hungry ghosts

May I find the Loving Compassion that will soften the shield embracing my heart so that I may love absent of greed, anger, and ignorance.

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I find myself standing on a dry dirt road with two deep parallel ruts cutting winding dark ribbons into the road until they unite and disappear in the horizon.  The sun greets me with the same dry warmth that soothingly penetrates my skin as I wrap around me a towel just pulled from a tumbling clothes dryer. The air messages that it is a time of transition and I see the slight touch of autumn’s mustard yellows and crimson reds upon the tips of trees lining a distant hill.  Before me stands a child of about twelve years of age.  Her head is bent down with absorbed attention upon the small puffs of dust clouds her bare feet stirs up before her.

She looks up at me with expectant eyes that suddenly overfill with tears. “I don’t remember who or what I’m looking for,” she says, as miniature rivulets begin to flow down her cheek.

Then I notice a three-year-old boy with wispy blonde hair and mesmerizing oxen-eyes as he emerges from his hiding place behind the girl. As he takes hold of her right index finger, he reaches up with his left hand and touches a teardrop that is forming along the girl’s chin, asking “Find mummy?”

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Nikon D750 f/7.1 1/500 50

Suddenly, as if a whirlwind came down from the heavens in response to the boy’s voice, I come to myself standing in the center of a frozen lake. I am shivering and see nothing more than a dark and shadowy forest surrounding me.  I hear in the distance the sound of children’s voices repeating a refrain with a haunting tone, “Broken hearts, frozen hearts, shattered hearts.” And then I see them: four–no, five.  Five hungry, child-like, ghosts with needle mouths, long twisted thin necks, and bloated stomachs.

They come out of the forest and stand along the lake’s shoreline, repeating their refrain, “Broken hearts, frozen hearts, shattered hearts.” Their words travel across the surface of the frozen lake and encircle me with the sounds of unfilled longings and infinite emptiness.

Then I awaken to my own craving for those who have been lost to me, those who have died.  Within the darkness of this forest memories of past days rise and intermingle to become a swirling chaos within the image of emptiness where there once was a home, a family.  Confusion, anger, and loneliness flash within as these memories incite feelings and memories that pummel upon me, one frozen memory after another.

 

I hear questions from a child.  Confused, they come as fragments: “His heart was broken? Why did I have to go? They moved?” The sound of adolescent angst intertwined with arrogance swirls around me, as the questions become assertions: “I won’t be here if he comes back! I’ll do as I please.” The mist in the air surrounds me with the chilling voice of others, accusing: “If you had faith, she could hear. You were her companion. It is you that must leave. It does not matter, it is over. I cannot help you.”  Then, “There was an accident.”  I feel myself falling upon the ice as I have fallen before with broken promises, beliefs, and dreams shattered all around me. I feel the layers of iced grief, anger, sadness, confusion shielding my heart. Again, the refrain, “Broken hearts, frozen hearts, shattered hearts.”

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The night cloud’s fingertips drift away from the moon. In the silvery light I see visions of a small child, alone in the gray-toned shadows, planting seeds in the moist soil of despair.    Her sob-filled voice fills the night’s emptiness, “You are too stupid to understand. I don’t need you.  I’m special.  I’ll hide my tears.  I won’t tell you anything. I won’t need you.  I’ll show you that I don’t need you.”

A veil lifts and my observing mind sees a raging powerless ego annihilating self-in-relationship, suppressing feelings; and all the while, unknowingly creating her shadowy forest of worthlessness, hopelessness, alienation, and pseudo-independence.

Anger tells me that I am nothing;
love tells me I am everything.
Between the two, my life flows.

I feel a golden-toned voice, vibrating the soft and gentle touch of loving-kindness.  “These hungry ghosts are visions that arise from years of tears closeted within your soul. Is it now time to cut this intertwining craving and clinging to your yesterdays?”  She encourages a thought that to be freed from this frozen place and time begins with a true comprehension of the refrain, “Broken hearts, frozen hearts, shattered hearts.”

This voice says, “Call forth these five hungry ghosts, one by one, by their true given names and see each true ‘I’-in-self hidden behind veils of greed, anger, and ignorance.  Ask what it is that will cease their yearning and release them from this frozen forest so that they may finally rest in peace. As you hear their request touch your heart, open yourself to share with each that which will release you from this bondage.  Melt this chain with loving-kindness and forge the golden key that gives admission to a room of healing serenity.”

