Golden Globe History

Every year since 1944, the Hollywood Foreign Press Association has presented the Golden Globe Awards in recognition of excellence within the film and television entertainment industry on an international scale. The first Golden Globe Awards ceremony took place in Los Angeles, at the 20th Century Fox studios. Since 1961, the awards ceremony has been held in Beverly Hills, at the Beverly Hilton Hotel. The ceremony usually takes place in January, before the Academy Awards.
The Hollywood Foreign Press Association was founded during World War II, when eight Los Angeles-based journalists stationed around the world became committed to overcoming the difficulty of overseas communication in the midst of war by sharing information and contacts to keep audiences and filmmakers satisfied when it came to their desire for escape through film entertainment. In 1943, the journalists began as the Hollywood Foreign Correspondents Association, during a time when the film industry had yet to grasp the significance of foreign markets. The group felt an obligation to provide audiences with their judgments regarding Hollywood's most notable productions, and from that notion, the Golden Globe Awards were born, starting with an informal ceremony in 1944 at the 20th Century Fox studios, at which Paul Lukas was honored as Best Actor for his role in Watch on the Rhine," and Jennifer Jones was honored as Best Actress for her role in The Song of Bernadette, that year's Best Film.
Currently, HFPA members interview hundreds of producers, directors, writers, and actors; make reports from film sets, attend film festivals around the world, and view over 300 films each year. Every member is accredited by the Motion Picture Association of America, and each year, a maximum of five new journalists may gain admission into the organization.
In 1950, the Hollywood Foreign Correspondents Association split off into a second sect called the Foreign Press Association of Hollywood, due to member conflicts arising from differences in philosophy. Initially, the organizations coexisted, the former distributing the Golden Globes, and the latter distributing awards called Henriettas (named after Henry Gris, president of the Foreign Press Association).
The third most viewed awards show telecast each year, the Golden Globes are broadcast in over 150 countries. From 1958 to 1963, they were only broadcast locally, to the Los Angeles area. In 1965, the awards began its national broadcast, that year and the next as a special segment of the Andy Williams Show. In 2008, because the Writers Guild of America was on strike, its members from the writing community and its supporters from the acting community had threatened to boycott the Golden Globes, not wanting to diminish solidarity by crossing the WGA picket lines. For this reason, the 65th Golden Globe Awards was the one ceremony since 1958 that did not air live. Instead, the Hollywood Foreign Press lifted restrictions on media coverage of the awards - which was usually granted exclusively to NBC - and rather than hold the usual lengthy and elaborate ceremony at the Beverly Hilton, they would conduct a half hour long press conference there to announce that year's winners. The remaining hours that NBC usually set aside for broadcasting the ceremony and its related programming, were dedicated to announcements made by the hosts of Access Hollywood, then a special edition of Dateline featuring clips from the year's nominated films, interviews with some of the nominees, and commentary from various celebrities.

Golden Globe History

Every year since 1944, the Hollywood Foreign Press Association has presented the Golden Globe Awards in recognition of excellence within the film and television entertainment industry on an international scale. The first Golden Globe Awards ceremony took place in Los Angeles, at the 20th Century Fox studios. Since 1961, the awards ceremony has been held in Beverly Hills, at the Beverly Hilton Hotel. The ceremony usually takes place in January, before the Academy Awards.
The Hollywood Foreign Press Association was founded during World War II, when eight Los Angeles-based journalists stationed around the world became committed to overcoming the difficulty of overseas communication in the midst of war by sharing information and contacts to keep audiences and filmmakers satisfied when it came to their desire for escape through film entertainment. In 1943, the journalists began as the Hollywood Foreign Correspondents Association, during a time when the film industry had yet to grasp the significance of foreign markets. The group felt an obligation to provide audiences with their judgments regarding Hollywood's most notable productions, and from that notion, the Golden Globe Awards were born, starting with an informal ceremony in 1944 at the 20th Century Fox studios, at which Paul Lukas was honored as Best Actor for his role in Watch on the Rhine," and Jennifer Jones was honored as Best Actress for her role in The Song of Bernadette, that year's Best Film.
Currently, HFPA members interview hundreds of producers, directors, writers, and actors; make reports from film sets, attend film festivals around the world, and view over 300 films each year. Every member is accredited by the Motion Picture Association of America, and each year, a maximum of five new journalists may gain admission into the organization.
In 1950, the Hollywood Foreign Correspondents Association split off into a second sect called the Foreign Press Association of Hollywood, due to member conflicts arising from differences in philosophy. Initially, the organizations coexisted, the former distributing the Golden Globes, and the latter distributing awards called Henriettas (named after Henry Gris, president of the Foreign Press Association).
The third most viewed awards show telecast each year, the Golden Globes are broadcast in over 150 countries. From 1958 to 1963, they were only broadcast locally, to the Los Angeles area. In 1965, the awards began its national broadcast, that year and the next as a special segment of the Andy Williams Show. In 2008, because the Writers Guild of America was on strike, its members from the writing community and its supporters from the acting community had threatened to boycott the Golden Globes, not wanting to diminish solidarity by crossing the WGA picket lines. For this reason, the 65th Golden Globe Awards was the one ceremony since 1958 that did not air live. Instead, the Hollywood Foreign Press lifted restrictions on media coverage of the awards - which was usually granted exclusively to NBC - and rather than hold the usual lengthy and elaborate ceremony at the Beverly Hilton, they would conduct a half hour long press conference there to announce that year's winners. The remaining hours that NBC usually set aside for broadcasting the ceremony and its related programming, were dedicated to announcements made by the hosts of Access Hollywood, then a special edition of Dateline featuring clips from the year's nominated films, interviews with some of the nominees, and commentary from various celebrities.

