia photo.  I always assumed it was Ludwig Beethoven playing the violin, but if you look closely, you can see his life mask hanging on the wall … like a secret mirror.

beethoven violin

..

When I was a child we lived in a farmhouse with a large attic.  Exploring up there, I found this cobwebbed photo of a painting by Franz Stvk.  I have it still.

Beethoven by Franz Stvk

..

When I was young, I played a lot of Beethoven on the piano, and identified – often painfully – with his darkness.  In the 1980s I teamed with a violinist, Fred Barschak, and together we climbed the mountains of the Spring, Kreuzer and Seventh Violin Sonatas.

Beginning to play the Spring Sonata

 

..

Here are my earlier sketches of Beethoven, and their sources:

beethoven on a walk

beethoven on a walk

..

Beethoven at work

Beethoven at work

This portrait was inspired by Batt’s drawing (below) in the Oxford Companion to Music.

..

Gallery: Beethoven by Batt, Klein, Stvk and von Kloeber

..

Beethoen in later life

Beethoen in later life

..

More early studies – I made his forehead much higher than it really was.  Beethoven’s brow had a noble, rounded breadth.

..

Beethoven after the painting by F.Schimon

Beethoven after the painting by F.Schimon

..

These two pages are from a journal in 1969, quoting Schindler’s visit to the master when he was composing the Missa Solemnis Credo.

..

..

And … within the cosmos of the late Quartets –

Beethoven in last quartets mode

..

Glancing at Elene’s other posts touching on Beethoven, here is a teaching of his to a pianist-composer friend – he sat in the car and said to Elene’s friend, “How do you get the perfect cut of meat? – you trim away all the fat.”   While reading the earlier post, ‘More on Lou van B’, these words came to me:  “before sitting down to play Beethoven, open and fill your heart with love.”

It is a struggle for me to find him sometimes – like climbing over fences.  Perhaps it is the spiritual battle of the “heroic” with love;  the personal ego with the truth;  the ‘I-can-and-I-will’ with ‘listen’ … inheriting Beethoven’s philosophical dilemma in the Quartet opus 135 – must it be? It must be.

piano action

piano action

I am at present “exercising” Emily’s baby grandpiano in Southgate. It has a beautiful faded case;  her father used to play popular classics on it, but he died nearly 30 years ago, and no one  touched it since.  The poor thing had sagged to honky tonk with three stuck notes, and yet I found a good, light action.  I persuaded them to have it tuned.  The sleeping beauty is in shock!  – and now between tunings to stabilise – all her strings woke up and stretched and some of them already slipped.   I put a vase of water underneath and a small dish of water inside, to counteract the heating in the house.

Yet her voice came out, singing and mellow, in the quieter places, quite sensual.  It was wonderful to play and hear it in the restful, faded drawing-room which opens onto the long wisteria garden.  I enjoyed a strange sense of flow and freedom of tone across the ‘vertical’ hammer system, in terms of touch and tenderness:  Beethoven’s Moonlight Sonata and other slow movements spoke with love, and so did Bach preludes.  Some of the bass notes growl. My fingers were – magically – not in the way.  I thought of the Liszt method in Paul Roes’ book Music – the Mystery and the Reality.   Magic happens in an individual variety of tone – part of the charm which older pianos have – which challenges me to find and adapt to its way of singing.  The new or electronic instruments don’t have that playful intimacy.

Instrument.  This is actually my father's Petrof piano, as I have not yet photographed Emily's.

Instrument. This is actually my father’s Petrof piano, as I have not yet photographed Emily’s.

Interestingly, in Elene’s post on conversations with Beethoven, he says new agey views of higher plane diaphanous white robes are nonsense – we wear what we wore in history and sometimes dress up in contemporary style for fun – like he did in a 1940s brown suit.  “He still loves rain, baths, showers and the woods.  His house is in the woods.”  Because generation after generation discover and interpret his music, his commitment to humanity is timeless, covering a very wide landscape, and continually refreshed … “A German word in the ear, meaning energy flowing:  projection:  Vorsprung – projects like rock.

Have we a Beethoven forum?  Visit also https://edwardianpiano.wordpress.com/my-poetry/ for some evocative verse, haiku and pictures of Beethoven I never saw before.  This fascinating site turned up last week in synchrony with Elene’s Beethoven, Guest Blogger;  I had to jump in.

