A painting card on my table - Revision history

HansaThapliyal at 05:06, 14 September 2015

2015-09-14T05:06:03Z

HansaThapliyal at 05:05, 14 September 2015

2015-09-14T05:05:30Z

HansaThapliyal at 07:33, 6 September 2015

2015-09-06T07:33:32Z

HansaThapliyal at 05:10, 6 September 2015

2015-09-06T05:10:41Z

HansaThapliyal at 05:02, 6 September 2015

2015-09-06T05:02:31Z

HansaThapliyal at 04:26, 6 September 2015

2015-09-06T04:26:37Z

HansaThapliyal at 04:23, 6 September 2015

2015-09-06T04:23:28Z

HansaThapliyal at 04:06, 6 September 2015

2015-09-06T04:06:16Z

HansaThapliyal at 13:01, 5 September 2015

2015-09-05T13:01:00Z

HansaThapliyal at 12:54, 5 September 2015

2015-09-05T12:54:51Z

←Older revision		Revision as of 05:06, 14 September 2015
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	[http://www.theparisreview.org/interviews/6168/the-art-of-fiction-no-217-roberto-calasso]		[http://www.theparisreview.org/interviews/6168/the-art-of-fiction-no-217-roberto-calasso]
		+	------------
		+	[[Image card three]]

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 Painting 1.
-A royal woman sleeps in her chamber of marble and fur (because that is what that paint does, bridges the distance between the textures of marble and fu)r. She sleeps and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the  page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated, then the page metaphor might work. A sleeping chamber in marble and fur textures, in intricate cat greys and cat whites, is the main page of the notebook, the houries are the margin of the notebook page. The margin is prominent because the Houries are heavenly beings, therefore the space of the margin is large, larger than the space for the centre.
+A royal woman sleeps in her chamber of marble and fur (because that is what that paint does, bridges the distance between the textures of marble and fur. She sleeps and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the  page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated, then the page metaphor might work. A sleeping chamber in marble and fur textures, in intricate cat greys and cat whites, is the main page of the notebook, the houries are the margin of the notebook page. The margin is prominent because the Houries are heavenly beings, therefore the space of the margin is large, larger than the space for the centre.
-The heavenly margins of the earthly life take over my other painting card. Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched over days, cloud light watched for hours and practiced, till,the clouds and light are almost biblically known to the painting arm,  and thus known, they now yield cloud beings on  massive cloud surfaces, sun on their torsos, shade on their groins. The idea of the skies much more vast and large than the idea of the beings that live among them and so the flesh and bone form of those figures convincingly live among the soft but strong volume of the clouds.
+the heavens are the full page in the other card: Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched over days, cloud light watched for hours and practiced, till,the clouds and light are almost biblically known to the painting arm,  and thus known, they now yield living beings that rest, gambol, move on massive cloud surfaces, sun on their torsos, shade on their groins. The idea of the skies much more vast and large than the idea of the beings that live among them and so the flesh and bone form of those figures convincingly live among the soft but strong volume of the clouds.
-Tieoplo's heavens of daylight and the deccan painter's night, and  heavenly beings in both. Tieoplo's beings need no wings, their bodies are made for the playground of the clouds. A baby does a sky dive somewhere in the depths of the frame, while the adults pose upfront.
+Tieoplo's heavens of daylight and the Deccan painter's night, and  heavenly beings in both. Tieoplo's beings need no wings, their bodies are made for the playground of the clouds. A baby does a sky dive somewhere in the depths of the frame, while the adults pose upfront.
-In my mind the two skies, at different times of day- are on continuum, like all skies are, rome and hyderabad small beings merely, looking up.
+In my mind the two skies, at different times of day- are on continuum, the one large sky, getting more and less light at different times of story.  Rome and Hyderabad are small beings, as big as a patch on the arm of one of the angels, looking up.
 I did an attempted photoshop, taken up by the conceit that the women houries might be framed against the freewheeling child diving into the skies, head first.. the satan like figure, flying mid space among the hourie spaces
 ..but my image work is merely a desire yet, writing it must be for me, for now.
-the sky of the miniature- embedded with a disc of beaten gold with a beaten gold pattern of  beauty, glory, excess. The wall of the compound is the threshold of the human world, watery marks of an ageing wall over which splendid houries fly. the human being on the cot, is a being belongs to the material land of the wall, inhabits those colours, but wears, edging her greys and white, those golden and rich maroon marks as a sign of desire for another world.
+Returning to the sky of the miniature- embedded with a disc of beaten gold, a golden moon! with a beaten gold pattern spread across the skies, glory, excess.
-Then the maid who lies on the floor, not coloured in completely, with less aspiration to anything else, the painting tells us, her flesh not shared with the queen of the houries, even closer to the floor, but in that white cream material where her skin and cloth is almost one, more ethereal.. the Houries still lack the imagination to see, the queen shares flesh tones with them and is different- their love for her is then maybe a seeking of themselves, like all love. the servant
+The wall of the compound becomes the threshold of the human world, watery marks of an ageing wall over which splendid houries fly. Maybe water is a human element, the gods do not have it? The human being resting on the cot, still belongs to the material land of the wall, inhabits those colours, but wears, edging her greys and white, those golden and rich maroon marks as a sign of desire for another world.
 -------------------