Some Regions That Have Influenced Indian Film Music Directors

For this article, I want to talk about the composers and the foreign regions from which they pulled musical influences. I am not referring to "genre influences," which would be stuff like rock and roll (C Ramchandra, et al), jazz (RD, et al), western classical (Salil Chaudhari, et al). We are strictly talking regional influences here, which would mean regional FOLK influences.
Many of the earlier movies tended to have Mughal and Persian themes. Mughal-e-azam, and Anarkali were simply two of the multitude of Mughal-themed movies. Hence it would seem obvious that the composers of the time needed to bring out the "Mughal-ness" of the time. Naushad, who composed the former, did try to show the influence of the Mughals to some extent. But C Ramchandra, who composed Anarkali, seemed content giving outstanding music and not having to deal with the instruments and rhythms of the time. Both the movies did excellently and their music endures to this date. But the lilt of the compositions tended to be more of the "pure" Indian of the 50s, rather than show the influence of the 17th century in the choice of instruments or lilt of the tune. This is an example, to me, of not using an influence, when it was possibly desirable to do so.
There were the slightly lesser known composers who did brilliantly with the Persian influence. My friend, Jayant Kulkarni, whose music collection of the 40s and early 50s is the most extensive, bar none, rates Sajjad as the best of that genre. If you listen to Ae Dilruba from Rustom Sohrab, you will see the beauty of the composition stemming from a superb blend of persian instruments, melody, and rhythm, with the underlying Indian-ness of the song. Simply magnificent! The same kind of richness was also found in Shyamsundar's compositions. My favorite of his, is a song called Chhalak Raha Hai, sung by Sulochana Chavan (known then as Sulochana Kadam). The lilt of the song is what makes it unique.
I was recently in Japan, where the idea for this article was born. What struck me there, whenever some Japanese music would waft my way, was the fact that I always thought of Sayonara Sayonara, the song from Love in Tokyo. The reason, of course, is the pentatonic scale favored by the Japanese and Chinese. In our context, it is the use of five notes (or six, if you include the higher "Sa") - Sa Re Ga Pa Dha Sa, which comprises Raag Bhoop. I have always liked the Sayonara song for this reason -- keeping it palatable to the Indian ear AND staying true to the theme of the film was a difficult balance, and Shankar Jaikishan managed it.
C Ramchandra is also credited (usually, most vociferously by Maharashtrians) with bringing western influence to Indian music. And he did. He brought the Jazz and rock and roll into Hindi films. But it was RD Burman, who brought the influence of Latin American music to Hindi. And then again, I think the subtlety with which he "test drove" the acceptability with the hindi music listeners, is worth admiring. The Bossa Nova rhythm, which RD used effectively many times later, was first introduced simply as a rhythm, with very Indian instruments and a very Indian composition. Does anyone remember that song? Drop me a note and let me know.
RD Burman fascinates me the most. He used the influence of music so cleverly, that we never felt that we were being sold some "western trash." In Great Gambler, he used a Venetian boatman's song as a base for the song "Do labzo ki hai Dil ki Kahani." In movies like Abdulla and Alibaba aur Chalis Chor (remember Khatuba Khatuba?), he blended western music along with mid-eastern to create a uniquely pleasing blend of music. His greatest influence seems to be from Latin American music. In numerous movies, one saw the that influence come through, but again, this was done so skillfully, that we continued to see the innate Indian-ness in the song. And nobody from the hills of Nepal, or Sikkim or Tripura must have composed better music from the hills than RD did. Kanchi re Kanchi re, with its unique rhythm pattern is the first song that comes to mind. I am sure each of my readers has his or her own favorite, and I'd love to hear from you about it. RD deserves a full separate article on himself.
AR Rahman brought the Reggae beat to Indian films in Roja -- Dil Hai Chhota sa had the distinctly reggae beat, and it was skillfully weaved into the indian context. He later went on to use many other styles, but his later work sounds uniquely like "an AR Rehman composition" and does not overtly reflect the influence of any specific regional music.
Of the recent composers, my favorite have been Shankar Ehsaan Loy. They have used a number of regional folk music in their film songs -- like the Celtic/Irish influence in the song "Woh Ladki hai kahan" from Dil Chahta Hai.
Can you think of any foreign folk music that has been skillfully woven into Indian music to give us a high quality "Indian" song?