TO BE CONTINUED – my new attempts to draw Beethoven, and some more impressions.

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

A Resonance between Two Models – Ramesh Balsekar & Leonard Cohen: Part Two

Image

A lesson with Owl

In my previous post, I abridged the full transcript of Ramesh Balsekar’s conversation with Leonard Cohen in early 1999, because it was very long.  Here are the missing bits, including Ramesh’s teaching on Satori.  For the dialogue to run smoothly, I have retained some of the exchanges in Part One.

Ramesh namaste

.. 

Ramesh Balsekar:  But you used the word “resonance”.

Leonard Cohen:  Yes Sir.

RB – Can you explain that a little bit, Leonard?

LC – I found that during some of the rigorous retreats that we’re subjected to, I would find myself opening one of your books, specifically The Final Truth;  and I would find that your writing would illuminate the discourses of our Master, and vice versa.  That resonance became very discernible.  It became urgent that I

RB – A similar thing happened to me.

LC -Yes?

RB – You know Wei Wu Wei?  Have you heard of Wei Wu Wei?  – particularly one book which a friend of mine gave me twenty years ago, which I knew was a treasure, but I couldn’t understand it – I kept it aside. So that was what used to be – what my teacher said, and what was said in the book – amazing. Is that the sort of thing you mean?

LC – Yes Sir, it is.

RB – I see.  And in particular, The Final Truth?

LC – Well, that was the book I happened to have with me in my pack.  I would open it at any free moment, and the words would rise up, illuminating the whole day. 

RB – Yes, I see.  Have you read any other books of mine?

LC – Yes, I have just finished “Pointers”.  I have it with me now.  But I read it very, very slowly.  It seems that one section can occupy me for long, long periods.

RB – Yes.  And then, you’ve been here ten days!  But you’ve been so silent!

LC – I’ve been sipping at the nectar.  It’s very delicious to be here.

leonard and ramesh in sindhula

RB – Yes.  So now, what you have heard these ten days, and what you have read in the book, and your original understanding – how do they resonate?  Can you explain that a little bit?

LC – On the intellectual model, your model becomes clearer and clearer to me – your conceptual presentation – and so does my old Teacher’s.  On the experiential level, I feel the weakening of certain proprietorial feelings of doership … …  You know, over the years, especially anybody who hangs around a Zendo meditation hall, is going to get a lot of ‘free samples’, as you put it.  If you sit for long hours every day and are subjected to sleeplessness and protein deficiency, you’re going to start having experiences that are interesting … … A greed for those kinds of experiences develops.  Which is what happens in monasteries.

Bunny hide and seek

..

RB – I see.  You see, what happens is – Wayne and I had a very brief talk a couple of days ago; we were both walking on the roof. He made a point that while certain practices bringing about these free samples, inflate the ego, could these practices also not inflate the ego to an extent where it bursts? Which is one way for the annihilation of the ego.

LC – That is a very excellent characterisation of this kind of practice.

Ramesh and Wayne

RB – That is what it is supposed to do. But I told Wayne, the explosion will happen if that is the will of God, and if it is the will of God, that that bodymind organism follow THAT PATH. This reminded me of the story of Lao Tsu and his disciple, which I’m sure you know, but I will repeat it.  A disciple went to Lao Tsu with his face flushed with the vigour of achievement.  And he told him, “Master!  I’ve got it!”  Lao Tsu compassionately placed his hands on the disciple’s shoulders and told him, “Son, you have NOT got it.”  You’ve heard this story?

LC – No, Sir.

RB – Oh really?  Oh well!  He said, “No my son, you haven’t got it.”  So, dejected, the disciple went away.  Some time later he came back again, fell at the Master’s feet and said “Master, it has happened.”

Angel with Rabbit

Lao Tsu looked into his eyes, knew it, and raised him up saying, “Now tell me what happened.”  The disciple explained, “I was so SURE that I had got what I wanted, all the experiences, all the joy, I knew I had got it;  but when you told me that I had NOT got it, I accepted that as the truth.  But it was also the truth as far as I was concerned, that I had done all I could, and yet you said I had achieved nothing.  So the result was: accepting BOTH as the truth.  I went about my way, not wanting anything, not expecting anything;  and suddenly I noticed that the joyous experiences had gone, but a peace had descended.  And it also struck me then, that this was the peace that I was after – not achieving anything!”

