로사의 집

로사의 정원 소품전-5

Sat, 07 Nov 2009 09:02:49 +0900

이로사 l ROSA LEE

풍로초/200*200mm

Oil Colors on the Canvas/2009

어느 봄날인갑다

디딤판 사이로 소복이

함박 웃음으로 날 쳐다보더라

나도 따라서

방그레 웃어 본

머언 봄날의 이야기더라

ROSA

High Park in Toronto

Fri, 30 Oct 2009 12:31:03 +0900

습기 가득한 날

가을이 다 가기전에
그곳에 가보리다

가을이 이런거였구나

그냥....혼자서
가을속으로 걷노라니 좋았다
노래도 불렀다

고요히 내 혼자만 들리게 불렀는데
어떤 할아버지가
내게 속삭여주고 간다

"오늘, 너의 허밍뮤직이 나를 너무나 행복하게 했다!"

아,,,,나도 그 할아버지의 속삭임에
하루종일 행복했다

!!!

가을....로사

문앞의 한련화

Fri, 30 Oct 2009 11:00:42 +0900

아직
남은

가을
햇살속에

그대

온전하게
있더이다

in the
- Lodge Garden -

ROSA

Renata Tebaldi
Piano, Giorgio Favaretto

Navajo Indians

Thu, 29 Oct 2009 09:51:38 +0900

NAVAJO INDIANS

Navajo, or Dine -they call themselves, is the

largest tribe of North American Indians. Long

ago, the ancestors lived in Northwestern Canada
and Alaska. Over 1,000 years ago they began

to travel south and reached the southwestern

United States. They met farmers who are

known as Pueblo Indians, and the Navajo began

to settle near them and learn from them. The

Navajo learned how to plant corn, beans,

squash, and melons. The Navajo also began to

learn a similar style of weaving, making clothing

and art from the Pueblo Indians.

The Navajo Indians lived in homes called

hogans. They are made from wooden poles,

tree bark, and mud. The doorway opened to

the east so they could welcome the sun.

After the Spanish settled in the 1600’s, the

Navajo began to steal sheep and horses from

them. The Navajo started to use the animals in

their daily life. They used the sheep for its wool
to make clothes, blankets, and rugs. They also

used the sheep for food. They used the horses
to travel longer distances and also used them to
begin trading. The Navajo began making items

to trade in towns. There were also trading

posts built on reservations to sell their handmade
crafts, such as pottery and blankets.

The Navajo reservation is currently the largest in

the United States.

It has over 140,000 people

with 16 million acres most of which are in

Arizona.

They still weave from wool and use

natural vegetable dyes for color.

Today, people

live like the old days the best they can with the

modern lifestyle, but others use modern

technology to live.

Homepage

Matsuo Basho's poem

Thu, 29 Oct 2009 09:07:15 +0900

The old pond;
the frog
Plop!

As for that flower
By the road_
My horse ate it!

First day of spring_
I keep thinking about
the end of autumn

-Matsuo Basho-
Haiku (a form of Japanese poetry )

Matsuo Basho (1644-1694) was one　 of the greatest Japanese poets. He elevated haiku to the level of serious poetry in numerous anthologies and travel diaries.

The name of Matsuo Basho is associated especially with the celebrated Genroku era (ca. 1680-1730), which saw the flourishing of many of Japan's greatest and most typical literary and artistic personalities. Although Basho was the contemporary of writers like the novelist and poet Ihara Saikaku and the dramatist Chikamatsu Monzaemon, he was far from being an exponent of the new middle-class culture of the city dwellers of that day. Rather, in his poetry and in his attitude toward life he seemed to harken back to a period some 300 years earlier. An innovator in poetry, spiritually and culturally he maintained a great tradition of the past.

The haiku, a 17-syllable verse form divided into successive phrases or lines of 5, 7, and 5 syllables, originated in the linked verse of the 14th century, becoming an independent form in the latter part of the 16th century. Arakida Moritake (1473-1549) was a distinguished renga (linked poem) poet who originated witty and humorous verses he called haikai, which later became synonymous with haiku. Nishiyama Soin (1605-1682), founder of the Danrin school, pursued Arakida's ideals. Basho was a member of this school at first, but breaking with it, he was responsible for elevating the haiku to a serious art, making it the verse form par excellence, which it has remained ever since.