Some Regions That Have Influenced Indian Film Music Directors

For this article, I want to talk about the composers and the foreign regions from which they pulled musical influences. I am not referring to "genre influences," which would be stuff like rock and roll (C Ramchandra, et al), jazz (RD, et al), western classical (Salil Chaudhari, et al). We are strictly talking regional influences here, which would mean regional FOLK influences.
Many of the earlier movies tended to have Mughal and Persian themes. Mughal-e-azam, and Anarkali were simply two of the multitude of Mughal-themed movies. Hence it would seem obvious that the composers of the time needed to bring out the "Mughal-ness" of the time. Naushad, who composed the former, did try to show the influence of the Mughals to some extent. But C Ramchandra, who composed Anarkali, seemed content giving outstanding music and not having to deal with the instruments and rhythms of the time. Both the movies did excellently and their music endures to this date. But the lilt of the compositions tended to be more of the "pure" Indian of the 50s, rather than show the influence of the 17th century in the choice of instruments or lilt of the tune. This is an example, to me, of not using an influence, when it was possibly desirable to do so.
There were the slightly lesser known composers who did brilliantly with the Persian influence. My friend, Jayant Kulkarni, whose music collection of the 40s and early 50s is the most extensive, bar none, rates Sajjad as the best of that genre. If you listen to Ae Dilruba from Rustom Sohrab, you will see the beauty of the composition stemming from a superb blend of persian instruments, melody, and rhythm, with the underlying Indian-ness of the song. Simply magnificent! The same kind of richness was also found in Shyamsundar's compositions. My favorite of his, is a song called Chhalak Raha Hai, sung by Sulochana Chavan (known then as Sulochana Kadam). The lilt of the song is what makes it unique.
I was recently in Japan, where the idea for this article was born. What struck me there, whenever some Japanese music would waft my way, was the fact that I always thought of Sayonara Sayonara, the song from Love in Tokyo. The reason, of course, is the pentatonic scale favored by the Japanese and Chinese. In our context, it is the use of five notes (or six, if you include the higher "Sa") - Sa Re Ga Pa Dha Sa, which comprises Raag Bhoop. I have always liked the Sayonara song for this reason -- keeping it palatable to the Indian ear AND staying true to the theme of the film was a difficult balance, and Shankar Jaikishan managed it.
C Ramchandra is also credited (usually, most vociferously by Maharashtrians) with bringing western influence to Indian music. And he did. He brought the Jazz and rock and roll into Hindi films. But it was RD Burman, who brought the influence of Latin American music to Hindi. And then again, I think the subtlety with which he "test drove" the acceptability with the hindi music listeners, is worth admiring. The Bossa Nova rhythm, which RD used effectively many times later, was first introduced simply as a rhythm, with very Indian instruments and a very Indian composition. Does anyone remember that song? Drop me a note and let me know.
RD Burman fascinates me the most. He used the influence of music so cleverly, that we never felt that we were being sold some "western trash." In Great Gambler, he used a Venetian boatman's song as a base for the song "Do labzo ki hai Dil ki Kahani." In movies like Abdulla and Alibaba aur Chalis Chor (remember Khatuba Khatuba?), he blended western music along with mid-eastern to create a uniquely pleasing blend of music. His greatest influence seems to be from Latin American music. In numerous movies, one saw the that influence come through, but again, this was done so skillfully, that we continued to see the innate Indian-ness in the song. And nobody from the hills of Nepal, or Sikkim or Tripura must have composed better music from the hills than RD did. Kanchi re Kanchi re, with its unique rhythm pattern is the first song that comes to mind. I am sure each of my readers has his or her own favorite, and I'd love to hear from you about it. RD deserves a full separate article on himself.
AR Rahman brought the Reggae beat to Indian films in Roja -- Dil Hai Chhota sa had the distinctly reggae beat, and it was skillfully weaved into the indian context. He later went on to use many other styles, but his later work sounds uniquely like "an AR Rehman composition" and does not overtly reflect the influence of any specific regional music.
Of the recent composers, my favorite have been Shankar Ehsaan Loy. They have used a number of regional folk music in their film songs -- like the Celtic/Irish influence in the song "Woh Ladki hai kahan" from Dil Chahta Hai.
Can you think of any foreign folk music that has been skillfully woven into Indian music to give us a high quality "Indian" song?