So this is the peace that came when the seeking stopped.  You see?  So, it was the destiny of the mindbody organism of that particular disciple, that the ego be bloated to an extent where it burst;  and the pin that burst it was Lao Tsu telling him “No, you haven’t got it!”

centaur, athene & owl 87

..

But again, the danger IS – if it is the will of God and the destiny of that bodymind organism – that the ego will bloat, and stay bloated at a level where the bloated ego considers himself a Master, you see?  and wants and does get hundreds and thousands of disciples!  And the bloated ego stays there.  So it may not get pricked.

But, when the ego gets weaker and weaker and weaker, then it has to ultimately die, finding out “Who is doing anything?  Who is seeking anything?  Who is to get anything? You see?  That is why I said, the only Sadhana I recommend, is to find out at the end of the day, how many actions that I remember having happened today, were MY actions, and how many just happened?

mind thief police

And I dare say that an honest analysis will make the ego come to the conclusion that no actions were HIS actions, or HER actions!  And if this happens day after day –  it may start with the end of the day, but it will be found that this analysis happens many times DURING the day! – until towards the end, an action happens and the analysis that it was not my action, happens almost simultaneously;  so that with the firmest possible conviction, with unconditional acceptance that I do nothing, the question arises, not intellectually “Who am I?” but from the very depths of frustration – it can be said, frustration of the ego – “If I have not been doing, if no act is my action, who is this ME I’ve been so concerned about?”

Ramana Maharshi used the words “Who am I” because in English there is a marvellous distinction between ‘I’ and ‘me’, but in the Tamil language and most other languages I am told, this distinction is not there. So when Ramana Maharshi said, “Find out who am I”, he really meant, “Who is this me I’m so concerned about?”

Ramana & Rabbit

..

If this process starts, it is the will of God. And if this process reaches a certain depth – every step is God’s will and the destiny of that body-mind organism – the actual arising of this question is there a me, out of DEEPEST FRUSTRATION, is what is perhaps called THE DARK NIGHT OF THE SOUL

In the time lag between the arising of the question and the arising of an answer, the deepest frustration is the dark night of the soul. And the dark night of the soul awakens you into the answer: “There never has been a ‘me’. There is thinking, but no thinker. There is doing, but no doer.”   The thinker, the doer, the experiencer, comes later, and becomes proud, or has a feeling of guilt.   Thinking happens. A thought arises and leads to some action. And later on, the individual ego doer comes in and says “I had a brilliant idea which I put into practice, and now I am Bill Gates, making five hundred dollars every second.” That is how thought occurs. But the one who says ‘I thought’ comes later. And it was God’s will and the destiny of the mindbody organism that that should happen. Albert Einstein in his total humility, has gone on record as saying the equation came to him from outside.

LC – I think that’s the experience of every artist and mind worker.

..

guitar sketch leonard cohen

 ..

RB – Yes. Nureyev the ballet dancer has said, “Nureyev dances best when Nureyev isn’t there.”   And the same thing is said by I suppose, any artist in whatever field.   So, proceeding this way, even that depends on the will of God and the destiny of the organism.

There’s a tiny book, an abridged edition of the Bhagavad Gita.  Have you read it?

LC – This edition, no.

RB – Bhagavad Gita is seven hundred verses.  Someone told me that Ramana Maharshi had condensed it into forty-three or forty-eight verses.  This friend of mine who used to come regularly, had a copy, so I said, “Would you give me that copy?”  He said “Yes, yes, I’ll bring it next time.”  And four times he came, and four times he forgot.  So I said, “Ramana Maharshi’s answer to me is clear.  Do it on your own!” – (Laughter.)  “Don’t read MY collection!”

And so I started doing it:  so mine came to sixty-six verses.  And one of those verses is this:  “Out of thousands of people there is one seeker. Out of the many seekers, there is ONLY ONE who knows me in principle.”   You see?  So the many seekers who don’t reach this ultimate end, obviously have to be following paths which are not supposed to lead them to the end, during the process of that bodymind organism anyway.

So the misconception “What is the best path?  Which is the best Spiritual path?” – there is no “best spiritual path”.  There is only a particular spiritual path for you, or for this particular bodymind organism, at that moment of its development.  So the Source will send this bodymind organism to that Guru who is appropriate for him or her at the time;  all the bodymind organism can do, is to follow that Guru to whom he has been sent.

