Japan

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Photos : © Thérèse O’Leary  Paintings : © Laurel Vogi You can find other works by Laurel by clicking here or under the ‘life’ tab.

2011 Autumn Tour of Kyoto Gardens, Inland Sea 

and Shodoshima Island

Destination Management and Facebook photos of our trip

Japanese Tutorials

Arriving in Osaka via Hong Kong, Kansai International Airport is located on an artificial island in the middle of Osaka Bay. My flight arrived in the early evening and after a relaxing sleep at the Nikko Kansai Airport Hotel, an enjoyable breakfast and walk around the shops I meet two of my fellow travellers, Susan and Aileen for the bus trip to Kyoto.

Kyoto – an appreciation of feudal life in the city of temples, shrines and gardens of ancient Kyoto with its incredible natural beauty, rich autumn tones and noticable lack of tall buildings.

Day One : Ryoanji, Kinkakuji, Arashlyama, Ginkakuji with its fine examples of ranked sand, stones, ponds and displays of autumn leaves, Philosopher’s Path which follows a small stream overhanging with maples and cherry trees.

Day Two : Flea Market with the work of local artists, second-hand goods and antiques

Saihoji Moss Garden, Gion the famous Geisha Quarter

Day Three : Tofukuji Temple, Vermilion-lacquered Fushimi Inari Shrine, Nara Japan’s ancient capital, Kasuga Shrine, Todaji Temple

Day Four : Nijo Castle, Botanic Gardens

Day Five : Rural Ohara, Sanzenin Temple, Klyomizu Temple spectacularly constructed on huge pole supports on the hill side, Sannenzaka Slope

Day Six : Nanzenji Temple, Helan Shrine & Gardens, Museum of traditional art and crafts, handicrafts centre with woodblock prints, kimono, pottery, cloisonne and books.

Day Seven : MIHO Art Museum, Shigaraki Pottery, Ishlyama Temple, Lake Biwa

Day Eight : Awaji Island, Shikoku Island, Takamatsu, Ritsurin Gardens

Day Nine : Shodoshima Island, Kankaki Gorge, Nakayama Paddy Fields, Cave Temple

Day Ten : Okayama, Korakuen Garden, Bullet Train

Day Eleven : Tour ends in Kyoto

From a Facebook post of my Mum’s very special friend Sumiko Achiwa

ネモフィラガーデン
なんとか間に合いました。
やさしいみず色♪

OLYMPUS DIGITAL CAMERA

sauntering schoolboys

armed to the teeth with iPhones

samurai tourists

© Photograph and poem by Margaret King.  You can read Margaret’s story behind this photo and poem below in the comments.

Nijo Castle

Nijo Castle

Cautious strangers meet
Gold gingko leaves drifting by
Touch departing friends.

© Photograph and poem by Jan Brand.  You can read Jan’s comments below.

People on our trip enjoyed writing and sharing Japanese Haiku and Senryū poems.

HAIKU

Purest of poems, a haiku contains in its seventeen syllables a seasonal allusion as well as a distinct pause or shift.  Cherry blossoms and swallows mean spring; red maple leaves and deer convey autumn.  Nature and its ephemeral beauty – this is haiku.  Japanese woodblock artists have often drawn their water from the same wells of creativity used by haiku poets.  A pleasure boat on a moonlit lake, a dozing bird beside a turning leaf – it sould surprise no one that Bashō, greatest of haiku poets, was an accomplished painter.

Watanabe Seitei (Shōtei) (1851-1918) “Blue Birds at Night” early 20th century

yuyami ni

mi o sagaseruka

eda no tori

 

Birds on the branches

in the evening darkness—

can they find berries?

—Sasabune (contemporary)

Tsuchiya Kōitsu (1870-1949) “Sring Rain at Matsushima” 1936

shima areba

mattsu ari kaze no

oto suzushi

Islands all around

with their pine trees; and the wind–

its sound is cooling

–Shake (1867-1902)

Andō Hiroshima (1797-1858) “Monkey Bridge in Kai Province” 1853-1856

urayamashi

utsukushiu natte

chiru momiji

Coveted by all,

turning into such beauty–

the falling red leaves.