Why Japanese Art Is So Different!

To understand the difference between Japanese and Chinese art, we must begin by looking at Buddhism, which originated in India around 500 BC when the Prince Siddhartha Gautama gave up his family and sheltered life to seek a higher, more spiritual kind of life. After seeking wisdom from others and failing to find it, Siddhartha had his own revelation of a higher life as he meditated under a tree.
Buddhism emerged from India in the first century AD and came to China with monks and merchants using the Silk Road. The Chinese particularly liked the idea that by studying to find wisdom, and living to do good, you can accumulate karma - both good and bad. Buddhists believe that you take karma with you into the next life, when it will determine your level of spirituality and existence - the aim always being, of course, to become a better person. The hope was that ultimately you would escape this never-ending cycle of life and death, and achieve enough karma to elevate yourself to Nirvana, an existence entirely free of the duality of this world, and a state of perfect peace and bliss.
A thousand years after Buddha, his teachings had split into no fewer than ten different schools of Buddhism. Today, only two remain - the most important of them is Zen Buddhism. Zen abandoned the idea of karma, reincarnation and nirvana instead relying on meditation, concentration and physical discipline - three elements absolutely vital to most Chinese and Japanese art forms. Its teaching was that enlightenment could come to anybody, no matter who they were, suddenly and intuitively - not necessarily requiring years of study. It was not a rational or methodical process: in fact it is decidedly non-rational -- inexplicable and intuitive because it meant abandoning logic in order to make the leap upwards to enlightenment, which in Japanese is called satori.
Having achieved satori, the Zen Buddhist becomes aware that everything in this world - all other living beings as well as inanimate objects, whether mountains, rocks and trees - or elephants, microbes and blades of grass - all share equally in the Eternal. So Zen teaches that each one of us is a part of all other beings - and that they are a part of us. The artist who experiences this actually becomes what he is painting - because he is completely 'At One' with the universe. It is not possible to achieve this enlightenment by learning - and certainly not by trying - any more than it is possible to try to be natural. Obviously, to do so is unnatural. So an artist can only achieve this intense affinity with the subject he is painting by casting aside all subjective thought.
The simple act of Being automatically puts him into a state of heightened awareness - and thus in touch with the essence of his subject. Some Zen students spent a lifetime seeking enlightenment - but satori cannot be captured. It lies deep within us already.The Zen master's task is to help the student to release it. So enlightenment might come with a sneeze - or a sharp blow of the master's stick at precisely the right moment. This is the philosophy that is inherent in Chinese and Japanese brush painting. in Japanese Haiku poetry. in Ikebana flower arranging. in landscape gardening.in pottery and all the other oriental arts and crafts.
And just as Zen considers a human being to be a medium between heaven and earth, thus creating unity between them - so the brush, the ink and the paper create a similar trinity. The paper is absorbent. The ink is indelible. And the brush must hold precisely the correct amount and intensity of ink for each specific stroke. The slightest mistake will be there for all to see for centuries. It takes years of practice because the artist must bare his soul to the world and paint his strokes instantaneously, without the slightest hesitation - and in that moment lies the essence of Zen.
The form of Japanese brush painting, using only black ink, known as Sumi-e is regarded as the highest test of an artist's skill. Every line and every dot is alive with meaning and even what is not visible has meaning. Omissions are obvious and their 'not-being' is intentional. For instance white space between reeds and stones at the edge of a lake in the foreground and distant mountains in the background suggests mist. So what is not in the painting actually represents, with no effort, what is there in reality! The beauty of sumi-e lies in its plainness of colour - just intense black and an infinite variety of greys - together with its uncluttered lines, simple grace and proportion. Whereas a western artist painting in oils or acrylics, is able to correct mistakes by covering them with new paint, the Chinese or Japanese artist cannot do so.
Once a brush stroke has been made, any attempt to change it or paint over it would become obvious. No Japanese painter would ever do it because it would be to proclaim to the world that he had made a mess of things. And because the Sumi artist is dealing only with black and its variants, he must possess enormous confidence and be a master of his techniques in order for his brush work to be decisive and his tones absolutely true. Consequently, the ink must be mixed with precisely the correct amount of water in order to achieve the exact shade of grey required because there can be no deceiving, no faking -poor brush work is there for all to see. It cannot be hidden or fudged. How then does one achieve the simplicity required in this kind of painting?
The answer is total immersion in the subject. When a Sumi artist sets out to paint a camellia, for example, he first inspects the flower from all possible aspects. Front, back, above. below. He touches it to acquaint his finger tips with the petals and the leaves and the stem. He sniffs it to enjoy its fragrance. Then, when he feels an emotional and physical familiarity with the flower, he is ready to decide what it is that makes a camellia uniquely a camellia - and nothing else. What is the essence of this flower?
Only then does he sit down and without any hesitation whatsoever, he paints that insight onto the rice paper with as few brush strokes as possible. This emotional impressionism is perhaps the defining quality that makes Japanese sum-ei painting different from any other kind of painting anywhere else in the world.
Although Japanese painting had its beginnings in China, Chinese painting began and continued in strict realism. Japanese paintings have a much greater imaginative freedom -a result, I believe, of the sensual character of the Japanese people. The Japanese artist paints what his senses and his mind receive from the subject. It is a part of an inherited attitude of seeing and having an emotional affinity with small, apparently insignificant things that others usually would pass over as being a commonplace. But in Zen, nothing is commonplace. Not even nothing! Everything - on any scale - is of equal importance.
The difference between Chinese and Japanese brush painting is best illustrated by these two poems. The first is the Chinese poet Li Tai Po describing a waterfall:
"The sun shines upon the peak of Koro, making the mist purple. The Cascade seen in the distance looks like a long river rushing straight down three thousand feet. Is it not the Milky Way falling from the Ninth Heaven?"
This is an all-encompassing approach. It is about grandeur -- the mountain, the huge waterfall and even a reference to the heavens. Compare that to the waterfall described by the Japanese poet, Bash.
"Petals of the mountain rose
Fall now and then
To the sound of the waterfall."
This is the essential difference between the Chinese and Japanese character. Basho did not describe the entire scene within his scope of perception. He focused on a couple of small details - and through them he expressed, in the simplest possible way, the whole emotional content of what he experienced.
This form of poetry is called Haiku. It is a highly disciplined form of verse in which the first part is a five-line poem - often written by two people as a literary game. The first person writes the first three lines, the second responds with the last two lines. And it must be done immediately. Thought must not be allowed to get in the way. To succeed, the mind must be emptied of all thought. What makes it interesting is that there are only seventeen syllables in the haiku - five in the first line, seven in the second and five in the third. And then seven and five in the last two lines. Moreover, the poet should always allude to the season or the time of day - and the verse should preferably describe a specific instant. Here are a few examples:
By the waterfall
I see I am watched by my
Old friend, the lizard.
Here again, we can imagine the wider picture. Where there is a waterfall there is inevitably higher ground, and a stream. So we know we are in a garden, or on a mountainside perhaps. We can almost hear the water tumbling down and rushing away -- and we can imagine the poet sitting close to it. the lizard sitting alert a short distance away, perhaps on a stone or in the dust. In any event, we know that it is hot because that is mostly when we see lizards. So it is probably summer.
A shimmering stream
And cries of a long-billed bird.
A leaf floats away.
A verse written almost certainly on an autumn day! And once again:
Over a quiet lake,
Midges fly in tight circles
Plop! Old frog jumps in!
Here, you have the immediacy - almost like a verbal photograph that captures what the French photographer, Henri Cartier-Bresson, called "The Decisive Moment". "Plop! Old frog jumps in". It's wonderful.
Finally:
A yellow lantern
flicks on, attracting insects
to the jaundiced porch.
It's the same with Japanese gardening, flower arranging, the Tea Ceremony, pottery, and the art of Bonsai, or creating miniature trees. Indeed with all the Oriental Arts.