But my only point is this:  many Gurus, unfortunately, tie down their disciples, saying “Now you have come to me. You wanted to be initiated. Now our relationship is life-long.” You see? But to me, that is ridiculous. You initiated him, but who sent him to you?   That Source certainly has the right to send that disciple somewhere else!   Who is this Guru, to bind him for life?   Therefore the word “Guru hopping” is used in a sort of derogatory way.

russian dolls

LC – Guru …?

RB – Guru Hopping.  (Laughter).  It’s used in a derogatory way.  To me, it is perfectly logical and acceptable.

LC – In the Zen tradition as you know, monks went from one Master to another, in search of different aspects of the teaching. I don’t feel I am betraying my Teacher by being here.

RB – Yes. Otherwise you wouldn’t be here. In fact, Wayne told me, you told your Teacher.

LC – Yes.

RB – And he didn’t ask for …?

LC – Yes. He asked me to cook him one last meal. Because I’m his cook.

cloud colloquy

..

RB – I see.  So, Leonard, is he likely to ask you when you go back, what did you learn?

LC – My understanding, he will discern exactly. I think the issue more urgent, is whether I stay there or not.

RB – Yes. But if he does ask you – which is not impossible, is it? – what would you say, Leonard?

LC – Well, we have – I would try to convey to him in the terms that – but he doesn’t speak English … …  I would probably gasho to him. (Bows deeply)  

RB – This is gasho?

LC – Yes, and depending on the truth of the moment, whether I could step aside from the understanding and let the understanding communicate itself …

RB – The answer is, “I don’t know”.   Is that what you meant?

LC – It’s correct.

RB – Then that is absolutely correct: “I don’t know what answer will come out.”

LC – He has, you know, the Japanese rigour.   So he would question, he would listen carefully to my saying “I don’t know”. Because “I don’t know” is the answer to many koans.

RB – No no. What I’m saying is: “I don’t know” is your answer to me.

LC – Ah Yes.  Yes, Sir.

RB – That I DON’T know what will come out of my lips if such a question were asked.  That’s what I meant.   When I said “I don’t know”, what I mean is – that would be your answer to my question about what you should say.

leonard and ramesh 1999_0001

..

You see? So some experience happens.  Then people want more experiences.  This greed as you quite rightly said, for the experience.  Wanting – ananda means ‘bliss’.  But the word ‘calm’ or ‘cool’ – deep down, that is how the word has come – cool, or calm.  At one stage Ramana Maharshi uses the word ‘bliss’ because it has come down – not Ramana Maharshi, but in the translation.  One point I came across, which I have triple underlined – he said: “Calm is superior to bliss.”  The word I prefer is “peace”.

..

Each unto each other

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

 

 

Human Landscape – Refugee Children

What can a war artist do?

Yazidi 1

A photo is quickly taken, sold to a news agency, reacted to in passing by millions, and passed over.  A drawing takes far longer in time and space, to contemplate the condition. I did this one and two others, yesterday.  Some more were done last week, and the rest are from a few years ago. .

Our children are the same for us the world over.  This woman works hard on the land and in her household.  She holds it all together, and carries the weight of water from the well.  She gave birth to her babies in pain and crying out and relief; they are her life, each one.  Her husband may or may not be a strong, caring father. .

Now their homestead and village is shattered:  they wait homeless on the waterless mountain.  She is vulnerable.  In a war zone, you do not know who is friend or rapist – like an earthquake.  Her children are hungry and there is no roof.  There is the tearing pain inside her belly, of anxiety and shock:  the soft smell of her baby:  the bewildered bravery of her daughter as a journalist’s lens draws near.  They are rounded up like goats, by unknown herders. .

She is my sister.  I live in a safe house with interesting things to do, and plenty to eat.  I can only reach out by drawing her, to touch, that she may feel somehow, somewhere that someone knows.  Send her strength …  Even now … wherever she is. .

..

Yazidi 2

He’s a father, and they lost their mother.  The children want to help him, and don’t know how.  On their terrifying journey to survival, it is the artist’s way to support them.  Loaded on a donkey they ride off into uncertain night, the first desolate steps through quicksand, of an astounding courage. .

It is humiliating to have your home torn away and to ride with all you can carry on the donkey to God knows where?

..

Yazidi child 2

The newspaper said:  She has a badly needed drink.   While I was drawing her – and it took me nearly all day –  I wondered a lot about what blinds a man or boy, to kill or hurt a beautiful child like this in the name of fundamentalism.