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In a clearing I find myself slowly warmed by the autumn sun as I return to the two children I met earlier on a dry, dusty road. Behind me is the forest I have just emerged from; before me is a field of yellowed wheat.   Just beyond the field is a house weathered gray by the seasons and weakened by the stresses of time.  In the golden rays of the morning light, the young girl is kicking up clouds, searching through the barren soil for seeds of her past, and desiring to be freed from yesterday’s delusions.  She walks over to the side of the road and bends over; as she stands, I see three keys, dangling from her left hand. One key is silver, another is gold, and the third is made of diamonds. I feel the pain of fear awaken as the warmth of this early autumn day touches the frozen shield that embraces her heart.

The air is filled with sounds of a new refrain, “May I be happy.  May I be free from pain.   May I feel emotionally connected with others. May I be at peace.

 “May these children be happy.  May they be freed from pain.  May they feel emotionally connected with others.  May they be at peace.

“May those hungry ghosts be happy.  May they be freed from pain.  May they feel emotionally connected with others.  May they be at peace.”

Excerpts from B Koeford, A Meditative Journey with Saldage

a photo study: light

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The word photograph is derived from two Greek roots: photo or light, and graph, to write.

Throughout this learning journey, each blog emerged from the previous blogs creating an unplanned exploration of creation with a camera.  Today’s blog which is being guided by H Zehr’s, discussion of light (The Little Book of Contemplative Photography) has suggested to me that an effective study guide of photography should introduce the topic of light as part of compositional and technical topics.   Why?  Because as Zehr writes: 

To photograph is to draw with light. To photograph is to receive and hold light; a photograph is ‘frozen light.’ Light is the essence of photography.  Without light, there is no photograph.

Light and its absence—shadow—are the essential building blocks of all images.

Light defines and reveals. It can convert drama or quietude. It an show texture or hide it.  It can suggest warmth or coldness. It captures our attention, leads our eye. 

Attention to light will…dramatically heighten your overall visual awareness and improve your photographic eye.

The Five Characteristics of light

  1. Quantity:  The brightness or dimness of light guides a photographer in her adjustment of aperture and shutter speed settings and use of a tripod or neutral density lens in order to provide the correct exposure and aid the photographer in creating her intention. 
  2. Quality:  The hardness and softness of light. 

Zehr writes, “The most emotive characteristic of light is it’s hardness or softness.  On one end of the continuum of quality there is light that is highly directional and comes from a relatively small source (relative to the subject).  Hard light brings out bright areas with hard shadow lines. Transitions from light areas to dark areas are often abrupt. Hard light can be dramatic, theatrical.

 

 

Soft light is diffused light. This is light created by a relatively large light source traveling through clouds or cloth. The light on an overcast day is diffused light, as is the light coming through sheer window drapes or reflected off light walls.  Diffused light can gently suffuse the subject with light. Transitions from light to dark are gradual, with soft-edged shadows.  Diffused light often provides better ‘modeling’ or three-dimensionality, because the light gradually falls off as the distance away from the light source increases.

 

 

3.  Direction:  Sidelight tends to show up textures because the light skims rough surfaces, causing rhythms of light and shadow that suggest three-dimensionality. Sidelight also maximizes three-dimensional of the subject.

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Backlight may cause the subject to be outlined in light but, if there is insufficient light from the front, the subject may look too dark.

 

 

Direct frontal light lights the subject evenly, often minimizing three-dimensionality.

4. Contrast – the differences between light and dark areas within an image. A scene or image that has great differences between light and dark is said to be high contrast or “contrasty.” A scene or image the has less significant differences and more gradual transition is said to be softer or less contrasty.  Overall contrast refers the extremes of light and dark in the image or scene as a whole. Local contrast refers to the extremes or transitions in some part of the scene or image.

 

 

5. Color – a characteristic of light that we often overlook because our eye makes automatic adjustments of which we are unaware. Films and digital sensors are sensitive to light color. The white balance on a digital camera attempts make appropriate adjustments.  You may have heard photographers talk about the ‘sweet light” of evening – light that is warmer and more diffused than earlier in the day. Light color has some significance in black-and-white photography because film does not see color the way the eye does.  

 

 

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Exercise 1: Warm up exercise

Spend some time looking at a black and white photograph to examine the light in the image and pay attention to the graduations of tones.

Where is the light in the image?

Where are the shadows?