–Shikō (1664-1731)

Nishimura Hodō (active 1930s) “Water Lillies”, c. 1930s

tsuyu akete

hajimete saita

ike no hasu

 

Rainy season ends–

water lilies in the pond

suddenly open.

—Sasabune (contemporary)

3D-Printed Shadow Art Reveals a Hidden Haiku – Drzach & Suchy introduce a new kind of encrypted message.

It is interesting to read that there have been Thirty-two Translations for Matsuo Bashô: Frog Haiku.

Some other projects from Drzach & Suchy included ‘Solar Palm‘ which s a self-sustaining, natural looking palm for both indoor and outdoor use, Eternal Sunshine could Come from Solar-Powered Palm Trees another one is Kermit the Frog Becomes Miss Piggy (Just Add Milk) and also ‘Shadow Fence‘ which on a sunny day a shadow fence casts custom shadows on the ground in front of it,

A couple of interesting books:

Shin Hanga: The New Print Movement in Japan by Barry Till

The shin hanga (“new print”) movement flourished in Japan for almost fifty years after being set in motion and nurtured by publisher Watanabe Shozaburo (1885–1962). Employing the traditional “ukiyo-e quartet”—a production system consisting of artists, carvers, printers, and publishers—shin hanga attracted Western as well as native artists. The studio teams created woodblock prints that updated traditional ukiyo-e (“pictures of the floating world”) prints by including Kabuki actor portraits, “beauties,” and landscapes and other nature themes, often birds and flowers. With lavish illustrations and expert commentary, Shin Hanga: The New Print Movement of Japan details the shin hanga movement and presents splendid reproductions of works by its principal artists.

Haiku: Japanese Art and Poetry Hardcover  by Judith Patt, Barry Till, Michiko Warkentyne 

The strictest and purest of poetic forms, the Japanese haiku contains in its seventeen sound characters a reference to a season as well as a distinct pause or interruption. Cherry blossoms and swallows might refer to spring; red maple leaves and deer usually imply autumn. These seasonal allusions emphasize the essence of haiku: nature and its ephemeral beauty.

The graceful, evocative haiku featured here were composed by the renowned Japanese haiku masters of the past four hundred years, including Matsuo Basho, Taniguchi Buson, and Kobayashi Issa. The deceptively simple poems–rendered in English with Japanese calligraphies and transliterations–are paired with exquisite eighteenth- or nineteenth-century paintings and ukiyo-e prints and twentieth-century shin hanga woodcuts from the Art Gallery of Greater Victoria, Canada. With their depth and delicacy, wide range of subtle hues, and time-honored focus on landscapes, birds, and flowers, these artworks–like their haiku counterparts–quietly capture a moment in time.

Haiku: Japanese Art and Poetry presents thirty-five pairs of poems and images, organized seasonally. The Introduction details the origin and development of haiku, the lives of the most famous poets, and the obstacles faced when translating the concise yet complex lines.

Hokusai: beyond the Great Wave

If your visiting Sydney and love Japanese Gardens there is one at the Auburn Botanical Gardens. There are also kangaroos and peacocks to see.

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Lesley Kehoe Galleries – Japanese Art, Melbourne

Pictures: Japanese Life Recreated With Lego

YHA Magazine with an article on Japan – link

Working a winter snow season in Japan

Eda-Tokyo Museum  江戸東京博物館

The Metropolitan Edo-Tokyo Museum opened its doors in March 1993 as a space to reflect on the history and culture of Edo-Tokyo and envision the city and life of the future. Housed in a unique building modeled after an elevated-floor type warehouse, the museum has been a landmark and popular tourist attraction in Tokyo since its opening.