..

Gaza children 1

I singled these children out from a crowd in Gaza –  two brothers and a sister. They watch perhaps the bombing of their street – evacuated.  A rope to hold back the crowd, threads together each child’s parentless abyss…   the grownups’ broken world

Gaza 2

..

..

refugee children 2

This was a design for a Christmas card some years ago – a refugee camp anywhere and the Star.

..

Valerie Brooks

The late Valerie Brooks gave 17 years of her life to support children in distress.  Through her cleaner, (a doctor from West Ukraine who could earn more for her family by cleaning houses in London, than by practicing medicine in her home town) assistance was given also to a poverty-stricken Ukrainian community, through the Maria Relief Fund  http://mariarelieffund.org.uk/ .   A network of friends and sponsors helps to support each family there, and to establish an English class and educational opportunities for their children. .  It is an extended family.

Many large charities lose their definition in administrative overheads.  Smaller charities operate in a grass-roots way through human contact and serendipity.  The Maria Relief Fund is a small registered charity, assisting displaced children around the world.  I am associated with it and also with the Phoenix Aid Centre .  PAC provides accessible therapy and counselling for refugees, victims of abuse and for all who might rise from their ashes and fly. .

A man or woman who brought their family from danger into safety – through the final hurdle of UK border control and language barrier – drew on reserves of superhuman values, to make their quantum leap, and integrate with a new culture.  Such persons have that gift to contribute – when these qualities within them are recognised.  So we should find it within ourselves, to recognise. .

..

village child, ukraine

This is a village child in Ukraine.

..

refugee children 1

More refugees on displaced borderlands – the children take care of each other.  They are our future – the unbreakable jewel within us.   The Age of Aquarius breaks down old walls.

..

Kristina is a talented girl in the Ukraine, whom I help to sponsor.  She lives with her granny and grandad, who worry what will happen to her when they die.

..

dancing children, ukraine

Dancers at a village festival in West Ukraine.

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

A Picture-Book – Pierrot and the White Wolf

..

Pierrot in the fields

Pierrot in the fields

This story for our children, and for the world’s ageless children in ourselves, was written in French by Catherine Harding during the 1990s; she asked me to illustrate it. In due course it was published privately in France, with a few of my illustrations, as “Les Explorateurs du Vrai Monde”Explorers of the Real World.   Here is the complete set of drawings and paintings I did for Catherine, plus a few extras at the end.

Pierrot’s story is a celebration of the late Douglas Harding’s life and work. Douglas was born in Lowestoft, and trained as an architect. After he discovered his real Home, he travelled all over the world for sixty years to share it. His unique series of experiments tap our resources of infinity, and demonstrate the treasure lying at the heart of the great traditional faiths.   The experiments can be done at any time and place, right now.

Douglas and Catherine met and married in about 1991; their loving and down-to-earth teamwork – built open for each other – enchanted all who attended their workshops. Douglas passed away in 2007, age 98.

Douglas & Catherine Harding at Nacton

Douglas & Catherine Harding at Sholland, Nacton

 ..

For more information about Catherine and the Headless Way, contact The Sholland Trust, 87B Cazenove Road, London NW16 6BB, or visit www.headless.org.   Douglas’s many books include On Having No Head, The Hierarchy of Heaven and Earth, The Trial of the Man who said he was God, Look for Yourself, The Spectre in the Lake, To Be And Not to Be, Head off Stress, and The Little Book of Life and Death.

Douglas's 90th Birthday

Douglas’s 90th Birthday

..

..

Now, here are the pictures which tell the story. To view, click on any image.

Chapters One and Two – A White Wolf Arrives in the Village

..

..

Chapters Three, Four, Five, Six – Experiments in Seeing

..

Pierrot showed them all his secrets

Pierrot showed them all his secrets

..

..

Chapter Seven – Sharing the Seeing

..

..

Chapters Eight-Thirteen – The Attack

..

..

Chapters Fourteen-Seventeen – A French Village Awakens

..

..

Artists’ Epilogue

..

It is time for the artist to ask herself some questions.   As I draw my self-portrait, what do I see? What enters my extended hand and heart? What fills the un-named movement along my arm, what welcoming focus – shape to space?   What ancient world, before historians wrote a word?

