gifts for microbio and paleo enthusiasts! :DD

Hi, I was wondering how do you imagine the Team Treasure spending Christmas? Who cooks, who decorates the house, who dresses up as Santa?

Holiday Hijinks, Angst Edition

Hi @thesere1418!

Thanks so much for your question! Let’s have some holiday fun.

Right off the bat I’m going to divide this into ‘pre-treasure hunt’ and ‘post-treasure hunt’ Christmases, because they’ll look very different and I think the contrast will be useful and full of angst, muahaha.

What follows is 100% pure headcanon and conjecture. I have no source for any of this other than I feel like it : )

A Pre-Treasure Christmas

I think it’s important that we start here because before the events of National Treasure, our four heroes are all living isolated, solitary lives to varying degrees.

Angst & headcanons ↓

Ben

Ben spends his pre-treasure hunt Christmases, well, treasure hunting. I imagine that the holidays don’t factor much into the way he lives his life. He pours over books and old archive records for hours and days at a time. He eats frozen meals and fast food, takeout when he can afford it. He’s not one to decorate his apartment, because he’s not home that often. He can spend weeks at a time away on salvage dives, or off in New York or Boston or Paris searching for Charlotte’s whereabouts. If he is at home, he might have one or two sentimental decorations that belonged to his grandfather that he’ll put out. The remind Ben of early Christmases as John’s house.

At some point over the holidays Ben has to visit his mother. Emily seems like the kind of person who puts on a classy Christmas party, maybe not on the day itself, but sometimes around it. She has her professor friends over for wine and an a delightfully pretentious selection of cheeses. It’s a great time, if you like parties that come with their own subscription to The New Yorker. Ben is always invited and he has two options: attend and know that every other guest thinks he’s a crackpot, or disappoint his mother. Neither is great. Sometimes he’s conveniently out of the country. Sometimes he toughs it out. If he can, Ben visits her on the actual holiday instead. Then it’s just a quiet dinner with a few close friends and the guy she’s seeing, if there is one. If he’s out of the country he always calls.

On Christmas itself—or maybe Christmas Eve. Ben feels like a Christmas Eve person to me—he puts on an old record and splurges on some real takeout, Chinese or Thai. It’s that and a beer and another late, lonely night reading through ship manifests and learning about arctic weather patterns.

If you live in a world where Book of Secrets does not exists, then Ben’s mother probably hangs over the holiday like a fondly remembered ghost. He was quite young when she died, but the memories he has of her are dear to him, as are the traditions that come with them. If she made the best fruit cake in town, then Ben finds himself wandering into the bakery or that one and sampling the wares, never finding one that tastes quite the way he remembers it. If she had a favorite decoration, maybe a ceramic angel tree topper with delicate lace wings, Ben always finds a prominent place to display it, even if it’s the only thing he puts out.

What about being “cavalier in [his] personal life,” you say? Never a Christmas girlfriend? Sure, maybe once or twice. But Christmas with the family is a big step, one I think Ben would be reticent to take. Although he’s apparently going around telling at least two “someones” that he loves them, I think deep down Ben knows none of these relationships are as important as his one true love, Charlotte and the Templar treasure. He tries his best to get out of it. If he can’t, well, I imagine he’s his usual completely normal self and I’m sure that’s a big hit with some unsuspecting family.

Abigail

Abigail’s pre-treasure Christmas is the least isolated of any of them, but she might rather trade with Ben honestly. Her holidays start by suffering through the office Christmas party. Stan has too much eggnog and hits on her while her assistant does her best to run interference, and Abigail pretends to like coworkers she barely knows during an awkward secret santa. Then, after a brief stop at home to change and collect her already meticulously packed suitcase and meticulously wrapped gifts, its time to drive to wherever her family lives. I’m feeling Connecticut. So she drives to CT to her favorite Christmas jazz CD. She likes the quiet hours in the car.

Then the Christmas chaos sets it. I don’t imagine Abigail comes from an especially large family, it’s her mother and step-father, her brother, his wife, and her two grade-school-age nephews. I also headcanon that she has an older sister who moved back to Germany, but more on that some other time. Abigail arrives a day or two early to help with the preparations, and that’s one of her favorite parts. She and her mother make Lebkuchen (German spiced Christmas cookies) and other family recipes, as well as prepare a fish dinner for Christmas Eve and a roast duck or goose for Christmas Day.

The Chase family partakes in the German tradition of decorating the tree on Christmas Eve. This wasn't a huge part of their Christmas before they moved, but after they moved to the States it became an important way to stay connected to their roots.

Other favorite activities of hers include playing games with her nephews. She got them into go a few years ago, but Abigail is also surprisingly competent at Mario Cart.

But there’s also the comments about whether she’s seeing anyone, and the questions that make it clear that her family doesn’t understand what she does for work or why. She loves her brother and his kids and she’s always grateful to be home, but it’s also very clear to her, between the lines, that her family thinks her life is too small. When the noise and the people get to be too much, she escapes to the kitchen to work on the endless pile of dishes.

Riley

Riley, Riley, Riley. My problem child. Who are you??

Riley seems like he comes from a big-ish family, let’s say four kids, and he’s second youngest. Maybe it’s the way he seems to roll with the punches. We’re breaking into the National Archives? Sure, fine. I can’t stop you, so let me get my laser.

There’s also a good chance that he’s Jewish. Justin Bartha is Jewish, and Riley does say “Mazel Tov” to Ben when Ben says he looks alright for the gala. For the sake of this post let’s say that Riley is from a mixed family that celebrates both traditions. But if you have a take on how Judaism informs Riley’s character, I want to hear it!

Before meeting Ben, Riley worked at a dead-end office job (at IBM, according to the 2003 script). I imagine he was pretty low in the office hierarchy if a probably-fruitless, dangerous treasure hunt seemed like an appealing alternative. Otherwise he’d keep toiling away in a sea of gray cubicles, underpaid and under appreciated. The thing about offices is that when the holidays arrive, the people leave but the problems keep coming. And when you’re know as That-Guy-Who-Can-Solve-My-Problem, you get stuck with the problem. So as Riley’s coworkers and colleagues start to head out on vacation, more and more problems pile up on his desk. His nights get later, and on the last work day before the holiday, his is the last light on.

When all the workplace fires are finally put out, Riley stuffs the presents for his nieces and nephews into his clunker of a sedan and heads for the family home in…Florida? Michigan? My gut says it’s not one of the original 13 colonies, based on how geographic symbolism tends to work in the National Treasure-verse. (Riley listens to metal in the car. He gets sick of Christmas music by November.)

The celebration is at his aunt and uncle’s house, on his dad’s side. By the time he gets there, the house is capital C Chaotic. His cousins and most of his siblings have kids, so there’s a whole flock of nieces and nephews running amuck (and Riley is only too happy to join them). His dad and his sister are bickering over the best technique for cooking the roast. His sister and his brother-in-law are having a heated debate over who knows what. And his other sister—that’s right, I’ve decided he has all sisters—is trying mediate a spat between some of the kids.

Uncle Riley is a big hit with the kids. He’s cool. He’s techy. He always knows the latest video games and can troubleshoot any problem with their GameCube. With the adults…not so much. Riley was a bit of a late bloomer career-wise. He might have stayed in his parents’ basement for a year or two after college. He’s obviously incredibly smart, but he never applies himself to what he’s “supposed to.” Also please stop telling our kids that Bigfoot is real and the moon landing was fake, thank you.

Once he’s through with that and back in his broom closet of an apartment, Riley has a second holiday gathering, this time with his online squad. Riley has to be part of some online groups. Hackers. Conspiracy theorists. Random internet weirdos. Maybe they play D&D together, or swap code or challenge each other to hack into places they shouldn’t just to see if it can be done. In a lot of ways, Riley feels more at home with these usernames on a black background than he does with the family he grew up in.