The permanent exhibition, showcasing original objects and replicas, offers visitors a journey through the 400-year history of Edo-Tokyo since Tokugawa Ieyasu entered Edo. In addition to the permanent exhibition, the museum holds special exhibitions at the first floor gallery five to six times a year and carries out various other events, including lectures and workshops on the history and culture of Edo-Tokyo.

We hope that the museum can be Tokyo’s center for the creation of new culture and a place of respite for visitors.

Ghibli Museum, Mitaka

Real Japanese Gardens

Japan’s finest gardens can be found in Kyoto, Kamakura and Tokyo – The cities have been capitals and centers of Japanese culture and religion for centuries. The gardens, temples, palaces with world-famous gardens have seen times of war, devastating fires, earthquakes and survived until today for you to enjoy.

JGSDF PR centre 

This is a facility where you can learn more about the Ground Self-Defense Force, which provides experiences you have little opportunity to encounter in everyday life.

Nezu Museum  (根津美術館)

The Nezu museum is a private collection of Japanese and Asian art – from calligraphy to painting, ceramics and textiles. The industrialist and president of the Tobu railway company, Nezu Kaichiro was an avid art collector. The site of the museum and garden used to be his private residence, which he bought in 1906. After his death in 1940, his son founded the museum to preserve the collection. In World War II however, the museum and gardens were severly destroyed.

The hilly garden has two ponds that are connected by small streams. Upon every turn of the numerous winding paths, you can see a new garden lantern, memorial stone, Buddha or Kan’non statue. The garden also has some well-preserved tea houses. Near the main building, you can find a modern cafe. The wide window front on three sides let’s you enjoy the garden while having a light lunch or coffee and cake.

Nezu Museum

The Nezu Museum was founded to conserve and exhibit the collection of pre-modern Japanese and East Asian art that Nezu Kaichirō (1860-1940) had passionately built. Kaichirō, a businessman whose career included being president of the Tōbu Railway Co., Ltd., was born in Yamanashi and became interested in art early in life. Upon moving to Tokyo in 1898, he displayed his abilities as a businessman and politician and expanded his field of activities to include education as well. Becoming an enthusiastic practitioner of the “way of tea” further spurred his enthusiasm for collecting, and his daring, bold approach became almost legendary. Moreover, Kaichirō did not view his collection as a private treasure trove but wish to share its enjoyment with the general public.

teamLab

teamLab is a collaborative, interdisciplinary creative group that brings together professionals from various fields of practice in the digital society: artists, programmers, engineers, CG animators, mathematicians, architects, web and print graphic designers and editors. Referring to themselves as “Ultra-technologists,” their aim is to achieve a balance between art, science, technology and creativity.

NATIONAL GALLERY VICTORIA  HOKUSAI Exhibition 21 July – 15 Oct 2017

Katsushika Hokusai is regarded as one of the most influential and creative minds in the history of Japanese art. His unique social observations, innovative approach to design and mastery of the brush made him famous in Edo-period Japan and globally recognised within a decade of his death.

“From the age of six I had a mania for drawing the forms of things.

By the time I was fifty I had published an infinity of designs; 

but all I produced before the age of seventy is not worth taking into account. 

At seventy-three I learnt a little about the real structure of nature, 

of animals, plants, trees, birds, fish and insects. 

Consequently, when I am eighty I shall have made still more progress;

at ninety I shall penetrate the mystery of things;

at one hundred I shall certainly have reached a marvellous stage;

when I am one hundred and ten everything I do, be it a dot or a line, will be alive.

I beg those who live as long as I to see I keep my word.”

10 -15 February 2014

Tearing the Mask, NIDA – An exploration of Japanese Performance introduced by Richaqrd Emmert and Jeff Janisheski.

A unique beauty of the Japanese artforms Noh, Butoh and Kabuki with rarely seen films and documentaries.  Screened on a traditional Noh stage set in the Parade Atrium which is a covered outdoor amphitheatre. I was able to see some of these films.

