invierno

invierno en Flickr.

gatos

gatos en Flickr.

insubordinados - como una naranja con saber a pera, calle 13, como los árabes que escriben al revés

 

 

 

 and pea

and

´ve been observing trees loosing leaves

the way they´re weightless in the wind

the way they let them go

easily, with the wind

also the weight of thoughts, some of them,

they weigh

and

pursuing light in autumn 

when the sun rises

or just before sunset

and letting go

the unnecesary, it´s time to.

dreams with razor blades stealer are exotic today one jar full of water trembled with the forthcoming storm in the open patio.

abril 002

abril 002, a photo by p-rc on Flickr.

polen

sweet to see old already well wrapped up ladies in early mornings blessing taxi-drivers and attentive passers-by. shall god´s love be with you they say as they hold our hands tight in theirs for no obvious reasons at all, eager for us to look deeper in their eyes, angels passing through their translucent visions, whishing us well.-

 http://plato.stanford.edu/entries/japanese-aesthetics/

Mono no aware “The sound of the Gion shôja bells echoes the impermanence of all things; the color of the sôla flowers reveals the truth that the prosperous must decline. The proud do not endure, they are like a dream on a spring night; the mighty fall at last, they are as dust before the wind.” - Murasaki Shikibu, Heike monogatari.

"In the classic anthology of Japanese poetry from the eighth century, the Manyôshû, the feeling of aware is typically triggered by the plaintive calls of birds or other animals. The blossoms of the Japanese cherry trees are intrinsically no more beautiful than those of, say, the pear or the apple tree: they are more highly valued because of their transience, since they usually begin to fall within a week of their first appearing. It is precisely the evanescence of their beauty that evokes the wistful feeling of mono no aware in the viewer."

Wabi  “Are we to look at cherry blossoms only in full bloom, at the moon only when it is cloudless?” - Kenkô, Essays in Idleness.


“In the small [tea] room, it is desirable for every utensil to be less than adequate. There are those who dislike a piece when it is even slightly damaged; such an attitude shows a complete lack of comprehension.”

“The meal for a gathering in a small room should be but a single soup and two or three dishes; sakè should also be served in moderation. Elaborate preparation of food for the wabi gathering is inappropriate” - Sen no Rikyû, Nampôroku.

"Implements with minor imperfections are often valued more highly, on the wabi aesthetic, than ones that are ostensibly perfect; and broken or cracked utensils, as long as they have been well repaired, more highly than unbroken. The wabi aesthetic does not imply asceticism but rather moderation..."

Yûgen  “It is like an autumn evening under a colorless expanse of silent sky. Somehow, as if for some reason that we should be able to recall, tears well uncontrollably.”  Kamo no Chômei, Hôjôki.

"Yûgen does not, as has sometimes been supposed, have to do with some other world beyond this one, but rather with the depth of the world we live in, as experienced through cultivated imagination. Yûgen may be, among generally recondite Japanese aesthetic ideas, the most ineffable. The term is first found in Chinese philosophical texts, where it has the meaning of “dark,” or “mysterious.”

Kire  “You must be prepared to let go your hold when hanging from a sheer precipice, to die and return again to life” - Hakuin, Rinzai School of Zen Buddhjism.

"Ikebana - There is something curiously deceptive, from the Buddhist viewpoint of the impermanence of all things, about plants, which, by sinking roots into the earth and lacking locomotion, assume an appearance of being especially “at home” wherever they are. In severing the flowers from their roots, Nishitani suggests, and placing them in an alcove, one is letting them show themselves as they truly are: as absolutely rootless as every other being in this world of radical impermanence."

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