Patrick

Any way you slice it, Patrick is having a pretty sad Christmas. He’s estranged from his only son. His wife either died thirty years ago or hasn’t spoken to him in thirty years. Either way, his belief that she was his “one and only” means he isn’t seeing anyone, and it appears he has no siblings, so he probably doesn’t have much in the way of family plans. Maybe he has a friend or two who invite him to their family gatherings. Patrick always says he’ll try to swing by, but he knows he won’t. He doesn’t want to intrude, and he has no interest in pity invites.

In the week leading up to Christmas, Patrick’s poker club meets for their holiday game. There’s eggnog and music in the background and enthusiastic discussions of everyone’s holiday plans. Maybe they even tried a secret santa once or twice. It’s a fun little time, but it’s not Christmas.

Christmas for Patrick Gates is a pre-ordered meal and a glass of whisky and an old record on the record player, alone in that big old house.

Conclusion

Okay! Have I broken your heart yet?

Sorry for the angst, but the contrast is going to be important!

This was actually a great opportunity to reflect on what Team Treasure’s lives were like before the events of the film. It highlighted for me just how lonely and isolated they each were, and how something was missing from their lives even if they didn’t know it at the time.

Of course, I’m making most of this up whole-cloth, so feel free to disagree with everything! What do you thing their families and family holidays were like?

This year, the holiday lead-up has been really hectic for me, but this question helped me get into the holiday spirit a bit and think more about my own Christmas traditions as well as the characters.’

Next time, I will answer you actual question about post-treasure Christmas!

I am trying so, so hard to have it ready by Christmas, fingers crossed.

Hm

i wanna… draw all the peak lords in fancy dresses

Everyone immediately pls send me what dresses you think suits each peak lord best.

We have 12 fancy outfits to chose here:

1. Yue Qingyuan, M, sect leader and peak lord of Qiong Ding peak, the peak over general affairs and ruling.

2. Shen Qingqui, M, peak lord of Qing Jing peak and chief strategist of the sect. Qing Jing is the scholarly peak that focuses on teaches the Four Arts.

3. Wei Qingwei, NB (hc), swordmaster of the sect and peak lord of Wan Jian peak, which crafts swords and teaches the art of the sword and where all sect disciples go to obtain their spirit sword.

4. Shang Qinghua, M, lord of the logistics peak An Ding peak. All senior An Ding disciples live in houses called Leisure Houses. An Ding takes care of day to day functioning of the sect, like budgeting and agriculture and trade and etc.

5. Qi Qingqi, F, peak lord of Xian Shu peak, and all female-peak. Girls Only club, HC: this peak trains its disciple in espionage and information gathering. They work closely with An Ding for this reason.

Since QQQ is the only female peak lord she will be wearing a fancy suit (bc women in suits just hit me like 👌🏻 mmyeah )

6. Liu Qingge, M, peak lord of Bai Zhan peak, the war division of the sect that focuses on training its disciples in the martial arts.

7. Mu Qingfang, M, doctor and peak lord of the medical peak, Qian Cao. All disciples take a HC svsss version of the hippocratic oath and focus their skills on healing.

8. Kang Qingxiu, M, lord of the all-male Ku Xing peak. Boys Only club to Xian Shus’s Girls Only. It’s disciples live a monk-like lifestyle. Kind of like nuns, but male?

9. Shui Qingyu, M, peak lord of the brewery peak, Zui Xian. They brew the sect alcohol. HC: also creates disinfectants for Qian Cao... etc.

10. Chang Qingzhi, FtM, peak lord of the talisman and array production and research and development peak, Fa Ming. They produce most of the sects wares in terms of talismans and cultivation arrays, working closely with Qing Jing to also produce cultivation manuals.

11. Ju Qingsong, M, peak lord of Yang Shou (beast tamer peak). This peak is foremost on monster and creature knowledge, but also trains spirit animals such as dogs and cats and horses. They also rear cattle for produce, such as cows and sheep.

12. Rong Qingsheng, M, peak lord of Kong Tian, the agricultural peak. They produce most of the sect’s food and fiber (for weaving and paper making and what not), and sell their produce to the world for profit for the sect. They work closely with the beast taming peak for animal produce as well.

I'M SO EMBARRASSED I WANNA DIE AHHHHHWUUUUU

I brought spare clothes to work cuz I was gonna go out after, and I didn't want to get caught wearing a dress so I ran out to reception to sign out and mu boss was outside having a smoke and saw me running and was like whoah whoah where you off to so dolled up. Then he was like wait everyone has to see this, and started to yell for the rest of the workers to come out and I was like NOOOOOOOO and ran off 😭😭 I can never go back in

For context I usually wear very baggy and worn out clothes for work, and my going out ware is very alt goth chains ect so... I'm just very very embarrassed they saw that side of me

Kosɛ, kosɛ; Asɔnsuaso ba Kwaa Gyebi nenam Gyamase

Amakye Dede kaa asɛm wɔ ne dwom bi mu. Na asɛm no mu ɛyɛ duru. Ɛna ɛwɔ nkyerɛaseɛ beberee. Na me nsoso mayi asɛm a, mede ayɛ Anansesɛm a, mereba abɛto akyerɛ wo.

Ebi a, asɛm no bɛfa wo ho; kafra. Na sɛ ɛmfa wo ho nso a, asɛm biara nni hɔ a, ɛkyiri afutuo. Wobɛ tumi ama wo nua bi abɛtie bi.

Ɔkaa sɛ: “Kosɛ, koseɛ, Asɔnsuaso ba Kwaa Gyebi nenam Gyamase”. Asɛm wei, ɛmu ɛyɛ duru. Ɛne sɛ, mmerɛ bi na Asɔnsuaso woo ne ba Kwaa Gyebi. Na abrabɔ mu bɛyɛɛ den. Na Asɔnsuaso hwɛ dinn sɛ, ɛkɔm bɛde ɔne ne ba deɛ; ɛneɛ dabi. Ɔbɛtu bata akɔ pɛ aduane. Ɛsan sɛ, anoma antu (ankɔ) a, ɔbua da.

Na na Kwaa Gyebi yɛ akwadaa mono a, ne ho nnya mfifiriɛ mpo. Nti Asɔnsuaso kraa ne ba yi sɛ: “Kwaa Gyebi, ɛnyɛ sɛ anka mɛgya wo hɔ akɔ. Nanso, mankɔ a, yɛbɛ bua ada; yɛ mmienu bɛwu. Enti meretu bata makɔ pɛ aduane aba. Ebi a, mentumi mma nnɛ, efiri sɛ, baabi a, merekɔ no kwan ware. Na sɛ mantumi amma bio mpo a, Nyankopɔn nhwɛ wo so.” Asɔnsuaso ne ne ba yi nyinaa suueɛ. Ɛna ɔne no dii nkra.

Asɔnsuaso kɔɔ akyiri yie. Ɛsan sɛ, na ɔpɛ asi. Na ne ti yɛɛ yie. Ɔkɔ nyaa aduane yi bi. Na ɔrena no, adeɛ bɛsaa no wɔ kwan mu. Ɔnhunu baabiara. Enti sɛ wanhwɛ yie, ɔde ne tiri bɛkɔ akɔ pem dua bi mu ama ne kɔn mu abu. Enti ɛbɛyɛ deɛ a, ɔbɛpɛ dua bi nkom ada. Na sɛ ɛyɛ Nyame pɛ a, anɔpa tutuutu watoa n’akwantuo so.

Ɔkɔ tweree dua bi nkon mu. Ɔtweree dua bi nkon mu, na saa anadwo no, ahum kɛseɛ bi tuuiɛ, ɛma mframa bɔɔeɛ, ɛma nnua bubuui.

Na Asɔnsuaso tiri anyɛ yie ɛma dua bi panyɛ ɛbɛfɛɛ ne nan. Na ɛyɛ awerɛhosɛm. Asɔnsuaso suueɛ, teaa mu, pɛɛ mmoa. Nanso na mframa ne ahum a atu no nti, obiara mpo ante.

Na mmom ɔyɛɛ n’adwene sɛ, sɛ ɔbɛyɛ a ɔbɛgaye aduane no mu paa ara deɛ, ɛneɛ aduane no ɛmmɔ n’ano na ɔnwu.