Why Japanese Art Is So Different!

To understand the difference between Japanese and Chinese art, we must begin by looking at Buddhism, which originated in India around 500 BC when the Prince Siddhartha Gautama gave up his family and sheltered life to seek a higher, more spiritual kind of life. After seeking wisdom from others and failing to find it, Siddhartha had his own revelation of a higher life as he meditated under a tree.
Buddhism emerged from India in the first century AD and came to China with monks and merchants using the Silk Road. The Chinese particularly liked the idea that by studying to find wisdom, and living to do good, you can accumulate karma - both good and bad. Buddhists believe that you take karma with you into the next life, when it will determine your level of spirituality and existence - the aim always being, of course, to become a better person. The hope was that ultimately you would escape this never-ending cycle of life and death, and achieve enough karma to elevate yourself to Nirvana, an existence entirely free of the duality of this world, and a state of perfect peace and bliss.
A thousand years after Buddha, his teachings had split into no fewer than ten different schools of Buddhism. Today, only two remain - the most important of them is Zen Buddhism. Zen abandoned the idea of karma, reincarnation and nirvana instead relying on meditation, concentration and physical discipline - three elements absolutely vital to most Chinese and Japanese art forms. Its teaching was that enlightenment could come to anybody, no matter who they were, suddenly and intuitively - not necessarily requiring years of study. It was not a rational or methodical process: in fact it is decidedly non-rational -- inexplicable and intuitive because it meant abandoning logic in order to make the leap upwards to enlightenment, which in Japanese is called satori.
Having achieved satori, the Zen Buddhist becomes aware that everything in this world - all other living beings as well as inanimate objects, whether mountains, rocks and trees - or elephants, microbes and blades of grass - all share equally in the Eternal. So Zen teaches that each one of us is a part of all other beings - and that they are a part of us. The artist who experiences this actually becomes what he is painting - because he is completely 'At One' with the universe. It is not possible to achieve this enlightenment by learning - and certainly not by trying - any more than it is possible to try to be natural. Obviously, to do so is unnatural. So an artist can only achieve this intense affinity with the subject he is painting by casting aside all subjective thought.
The simple act of Being automatically puts him into a state of heightened awareness - and thus in touch with the essence of his subject. Some Zen students spent a lifetime seeking enlightenment - but satori cannot be captured. It lies deep within us already.The Zen master's task is to help the student to release it. So enlightenment might come with a sneeze - or a sharp blow of the master's stick at precisely the right moment. This is the philosophy that is inherent in Chinese and Japanese brush painting. in Japanese Haiku poetry. in Ikebana flower arranging. in landscape gardening.in pottery and all the other oriental arts and crafts.
And just as Zen considers a human being to be a medium between heaven and earth, thus creating unity between them - so the brush, the ink and the paper create a similar trinity. The paper is absorbent. The ink is indelible. And the brush must hold precisely the correct amount and intensity of ink for each specific stroke. The slightest mistake will be there for all to see for centuries. It takes years of practice because the artist must bare his soul to the world and paint his strokes instantaneously, without the slightest hesitation - and in that moment lies the essence of Zen.
The form of Japanese brush painting, using only black ink, known as Sumi-e is regarded as the highest test of an artist's skill. Every line and every dot is alive with meaning and even what is not visible has meaning. Omissions are obvious and their 'not-being' is intentional. For instance white space between reeds and stones at the edge of a lake in the foreground and distant mountains in the background suggests mist. So what is not in the painting actually represents, with no effort, what is there in reality! The beauty of sumi-e lies in its plainness of colour - just intense black and an infinite variety of greys - together with its uncluttered lines, simple grace and proportion. Whereas a western artist painting in oils or acrylics, is able to correct mistakes by covering them with new paint, the Chinese or Japanese artist cannot do so.
