To Her Majesty

To Her Majesty

Glory be to the Queen of
She a mighty drala far above the
Clash of minion argument and
Discord brash of malcontent

Along the waves of Majesty
The Queen of He and Queen of She whose
Brow is thundering firmament and
Gaze of lightning rips the tent of

Hither and thither scurrying minds who
To and fro have lost the Way the
Grip of banksters’ greed is rent and
Subjects’ glory bright as Day

The Queen of Me, the Queen of Thee
The Queen of They and Thou and We
The Queen of This, the Queen of That
The Queen beneath Mad Hatter’s Hat

Long Live Her Glorious Majesty
Beyond the Ken of Me and We
Beneath the waves, above the sky
Beyond all thoughts of where and why

We love thee dearly, ‘Lizabeth
And wish Thee Heaven in Thy rest.

Baron of Bras D’Or
Wednesday September 14th, 2022
Xico, Mexico.

Ekphrastic Haiku: Heaven Earth & Man

Guo Xi c 1020

misty valleys above
homes huddling below
crossing twixt here and there

Tuesday aug 6 2022


Shàngmiàn míwù lóngzhào de shāngǔ
fángzi jǐ zài xiàmiàn
zài zhèlǐ hé nàlǐ chuānyuè

Inspired by the article at:

“Asked why he decided to paint landscapes, Guo Xi answered: “A virtuous man takes delight in landscapes so that in a rustic retreat he may nourish his nature, amid the carefree play of streams and rocks, he may take delight, that he might constantly meet in the country fishermen, woodcutters, and hermits, and see the soaring of cranes and hear the crying of monkeys. The din of the dusty world and the confinement of human habitations are what human nature habitually abhors; on the contrary, haze, mist, and the haunting spirits of the mountains are what the human nature seeks, and yet can rarely find.”

“The angle of totality”

With his innovative techniques for producing multiple perspectives, Guo was aiming for something he called “the angle of totality.” Because a painting is not a window, there is no need to imitate the mechanics of human vision and view a scene from only one spot! Guo is particularly concerned with the effect that distance has on viewing a landscape, and how detachment and nearness can change the appearance of a single object multiple times. This type of visual representation is also called “Floating Perspective”, a technique that displaces the static eye of the viewer and highlights the differences between Chinese and Western modes of spatial representation.

Unlike the aspiration central to Western landscape painting – to paint a particular location from a fixed standpoint, Chinese landscape painting aimed to incorporate the essence of thousands of mountains, the accumulated sights of a lifetime into one composite landscape. Thus, to look upon a landscape painting in the Chinese tradition was to feel connected to the full scope of places and living things.

The relationship between humankind and the mountain being sought in Guo Xi’s painting is one of compatibility, participation, and interconnectedness. According to Guo Xi’s own words, cited by his son in his treatise “The Lofty Message of Forests and Streams”, “The mountain lives only in the act of wandering. The mountain’s form changes with every step. A mountain seen up close has one aspect, and it has another a few miles away, and yet another one from further away. Its shape changes with each step. The front view of a mountain has one view, another view from the side and another from behind. Its appearance changes from every angle, as many times as it does the point of view. So, it is necessary to realize that a mountain combines in itself several thousand shapes.” These comments suggest that the mountain is only conceivable from multiple standpoints, as if one were wandering through it. If we look carefully at the bottom, middle, and top sections of Guo Xi’s painting in this way, we will see an illustration of shifting perspectives, a typical feature in Chinese landscape painting. The bottom three boulders with accompanying trees seem to be viewed as if we are standing above them; the middle register looks as if we are viewing it straight on; and the top portion, the regal summit, seems to be viewed from below. We are constantly adjusting our eyes to take in a fresh point of view. Guo Xi called this exercise “viewing the form of a mountain from each of its faces”. The viewer thus becomes a traveller in the painting, which offers him the experience of moving through space and time.

Meditation Haiku 2022: #1 – 6



oar of mindfulness gently swirls
fathomless ocean of
primordial presence-awareness

2022-03-22 #1

cannot be captured or destroyed
but forever ignored in
ever-spinning samsara

2022-03-22 #2

diving into the deep…
no need
to come up grasping
for air

2022-03-22 #3

sitting quietly
by the stream
singing quietly
by me

2022-03-23 #4

the Buddha talks to me
when I’m not listening
quietly sitting…

2022-05-25 #5

exploding mexican fiesta fireworks
powerfully percussive
shattering the present into splinters

2022-07-13 #6

Ekphrastic Tanka #10: Living Olmec

Olmec Head

deep down in the earth
high in the heavens
intertwined jungle days and nights
swirling past and future visions
dark enfolds the light

Tanka #10 July 23 2022

We are building a modest casita in the hills of old Olmec country near a village that existed before the Spanish came. Cortez came through here apparently, landing near Veracruz, making his way up to these hills – now coffee and goat cheese country – and then further down towards Puebla and Mexico City, the high central area of Mexico. A few hills are rumored to be old pyramids underneath. Neither in the books written by historians nor in the eyes of the living descendants of these Old People is there any evidence one way or another. What did they know, these ancient Olmeca? What have we forgotten? There is much ignorance all around us, always. But also, if we care to look, perhaps more wisdom than we choose to see. Wisdom in how grass grows, how cheese is made, how to build well, fashion furniture, cook a meal… or listen to birdsong.