Ɛkɔ duruu sɛ, ɛwuo ara na ɔbɛwu, ɛsan sɛ, na ɔnya ɔgyefoɔ. Na mmom ɔka kyerɛɛ neho sɛ: "Awurade, mede me ba Kwaa Gyebi hyɛ wo nsa. Na mmom aduane a, ɛbɔ m’ano yi deɛ, mennyae nto ɛfam. Na menim sɛ ɛda bi, Kwaa Gyebi bɛnya nkwa. Na ɔbɛ sɔre. Na ɔbɛba abɛhunu sɛ aduane yi bɔ m'ano. Mpo sɛ ɔbɛhunu sɛ me nkranpan na aka a, ɔbɛhunu sɛ meyɛɛ deɛ mɛtumi nyinaa. Me nsa na anso m'akyi." Ɛna Asɔnsuaso wuuiɛ.

Na saa anadwo no, na ɔwɔ bi ayɛ n'adwene sɛ, ɔbɛkɔ akɔkye Kwaa Gyebi ɛne ne maame ɛwɔ ne buo mu ɛde akɔma ne mma. Na Kwaa Gyebi nkoara na aka no ɛbuo no mu.Na nsuo no boo no. Na werɛ aho, ɛresu refrɛ ne maame. Na adwene bi baa ne tiri mu sɛ, ɔbɛtena ɛbuo no mu awu deɛ, ɛneɛ ɔbɛpere atɔ ɛfam. Na ɛyɛ bi a, ɔbɛnya aduane bi atasetase.

Anoma yi pereɛ ara; Kwaa Gyebi pereɛ ara na ɔte tɔɔ ewira yi ase. Ɔnenam ewira yi ase awerɛho-awerɛho.

Na nsuo retɔ. Ɛna susaa nso atwa ne ho ahyia. Na ɔhunuu sɛ, ɔwɔ bi name wɔnom buo no ho a, ɔrebɛpɛ wɔnom amene wɔnom, ɔne ne maame.

Ɔse: "a! Ɛneɛ sɛ wantɔ fam a, anka ɔwɔ yi de no bɛyɛ ha name." Enti ɔhunuu sɛ, dabi, susaa yi a ɛrekɔ yi deɛ, "mempre nkɔ tɔ mu, na baabi ara ɔbɛgyae ne ato no deɛ, asaase biara nkyiri funu. Mewu tɔ ɛhɔ a, mɛkɔ akɔhyia me maame".

Ɛna ɔpereɛ ara na ɔkɔtɔɔ susaa yi mu. Ɛna susaa yi de no name ɛwura yi mu kakra kakra, ɛna ɛkɔ gyaee no too baabi. Na ɛnam nsuo a ɛtɔɔ anadwo no, anoma bi perebuo te tɔɔ ɛfam, a ne mma nso egu mu.

Kwaa Gyebi yɛɛ sɛ, sɛ deɛ ne mma yi ho nni nwii no deɛ, ɔno nso bɛkɔ akɔfra wɔnom mu. Na sɛ nnomaa yi maame ba, wabɛhwɛ wɔnom nyinaa afra. Enti ɔperee ara kɔhyɛɛ ebuo yi mu bi.

Na anoma no baaeɛ no, ɔbɛtamm ɛbuo yi de sɛnn dua foforɔ so, a ɔrehwɛ wɔnom. Enti ɛkɔbaa sɛ, mmerɛ rekɔ no ara no, nnomaa yi ho hyɛɛ aseɛ sɛ, ɛrefu. Ɛna anoma maame yi bɛhunuu sɛ: "dabi, anoma foforɔ bi abɛfra me mma yi". Wɔnom ntakara no ɛnsɛ. Na ɛkyerɛ sɛ, Kwaa Gyebi ɛyɛ ɔhɔhoɔ ɛwɔ ne mma mu. Enti ɔyii Kwaa Gyebi ɛna ɔtoo no tweneeɛ.

Kwaa Gyebi, saa mmerɛ na wahyɛ aseɛ refu ntakara. Na ɛnsoso, na ɔnnuruu sɛ ɔtu. Kwaa Gyebi hunuu sɛ, deɛ aduru no, ɔnoara apere antu a, ɔbɛwu. Enti ɔhyɛɛ aseɛ sɛ ɔnoara ankasa retu. Ne mpɔn mu nyɛ den, nanso ɔbɛyɛ deɛ ɔbɛ tumi biara sɛ ɛbɛyɛ a, ɛkɔm nku no.

Ɔpereeɛ ara; Kwaa Gyebi de nkakra-nkakra. Nyame adom, Kwaa Gyebi anwu. Ɔbɛ nyiniiɛ. Na da koro, ɔnam ara na ɔkɔ sii dua bi so. Ɛna ɔhunuu sɛ, nkranpan bi kura aduane bi mu. Ne yam hyee no. Ɔtwe bɛn nkranpan no na ɔhunuu sɛ: “a! Me maame Asɔnsuaso nnie”. Anoma yi suui ɛna ɔse: “a! Me yam nti na me maame abɛwu aka dua yi mu yi”.

Ɔsuuiɛ, ɛna ɔkɔ hweteree ɛfam baabi, ɛna ɔyii ne maame nkranpan kɔ guu mu, na ɔkataa so. Ɛna ɔkaa sɛ: “Mama woyɛɛ sɛ deɛ wobɛ tumi ayɛ sɛ wode aduane bɛbrɛ me. Nanso mmerɛ ne nkrabea, ɛwɔ Nyame hɔ, woantumi. Na mmom aduane yi a asɛe yi, mɛdi ahyɛ wo din animoɔnyam. Ɛsan sɛ, me nti na wobɛ wuuiɛ. Ɛna Asɔnsuaso gyee aduane yi, ɛba ɔdiiɛ. Ɛna ɔkataa ne maame so.

Wonim? Deɛ Onyame bɛyɛ biara yɛ. Yɛn mu beberee wɔ hɔ a, deɛ yɛfiri be abusua a, yɛfiri mu, awofoɔ bi a wɔwoo yɛn no, wɔnom pereeɛ ara sɛ anka wɔn nsa bɛso y'akyi. Na ɛnsoso, wɔn ahoɔden antumi. Yɛn mu beberee wɔnom anka wɔbɛ dware y'kyiri no, yɛ ammɛto wɔn. Enti anoma foforɔ bi na ɔhwɛɛ yɛn. Nanso obi bɛyɛ wo yie a, na ɛnte sɛ wo maame.

Na ɛnsoso, Nyame nim neɛ nti a, ɔyɛ ne biribi ara. Sɛ Asɔnsuaso ne ne ba amfiri buo no mu, anka ɔwɔ no bɛwee wɔnom nyinaa. Ɔyi biribi firi hɔ, na ɔde biribi ahyɛ anan mu.

Ebi a na wo nsa anso w'akyiri adwareɛ. Na ensoso woapere ara sɛ, woanyɛ no saa, ɛnyɛ yie. Enti woara apere na sɛ ɛnɛ, woaduru mpɛnpɛnsoɔ bi a, da Nyame ase. Deɛ ɛbɛsi biara yɛ. Amma no saa, anka ɛnyɛ.

Nyame nkyekyere obiara a, wahwere ne maame werɛ. Na yɛn a, yɛ anso tuo, nanso yɛ peteeɛ tuuɛ, Nyame adom, yɛ anwu na yɛ te ase no, yɛ ntwa yɛ ani nkɔhwɛ yɛ akyi. Na anka wɔn bɛtumi a, anka wɔnom yɛɛe. Na wɔnom antumi nti, na wɔnom gyaa yɛn agyaegyae mu.

Nyame nhyira awofoɔ biara. Wo ne Nyame nyɛ adwuma.