Once a brush stroke has been made, any attempt to change it or paint over it would become obvious. No Japanese painter would ever do it because it would be to proclaim to the world that he had made a mess of things. And because the Sumi artist is dealing only with black and its variants, he must possess enormous confidence and be a master of his techniques in order for his brush work to be decisive and his tones absolutely true. Consequently, the ink must be mixed with precisely the correct amount of water in order to achieve the exact shade of grey required because there can be no deceiving, no faking -poor brush work is there for all to see. It cannot be hidden or fudged. How then does one achieve the simplicity required in this kind of painting?
The answer is total immersion in the subject. When a Sumi artist sets out to paint a camellia, for example, he first inspects the flower from all possible aspects. Front, back, above. below. He touches it to acquaint his finger tips with the petals and the leaves and the stem. He sniffs it to enjoy its fragrance. Then, when he feels an emotional and physical familiarity with the flower, he is ready to decide what it is that makes a camellia uniquely a camellia - and nothing else. What is the essence of this flower?
Only then does he sit down and without any hesitation whatsoever, he paints that insight onto the rice paper with as few brush strokes as possible. This emotional impressionism is perhaps the defining quality that makes Japanese sum-ei painting different from any other kind of painting anywhere else in the world.
Although Japanese painting had its beginnings in China, Chinese painting began and continued in strict realism. Japanese paintings have a much greater imaginative freedom -a result, I believe, of the sensual character of the Japanese people. The Japanese artist paints what his senses and his mind receive from the subject. It is a part of an inherited attitude of seeing and having an emotional affinity with small, apparently insignificant things that others usually would pass over as being a commonplace. But in Zen, nothing is commonplace. Not even nothing! Everything - on any scale - is of equal importance.
The difference between Chinese and Japanese brush painting is best illustrated by these two poems. The first is the Chinese poet Li Tai Po describing a waterfall:
"The sun shines upon the peak of Koro, making the mist purple. The Cascade seen in the distance looks like a long river rushing straight down three thousand feet. Is it not the Milky Way falling from the Ninth Heaven?"
This is an all-encompassing approach. It is about grandeur -- the mountain, the huge waterfall and even a reference to the heavens. Compare that to the waterfall described by the Japanese poet, Bash.
"Petals of the mountain rose
Fall now and then
To the sound of the waterfall."
This is the essential difference between the Chinese and Japanese character. Basho did not describe the entire scene within his scope of perception. He focused on a couple of small details - and through them he expressed, in the simplest possible way, the whole emotional content of what he experienced.
This form of poetry is called Haiku. It is a highly disciplined form of verse in which the first part is a five-line poem - often written by two people as a literary game. The first person writes the first three lines, the second responds with the last two lines. And it must be done immediately. Thought must not be allowed to get in the way. To succeed, the mind must be emptied of all thought. What makes it interesting is that there are only seventeen syllables in the haiku - five in the first line, seven in the second and five in the third. And then seven and five in the last two lines. Moreover, the poet should always allude to the season or the time of day - and the verse should preferably describe a specific instant. Here are a few examples:
By the waterfall
I see I am watched by my
Old friend, the lizard.
Here again, we can imagine the wider picture. Where there is a waterfall there is inevitably higher ground, and a stream. So we know we are in a garden, or on a mountainside perhaps. We can almost hear the water tumbling down and rushing away -- and we can imagine the poet sitting close to it. the lizard sitting alert a short distance away, perhaps on a stone or in the dust. In any event, we know that it is hot because that is mostly when we see lizards. So it is probably summer.
A shimmering stream
And cries of a long-billed bird.
A leaf floats away.
A verse written almost certainly on an autumn day! And once again:
Over a quiet lake,
Midges fly in tight circles
Plop! Old frog jumps in!
Here, you have the immediacy - almost like a verbal photograph that captures what the French photographer, Henri Cartier-Bresson, called "The Decisive Moment". "Plop! Old frog jumps in". It's wonderful.
Finally:
A yellow lantern
flicks on, attracting insects
to the jaundiced porch.
It's the same with Japanese gardening, flower arranging, the Tea Ceremony, pottery, and the art of Bonsai, or creating miniature trees. Indeed with all the Oriental Arts.