Basho's poetical works, known as the Seven Anthologies of the Basho School (Basho Schichibushy), were published separately from 1684 to 1698, but they were not published together until 1774. Not all of the approximately 2, 500 verses in the Basho anthologies are by Basho, although he is the principal contributor. Eleven other poets, his disciples, also contributed poems. These anthologies thus reflect composition performed by groups of poets with Basho as the arbiter of taste, injecting his comments on the poems of others, arranging his works in favorable contrast to theirs, and generally having the "last word." It was understood that he was the first poet of his group, and he expected a considerable amount of deference.

Early Life and Works

Basho was born in 1644 in Ueno, lga Province, part of present-day Mie Prefecture. He was one　 of six children in a family of samurai, descended it is said from the great Taira clan of the Middle Ages. As a youth, Basho entered feudal service but at the death of his master left it to spend much of his life in wandering about Japan in search of imagery. Thus he is known as a traveler as well as a poet, the author of some of the most beautiful travel diaries ever written in Japanese. Basho is thought to have gravitated toward Kyoto, where he studied the Japanese classics. Here, also, he became interested in the haiku of the Teitoku school, which was directed by Kitamura Kigin.

In 1672, at the age of 29, Basho set out for Edo (modern Tokyo), the seat of the Tokugawa shoguns and defacto capital of Japan. There he published a volume of verse in the style of the Teitoku school called Kai-Oi. In 1675 he composed a linked-verse sequence with Nishiyama Soin of the Danrin school, but for the next 4 years he was engaged in building waterworks in the city to earn a living. Thereafter, generous friends and admirers made it possible for him to continue a life devoted to poetic composition, wandering, and meditation, though he seems to have been largely unconcerned with money matters.

In 1680, thanks to the largesse of an admirer, Basho established himself in a small cottage at Fukagawa in Edo, thus beginning his life as a hermit of poetry. A year later one　 of his followers presented him with a banana plant, which was duly planted in Basho's garden. His hermitage became known as the Hermitage of the Banana Plant (Basho-an), and the poet, who had heretofore been known by the pen name Tosei, came increasingly to use the name Basho.

The hermitage burned down in 1682, causing Basho to retire to Kai Province. About this time it is believed that Basho began his study of Zen at the Chokei Temple in Fukagawa, and it has often been assumed erroneously that Basho was a Buddhist priest. He dressed and conducted himself in a clerical manner and must have been profoundly motivated by a mystical faith. Whatever experiences of tragedy or strong emotion that he suffered seem to have enlarged his perception of reality. His vision of the universe is implicit in all his best poems, and the word zen has often been applied to him and his work. His work and later life certainly could not be called worldly.

Travel Diaries

In 1683 the hermitage was rebuilt and Basho returned to Edo. But in the summer of 1684 Basho made a journey to his birthplace, which resulted in the travel diary The Weatherbeaten Trip (Nozarashi Kiko). That same year he published the haiku collection entitled Winter Days (Fuyu no Hi). It was in Winter Days that Basho enunciated his revolutionary style of haiku composition, a manner so different from the preceding haiku that the word shofu (haiku in the Basho manner) was coined to describe it.

Winter Days, published in Kyoto, was compiled under Basho's direction by his Nagoya disciple Yamamoto Kakei. Basho, wintering at Nagoya on his trip home to lga, had summoned his disciples to compose a haiku sequence inspired by the season. Basho set the tone for the sequence by using the words "wintry blasts" in the first poem. The progress of the seasons was one　 of the main inspirations for the anthology, putting it in tune with the cosmic process. Nature, the understanding of its beauty and acceptance of its force, is used by Basho to express the beauty which he observes in the world. Basho enunciates the abstract beauty, yugen, which lies just behind the appearance of the world. The word yugen may be understood as the inner beauty of a work of art or nature which is rarely apparent to the vulgar. And the apprehension of this beauty gives the beholder a momentary intimation, an illumination, of the deeper significance of the universe about him. This view of the universe, while not original with Basho, was in his case undoubtedly inspired by some previous experience.

In 1686 Spring Days (Haru no Hi) was compiled in Nagoya by followers of Basho, revised by him, and published in Kyoto. There is an attitude of refined tranquility in these poems representing a deeper metaphysical state. The anthology contains one　 of the most famous of all Basho's haiku verse: "An old pond/ a frog jumps in - / splash!" There has been much speculation on the significance of this verse, which has captured the fancy of many generations of lovers of Japanese poetry. But even the imagery alone can be appreciated by many different people at a variety of levels. Composition within the delicate confines of haiku versification definitely sets Basho off as one　 of the greatest mystical poets of Japan. The simplicity it exhibits is the result of the methodical rejection of much complication, not the simplicity with which one　 starts but rather that with which one　 ends.