Ɔbɛnem 20, 2024

OP EXCURSIE DOOR HET LEVEN MET OCTAVIE WOLTERS

Octavie Wolters is graag in de natuur. Tussen wollegras, kroontjeskruid en onder bramenstruiken, populieren ligt haar tweede natuur. Daar is zij geaard, op die grond gedijt ze goed. Dat wezen van buitenleven en natuurschoon beschrijft zij liefdevol en gedetailleerd. Zittend aan de keukentafel met haar boek “Dit gaat nooit voorbij” geopend voor me liggend heb ik het idee dat ik met haar in dat veld ben. Want zij is geen bosmens. Octavie Wolters is van de horizon, van de open velden, de akkers. Bossen zijn haar te nauw, dan kan ze niet van zich afkijken en voelt zich opgesloten. In mijn fantasie bij haar verhaal wandel ik met haar, draaft de Friese hond die kan slootjespringen voor ons uit en zwijgt W. W is haar levensgezel die de natuur met haar deelt. Ik ben daarbij, wanneer ik mijn ogen sluit en haar teksten in mij om laat gaan.

Zij is geen wereldreiziger. Zij houdt van haar kleine, nabije omgeving. Het land dat ze zo goed kent en dat haar iedere dag weer iets nieuws laat zien. Octavie hoeft niet ver te gaan, daar in dat open veld vindt ze haar antwoorden. En haar vragen. “Ik weet nooit wat het doel is van alles, van de mens, de wereld, het leven. Of van mij.” De scholeksters halen hun gevederde schouders op en zeggen: “Dat hoeft je toch ook niet te weten?” En Wolters is het daar mee eens toch: het is goed zo – alles is er, dat is reden genoeg. Ze kan het geluk aanraken. Het gaat als een vogeltje op haar wijsvinger zitten. De essentie van geluk is de vogel, de liefde ervoor. “Dat gaat nooit voorbij”, denkt ze hardop.

Die gedachte werd de titel van haar nieuwste uitgave, waarin zij spreekt met de vogels die ze treft op haar wandelingen. Ze vraagt zich af hoe vogels tegen de dingen aan kijken. In die fantasie zou het mooi zijn om met hen te kunnen praten. Octavie Wolters praat natuurlijk niet werkelijk met de merel, de kievit en de kokmeeuwen. Maar het woord is gewillig en het beeld volgzaam. Want niet alleen beschrijft Wolters haar gesprek en de omgeving waarin die samenspraak plaats vindt, ze maakt ook een afbeelding van de gesprekspartners. Dit doet zij door de plaat uit te snijden in linoleum en deze vervolgens kleurig af te drukken. Het spreken met de mezen, de zwaluwen en de ekster doet zij in gedachten. Die denkbeelden schrijft ze op en tekent ze uit, zodat het wel lijkt of de vogels net mensen zijn. De bever zwijgt, maar de mus, de kleine zwartkop en de blauwborst voeren het hoogste woord.

In gedachten spreekt ze feitelijk met zichzelf. Geeft zichzelf weerwoord of diepzinnige antwoorden op gelaagde vragen. Levensbeschouwelijk, bespiegelend, contemplatief. Ze is graag in de natuur, houdt van de vogels. En kan daarom hun verenpak aantrekken. En die jas past haar goed, al is de coupe en de stijl afwijkend. Ze observeert zo dikwijls en dermate intensief, dat ze zich met de gevederde vrienden kan vereenzelvigen. In haar gedachten vindt ze troost bij de vogels, in zichzelf. Het is als bidden. Moeiten en zwarigheden uitspreken en deze als het ware op het bordje van een hogere macht leggen. Bij Octavie Wolters is die macht de natuur, zijn dat de vogels. Bidden is net zo goed praten in jezelf, met een denkbaar persoon in gedachten discussiëren. Die iemand is ergens geloof je, maar zeker weten doe je het niet. Wolters gelooft in de vogels, vertrouwt op de natuur. Legt haar gemoed en gevoel bij hen neer in de fantasie van het verhaal. En ze krijgt antwoord, waar de goede god schijnbaar zwijgt.

Haar verhalen zijn fabels, de vogels krijgen het gemoed van mensen. Geleerde mensen, want ze geven beschouwelijke antwoorden op de vragen van het leven. De vragen in het leven waarmee Octavie worstelt. Ze filosofeert over het zijn, bepeinst het wezen. Probeert een vinger achter het bestaan te krijgen, het aanwezig zijn hier en nu te vatten. Ze verbaast zich over dingen die zomaar gebeuren zonder dat iemand het opmerkt. “Sommige dingen gebeuren gewoon”, zegt de winterkoning. “Soms valt er iets voor zonder dat iemand op de wereld ervan weet”, denkt Wolters. Is het dan wel echt gebeurd wanneer niemand het opgemerkt heeft, filosofeert ze verder. “We kunnen soms alleen maar een verhaal verzinnen.” Dat beaam ik en sla de bladzijde om.

De verhalen zijn uiterst persoonlijk. Voor de vogels, en door de vertellingen dus ook voor mij, opent zij haar ziel. Ze heeft angsten, net als ieder mens. Wolters is bang dat zonder angst zij ophoud te bestaan. De angst is bij haar gaan horen, is een deel van haar geworden, een onmisbaar orgaan. Lang heeft ze zich vastgeklampt aan hoop, aan een verwachting, aan de gedachte dat alles ergens goed voor is. Ze denkt aan alle paden en wegen in haar hoofd, de herinneringen, toekomstdromen, alles in het hier en nu, waar ze aan werkt of mee bezig is. In het gladde wateroppervlak waarin de wolken voorbijdrijven ziet ze de reflectie van zichzelf. De visjes flitsen door haar heen alsof deze haar gedachten zijn. Het is een wereld van beelden, woorden zijn er niet nodig.

Het zijn gedachten waarmee een ieder die serieus in het leven staat wel worstelt. ’s Nachts van wakker ligt. Troost zoekt overdag. Het zijn universele levensvragen die antwoorden verdienen, die om raad smeken en een uitweg zoeken. “Troost is er als al het andere al lang vervlogen is”, zeggen de mezen. Haar levensverhaal smeert Octavie Wolters uit over de seizoenen, deelt deze op in de maanden van het jaar. De winter, de lente, de zomer en de herfst, alle hebben een eigen karakter en signatuur. Het gemoed valt zwaar wanneer de blaadjes vallen bijvoorbeeld. In september denkt ze aan haar kindje dat er zo hartverscheurend niet meer is maar daardoor een nieuw soort aanwezigheid vormt. “Iets kan er tegelijkertijd zijn en niet zijn.” Gemis is nooit weg, vindt ze. Maar de pijn van de leegte kan wel gevuld worden. Ware woorden, de mees had het niet beter kunnen bedenken.

‘Dit gaat nooit voorbij’ is een prentenboek voor volwassenen, maar in de platen kunnen kinderen zich ook heel goed vinden. De vertellingen verhalen over levensvragen en het vinden van troost in de kleine wonderen van de natuur. Die vragen zijn te groot voor kinderen, wel lijken me de beschrijvingen van de omgeving aan te sluiten bij hun beleving. Volwassenen zullen bij de platen, portretten van vogels in weelderige flora, zelf een verhaal voor kinderen kunnen fantaseren. Deze platen hebben een klare lijn zonder veel omhaal van vlak en kleur. Duidelijk en essentieel, helder het karakter van de vogel in zijn habitat verbeeldend. Daarbij improviseren de verbeeldingskracht en het voorstellingsvermogen als vanzelf een verhaal. “De zon schijnt en de lucht voelt ineens warmer vandaag, al is het een wat schijnheilige warmte met een ondertoon van tochtige vrieskou. (…) De randen van de dagen worden langzaam zachter, het licht dimt, het lawaai verstomt.” De ekster vliegt op, maakt een rondje om de boomkruin en krast me gedag.

Dit gaat nooit voorbij. Octavie Wolters, tekst en illustraties. Uitgeverij Ploegsma, 2024.

What is Six Syllable Types?