@@ Line 3: / Line 3: @@
 Painting 1.
-A royal woman sleeps in her chamber of marble and fur because that is what that paint does, bridges the distance between the textures of marble and fur. She sleeps and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the simple page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated- the page metaphor works. A sleeping chambers in marble and furs, in intricate cat greys and cat whites, is the main page, the houries are the margin of the notebook page. The margin is prominent because the Houries are heavenly beings, the margin is large.
+A royal woman sleeps in her chamber of marble and fur (because that is what that paint does, bridges the distance between the textures of marble and fu)r. She sleeps and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the  page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated, then the page metaphor might work. A sleeping chamber in marble and fur textures, in intricate cat greys and cat whites, is the main page of the notebook, the houries are the margin of the notebook page. The margin is prominent because the Houries are heavenly beings, therefore the space of the margin is large, larger than the space for the centre.
-The heavenly margins of the earthly life, takes over my other painting card. Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched over days, cloud light watched for hours and practiced, till, the clouds and light almost biblically known to the painting arm, now yields cloud beings on those massive surfaces, sun on their torso, shade on their groin. The idea of the skies much more vast and large than the idea of the beings that live among them and so the flesh and bone form of those figures convincingly live among the soft but strong volume of the clouds.
+The heavenly margins of the earthly life take over my other painting card. Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched over days, cloud light watched for hours and practiced, till,the clouds and light are almost biblically known to the painting arm,  and thus known, they now yield cloud beings on  massive cloud surfaces, sun on their torsos, shade on their groins. The idea of the skies much more vast and large than the idea of the beings that live among them and so the flesh and bone form of those figures convincingly live among the soft but strong volume of the clouds.
 Tieoplo's heavens of daylight and the deccan painter's night, and  heavenly beings in both. Tieoplo's beings need no wings, their bodies are made for the playground of the clouds. A baby does a sky dive somewhere in the depths of the frame, while the adults pose upfront.
 In my mind the two skies, at different times of day- are on continuum, like all skies are, rome and hyderabad small beings merely, looking up.
@@ Line 18: / Line 18: @@
 Then the maid who lies on the floor, not coloured in completely, with less aspiration to anything else, the painting tells us, her flesh not shared with the queen of the houries, even closer to the floor, but in that white cream material where her skin and cloth is almost one, more ethereal.. the Houries still lack the imagination to see, the queen shares flesh tones with them and is different- their love for her is then maybe a seeking of themselves, like all love. the servant
-Calasso who writes of mythology..
 -------------------
+Calasso  writes of mythology..
 This comes from Plato, from the Phaedo. Socrates says that precisely. Within the realm of myth, you wander into this danger zone, and that is the zone of the unknown. What you can do there is, first of all, utter or sing a carmen, a word that is usually translated as “poem” but primarily means “enchantment.” That is the best weapon at our disposal.