‘Seami and the Noh  Theatre’  1991

‘Noh drama is one of the world’s great classical theatre genres. Although often compared to ancient Greek theatre for its use of masks, chorus and music, Noh theatre is unique.

Handed down over the centuries, it remains a vital performing art to this day. Its present form, which is a combination of two earlier types of performance known as ‘Sarugaku’ and ‘Dengaku’, was realised by Kannami in the 14th century. But it was his son, Zeami, who honed and perfected it into the highly refined structure it achieved and has retained up to the present.

Zeami’s life was a long and eventful one. It was a life that ranged from early, dazzling success at court to lonely exile in old age. Yet through it all he continued to write – not only plays that are popular and still performed, but essays and treatises on the art and concept of Noh drama itself.

Featured in this film are highlights from five representative Noh plays. Reflecting the very essence of Noh are the stately warrior play ‘Kiyotsune’ by Zeami; the moving ‘Jinen Koji’ by Kannami, his father; and the elegant ‘Izutsu’, the sad ‘Kinuta’ and the dynamic ‘Toru’, all also by Zeami.

Noh theatre reflects the pathos and depth of the human condition and mirrors the sorrows and aspirations of us all.’

‘The Noh Mask ‘ 1987

Outstanding Noh masks have played a major part in the perfection of Noh, a form of theatre that describes the world of the mind. This film shows the beauty of the masks and the role they play during performances, when the expressions they convey reflect delicate shades of emotion.

The Noh play ‘Aoi-no-Ue’ is introduced, which portrays the intense jealousy suffered by a woman. The deigan mask, used in the first half, depicts dignity struggling against anguish; the hannya (demon) mask, used in the second half, depicts anger and sadness.

The film shows different types of masks, and commentary is given on dramatic presentation and the choice of masks for specific roles.’

Noh Dōjōji [The Dōjōji Temple – A Noh Play]

‘This film shows the full performance of Dōjōji, one of the most dramatic plays in the classical Japanese Noh repertory, bookended by highlights from two other performances of the same piece.

A legend tells of a yamabushi mountain priest who, during his travels, often visited the home of a man who had a young daughter. The father once jokingly told his daughter that when she grew up she would marry a priest, and she innocently believed him. Time passed, and the priest visited several years later. The daughter, now being older, chided him for not claiming her as his wife. The priest rejected her, and when she became enraged, he ran away to Dōjōji Temple and asked to be hidden from her. The priests lowered a huge temple bell and hid him in it. The girl followed him, but was caught at the flooding Hidaka River without a boat to cross over. Jealous rage transformed her into a serpent. The serpent swam across the river, found the lowered bell at the temple and lashed itself around it. The bronze bell grew hot and the priest was roasted alive inside.

The Noh play begins many years later. The above incident has been almost forgotten and the temple is at last dedicating a new bell to replace the one destroyed many years before. Though ordered by the chief priest not to let any women into the temple for the ceremony, the temple servants allow a shirabyōshi dancer to enter since such performers typically perform dressed as men. The dancer promises to dedicate a dance for the new temple bell. The woman is in fact the jealous spirit of the serpent-woman. After her long dance, she leaps into the new bell, bringing it down. The chief priest is informed and he relates the old story of the serpent-woman demoness. As she appears from under the bell in her true form, the priests confront her with prayers by rubbing their rosaries until she is finally subdued.

This is a special play in the Noh repertory in that it is considered the ‘graduation ceremony’ of a professional Noh actor. Participation in this play generally leads to acceptance as a full member in the Noh-performing world.’

‘Traditional Japanese Culture: Kabuki’ 1997

‘The Edo Stage: Kabuki and Bunraku’ 1982

‘Like the theatre of other cultures, Kabuki and Bunraku reflect the society in which they were born – its morality, dreams and changes. In the case of Japan, the mid-to-late Edo period was a time of deep-seated dissatisfaction with feudal morality, and Kabuki and Bunraku plays echo the growing power and consciousness of the common people.