6 Syllable Types 

    Syllables are the building blocks of spoken language and can be categorized into different types based on their structure.   Here are six different types of syllables:   Closed Syllables:  A closed syllable ends with one or more consonant sound and typically has a short vowel sound. When a closed syllable is followed by another syllable that begins with a consonant, the two consonant letters will come between the two syllables ( sum-mer,  let-ter). In closed syllables short vowel can be followed two or more consonant letters (dill, jazz, mutt, bill, spell, floss, rattle, paddle, kiss). In closed syllables with short vowels, when a short vowel is followed by two or more consonant letters, those consonant letters often work together to create a single sound. This is known as a consonant cluster or consonant blend.   For example:   doll - The double l creates a single l sound after the short vowel o. rattle - The tt creates a single t sound after the short vowel a. paddle - The dd creates a single d sound after the short vowel a. kiss - The ss creates a single s sound after the short vowel i. This pattern helps maintain the closed syllable structure and assists in maintaining the short vowel sound within the syllable. The presence of a consonant cluster in a closed syllable can provide some protection for the vowel sound from the influence of suffixes. When a word has a closed syllable with a consonant cluster, the vowel sound is more likely to remain short and retain its original pronunciation even when suffixes are added.   For example:   hop (closed syllable with a short o sound) + -ing = hopping stop (closed syllable with a short o sound) + -ed = stopped chat (closed syllable with a short a sound) + -er = chatter swim (closed syllable with a short i sound) + -ing = swimming              Open Syllables: An open syllable ends with a vowel sound and is spelled with a vowel letter. In open syllables, there is no consonant to close or protect the vowel sound, so the vowel typically remains long or pronounced as its natural sound.   Examples of open syllables in words:   so-lar - The first syllable so is open and ends with a vowel sound. mu-sic - The first syllable mu is open and ends with a vowel sound. mo-ney - The first syllable mo is open and ends with a vowel sound. vo-wel - The first syllable vo is open and ends with a vowel sound. And yes, one-syllable words like me, do, and be are also open syllables because they end with a vowel sound and are spelled with a vowel letter. In open syllables, the vowel sound is not protected by a following consonant, so it tends to be pronounced as a long vowel sound or its natural sound.               Vowel-Consonant-E Syllables (VCe): Vowel-Consonant-e (VCe) syllables are often referred to as magic e syllable patterns or silent e syllable patterns. These syllables are characterized by a specific spelling pattern where a single vowel letter is followed by a consonant and then the letter e (hire, ware, mute, yoke) The magic e at the end of the syllable doesn't make its usual sound but instead influences the preceding vowel to be pronounced with a long sound. This changes the pronunciation and meaning of the word.             Vowel Team syllables: Vowel teams, also known as vowel digraphs, are combinations of two vowels that work together to represent a single vowel sound. The most common vowel teams include:   ee (as in meet) ea (as in heat) ai (as in rain) oa (as in boat) ou (as in out) Vowel teams are used to represent long vowel sounds, but they consist of two vowels, not a combination of long and short vowels. Digraphs are pairs of letters representing a single sound (consonant or vowel), and they can certainly be used in vowel teams. For example, ea is a vowel team, but it's also a digraph because the e and a together represent the sound /iː/.   Anglo-Saxon Words and Vowel Teams: Anglo-Saxon words are Old English words that were used in the early history of the English language. While vowel teams are present in English words, their usage is not strictly limited to Anglo-Saxon words. Vowel teams can be found in words from various origins.   Consonant Letters in Vowel Teams: oy, ey, ay, and ew, are indeed vowel teams, but they often involve a vowel combined with another vowel or consonant. For example: oy (as in boy) ey (as in key) ay (as in day) ew (as in new)   Ough, augh, and igh are also examples of vowel teams, although they can have varying pronunciations based on the word.   In summary, vowel teams consist of two vowels working together to represent a single sound, typically a long vowel sound. While some vowel teams can include consonant letters like y or w, the primary idea is that they involve two vowels. These patterns are not exclusive to Anglo-Saxon words; they can be found in words from different linguistic origins.             Vowel -r syllables: Vowel-R syllables, also known as r-controlled syllables, are an important phonics concept for students to master. In these syllables, a vowel is followed by the letter r, and the r influences the way the vowel is pronounced. The r sound changes the way the vowel is produced, creating a unique sound that is distinct from both short and long vowel sounds.   Examples of r-controlled syllables: In the words: herd, cart, germ, turtle, and shirt - The er, ar, ur, ir combinations create unique sounds different from regular short e, a u, i or long e, a, u, i sounds.   Mastery of r-controlled syllables is important because understanding these patterns helps students accurately decode and spell words. The r sound influence on the vowel can make these words challenging for early readers and spellers. By recognizing and practicing these patterns, students can improve their reading, writing, and overall phonics skills.             Consonant C-le syllables: Consonant-C-le syllables, also known as stable final syllables, are a specific syllable pattern that occurs at the end of words. In these syllables, the combination -cle is common, and it creates a specific sound pattern.   When the Consonant-C-le syllable is combined with an open syllable, the final consonant is not doubled. Examples:   cable - The cle combination creates a unique sound, and there's no doubling of the consonant. bugle - The cle combination also creates a unique sound, without doubling.   However, when the Consonant-C-le syllable is combined with a closed syllable, the final consonant is usually doubled before the -le ending. Examples:   dabble - The ble follows a closed syllable dab, and the b is doubled before the -le. little - The tle follows a closed syllable lit, and the t is doubled before the -le. topple - The ple follows a closed syllable top, and the p is doubled before the -le. Mastery of these patterns can help learners better understand the pronunciation and spelling of words with Consonant-C-le syllables. It's a helpful tool for decoding and encoding words accurately.   The given consonants are found in Cle syllables:   fle: raffle, shuffle, waffle stle: castle, bristle, wrestle gle: giggle, struggle, juggle kle: ankle, sparkle, crinkle zle: dazzle, puzzle, drizzle ble: table, marble, nimble tle: little, bottle, battle cle: circle, bicycle, icicle   These examples demonstrate how various consonants are combined with -cle to create Consonant-C-le syllables in different words.                 What is Six Syllable Types? The Sound of Murmur Diphthong : AR, OR, ER, UR, IR, and YR The Spelling patterns for the letter “y” The Spelling patterns for the letter “o” The Spelling patterns for the letter “u” The Spelling patterns for the letter “a” The Spelling patterns for the letter “i” The Spelling patterns for the letter “e” The Phonics rules for reading and spelling Read the full article

I’m trying to find a reliable sitter to check in on my birds when I go out of town next weekend and this one person I volunteered with at the humane society messaged me and was like “you can bring them to my house and they can stay in my daughters room :3”

1. BRINF TBEM TO UR HOUSE?!? I rather just have the flu

2. IN UR CHULDS ROOM? A CHILD? again I rather just have the flu

I understand she was trying to be nice but bruh I just can’t just pick them up and be like ok let’s go to a random persons house 🏡 and their cage is fucking big as hell what does this lady tbink the standard is ??? A small ass cage I can just pick up and go ok bye ! ALSO and risk a CJILD around them and non stick cooking ware and candles and perfume ON MU GOD.

That being said I am still looking I have a few options I am reaching out to tomorrow I almost fainted when the lady said “bring them to my house and they can stay in my daughters room :)”

