Barb Milne

@barbmilne.bsky.social

More left than right. I like looking at gaps, poetry, philosophy.

The welcome evening sun, Replaces the cloud filled day, Relaxing watching cricket The first innings underway. The runs are not coming easy, For the Birmingham Phoenix team, There is a bit of movement, From the bowlers, bowling seam.

Created in 1918 during the Taishō era, Village in Shūgakuin (Shūgakuin-mura) by Hayami Gyoshū (速水御舟, 1894–1935) is an extraordinary Nihonga masterpiece that exemplifies the artist’s early fusion of meticulous realism, classical Northern Song landscape perspective, and mystical atmospheric tone.

Nestled near the base of Mount Hiei northeast of Kyoto, the rural hamlet is depicted from a high, bird's-eye perspective and bathed in a luminous indigo and malachite haze that evokes the quiet stillness of dawn or twilight. Gyoshū’s masterful application of natural mineral pigments—predominantly azurite (gunjō) and malachite (rokushō)—saturates the thatched-roof farmhouses (kayabuki-yane), bamboo groves, and dense pine stands in a cool, dreamlike blue hue, which contrasts gently with the subtle gold leaf band gleaming along the mountain horizon. Scattered among the winding pathways, small figures of local women carrying bundles on their heads bring a gentle human pulse to the vast landscape. Executed on silk with exquisite brush precision and delicate tonal layering, the work stands as a landmark in Gyoshū's oeuvre, capturing both the timeless rural spirit of old Japan and his revolutionary approach to modernizing traditional landscape art.

On Yorkshire pudding throwing day More than 100 people came out to play To the humble Darfield museum More visitors than the colosseum. The cafe sold out of bacon butties The museum guides carried out their duties The shop assistants welcomed the guests Ian McMillan controlled the contests.