Farmville Seed Planting Strategy

Farmville has attracted millions of players from all over the world. So if you want to compete in this game you must get your strategies right. One of the basic skills you will need to learn is knowing what seeds to plant and the time it will take to harvest the mature plant.
Just buying seed based on the time it will take them to grow is not the best strategy. Most importantly you must know how often you can log into your Facebook account and access Farmville. It will make no sense if you plant a crop that will take four hours to grow and you can't get back to your computer for ten hours or more to log in and harvest them. The plants will have withered and died and will be worth nothing. You must plan your crops according to when you will be able to attend to them. If you know you will be away from the computer for a long time, plant things that will take longer to mature, 1, 2, or even 3 days maybe look at having trees or animals.
These do not require as much attention as crops do, and can still make money if neglected for a long period of time. With trees the fruit will fall off and be lost but the tree doesn't die and you can still make money when the next batch of fruit ripens.
After level 20 when your farm starts to spread out you will have to start buying some machinery.
I remember my own farm up to this point I had 100 plots - 10x10 and it took a long time clicking 100 ploughs, 100 sows, and 100 harvests day after day. So consider using tractors and seeders to get your planting done. With a 25 percent time-saving, this can make a huge difference on a big farm. But you must weigh up the expense of harvesters and planters and what your own time is worth.
All the seeds you plant and the omnipresent XP that you are building up have a strange and intertwined relationship. The ratios have very little bearing on each other, and are specifically made to be treated as 'trade-offs'. You need to build these trade-offs into your Farmville seeds strategy. There is no such thing as the best seeds to plant. Earnings change as you level up and get access to all the items that have been locked away from you. The seeds you plant will either earn you a lot of XP and little cash, or the other way around lots of cash while bringing in less XP. Some crops are very expensive to buy and will get you very high XP but usually take a long time to grow.
After level 20 you seem to gain some sixth sense as to what seeds will be the most beneficial in terms of either coins earned per hour, or XP earned per hour. You can sort the seeds into the best earners for your present level. Make sure you adjust your list to keep it current, since things change as you level up. It is best to compile your own lists, since the game does get updated and the prices and values of seeds and crops can change from time to time.