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 the sky of the miniature- embedded with a disc of beaten gold with a beaten gold pattern of  beauty, glory, excess. The wall of the compound is the threshold of the human world, watery marks of an ageing wall over which splendid houries fly. the human being on the cot, is a being belongs to the material land of the wall, inhabits those colours, but wears, edging her greys and white, those golden and rich maroon marks as a sign of desire for another world.
 She lies like the quiet moon, in her chambers, the houries are drawn irresistibly to her.
 Calasso who writes of mythology..

@@ Line 1: / Line 1: @@
 M:
-M, you cannot write. N. gather your cards then, they should be 10, and gather your notes. if this is your material for the day- transform it- enter it, rewrite it, stitch into it, work into it.
+M, you cannot write. just take notes. if these few painting postcards are your material for the day, look at it closely, write about it as a way of entering the material.
 Painting 1.
-the woman who lies in her marble bed in marble fur, because that is what that paint does, bridges the distance between the textures of marble and fur.. and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the simple page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated- the page metaphor works. sleeping chambers in marble and furs, in cat greys and cat whites, is the main page, the houries are the margin of the notebook page. Just that the margin is prominent because the Houries are heavenly, the margin is large.
+A royal woman sleeps in her chamber of marble and fur because that is what that paint does, bridges the distance between the textures of marble and fur. She sleeps and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the simple page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated- the page metaphor works. A sleeping chambers in marble and furs, in intricate cat greys and cat whites, is the main page, the houries are the margin of the notebook page. The margin is prominent because the Houries are heavenly beings, the margin is large.
-The heavenly margins of the earthly life, exists across my other painting cards. Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched enough, cloud light watched for hours and then, the clouds and light almost biblically known to the painting arm, can yield cloud beings to life on those massive surfaces, sun on their torso, shade on their groin. The idea of the skies is larger than the idea of the beings and therefore, even with flesh, they can lie on those tremendous clouds.
+The heavenly margins of the earthly life, takes over my other painting card. Tieopolo, a new discovery, from a chance interview read online, of [[Calasso]]. Hill clouds well watched over days, cloud light watched for hours and practiced, till, the clouds and light almost biblically known to the painting arm, now yields cloud beings on those massive surfaces, sun on their torso, shade on their groin. The idea of the skies much more vast and large than the idea of the beings that live among them and so the flesh and bone form of those figures convincingly live among the soft but strong volume of the clouds.
 I did an attempted photoshop, taken up by the conceit that the women houries might be framed against the freewheeling child diving into the skies, head first.. the satan like figure, flying mid space among the hourie spaces
 ..but my image work is merely a desire yet, writing it must be for me, for now.
-the sky of the miniature- embedded with a disc of beaten gold with a beaten gold pattern of excessive beauty and glory. The wall of the compound is the threshold of the human world, watery marks of an ageing wall over which splendid houries fly. the human being on the cots, is quieter flesh, she belongs to the region of the wall, but wears, edging her greys and white, those golden marks as a sign of desire for another world.
 She lies like the quiet moon, in her chambers, the houries are drawn irresistibly to her.