Ekphrastic Tanka Series

Ekphrastic Tanka Series #1: Hear my Ancient Call

From Gabriel Rosenstock’s Tanka Book “Secret of Secrets” p 16

hear my ancient call

from mists beyond the hermit’s cell

see the rising dawn

we who gaze with bated breath

journeying from one to all

#1 April 28 2022

Ekphrastic Tanka #2: A Man’s Song

Gabriel Rosentock’s “Brighting of Days” p48 Artwork by: Freddy Krupa

always in our mind

swirling ’round to end of time

you from whom we come

we come to you in time of need

giving you our precious seed

TANKA #2 APRIL 28 2022

Ekphrastic Tanka #3: Eternity

From Gabrial Rosenstock’s Secret of Secrets
Image by Isoda Koryusai

Heaven entwines Earth

we intertangling creatures

bound unto glory

I see your eyes in my gaze

locked now in eternity

TANKA #3 APRIL 28 2022

Tanka #4: Heaven’s Breath

Stonehenge – Britain

given end of days

showering Heaven’s last gasp

rocks scattered like leaves

gods breathing timeless wonder

we waiting below wordless

TANKA #4 APRIL 28 2022

Ekphrastic Tanka 5: Bodhgaya

Photo by Matthieu Ricard in Bodhgaya

we remember you

we voices in the river

flowing through centuries

what is lost can never speak

what is remembered: a dream

TANKA #5 MAY 2 2022

Ekphrastic Tanka 6: Monastery

when you call to me

summoning present trumpets

my answer still echoes

reverberating valley wide

resonating through the clouds

TANKA #6 MAY 2 2022

Ekphrastic Tanka 7: Funeral of a Buddha

Offrande de cent mille lampes sur le stoûpa de Bodhnath après la mort de Dilgo Khyentsé Rinpotché Photo by Matthieu Ricard

the world is awake

the whole world awakening

this world waking dream

how many kalpas to come?

secrets revealed in the lights

TANKA #7 MAY 2 2022

Ekphrastic Tanka #8: Youthful Gaze

His Holiness Dingo Khyentse Rinpoche by Matthieu Ricard 

in early morning light

you dance in the golden fields

of a brand new day

when we are young we struggle

when we are old we rejoice

TANKA #8 MAY 2 2022

Note: Tanka traditionally feature a 5-7-5-7-7 syllable structure.

YI JING: War in Ukraine April 2022

Full text in the pdf:

Note: this might be regarded as a controversial, even provocative, reading but at root this conflict IS a civil war and the perseverence of the woman IS the dominant Judgement of Hexagram 37 so attributing this to Mother Russia is hardly a stretch. This is a family quarrel on the international stage as well so let us hope that when it is over there are better relations for all involved. It seems unlikely now but we shall have to see how things play out. One thing is for sure: the way things were going with Ukraine shelling Donbass on a regular basis and about to actually invade again with US and NATO support cannot reasonably be expected to continue. Russia is putting her foot down. Leaving aside all the wartime propaganda, let us wait and see what the situation is like once the dust of the current conflict settles, hopefully sooner rather than later.

PS The nuclear trigrams were incorrectly placed; they should be Water below Fire above.

PS June 2 2022: on re-reading this it occurred to me that the Image can also be that of a tree or wood burning in a fire because of the Wood Above Fire Below trigram formation of Hexagram #37. A tree relates nicely to the notion of Family, as in family tree. So the family tree is burning in this civil war. In the broader context the family of nations is also at war with each other with some aligned with the US and NATO and others aligned with the emerging Eurasian axis led by Russia and China. And yet all nations are one extended human family and this war in Ukraine is a world wide civil war, the family of nations burning in the crucible of conflict. Hopefully it will purify obstacles and we will end up stronger from it. But war is a desperate measure in which many young lives are prematurely lost. So this is an unsettling image though it does fit the current situation, and I think it is a better Image than the one initially published. So a revision of that might read:

IMAGE: The World Family Tree burning in Cauldron of War.