What is the source of light?

What characteristics does the light have — hard vs soft, contrast, color

What shapes, forms, movements does the light create or suggest

How does the light affect the movement of your eye

What are the emotional effects of these characteristics of light

Exercise 2:  Playing with Light

Photograph an object that you can move around

Photograph in a relatively dark space

Use one or more light sources; i.g., diffused light from a window that has some sheer material or bounce light off a wall or a white poster board. A directed or ‘spot’ source  can be created with a flood or spotlight in a clamp or a desk light.

Use only one light source at a time.  Try shining the light from different directions (including low rand higher angles) by either moving the object or the light source.

As always, I am looking forward to seeing the images that you created as you played with light.  Which light is your favorite?  Let’s tag with #aphotostudy.

early morning readings

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“… in the big room they now entered, time had stood still. It was furnished with ascetic sparseness. At one end, facing the wall was a desk and a chair. At the other end, a bed with a small rug in front of it, like a prayer rug. In the middle was a reading chair with a standing lamp and next to it mountains of messy piles of books on the bare floorboards. Nothing else. The whole thing as a sanctuary, a chapel to the memory of Amadeu Inácio de Almeida Prado, doctor, resistance higher and goldsmith of words. The cool, eloquent silence of a cathedral prevailed here, the impassive rustle of a room filled with frozen time.” ~Pascal Mercier, Night Train to Lisbon (pg. 108)

“It was not in the first few moments that I saw all these things, though I saw more of them in the first moments than might be supposed. But, I saw that everything within my view which ought to be white, had been white long ago, and had lost its lustre, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose, had shrunk to skin and bone. Once, I had been taken to see some ghastly waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress, that had been dug out of a vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me. I should have cried out, if I could.” ~Charles Dickens, Great Expectations

the petrified forest

May I find the Wisdom that silences the fortress of my mind’s discontent so I may hear with understanding teachings absent of greed, anger, and ignorance.

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I often feel as though I am an old blind woman walking through a petrified forest with only a staff to ensure that my steps find solid ground.  I remain ignorant, as I unconsciously look away from that which will break my heart and seek stability through the creation of and attachment to ideas, beliefs, principles, and concepts.  I yearn for certainty; anger erupts each time I stumble and fall and forges a dogmatic fortress that encircles my heart and mind. The desire to hear with understanding teachings absent of greed, anger, and ignorance speaks of an awareness of how this protective barrier deafens me to words of wisdom that shed light into the shrouded mysteries of life.  During those moments when I find myself attempting to engage the unknown, I ask of myself, “What energies would flow into a life emptied of greed, anger, and ignorance?”

As I reflect upon the fortress of my mind’s discontent, an imagined stained and scratched door opens before me as if to invite me into a dark and musty attic.  As my eyes scan beyond the entrance, I see streaks of yellowed sun beams, weakened by dust laden drapes; a scuffed wooden floor, covered by a bare-thread carpet of muted colors; and wall paper, grayed and yellowed, tugged away at the top most of a corner by the collected weight of long ago wisps of cigarette smoke.

My observing mind notices that there is no other furniture other than two rocking chairs placed facing each other in the center of the room.  Sitting in one is a slender child.  She seems to be no older than four years old.  A slight musty scent of aged vanilla greets me as I enter the room with a request that the child not be disturbed. The sound of her voice, which I first heard as a distant mumble, intensifies into an animated stream of words.  The words seem to rush from her with such passion that a focused listener would surrender to an impulse to talk over the justifying, rationalizing, point–counter-point, argumentative, single-person monologue.

I stand quietly at the edge of the room listening not to the words but to the power within her words and note to myself, “Her words are gushing out from a center of guilt, shame, remorse.”

I again return to her words and listen so deeply that a crinkle forms on my forehead as I wonder, “Is there anxiety about a deed so wrong it is punishable by banishment?”

I quiet my distracting thoughts and listen even more deeply and then I acknowledge a profound sadness in the threads of defensive anger that is begging to be heard and understood.

If one comes across a person who has been shot by an arrow, one does not spend time wondering about where the arrow came from, or the caste of the individual who shot it, or analyzing what type of wood the shaft is made of, or the manner in which the arrowhead was fashioned.  Rather, one should focus on immediately pulling out the arrow.  