Sarkodie Ft Maleek Berry Feelings Lyrics

Sarkodie Ft Maleek Berry Feelings Lyrics Maleek Berry Oh Berry pon this It's MOG baby King Sark Yeah, yeah Sarkodie Baby I'm calling pick up the damn phone Your attitude, I don't know where it came from Forgetti yɛnfa ne sɛ I'm the lame one Na bra yɛn kasa my baby say nah Baby I'm make the money rain on you I know a couple girls tryna hate on you Akasa kasa ba me ne wo ntɛm a, don't you Pack and leave, 'cause it's all about you Me si me tri asa Ashi m'akoma, trying to keep it classy Ɔdɔ pa yɛ simple, basic, ɛnyɛ flashy Kissing and hugging and making love in the back seat Ɛdu anadwo a na ma fi wo sexy and sassy Yɛ ka sɛ Crazy in Love I was clueless 'Cause I never fell in love, it was you first Wo falli pɛ, wo ego no yɛ useless Me barki but I'm toothless Maleek Berry I never thought I can feel this feeling Never thought I can feel this feeling You give me a million reasons to love you you You give me life and something to believe in Me dɔ wo I'm so in my feeling You give me a million reasons to love you Me dɔ wo Abena me dɔ wo Abena mɛ ware wo Abena me hia wo Abena mɛ ware wo Abena me dɔ wo Abena mɛ ware wo Abena me hia wo Abena mɛ ware wo Sarkodie Picture me pulling up in Lambo And I can take you to where you can't go You love me, I love you, we in the same boat Me dwani atɔ wo dɔ mu, like Usain Bolt Don't you ever doubt me, you're my angel Gyi gyi wo so sɛ nea me promoti me single Me shɛ wo kawa, ae ain't tryna mingle Aka se nea wo bɛ dɔ me till I winkle Baby, me dɔ wo paa its not a maybe, its crazy Me ne wo dɔ no let's keep it wavy, lately Nkrofuɔ ha m'adwen they tryna break me But me ntumi ngyai wo da, you know my Mama raised me You don't know what you have until you lose it Sake of you I pour my heart in this music Sɛ girl no dɔ wo a, don't you abuse it Sesia me frɛ no ɔnpicki up I'm feeling stupid (stupid) Maleek Berry I never thought I can feel this feeling Never thought I can feel this feeling You give me a million reasons to love you you You give me life and something to believe in Me dɔ wo I'm so in my feelings You give me a million reasons to love you Me dɔ wo Abena me dɔ wo Abena mɛ ware wo Abena me hia wo Abena mɛ ware wo Abena me dɔ wo Abena mɛ ware wo Abena me hia wo Abena mɛ ware wo Stupid Oh this feeling Spiritual mix Ahh ahh It's MOG baby Read the full article

What are the challenges faced when you go with bespoke products

With the increasing necessity to be seen and remembered, the need for creating distinctive and bespoke wares is on the rise. Bespoke products are the key to offering a unique experience for HORECA guests and help your hospitality establishment stand apart from the competition.

But going bespoke presents its own set of challenges. In this blog, we list the most prominent among those challenges and the means to overcome them.

Challenges faced when you go with Bespoke products

Design

Designing the product is the first challenge when you choose to go bespoke. Conceptualising the product, adding unique touches that make it bespoke while keeping the utility and ease-of-use value high can be a bit tricky. Also, material selection and finish also have a direct bearing upon the durability of the product.

The right decor and tableware partner can make a difference here. They will work with you right from the initial stages of product planning, through to the manufacture, delivery and even offer after sales support! Your feedback is solicited at all stages and together with their knowledge and expertise, the right product for the right application is developed. It is a team effort all through.

Nine Ventures offers bespoke products in various designs and styles. The finish of the product is optional and the products can be created in various colours and sizes. Be it size, shape, colour, finish or design – anything and everything can be customised to align with the theme and design requirements of the customers. We work hard with our partners to come up with designs that are unique to individual clients and help you gain an edge over the competition. Our product development department will work with you and based on your suggestions and inputs we will suggest and supply your project with customised accessories that will help you improve the efficiency of your hotel or restaurant.

Order Quantity

Another challenge that faces you when you go bespoke is the minimum order quantity that is needed to create a unique product. In most cases, though the cost might seem reasonable, you will be left with a ton of products that you will never find a use for! While this may seem like an unreasonable condition, it is not without reason. Most bespoke products’ manufacturers insist on a minimum order quantity, in order to absorb the costs involved in the design and manufacture process. But the minimum order quantity might be just too much for your requirement.

One way to overcome this restriction is to look for a bespoke product developer who offers an optimum balance between costs and quantity. At Nine Ventures, no order is too big or too small for us. Be it tens, hundreds or thousands, we are ready to service your requirement.  

Managing Spares

Managing spares is a big headache when you go niche. Suppose your order is a one-time design and in the course of regular wear and tear, your hospitality establishment needs a few spares to replace the product. What do you do? Process another big order?

You can overcome this challenge by factoring in spares during the initial product order. That way, when you need a few spares, you will have them ready. Another idea is to minimise the amount of customisation, so that when the need for a spare arises, you can run a small batch and be done with it.

Nine Ventures is a bespoke solution provider. Our relationship with you does not end with the delivery of the products. It only begins there. It is not just products that we deliver, but also after sales support which make Nine Ventures a very unique bespoke hotel supply company.

Cost

Cost is a major limiter when you go bespoke. Cost escalation happens due to time and effort involved in designing, R&D, prototyping, manufacturing and testing. It is an inevitable part of customisation.

The long term benefits that you gain from going bespoke far outweigh the initial investment. Customisation is not cost – it must be viewed as an investment. It works as your brand’s advertiser.

Why Nine Ventures?

The hospitality sector all over the world has embraced customisation. Though product customisation offers instant brand impression advantage, it is also challenging and difficult for implementation – if you do not have the right partner.

At Nine Ventures, we understand that guests are the driving force behind your hospitality establishment. Their happiness and satisfaction is the prime focus of your hotel or restaurant. As a bespoke accessories and amenities supplier, we develop innovative, bespoke products that increase the convenience of stay and create a memorable experience for your guests. If you are in the mood to upgrade the ambience of your hotel or restaurant, your search ends at Nine Ventures. Our cost-effective solutions enable you to improve the efficiency of your hotel or restaurant. There is no limit to the quantity of products ordered either – no order is too small for us. We approach our clients like a solutions provider rather than a supplier. We work closely with you to meet and exceed your expected requirements. Quality has always been, and will always be our prime focus. We know that we are representing the reputation of your brand. We therefore have stringent quality standards and inspections in place, under which all products need to go through before being dispatched.

To know more: https://www.nineventures.ae/what-are-the-challenges-faced-when-you-go-with-bespoke-products/

"There’s no need to look like THAT.” The smile the young man wears is easy and gentle and sunny - and undeniably odd, regardless. “Even if the Mu family has hunted demons for generations now, we know the difference between good and evil spirits. I just thought this little fur ball looked friendly.” Some parts of that is the truth, at least. The fox being friendly, though? Withdraws his hand before he gets his fingers bitten off, and stands up. “Anyway - even if we were to speak of evil things - in your professional opinion, am I not the most evil aura in your presence?” The smile deepens, just a little. There’s little need to pretend. He heard her name from someone and if she can help him - then she can tell.

“Perhaps not quite the most evil.” Amends softly, gaze sweeping over her wares. “That’s what I’m here for. I need something more evil. To mask...this.” The way resentment and blood - demonic? His own? - seems to cling to him. Enough that even creatures take notice. Smile splits into grin. His sister’s beginning to suspect, to give him LOOKS. He’s been impatient lately - reaching for his hair more often, and leaving carnage in his wake. “I know it can’t be easy to have collected something like that - don’t worry, I don’t plan to short you. I’m sure something on me is of equal rarity and value.” He himself was the rarest thing of all, and his grin tilts a little mockingly. “Name your price.”

What will she ask for, after her professional appraisal? A bowl of blood, like his adoptive family has asked for nearly every day since he was old enough to remember, the very reason they took him in to begin with? The stack of upside down talismans glimmering dark blue in his chest pocket? The hair ribbon, equivalent to and stronger than the whole of his UNCONTROLLABLE, apocalyptic power, the only thing holding it back from consuming him and everything around him? Well, that was the only thing he couldn’t give her, but he wanted to see if she would ask regardless.