In the autumn of 1688 Basho went to Sarashina, in present-day Nagano Prefecture, to view the moon, a hallowed autumn pastime in Japan. He recorded his impressions in The Sarashina Trip (Sarashina Kiko). Though one　 of his lesser travel diaries, it is a kind of prelude to his description of a journey to northern Japan a year later. It was at this time that Basho also wrote a short prose account of the moon as seen from Obasute Mountain in Sarashina. The legend of the mountain, where an old woman was abandoned to die alone, moved him also to compose a verse containing the image of an elderly woman accompanied onl　y by the beautiful moon of Sarashina.

The Journey to Ou (Oku no Hosomichi) is perhaps the greatest of Basho's travel diaries. A mixture of haiku and haibun, a prose style typical of Basho, it contains some of his greatest verses. This work immortalizes the trip Basho made from Sendai to Shiogama on his way to the two northernmost provinces of Mutsu and Dewa (Ou). This diary reflects how the very thought of the hazardous journey, a considerable undertaking in those days, filled Basho with thoughts of death. He thinks of the Chinese T'ang poets Li Po and Tu Fu and the Japanese poets Saigyo and Sogi, all of whom had died on journeys.

Setting out early in the spring of 1689 from Edo with his disciple Kawai Sora, Basho traveled for 5 months in remote parts of the north, covering a distance of some 1, 500 miles. The poet saw many notable places of pilgrimage, including the site of the hermitage where Butcho had practiced Zen meditation. The entire trip was to be devoted to sight with historical and literary associations, but Basho fell ill and again speculated on the possibility of his dying far from home. But he recovered and continued on to see the famous island of Matsushima, considered one　 of the three scenic wonders of Japan.

He proceeded to Hiraizumi to view ruins dating from the Heian Period. On the site of the battlefield where Yoshitsune had fallen, Basho composed a poem: "A wilderness of summer grass/ hides all that remains/ of warriors' dreams." In the province of Dewa he was fortunate enough to find shelter at the home of a well-to-do admirer and disciple. Passing on to a temple, Risshakuji, Basho was deeply inpired by the silence of the place situated amidst the rocks. It occasioned the verse which some consider his masterpiece: "Stillness!/ It penetrates the very rocks - / the shrill-chirping of the cicadas."

Crossing over to the coast of the Sea of Japan, Basho continued southwest on his journey to Kanazawa, where he mourned at the grave of a young poet who had died the year before, awaiting Basho's arrival. He continued to Eiheiji, the temple founded by the great Zen priest Dogen. Eventually there was a reunion with several of his disciples, but Basho left them again to travel on to the Grand Shrine of Ise alone. Here the account of this journey ends. The work is particularly noteworthy for the excellence of its prose as well as its poetry and ranks high in the genre of travel writing in Japanese literature. Basho continued to polish this work until 1694; it was not published until 1702.

Mature Works

In 1690 Basho lived for a time in quiet retirement at the Genju-an (Unreal Dwelling) near Lake Biwa, north of Kyoto, and he wrote an account of this stay. Early in 1691 he stayed for a time in Saga with his disciple Mukai Kyorai.

As for his poetry, Waste Land (Arano) had been compiled by the disciple Kakei and published in 1689. It is the largest of the anthologies and contains a preface by Basho in which he characterizes his preceding anthologies as "flowery" and henceforth establishes a new standard of metaphysical and esthetic depth for haiku. The Gourd (Hisago) was compiled by the disciple Chinseki at Zeze in the province of Omi in 1690. It foreshadows in its excellence the mature and serious versifying which was to be the hallmark of the anthology The Monkey's Raincoat (Sarumino) in 1691. Compiled by Basho's disciples under his attentive supervision, The Monkey's Raincoat is composed of a judicious selection of haiku from the hands of many poets. It was while Basho was staying at the hermitage in Omi during the spring and summer of 1690 that the compilation was made. The Monkey's Raincoat contains some of Basho's own finest and essential haiku. This anthology, which may be compared with the finest anthologies in the history of Japanese literature, is arranged according to the four seasons. The title is taken from the opening verse by Basho, a poem of winter: "First cold Winter rain - / even the monkey seems to want/ a tiny raincoat." Basho leads the contributors with the largest number of poems, followed by Boncho and Kyorai. But all the verses conform to Basho's tastes. The poems are linked by a subtle emotion rather than by a logical sequence, but they belong together.