This film features extracts from two plays, ‘Sukeroku yukari no Edozakura’, a Kabuki comedy, and ‘Sonezaki shinju’, a tragedy written for Bunraku by the great playwright Chikamatsu Monzaemon. These plays reflect both the laughter and tears of Edo-period Japan.’

The Lovers’ Exile: The Bunraku Puppet Theatre of Japan 1980

The Lovers’ Exile features the incomparable Bunraku Theatre of Japan: the world’s most sophisticated puppet theatre. For those unfamiliar with Bunraku, the spectacular staging and emotive power of the puppet handling, music and narrative will be a revelation.The Lovers’ Exile is an adaptation of ‘Meido no Hikyaku (The Courier for Hell)’ by Chikamatsu Monzaemon.

The Lovers’ Exile was filmed in 1979 at Daiei Uzumasa Studios, Kyoto, on a specially constructed Bunraku stage, and performed by all the major Bunraku masters of the day, many of whom were National Treasures, or who obtained such designation later. Appearing are Takemoto Koshijdayu, Takemoto Mojitayu (now Sumitayu), Takemoto Oritayu (now Tsunatayu), Tsuruzawa Enza (5th), Tsuruzawa Seiji, Nozawa Kinshi (4th), Yoshida Tamao, Yoshida Minosuke, Yoshida Bunjaku and Kiritake Kanjuro (2nd) – the greatest Bunraku stars of the Showa era.’

‘Butoh: Piercing the Mask’ 1991

‘In the early 1960s Butoh dance exploded onto the Japanese stage. The shockwaves ripped the Japanese dance community apart and shattered stereotypical images of the Japanese people. Sexy, violent, humorous and nihilistic, Butoh confronted Japanese society, ridiculing and mocking traditional conventions of beauty and behaviour. This documentary pierces the mystery and mystique of a dance movement adored by the West and largely ignored by the Japanese. It uses archival and modern footage of leading Butoh performers – Dairakudakan, Hakutobo, Kazuo Ono – and interviews with Butoh specialists to throw light on the essential Butoh themes of darkness, violence and eroticism to get to the core of the nature of Butoh.

Going beyond its examination of Butoh as dance, Butoh: Piercing the Mask, delves into the relationship between culture and society. It portrays Butoh as a primal scream, uttered at a time when the post-war invasion of Japan by Western cultural and social conventions forced artists to re-invent their own identity. It raises questions about the Japanese people by revealing connections between some of the darker aspects of Butoh and Japanese culture. It examines Butoh’s relationship to contemporary life against the backdrop of modern Tokyo.’

‘Butoh: body on the Edge of Crisis’ 1990

‘Although Butoh is often viewed as Japan’s equivalent of modern dance, in actuality it has little to do with the rational principles of modernism. Butoh is a theatre of improvisation which places the personal experiences of the dancer on center-stage. The dancer is used as a medium to his or her inner life, but not for the portrayal of day to day existence. A Dionysian dance of nudity, eroticism, and sexuality, Butoh’s scale of expression ranges from meditative tenderness to excessive grotesqueness. By re-establishing the ancient Japanese connection of dance, music, and masks, and by recalling the Buddhist death dances of rural Japan, Butoh incorporates much traditional theatre. At the same time, it is a movement of resistance against the abandonment of traditional culture to a highly organized consumer-oriented society. An alliance of tradition and rebellion, Butoh is one of the most fascinating underground dance movements. Butoh: Body on the Edge of Crisis is a visually striking film portrait shot on location in Japan with the participation of the major Butoh choreographers and their companies.’