@@ Line 1: / Line 1: @@
 M:
 M, you cannot write. N. gather your cards then, they should be 10, and gather your notes. if this is your material for the day- transform it- enter it, rewrite it, stitch into it, work into it.
-writing about it as a way of transforming
+writing about a painting as a way of entering it, stitching into it, making new material with it.
-the woman who lies in her marble bed in marble fur, because that is what that paint does, bridges the distance between marble and fur.. and the hoories come, wearing qawali caps, in orange and just a bit of bum pink and make a margin around the simple page of the marble boudoir.
+Painting 1.
-marble and fur boudoir as the lined page, the hoorees as the margin, that is not difficult, you can write that much. the margin is not excusing itself, it is an assertive margin. this world that world. calasso interview ( excerpts below)
+the woman who lies in her marble bed in marble fur, because that is what that paint does, bridges the distance between the textures of marble and fur.. and the houries come, wearing qawwali caps, in orange and just a bit of bum pink, the flying women minstrels make a margin around the simple page of the marble boudoir. If the painting is a pattern and the volumes need to be communicated- the page metaphor works. sleeping chambers in marble and furs, in cat greys and cat whites, is the main page, the houries are the margin of the notebook page. Just that the margin is prominent because the Houries are heavenly, the margin is large.
-i try to photoshop the two- the golden! moon of the minature, and below it the falling baby, and around the baby, the houris of the deccan miniature. i am too clumsy at thisyet. writing must be the work.
+Tieoplo's heavens of daylight and the deccan painter's night, and the heavenly beings in both. Tieoplo's beings need no wings, their bodies are made for the playground of the clouds. A baby does a sky dive somewhere..
 -------------------
 This comes from Plato, from the Phaedo. Socrates says that precisely. Within the realm of myth, you wander into this danger zone, and that is the zone of the unknown. What you can do there is, first of all, utter or sing a carmen, a word that is usually translated as “poem” but primarily means “enchantment.” That is the best weapon at our disposal.
@@ Line 24: / Line 26: @@
 excerpts from Calasso interview
 [[Image:Deccan_miniature_painting.jpg]]
 The gods come afterward. In India the gods are latecomers. First there is Prajapati, and we just don’t know who he is—and he doesn’t know either, which is the disquieting point. Then come the rishis, the seers. Then finally come the gods—and they are not taken so seriously. Indra, who is the king of the gods, is made a fool of very often in Indian myths. This happens far more often in Indian lore than for his equivalent in Greek myth. At the end of all are animals and men.

←Older revision		Revision as of 12:54, 5 September 2015
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		+	M:
		+	M, you cannot write. N. gather your cards then, they should be 10, and gather your notes. if this is your material for the day- transform it- enter it, rewrite it, stitch into it, work into it.
		+	writing about it as a way of transforming
		+
		+	the woman who lies in her marble bed in marble fur, because that is what that paint does, bridges the distance between marble and fur.. and the hoories come, wearing qawali caps, in orange and just a bit of bum pink and make a margin around the simple page of the marble boudoir.
		+	marble and fur boudoir as the lined page, the hoorees as the margin, that is not difficult, you can write that much.
		+
		+
		+	i try to photoshop the two- the golden! moon of the minature, and below it the falling baby, and around the baby, the houris of the deccan miniature.
		+
		+
		+
		+	[[Image:Tieopolo.jpg]]
		+	-------------
	This comes from Plato, from the Phaedo. Socrates says that precisely. Within the realm of myth, you wander into this danger zone, and that is the zone of the unknown. What you can do there is, first of all, utter or sing a carmen, a word that is usually translated as “poem” but primarily means “enchantment.” That is the best weapon at our disposal.		This comes from Plato, from the Phaedo. Socrates says that precisely. Within the realm of myth, you wander into this danger zone, and that is the zone of the unknown. What you can do there is, first of all, utter or sing a carmen, a word that is usually translated as “poem” but primarily means “enchantment.” That is the best weapon at our disposal.

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	[http://www.theparisreview.org/interviews/6168/the-art-of-fiction-no-217-roberto-calasso]		[http://www.theparisreview.org/interviews/6168/the-art-of-fiction-no-217-roberto-calasso]
−
−	~~M, you cannot write. N. gather your cards then, they should be 10, and gather your notes. if this is your material for the day- transform it- enter it, rewrite it, stitch into it, work into it.~~
−	~~writing about it as a way of transforming~~
−
−	the woman who lies in her marble bed in marble fur, because that is what that paint does, bridges the distance between marble and fur.. and the hoories come, wearing qawali caps, in orange and just a bit of bum pink and make a margin around the simple page of the marble boudoir.
−	~~marble and fur boudoir as the lined page, the hoorees as the margin, that is not difficult.~~
−
−	~~[[Image:Tieopolo.jpg]]~~