In the late fall of 1691 Basho returned to Edo, where a new Banana Hermitage had been built near the site of the former one　, complete with another banana plant in the garden. For the next 3 years Basho remained there receiving his disciples, discussing poetry, and helping in the compilation of another anthology, The Sack of Charcoal (Sumidawara) of 1694. The reason for the title, according to the preface, is that Basho, when asked if such a word could be used in haiku poetry, replied that it could. This anthology, together with its successor, The Sequel to the Monkey's Raincoat (Zoku Sarumino), exhibits the quality of Karumi, or lightness, an artistic spontaneity which is the fruit of a lifetime of poetic cultivation. It is a kind of sublimity reached by a truly great poet and cannot be imitated intellectually. The Sequel to the Monkey's Raincoat in 1698, appearing 4 years after Basho's death, is concerned with the seasons, traveling, and religion. It contains some of Basho's last and most mature poems.

In the spring of 1694 Basho set out for what was to be his last journey to his birthplace. At Osaka he was taken ill. Perceiving that he was near his end, Basho wrote a final poem on his own death: "Stricken while journeying/ my dreams still wander about/ but on withered fields."

가을의 뜨락에서-2

Mon, 26 Oct 2009 11:28:16 +0900

인디언 썸머 덕분에
지난 한주는 포근하게 지내고
주말...금욜저녁부터 비가 내려서,,,썰렁했는데
오늘...일욜아침부터 햇빛이 쨍쨍 비추더랍니다.

늦잠 길게 자고 일어나서
정원으로 나가니....낙엽들이 싸각싸각거립니다.

집입구의 낙엽들만 긁어모아 정리하고....야~~들은
가을의 악세사리로 그냥 둘 수밖에 없습니다.

올리브님네 김치 담는데...훌륭한 어시스트 노릇을 하고...조금 남은 힘으로
열심히 무우을 썰었습니다.

남푠님이...소포 보내는데,뭐가 먹고싶냐고 묻늘걸...무우말랭이라고 했더니
도무지 왜 그게 먹고 싶은지 이해가 안가는 모양입니다.
참 이상하다...그게 왜 먹고 싶냐???.......나도 모르지!!
생전 좋아하지도 않던 무우말랭이가....실은 한국마트에서 빨갛게 무친 무말랭이를
보는 순간....필이 꽂힌 거지요!!ㅠㅠ

그래서...팔이 아푸도록 썰어서 말리고 있습니다.
올리브님네랑 우리랑....아무래도 애들은 먹지 않을거고
어른들만 먹겠지요!!

우리의 저장식품을 뿌듯하게 바라보며....올리브님의 겉절이와 로사의 무김치와
그리고 우리 빈이 좋아하는 두부구이...그리고 칼슘의 왕 멸치조림으로
아마도 올해의 마지막 야외 오찬이 아니었나 싶네요.

충무김밥을 추억하며...요런 형태로 모양을 냈는데....먹어보면
기절할지도 모릅니다.

커피가 동이 나도록 마셔대는....아, 모든 것이 다 있을지언정
커피가 빠지면...어찌

가을하늘이 아무리 아름다운들
낙엽소리가 아무리 이뿐들....무슨

커피
가득가득
칸타타타타

아.....가을 하늘은 정말 높고 푸르구나!!

오늘도

즐거운 하루였습니다!!

ROSA

Corey's Diary-Sharon D Wyeth

Sat, 24 Oct 2009 22:26:52 +0900

Corey's Diary

1부 Freedom's wings 1857
2부 Flying Free 1858

by Sharon Dennis Wyeth

빈에게 읽힐려고
얼라들이 읽는 책을 두권 빌려와서
내가 먼저 들고 앉아 읽었다

이 책을 집어 든 이유중에 하나는....'켄터키 옛집에 햇빛 비추니
여름날......#%^#^&&......'
포스터의 미국가곡이 추억스럽고
그리고 흑인친구들의 조상들에 대해서...빈이도 알아야 할 것같고
또 표지속의 흑인소년이
너무 잘 생겼고...그런저런 이유였었지.

그리고 캐나다가
멀티컬츄어의 나라이니,
온갖 나라에 대해서,온갖 민족에 대해서
두루두루 알아야되지 않나.
우크라이나,이란,유럽피언,러시안,차이니즈

흑인소년 Corey의 가족이 켄터키의 노예생활에서
자유의 땅 캐나다로 탈출하여
정착하기까지의 여정을 일기로 적은 내용이다.

아홉살의 나이에서부터
글을 배워나가며 쓴 일기에는
오자마저도 사랑스럽고,가슴저미는 감동이
책 1부에 가득하다.

인간이 인간을 같은 인간으로 대우하지 않는 세상이 존재했었다.