Talks and Demonstrations

Lynne Williams, Director/CEO, NIDA
Jeff Janisheski, Head of Acting, NIDA
Richard Emmert, Professor of Asian Performing Arts, Musashino University, Japan
Yukio Waguri, Artistic Director, Kohzensha Butoh Company, Japan
Allan Marett, Emeritus Professor of Musicology, University of Sydney

above copy from NIDA web site

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15 responses

  1. mary wente-lindsay

    WOW! I love it!! You have some great pictures and having the temple or location name right on the image is wonderful tool!
    Thanks for sharing and have a wonderful trip to Mongolia! Mary

    May 18, 2012 at 9:23 PM

    • Hi Mary,
      Pleased you liked the pictures from our trip, it was a great group and a trip with lots of happy memories. I wish it could have been longer. Mongolia was amazing and a completely different experience from Japan. I loved the Gobi desert, the wide open spaces and being part of their culture for a short time. I experienced and learn’t so much about a country and its people that we do not hear or see very much about. I have put some photos and drawings with some information about the trip by clicking here or under ‘travel>asia>mongolia’. Enjoy.
      Cheers,
      Therese

      October 22, 2012 at 11:09 PM

      • Jan

        Hi Therese,
        Great photos…hmmm… wonderful memories of an excellent trip with a great group of like minded people. Laurel’s paintings are superb. Many thanks for alerting me to your website. What creative extended family and friends you have! Cheers Jan
        http://www.womensvirtualwalkingclub.com/

        December 24, 2012 at 11:56 AM

  2. S.Del Carmen.S

    Hi Therese ! beautiful, I love it.
    Leo & Sabina

    December 24, 2012 at 3:44 PM

  3. Hilary O'Leary

    Hi Therese,
    Our trips to Canberra’s flower show (Floriade), all around Tasmania and Japan have been all great in themselves, yet different in content. Hilary, Me and Mum. Dec 25.12.12 at 4:08 PM.

    December 25, 2012 at 5:11 PM

    • Hi Mum,
      Yes and where to next?
      Love,
      Therese

      December 30, 2012 at 2:21 AM

  4. Brigitte

    Hi Therese,
    Stunning pictures .. I’m always in awe of the beauty and tranquility emanating from Japanese gardens. Your trip must have been rewarding, it seems you packed a lot of sights into it!
    Thanks for sharing your experiences.
    Brigitte from Paris

    December 29, 2012 at 11:10 PM

    • Hi Brigitte,
      Yes, everywhere we went there was something amazing to look at and experiencing. So much to take in, in such a short amount of time. Having a great group of fellow travellers certainly was a big part of it. Destination Management did a wonderful job looking after every detail and making sure our trip included as much as we could manage and I think everyone wanted more. Mum has done several trips with them and I can only imagine what the spring and winter might be like. Laurel, who did the paintings is doing another trip with them and I cannot wait to see her paintings. Japan might be a nice change from Paris.
      Therese
      http://www.toursgallery.com/index.htm

      December 30, 2012 at 2:18 AM

  5. Chris and Laurel have been back to Japan, I found their photo on one of Ken’s newsletters, facebook link. No secrets anymore.
    It was a small group of 10 and I understand our group was the best. I loved that bit, I enjoyed our group too. Some comments from Laurel’s eamil

    “This trip was an indepth immersion into Japanese “things” so we experienced an amazing Bonsai garden, a fabulous glass museum at Hakone (apparently there are lots of amazing little museums at Hakone and this one was Venetian glass), a stunning Kimono museum that featured the work in Shibori of one man, an amazing Begonia greenhouse (it must have covered over an acre or two, and included an owl breeding facility with about 50 different owls from all over the world) and lots of beautiful views including Mount Fuji and Cherry Blossoms. While the Cherry Blossoms were stunning, as Hillary had said, I think I prefer some of the Autumn scenes. But maybe that’s a toss-up. ”

    “Ken and Mayumi were wonderful guides, as usual.” ” We did see snow on Cherry blossoms as the weather turned quite cold at one point. You’ll notice that we all had on lots of layers in the photo.”