Who draws through me? the taut flow through finger and thumb to a dancer’s point ?   What smile in space for lines of life to happen?   What urgency gives birth?   And the tight hours – as often as not – groping towards the magic “touch” with tippex, eraser, and elimination?

How many faces do I see? Do I have one here?   Or is it yours? Plainly, my daily life and relationships require the same careful attention to precisely what is there.   Not what I’m told, or think I should believe: but receiving the curve – “I am you are. Thou art I am.” Keep practicing. Look, I am built open. I may trade faces with Pierrot’s white wolf, or with my foot on the floor, a still-life on the window sill, a sketch-pad on the kitchen table, the sense of dotting an I. I may trade faces with you or with the sky whose clouds keep changing curtains.   Where I look in the room, looks back, and I, un-named and changelessly, change all the time.   Look, if I cross my eyes a bit, there’s a nasal blur and spectacle frames – as I thought. But when I put them on … The One Eye has these details like a mountain spring.

As I put life’s tunnel on my nose, who comes to meet me but my Friend?

47 spectacles

..

..

and now a surprise Present to unwrap at the End of …

48 douglas in paper bag

“Wait,” said Douglas (on our first meeting in Nacton), “How many faces in this bag?  Scientifically – how many faces do you see?”

I looked for some time silently.  The sides of the paper bag removed Douglas’s face from the context of everyday resistances.  Bit by bit I freed myself to gaze and to receive the information as if I never saw such a thing before.  It was rather warm in the paper tube, and from time to time we had to come out like divers, for air.  At first the intimacy made me feel selfconscious.  Presently as I overrode my small fret, I found myself contemplating with compassion, a living landscape.  I received the searchlight of that sensitive terrain into my emptiness.  I saw how the pupils and lids of the eyes narrowed or dilated, as they roved and scanned mountains and valleys.  They examined features in detail – eyes, nose, the lines in forehead, the contour of the cheek, the growth of hair, the twitch and lilt of expression.  I saw the baby unborn and everlasting, the bed of the river, the vulnerable soul in those dark eyes which, like wells, never age or end; the youthful profundity of that searching glance.

I received and beheld an inescapable mysterium, a humanity.

“Just the one face,” I replied.

“Yes,” rumbled Douglas, “You’re starting to see the point.”

Put on your space

Put on your space

..

..

..

**

Gene Keys Golden Path Program
My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Liverpool Art School 1969 – Sketchbook 6

..

Here is another Liverpool sketchpad from 1969.  I was at art school there, for a year.  You can use the Search button on this blog, to find my other Liverpool sketches  – I use my blog to archive them !

I shall companion this post with my next one – Jung’s account (in Memories, Dreams, Reflections) of his vision in Liverpool.  He called Liverpool the pool of life;  the dark city flowed around the glowing centre of a mandala.  It led him to the Way of the Golden Flower.  He had just finished painting a mandala which he called the Golden Castle – through its portal, he entered the I Ching.

Some of the drawings in this post are of London, where my Italian sweetheart lived.  I hitch hiked south at weekends, to be with him.

..

In those days, I met and talked with strangers a great deal.  There was something to learn from everyone;  I was a captive audience.

..

This sequence is more visionary:

..

..

I just found this passage in my journal, early spring in 1969.  My meeting with John left an indelible impression in my pool of life, and a sketch:

“It is all a bit like practicing Bach – the complexity of fugal themes and analysis of fingers, with which one has to think hard and precisely; and the sudden resolution, the fitting into place of a phrase like a jigsaw piece in harmony – before it flies apart and you have to work some more. The sudden realisation comes out of the bed of a sea of data, facts and study.  Intuition must have form to pass through as expression, otherwise it is dumb – unresolved spasmodic movements in the dark.  Intuition must be completed through a receiving set of Reality, to come to the light – as music, as painting, as love.

“I’m spending Saturday afternoon at John’s, practicing.”

John the Organist

John the Organist

“Here is John playing the organ.  He lectures also at the art college.  He is from Trinidad.  He is an aggressive person, tremendously active intellectually – immersed in philosophy and music.  He pushes his argument to the bitter end, just for the hell of it, and says he doesn’t have many friends, he prefers to live off his own means.  He “travels” in his room.  I am fascinated by his personality.  He has no time for refinement:  it might weaken him.