@caelestcs​ liked for a starter !   feat.   Mi MI : ‘ ) 

Get audioplayer from audiodevice

#Get audioplayer from audiodevice android

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Voor Iedere Avond: Als een ring aan Zijn vinger met Hem verbonden Bijbels Dagboek, C.H. Spurgeon  "Voor Iedere Avond" Ik vond Hem, die mijn ziel liefheeft; ik hield Hem vast en liet Hem gaan. Hooglied 3:4 Wil Christus ons ontvangen, als wij tot Hem komen, ondanks al onze vroegere zonden? Verwijt Hij ons helemaal niets, omdat wij eerst ergens anders onze toevlucht hebben genomen? Wel, dan is er niemand op aarde zoals Hem. Is Hij dan niet het beste en mooiste van alles? O, laten we Hem dan prijzen! Dochters van Jeruzalem, prijs Hem met de luit en de harp! Weg met de afgoden, verhoog de Heere Jezus! Gooi de vaandels van al het aardse pracht en praal neer, maar hef het kruis van Christus, dat de wereld veracht en bespot, omhoog! Onze Koning Salomo is een ivoren troon waardig! Dat Hij voor eeuwig groot gemaakt zal worden, en dat mijn ziel aan Zijn voetenbank zal zitten. Ik zal Zijn voeten kussen en besprenkelen met mijn tranen. O hoe dierbaar is Jezus! Hoe is het mogelijk, dat ik Hem zo vergeten heb? Waar zou ik anders mijn vreugde en troost zoeken, wanneer Hij zo rijk, zo algenoegzaam is? Lezer, sluit een verbond met uw hart, dat u nooit meer van Hem zal weggaan, en vraag de Heere om dat te bevestigen. Vraag aan Hem of Hij zichzelf aan u wil verbinden als een ring aan Zijn vinger, als een sieraad aan Zijn arm, zoals de bruid zich versiert en de bruidegom zijn juwelen aandoet. Ik wil wonen in het hart van Christus; in die rotsspelonk wil mijn ziel eeuwig blijven. Zelfs vindt de mus een huis, en de zwaluw een nest voor zich, waar zij haar jongen legt, bij Uw altaren, HEERE der heirscharen, mijn Koning, en mijn God! Zo wil ik ook mijn huis bouwen en mijzelf bij U nestelen. Geef toch dat de ziel van Uw tortelduif U nooit meer zal verlaten, maar zal wonen in Uw nabijheid. O Jezus, mijn ware en enige rust. Als ik de Heere ontmoet, Voel ik mijn hart ontgloeien; ‘k Wil met een liefdesnoer Hem aan mijn zijde boeien.

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 The visit to Asian Art Museum of San Francisco is magical and delightful. The museum is a three-story building with 40,000 square feet of exhibition space. The address is 200 Larkin St. In the Asian Art Museum, there are precious collections such as miniature from Rajasthan palace and cartoon carved by the famous Japanese cartoonist Osamu Tezuka's, as well as China's Ming Dynasty celadon vases. Asian Art Museum can bring me to the power of magic. It seems to me that I will be able to make a travel halfway around the world in one afternoon through thousands of years of history. 

In addition to its excellent exhibits, the ticket is not very expensive as $ 12. Asian Art Museum of San Francisco is free to the public in the first Sunday of each month, so if people want free tickets, then they are proposed to go early. There is also an official website for it. Before I visit it, it is very convenient to look for information on the Website: www. Asian art. Org. On the website, I learn about that Asian Art Museum of San Francisco is a museum full of collection of Asian artifacts, and its main collection is Chinese cultural relics. Its opening hours are from 10:00 to 17:00 and closed on Mondays. In addition, the museum's collection is in the form of continuous display. It provides telephone 415-581-3500. And the traffic is very convenient and I can take the J, K, L, M, N, F line subway.

The museum was officially opened in 1966. It is actually a celebration of International Art Symposium. There are more than 250 scholars from around the world, collectors and art merchants to participate. Before 1959, the only collection is known as Chinese art, including ancient bronzes, porcelain, and jade carving. After 1959, it increased collections of Korea, Japan, India and Southeast Asian countries and also increased the Chinese painting and calligraphy. The visit of the museum starts from Southeast Asia Island, advancing a little bit to inland areas of Asia. One of the most exciting parts is the China Pavilion, such as Dragon block from Spring and Autumn Period, and the jade of the He family -- a priceless gem from Warring States Period. There are worship and daily jade since the Western Han dynasties and older bronze tripod Jazz. The numbers are so large and make me feel a little more dizzying.

Within Asian Art Museum of San Francisco, there are a very small number of exhibits that are not allowed to take pictures, and these exhibits are marked with a special mark. Exhibits which are not marked specially are all allowed to take pictures. In the museum, I found the interpretation is rather detailed and orderly. For example, there is a lot of wood works on exhibit of the modern Japanese artists Okura Jiro. His main works are wall hanging and vessels made by black walnut and camphor tree. On the top of this interpretation card, there are Chinese names and years of production of exhibits given that the main audience of Asian Art Museum of San Francisco may be visitors from the Asian countries. The interpretation in English is listed below it giving a little detailed information of the source of exhibits. In the case of MU, 1990, the interpretation shows that those exhibits are given as a gift by Okura Jiro and there is detailed description of the creating place, background and process of Okura Jiro. 

There are four main pavilions: Chinese Pavilion, Korean Pavilion, Japanese Pavilion and Indian Pavilion. The exhibits of Japan Pavilion have significantly increased in the museum after the opening. Now there are about 1600 items. I visited bronze ware such as circular mirror and bronze mirror of 3th century and pottery, ceramics and porcelain of 11th to 20th century. However, I still felt that the pottery, ceramics and porcelain appeal most to me. Thus, I will mainly give an account of my visit of pottery, ceramics and porcelain exhibits.

Entering the Japan Pavilion, I can see a very elegant tea house named “ Muchu an” as Japanese tea ceremony is a natural pursuit of easy, simple, and elegant atmosphere. It is made mainly of bamboo, wood, plaster and paper. The design of tea room is under the influence of the Zen idea, which tried to create an atmosphere of stillness and insight in general. In the non-decorated tea room, there are two things allowed: simple flower arrangement and Zen tea ware hanging on the wall. I imagined that when I bend down, and I got into the tea room, I looked up at the empty space where I saw the flower, and a little sunshine, sprinkled petals next to a simple Chan Yu calligraphy. This is an excellent scene full of Zen. This is a need to explain the feelings of Zen. The tea houses are usually divided into two parts as inner and outer tea court. There is line between the inner and outer tea court. This line has been given a profound meaning; this is boundary for people from one world into another world. At the same time the door is also charged with the function in particular to cut off from secular world in an instant as the guests walked through these boundaries. It is to clean itself from worldly distractions brought, while purifying the soul. The so-called door is a kind of limit. It is with this limit that it will produce an impression from one world into another world. By passing through this door, it means entering another world. The Japanese tea room is built out of bamboo and wood. Japanese tea room is not big, but it's not cheap. The cost of a first-class tearoom requires even more than one ordinary residence. Materials and processes used in a tea room are extremely delicate; every detail has been carefully considered; each configuration is imaginative. Another thing I noticed about the tea room is that it is extremely small. In such a small tea room, the space is already less than the space and distance that humans can psychologically tolerate and feel comfortable. The hosts and guests can only deal each other with candor, and you can not hide. Because of this, everything must be dealt in proper and perfect manners. Thus, the design and building of tea room is not so much about tea, but about the self-cultivation.

During all those Japanese items, Japanese tea ceremony is one of the most excellent forms of Japanese arts. Japanese tea ceremony began in China but also have its unique feature, and it is a special form of culture. It is the Zen Nippon that later gave birth to a unique aesthetic value. Japanese tea ceremony is developed from everyday life based on the activities of daily living. It is a melting furnace of religion, philosophy, ethics and aesthetics and has become a comprehensive arts and cultural activities. It is not just material things, but also ceremony learning, which can edify, and cultivate people's aesthetic and moral values.

Speaking of the Japanese tea ceremony, what is inseparable from the tea ceremony is tea wares. The appliances as large as furnishings rack, stove, and as small as tea spoons, glasses can all be called tea wares, but tea wares often specifically refers to tea bowls, teapots, and tea spoon. Tea wares are both ornamental and useful appliances. Utensils can be divided into public, which could be used by all the people on the scene and special ones intended for individual use. According to another division, tea ware of Japanese tea ceremony is broadly divided into two categories: one is dedicated to strong tea; one is dedicated to green tea. Both can be divided into many shapes such as the square dsih with bird design and the tea leaf storage jar of Bizen ware. It is one of the most expressive carriers of the tea ceremony. It not only stresses the adaptability to the different season, but also the arrangement of teahouse to help create a harmonious atmosphere. The variety of types of tea is made of porcelain, stone, lacquer, iron, copper, pottery, wood, bamboo. For example, the large dish with plant design, also one of so-called E-shino ware and bizen ware are both exhibits made out of stone. It is originated from Japan Tengen years of four hundred years ago. Shino were asking potters to make tea ware, which producing Japan's first white pottery ── " E-shino ". In General view, Shino has the qualities of the jade stones, and it has concisely glaze, minimalist natural texture rough adobe reckless, and simple and unadorned iron painting style. The potters left behind their fingerprints, fire marks, wormholes on the E-shino ware. The aesthetic charm, and life experiences of potters, is also involved in Shino pottery.