그리고
어쩌면
지금도
그렇다

Corey의 글에는
신앙이 있었고
인간에 대한 예의가 있었고
깊고 깊은 우정이 있었고
가족간의 사랑이 있었다
.

어쩌면 진부한 내용의 동화이기도 하지만....가족의 소중함
그리고 신앙에 대해서 짚어보는 시간이었다.

지금의 나,
나는 캐나다라는 이 나라에서 무엇을 얻을 것인가
무엇을 찾을것인가.나는 무엇을 위해 이 먼나라에 왔던가

하느님이 나와 함께...계실거야
나를 보호해주실거야
그럴거야
Corey의 신앙에 나의 눈물이 뜨거웠다

나의 신앙은 도대체 어디에 두었다가
이제사....이 한없이 희미한, 그림자조차도 없는
나의 신앙....어찌 내가 온전할 수 있을까
나도 굳게 믿어본다
하느님이 언제나 나와 함께 계시고
우리를 지켜주실거야
이렇게
.
.
.

"Underground Railroad"
There were no trains on the Underground Railroad.
Just a secret organization

나는 쾌쾌한 냄새가 나는 지하철 바닥을 내려보다
지나가는 흑인청년에게....옛날 옛날에
너의 할머니 할아버지는 자유를 찾아서 이 먼,춥고 험난한 길을 걸어
희망의 나라...캐나다로 왔단다
너는 알고 있니? 늘 기억하고 있니?

우리 다함께 잘 살아야 되지 않을까?
캐나다....여기저기에서 모여든 선량한 사람들의 희망의 터전이 되어야 하지 않을까!

ROSA

가을,새벽 비 - 유진

Wed, 21 Oct 2009 23:15:34 +0900

가을, 새벽 비

유진

고요의 처마에 비가 돋는다

무성한 초록 폭우에 씻겨간 뒤

꽃잠 터는 잔디 위로 때늦은 꽃무릇 훨훨 달아오르고

내려놓고자 붉어진 가을이라 해도 기필 즐거움만은 아니어서

가랑잎 끙끙 몸져눕는데

먼발치에 서리 하얗게 스러지는데

사라지는 모든 것은 아름다워

뭉클하게 지는 꽃잎 이슬그림자도 아름다워

가난한 사람의 집 눈물 나도록 고독한 새벽

눈 불 켠 살쾡이 살펴 간 유리창에

어눌한 가을그림자

뿌옇게 쓰는 말

빗장 채우지 마라!

가슴과 가슴끼리 빗장 채우지 마라!

형체도 없는 한 때의 바람을 그리워 할 수 있다는

이 놀라운 사실 앞에 뭉클하게 시가 살아난다

더운 시가 펄펄 살아난다

이제 다 용서하려는 것이다

- 2009 . 조선문단 -

로사의 북 디자인

Wed, 21 Oct 2009 11:28:02 +0900

로사의 북 디자인 (BOOK DESIGN)

2005/와트만지*수채화,연필

글/정 순 재 신부

표지디자인/이로사

가톨릭 출판사

정순재 베드로 신부

1932년 대구 출생.
1961년 사제서품 후
경북 의성, 칠곡, 태전, 경산, 고산,용성천주교회 주임 신부역임.

은퇴 후 집필 작업에 전념.
1977년 대구에서 사진 작품전 이래
서울과 대구에서 모두 여덟 차례 전시.

<저 서>

*사진으로 보는 구한말*
*연작 사진 모듬 人曲*

포토에세이
*바람처렁 돌아오는 사람이 그립다*
*이 풍진 세상을 만났으니*
*작은 보따리 속의 자유*
*쓰러지는 갈대, 바람의 노래여*
*바다를 건너는 달팽이*
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ROSA

가을의 뜨락에서-1

Mon, 26 Oct 2009 11:22:18 +0900

가을이 되면서
줄곧
비바람이 치는 나날이었습니다.

오ㅡ늘은 모처럼
활짝 개인 맑은 날이라
정원의 이곳저곳을 둘러보았습니다.

보랏빛 으아리는 아마도 마지막 꽃을 피운 듯합니다.

장미가 덤불사이에 피어있었고

지난 5월, 설아언니께서 선물하신 꽃이...다시 꽃을 피웠습니다.

올리브님이 좋아하는 트리안도 챙겨서 토분에 옮겨놓고, 마지막 나의 수확물입니다.

장미는 스탠드불빛에 구워먹고...ㅎ

야~~들은, 새봄이 올때까지.....길게 길게 기다릴겁니다!!

오늘은....올해의 마지막 가드닝을 한 것 같습니다.

보람찬 하루였습니다.

ROSA