“He admires intensely the ancient Greeks, whom he emulates in his direct, self sufficient state of enquiry.  He likes to be with people who spark off debate which he carries to the end of the road and beyond.  More an organist than a pianist, he makes music with all of himself – ‘Here I am!’ – he thrusts.   Fred who visited, heard me playing, and said it was interesting to hear a woman on the piano.  ‘Makes a change from your brute force, John!’

“The pair of them went out shopping in the freezing snow and ice, so I had some time to myself.  I try to be a still, small rock of truth somewhere in myself, over which the waves wash their colours.  My contacts with people are intense;  at the same time I can live from my own means …  I don’t want to copy their styles, I don’t want to crash through a Brahms sonata I grew up with, for I knew its exquisite pain when Aunty Lonie and my father played it together – the same exquisite pain is in sex – I hope one day to climb the mountain.

“John and I like discussions which fly from pole to pole, and find each other interesting as opposites;  but I am too bendy so he gets bored.  He is a hard man; he allows human frailty no room;  I live with it because I have no choice.  We both stick to our guns.  In the evening after we had tea, two people came with their little two year old daughter who said “A garden on the wall!” when she saw the wood-carving hung there.   She is at the age of fascination.  Her dad is an architect with a gentle face, a “street acquaintance”.  Because I was feeling defenceless and raw, events and people took on a magnified intensity, harsh and new.  I knew suddenly, a powerful music of life.  John put scraps of Messiaen on the record-player…

“Later in the evening, John said ‘Would you like to come and play the organ in the Swedish church?’ The place we drove to, down dim frosty streets, was in an unfamiliar part of Liverpool, nearby.  Suddenly we found ourselves in a warm room with Swedish lamps. It was a Swedish mariners’ club, and rather elegant.  The TV was hidden;  a few men with jutting Nordic faces and bristly hair sat on settees and drank black coffee.  There was a girl there, a trainee occupational therapist.  She was working in a mental hospital and found the experience depressng.

“I’d like to speak their steely language, and to see the midnight sun.  John is like them.  He and I went upstairs to the circular vaulted church, hard and white, where the organ was. He is black but his mind is blown from the North.  Sitting on the altar step I listened and watched his feet fly around on the pedals, his silhouette dark against the keyboard lamp.  The music of Bach and Cesar Franck lifted my thoughts in great celestial waves;  I felt so HIGH.

“When I had a go, I tried to synchronise both hands and feet in the architecture which is organic harmony.  The place had a strange atmosphere, like a German expressionist film.  I felt  ‘resurrected’ and on the pulse of great mysteries.

From journal, early spring 1969

..

That picture of an angel in society, feeling vulnerable and uncomfortable – I dreamed it, the way it spoke, and the tender buds behind the shoulder blades.

..

These sketches are mostly of London, and contain an awakening.

The figure in the smoke above Battersea Power Station is a “Wicked Prince” searching for a Ruby.  Whenever he rolls the plain grey rocks and stones around in his search, there is thunder.  When I was a child, my grandfather Jim Ede told us tales of The Wicked Prince year by year.   The saga ended at this point when I was about twelve;  Jim shut his mouth – though we begged him to go on – and wouldn’t tell us any more.

The Wicked Prince is still on his adventurous quest.  He is locked up in the sky.  He seeks the Ruby –  alchemical tincture of the Stone:  a rare wine that grew in the water:  a wine that grows in the rain.

Battersea Power Station was in those days still functioning, and a truly marvellous building – created by the architect of Liverpool Anglican Cathedral.   It lifted my soul.

..

,,

,,

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

Two Pictures

..

Sacred India Tarot - the Ashwins

Sacred India Tarot – the Ashwins

..

In the Vedic constellations (Jyotish), the Ashwins are in Aries, the sign of the New.

“The Ashwin twins are elder Vedic gods.  They were heralds of the dawn.  They left an impact in the sculptural forms depicting Skanda and the Buddha in later history.  As Solar deities, they were the first physicians – doctors to humanity as well as to the gods.  They were that rarest of heroes – intellectuals who could act decisively.  They were described as dazzlingly handsome, and as intellectual in action, the powers of movement, fierce-making in their paths … to think and act are one.  They healed countless numbers of the lame, and restored sight to the blind.

“They give that impelling energy for the great work which, having for its nature and substance the light of the Truth, carries man beyond the darkness.

From an article by Rohit Arya

..