Farmville Seed Planting Strategy

Farmville has attracted millions of players from all over the world. So if you want to compete in this game you must get your strategies right. One of the basic skills you will need to learn is knowing what seeds to plant and the time it will take to harvest the mature plant.
Just buying seed based on the time it will take them to grow is not the best strategy. Most importantly you must know how often you can log into your Facebook account and access Farmville. It will make no sense if you plant a crop that will take four hours to grow and you can't get back to your computer for ten hours or more to log in and harvest them. The plants will have withered and died and will be worth nothing. You must plan your crops according to when you will be able to attend to them. If you know you will be away from the computer for a long time, plant things that will take longer to mature, 1, 2, or even 3 days maybe look at having trees or animals.
These do not require as much attention as crops do, and can still make money if neglected for a long period of time. With trees the fruit will fall off and be lost but the tree doesn't die and you can still make money when the next batch of fruit ripens.
After level 20 when your farm starts to spread out you will have to start buying some machinery.
I remember my own farm up to this point I had 100 plots - 10x10 and it took a long time clicking 100 ploughs, 100 sows, and 100 harvests day after day. So consider using tractors and seeders to get your planting done. With a 25 percent time-saving, this can make a huge difference on a big farm. But you must weigh up the expense of harvesters and planters and what your own time is worth.
All the seeds you plant and the omnipresent XP that you are building up have a strange and intertwined relationship. The ratios have very little bearing on each other, and are specifically made to be treated as 'trade-offs'. You need to build these trade-offs into your Farmville seeds strategy. There is no such thing as the best seeds to plant. Earnings change as you level up and get access to all the items that have been locked away from you. The seeds you plant will either earn you a lot of XP and little cash, or the other way around lots of cash while bringing in less XP. Some crops are very expensive to buy and will get you very high XP but usually take a long time to grow.
After level 20 you seem to gain some sixth sense as to what seeds will be the most beneficial in terms of either coins earned per hour, or XP earned per hour. You can sort the seeds into the best earners for your present level. Make sure you adjust your list to keep it current, since things change as you level up. It is best to compile your own lists, since the game does get updated and the prices and values of seeds and crops can change from time to time.

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Most women like jewelry, but often do not buy it for themselves, as this is luxury. The right of jewelry as a gift may allow you to show how deep your love for that woman is.

Women love to wear jewelry and more they have in their collection, the better. The choice is wide and includes jewelry, small pieces of gold, silver, handmade or unusual pieces jewllery, that really stand out from others.

For the modern day woman's best modern jewelry. You are buying modern jewelry made of gold or Diamond ultimate happiness associated with modern design jewelry can make your day a woman.

These days, we see much demand for advanced projects for jewelry, ornaments, because contemporary design never goes out of fashion. Purchase of modern jewelry that is an investment that you can rely on to stay with them in the coming decades.

Contemporary Jewelry offers a combination of contemporary and classic, bold jewelry for women that includes a unique combination of pearls, gemstones, precious and semiprecious stones.

Statement necklaces, earrings, rings and bracelets for a long part of contemporary jewelry. Modern jewelry, we noticed how creative individuals and dramatically demonstrate that we have something to say.
Buy a big bright jewelry item size allows to keep key vibe, great experience, without making a huge impression on your portfolio. An added bonus is that large parts of the jewelry will go out of fashion.

Here are some tips to consider if you are going to buy art jewelry:

• How to choose quality over quantity jewelry every time.
• If you cannot buy true artificial stone.
• Buy something that matches another item in the collection of their women. For example, if she Amethyst pendant, Amethyst Earrings try to find a match.
• If you want to buy jewelry with colorful stones is the best who buy jewelry to go with the dress and there.

Hot Photos of Actress in Jewellery

Tags: Hot Actresses in Jewellery, Cute Actresses in Jewellery, Hot Models in Jewllery, Jewellery wearing actresses, Jewllery Wearing Models, Shreya in Jewllery, Katrina Kaif in Jewllery, Aishwarya Rai in Jewllery



Most women like jewelry, but often do not buy it for themselves, as this is luxury. The right of jewelry as a gift may allow you to show how deep your love for that woman is.

Women love to wear jewelry and more they have in their collection, the better. The choice is wide and includes jewelry, small pieces of gold, silver, handmade or unusual pieces jewllery, that really stand out from others.

For the modern day woman's best modern jewelry. You are buying modern jewelry made of gold or Diamond ultimate happiness associated with modern design jewelry can make your day a woman.

These days, we see much demand for advanced projects for jewelry, ornaments, because contemporary design never goes out of fashion. Purchase of modern jewelry that is an investment that you can rely on to stay with them in the coming decades.

Contemporary Jewelry offers a combination of contemporary and classic, bold jewelry for women that includes a unique combination of pearls, gemstones, precious and semiprecious stones.

Statement necklaces, earrings, rings and bracelets for a long part of contemporary jewelry. Modern jewelry, we noticed how creative individuals and dramatically demonstrate that we have something to say.
Buy a big bright jewelry item size allows to keep key vibe, great experience, without making a huge impression on your portfolio. An added bonus is that large parts of the jewelry will go out of fashion.

Here are some tips to consider if you are going to buy art jewelry:

• How to choose quality over quantity jewelry every time.
• If you cannot buy true artificial stone.
• Buy something that matches another item in the collection of their women. For example, if she Amethyst pendant, Amethyst Earrings try to find a match.
• If you want to buy jewelry with colorful stones is the best who buy jewelry to go with the dress and there.