    “We were in Kyoto for 4 days before the tour began and we stayed at the Rihga Royal Hotel during that time. We went back to a few places we had been to before and tried some new ones. We both like Heian and Tenryuji and wanted to see them at a different time of year. We visited Myoshin Shrine and saw weeping cherry trees there, and there were only a few other people. Very delightful. That must be why I planted 2 weeping cherry trees when we got back. The deer have trimmed one so it no longer weeps and I’ll have to see if it recovers. We also spent 4 extra days in Tokyo. Saw some museums and temples but it is such a big city that it would take years to see everything.”

    I think this link will work to find the photos on Ken’s Destination Management facebook page, Great photo.

    June 20, 2013 at 9:28 PM

  6. From Therese re “samurai schoolboys”:
    I thought your poem might be a Haiku and was chatting with Mum about it. I have updated the web credit with your poem being a Senryuu, hope that is right.
    From Margaret:
    I would defer to Hilary on all such matters. My word pictures were a way of capturing images and emotions while we were travelling – more vivid and personal in a way than photos. The 5-7-5 structure is a discipline to shape words; I don’t strictly follow the haiku ideals.

    One evening in Kyoto, exploring with Yevgeny, he took me to a beautiful square temple in a courtyard, not far from the main shopping street, but almost deserted. Two tiers of white lanterns were hung around the perimeter. It was breathtakingly simple. But when I turned around, a crescent moon was just about to sink into the silhouette of a pine tree.

    silver crescent moon
    lying on a bed of pines
    but lying to me

    Maybe closer to haiku form, but still personal: a dear friend who had grown up in Hungary, with a classical education, had been taught, in Latin, the “the moon lies” because when it looks like a C in the sky it was in fact waning, or decrescendo; when it looks like a D it was waxing, or crescendo, so the moon lies. Akos was delighted to find when he came to Australia that the moon didn’t lie! Waxing moons have a C shape in the southern hemisphere.
    But here in Kyoto, I was seeing a moon that was “lying” to me, and couldn’t resist the double meaning. I didn’t have my camera with me
    that night, but the image is so firmly fixed in my memory – words and image melded. Do the words evoke an image in your mind? Or does it require the visual experience first?

    January 23, 2014 at 9:17 PM

  7. Jan Brand

    Hi Therese,
    Margaret seems to have a wonderful knack for capturing the moment. Great!
    Its a lovely thought, about the moon so I could not resist adding this phrase from Chinese poet Yu Liangshi. “When I scoop up the water, I hold the moon in my hands It was on a sign outside a tea house we visited dd 1745.

    Following is my effort. I’ve sent the photo to you by email; as suggesed

    Cautious strangers meet
    Gold gingko leaves drifting by
    Touch departing friends.

    Cheers Jan

    January 28, 2014 at 4:06 PM

    • grannymargaret

      _____

      From: a & m king [mailto:margarth@netspace.net.au] Sent: Tuesday, 28 January 2014 10:08 PM To: ‘Therese O’Leary’ Subject: RE: [New comment] Japan

      You are the catalyst for sharing memories with friends! Great images from Jan.

      42 degrees here today, so not much mental reserves left always hoping for the cool change so we can sleep and recover.

      M

      _____

      January 30, 2014 at 10:28 PM

  8. Aileen Wood was on our trip in 2011, she is dedicated to the identification of cultivated plants and has a plant named after her in recognition of work. It is the Eremophila woodier, a desert shrub. When I googled it I found this info:

    Eremophila, family Scrophulariaceae

    The genus Eremophila is endemic to Australia and has over 200 species occurring across the landscape. The new species, Eremophila woodiae, is a small resinous shrub with densely crowded linear leaves and purple tubular flowers. It is endemic to a small area in western central Queensland, but is locally common. Described by Mark Edginton and named in honour of Aileen Wood.

    and this web site

    https://www.qld.gov.au/environment/plants-animals/plants/new-plants/

    Fantastic and well done.

    December 26, 2015 at 12:01 PM

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