Moon child is taken for a ride with Hermes (Aquarius)

Moon child is taken for a ride with Hermes Trismegistos (Aquarius)

I dreamed in the night I rode a new bike, with a back-rest.  Here is my drawing of it, 27 years ago.  Om Shanti, Shanti, Shanti.  Peace.

..

..

..

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

Liverpool Art School 1969 – Sketchbook 5 & Lifedrawings

..

liverpool cathedral

liverpool cathedral

This sketchbook – the fifth one in the series – has less “human interest” in it than the others, and more “art school” experiments.  By the second term, in early 1969, I was disillusioned with first-year graphics – no enthusiasm for promoting soap powders –  and messed about in the fine art department, life-drawing, making studies for would-be paintings, and trying to fit in somewhere … teetering on the edge of Failure.

Perhaps all these sketches were intended as paintings.  They never developed further, because it was on to the next, the sketch having discharged the feeling and the journey.  I remember an intense excitement with colours: the sexy human tones.  They saturated my inner life.  They filled me when making love, and on my lorry journeys to and from London.  Oil pastel was a crude but flexible medium for my hunger with life.

..

I wonder at this point, whether there was any creative guidance available.   In the 1960s, the teaching trend was minimal.  Self expression ruled the day, regardless of technique or understanding of media.   We were encouraged to drool – so long as we were doing something – a wastage in canvas and paints.

I am uninterested in the mainstream art market, so I don’t know what the trends are, these days, or how the pendulum swings.   I might have felt more stable with old fashioned teaching methods:  to draw, draw and draw yet more, the way a musician practices:  to refine my observation and sense of volume;  to train as Picasso did each day, by drawing curves.  I escaped into the life drawing class, where I was free again to “do what I like”.

A training in the arts, is apprenticeship.  What is it like, to have a mentor who sees the potential?   And at age nineteen, twenty, would I have been able to appreciate it?  –  leaving home, hitching the road, rebellious and frustrated?   If I am lucky – like some students were –  I am blessed with a concentrated passion which finds its creative objective and gets stuck in there.   Its ciphers poured into my sketchbooks and journals, and here is their airing.

..

My weekends were spent on the road to London:  a firm of carriers picked me up at Spofforth Road in Liverpool and set me down at Chalk Farm in the early hours of the morning:  then brought me back on Sunday night.

I had an artist’s romance with the motorway and its phallic arrows which took me through the night to my beloved – I couldn’t wait.  The lorries ate the road at a slow and steady 50mph through the Midlands.  The drivers were charming, and I knew some of them well.  They occasionally made a gentlemanly pass, in the cab, but gave up at the single minded innocence of this green twenty-year-old …

hitch hiker, manchester to liverpool 1969

hitch hiker, manchester to liverpool 1969

..

Some life drawings, when at Liverpool. The first five are mixed media and brush work. 6-10 were done perhaps a year or two later, at Camden Arts Centre.  I enjoy this medium so much, and digging these out,  that I’m amazed I don’t do any now …  !

1 lifedrawings 1969 2 lifedrawings 1969 3 lifedrawings 1969 4 lifedrawings 1969 5 lifedrawings 1969 6 lifedrawings 7 lifedrawings 8 lifedrawings 9 lifedrawings 10 lifedrawings

..

..

..

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Human Landscape: Sketches in Hampstead coffee shops & pubs

..

shelf & dancer

My blog is also an Archive – another place to store and share my drawings, paintings and sketchbooks.  Here are some bundles from roughly 2005 – 2008.  The first four “galleries” are from the same sketchbook, consecutively … roaming the streets and bars.  The fifth one is a collection of small paintings and studies from my album.  To view, click on any image.

..

..

Here are habituees of the restaurant in Kenwood House, on Hampstead Heath …

..

..

… And here, some old faithfuls in my journal, chill out …

..

..

I sketched Adolfo Barabino in 2008.  He was playing a private concert on a friend’s Bechstein.  This sketch is now on the cover of his CD, which is being brought out by Claudio Records, distributed by Naxos.  Barabino plays Chopin, with an unusually sensitive and creative touch.  Rather than the modern bravura style, he listens to the keys. Chopin himself, in salon concerts, made his audience really listen.

..

..

Putting these together, I rejoice in the human light which dances through them:  old friendships:  landscape.  The human landscape comes through everything life throws at it, jaunty and indefatigable.

..

my mother in the Quantocks

..

..

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/