What I liked most is the Bizen ware. Its feature is not glazed, and does not have color painting. It relies entirely on the flame and techniques to make porcelain, and each piece is different. The family of master porcelain from the 15th century began to make Bizen-fired porcelain, and passed it through several generations ever since. The producing place of Bizen is one of the six ancient kilns in Japan. It has more than a thousand years of history, and in six of the kiln, is also the oldest. Another main place of tea utensils producing place is Seto where bottle with incised decoration is produced, a ceramic industrial city central and southern Honshu. It belongs to Aichi regions. In English "China" is porcelain, and in Japanese as "Seto wares" refers to porcelain. Seto kiln is the first kiln of Japan's six major kilns, and is known as the birthplace of Japanese pottery. Sales of porcelain store were the Japanese called "Seto house." Seto kiln began to imitate Chinese Qing porcelain of Yue kiln. At that time a large number of Chinese Song dynasty celadon enter Japan, but Japan failed to meet the aristocratic luxury consumption of Chinese porcelain, while China's tea party, tea bucket spread eastward, and makes black glaze tea produced in China Fujian kilns favored by the Japanese upper class. This greatly promoted the development of ancient Seto pottery industry. "Seto ware" features very rich ceramic glaze color, and its representative varieties are “yellow Seto," "Shino" such as large dish with plant design, "Oribe" such as square dish with bird design and so on. Their manufacturing history is hundreds of years old. "Seto wares" owes a lot to high-quality local clay, and in addition, the potter's art is quite superb.

The highest value of all the tea in most varieties and the most elegant undoubtedly is tea cup. Usually it is ceramic bowl, but there are stone products. In a sense, the bowl can be regarded as synonymous with the entire class of tea. It is designed and produced during Warring States Period by Rikyu. The famous potter Chojiro’s production of  Black raku square tea bowl, known as "Kaburo"  and can be regarded at the time in Japan as top works of tea cup (Britannica.com, 2016). I also found the famous wabicha. The tea ceremony is developed by Zen master monks in the 14th century and then adopted by wealthy aristocrats. They have built elaborate tea room, and they use Chinese imports as luxury tea wares. However, in the 16th century, tea master Rikyu presents a new way of tea ceremony, so that it can be carried out in a small tea house, and the tea is made of local artisans. Rikyu tea ceremony has conquered the less well-off people and become famous tea ceremony.

In addition, I also discovered from the interpretation that most of the tea utensils on display are made in Mino regions. Mino area (now Gifu Prefecture) is rich in the tea utensils because they have a wealth of ceramic materials - clay, so since ancient times they began to produce porcelain. According to legend, in the 7th century, it had built a local ceramic kiln. Later, the local porcelain continues to grow and develop, and now it is a rare giant ceramic production in the world. Now Japanese Mino made ceramic tableware production accounts for over 60% of the national market.

In addition to the using of clay ware for tea ceremony, Japanese stoneware or ceramics and lacquer, especially of Jomon period is significant as direct evidence of the history. Japan's first pottery started in the Jomon period. They are believed to be oldest, dating as early as the 11th century BCE and are discovered by a large number and remain similar in a large area. This suggests stable economy and trade between each other.  

 The ceramics also showed the economic status and life of people, and trade of that time. For instance, food serving dish with plant and half wheel design is a food containers of usually simple food like miso produced in Mino region and is placed opposite the food containers during the Momoyama period. It is also decorated with plant-shaped burn. And the large bowl with millet and sparrow design, made in Karatsu, is also full of millet and sparrow decorations. It is necessary to talk in detail about Karatsu. It means the leading port to the Tang dynasty. As the name suggests in Japanese, it has seen since ancient times the trade business of China and North Korea in Hong Kong. This reminds me of the trade between China and Japan in ceramics again. In general，the earliest exhibits of tea wares and cuisine wares of 16th century to 17th century are most stoneware. With the time advancing, Japanese porcelain is gaining more and more popularity. Stoneware is the roughest pottery; ceramic is a little more clear, and porcelain is the finest. And according to the interpretation, porcelain is the symbol of purity compared to stoneware. The development of Japanese porcelain firstly owe to the desire for Chinese and Korean ceramics, trying to imitate them. And the Japanese strive to create Japanese ceramics rivalling with Chinese and Korean ceramics, which has become Japanese potters’ goal through generations. The development of Japanese porcelain is associated with a powerful figure Toyotomi Hideyoshi during the Momoyama when he invaded Korea. This history is called "Ceramic war." This unjust war between the Korean people and Japanese people has brought about disaster and failure. But when the Japanese army retreated, they kidnapped Korean potters to Japan, leading to the unprecedented development of ceramics of Japan. Coupled with the prevalence of the Japanese tea ceremony, it has led prosperity of Seto kiln, Mino kiln, Bizen kiln, and Shigaraki kiln and so on. Among all the potters, Ri Sampi has made outstanding contributions to the development of Japanese ceramics. Ri Sampi leading other potters found clay nearby mountains and was the first who produced Japanese porcelain in 1605 or so. And later it evolved into many varieties of white porcelain, celadon, underglazed red porcelain. Japanese porcelain has colorful painting, and is boldly conceived, giving people a new feeling. Good taste of porcelain makes the Japanese ceramic more famous. In the Edo era of peace, instead of the pottery, lacquer, and metal containers, porcelain become a mutual gift between the upper class, and later necessities of people's daily life. The United States gradually began to feel the need of pottery. When the social turmoil of the Chinese Ming and Qing dynasty happened, Imari porcelain has replaced Chinese porcelain to sell in Europe to become a major commodity, and to promote understanding of the West of the Oriental Art. The exhibit during Edo era is jar with lid found in Arita region. Arita region, now Saga Prefecture is the place where clay mine was found; porcelain was successfully fired, and Japan's first production of porcelain began. This kind of porcelain was immediately welcomed by Japanese, and people called this porcelain as Arita ware. Arita region is known as Jingde Town of Japan. Now, there are many traditional porcelain production shops.

This visit makes me know more about the beauty of pottery and porcelain and the culture behind it. During this visit, I found that pottery has a simple and natural inner beauty and need to be tasted in a slowly way, while the beauty of porcelain is quiet obvious. I also found that pottery gives people the mysterious joy; porcelain with its hard metal-like texture and clear blue and white or multicolored patterns make its beauty felt directly, and people can directly feel a visually gorgeous and beautiful world. 

I was also amazed at the Japanese’s respect of tradition. Although Japan is an economic power now, and the modern standard of living is high, the use of lacquer and porcelain as daily necessities not only has not changed much, but also the Japanese cherish and protect traditional lacquer ware place in modern life. Since the Nara era, their life and culture has not been changed a lot. In addition, I was also respecting the division method of the Japanese. The uses and division of ceramics is meticulously clear. They not only have a special soup, vegetables, rice, fish containing utensils, for example, large bowl with millet and sparrow design has different function with food serving dish with plant and half wheel. The use of different instruments to cater for different foods in a variety of customs and festivals, such as during the Dragon Boat Festival, eating dumplings is necessary to use a specific set of cutlery. I learned from the interpretation that the number of each family using lacquer is very impressive. Japan's average household’s use of only the lacquer tray are no less than 10, plus a variety of paint bowls, paint cups, etc.  

To sum up, the museum has a collection of over 10,000 items of art from China, Japan, Korea, Indonesia and other Asian countries and regions, including jade, bronzes, porcelain, paintings, tapestries, gold and silver, ivory, etc. It can be described as the best places in the United States to see Asia art collections.

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