~ The Buddha

My compassionate self moves to the young child.  As she embraces the young child, she begins to rock and whisper, gently, softly, “How long have you been here?”  The young child tells of wakening to this room after a night of hiding under blankets trying to be unseen, holding her breath trying to be unheard, swallowing her fear trying to be still as the sounds of distant shattering glass and disembodied voices crashed and stumbled upon and into each other.

My compassionate self hears of the homesickness that emerged with such intensity that it overflowed her soul and traveled across rivers, over mountains, and through valleys searching for someone to bring her home. The yearning returned from its fruitless travels and surrounded her as if it were the voice of an unseen other.  In a painfully frustrated response, anger roused within the child an intention to destroy this other’s yearning that come in the place of her heart’s desire.

My compassionate self awakens to the realization that this young child is ignorant of the fact that the chair opposite her is empty and that she is being persecuted by a phantom of her own creation. Slowly my compassionate self understands how this young child’s powerlessness created not a monologue but an internal dialogue between a phantom, lost within her homesickness, and a child, lost within her wounds.  My mind recalls the story of Narcissus who believed that the image in his reflection was a water spirit with the same characteristics as Apollo, and hears how this child’s unproductive attempts to be heard and understood by her own echo has condemned her to remain forever alone in this shadowy dust-filled room.   Narcissus clung to the image of his love; she clings to the sound of her anger.

Touching the present moment, we come to know the past created the present and together the future is being created.

Shu-shu“, my compassionate self whispers as she rocks the small child with the sound of ancient mother’s loving-kindness. “Shu-shu, feel the sadness within you, hear its voice, be with it’s tone and texture, and release this caged discontent with the outward flow of my breath. Shu-shu. Silence your thoughts and listen only for the sounds within this room.”  And together, they rocked back and forth, listening to the sounds in the room.

My compassionate self moves to the empty chair opposite the small child. I begin the practice of ‘Giving and Taking’ by first resting my thoughts and opening myself to silence. I then imagine a small black cloud filled with the child’s aloneness, anger, sadness, and anxiety surround her heart.  I feel the inky dark cloud move away from her heart and leave her body as it rides upon the gentle wind of my in-breath.  It enters my body; it touches my heart, and a sudden sensation of wondrous energy spreads throughout my body.

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A tiny silvery whisper emerges, “It is your wish to be released from this room so that you may walk with the summer sun and feel its warmth touch your face.  You wish to see the multiple colored leaves blanket the sidewalk and hear them crackle as their scent is released into the autumn air. You wish to feel the tingle of the first winter’s snow upon your tongue.  You wish to release all that is frozen as the spring wind awakens mother earth. You wish to look into the eyes of others and see the reflection of love.”

On my exhalation, I release to her those wishes on a white cloud knowing they will give her the courage to leave this room, to open her door to life.

Silently, the sun’s rays departed to the west and unveiled the moon’s spherical disk. A pause fills the room with stilled silence as if time paused to honor this universal transition. My compassionate self inquires, “Where in this moment is the voice of your phantom?   How will you allow yourself to hear the emptiness within this room and then know the other chair holds no one?  What will you do with this absence? When will you give yourself permission to greet this absence, acquaint yourself with it, feel it, know it in its entirety, and allow it to settle within? I wonder what will open your mind to see that what your words attempt to harm, silence, or destroy is but a memory and thus you are in a perpetual state of cyclical suffering.

“Your desire to be heard and understood can be heard and understood only by you, not this phantom of a memory.  I appeal to your imaginative skills to see and hear how you, as this phantom and small child, wish to be free from suffering, wish to be happy.

“Each time you become aware that you once again have entered this room and are engaged in a confrontation with your phantom, trust in the freedom that accompanies the awareness that both you and this transitory memory wish to be free from suffering.  Breathe in with your whole body an image of your phantom’s pain; on your out breath release to your memory the happiness, joy, and calmness of mind that will bring an end to it’s suffering. This practice of ‘Giving and Taking’ is the silver key that opens a door to a space of tranquil abiding.”

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The Buddha suggested that whatever it is that we reflect upon frequently becomes the inclination of our mind.  If one recurrently thinks greedy, hostile, or harmful thoughts, desire, ill will, and harmfulness shape the mind. If one repeatedly thinks in the opposite way, compassion, loving-kindness, sympathetic joy, and equanimity become the preference of the mind.  The direction we take always comes back to ourselves, to the intentions we generate moment by moment in the course of our lives.

Excerpts from B Koeford, A Meditative Journey with Saldage