dryadaura

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googling how to slip into a huge beautiful life meant for me

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@letciall brazilian ceramist

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Vase with Flowering Plum, 13th–14th century. China, Southern Song (1127–1279)–Yuan (1271–1368) dynasty. Stoneware with reserved, carved, and painted decoration on brown glaze (Jizhou ware); H. 8 in. (20.3 cm). The Metropolitan Museum of Art, New York, Purchase, Lita Annenberg Hazen Charitable Trust Gift, 1985 (1985.87)

A harbinger of spring, the flowering plum is a traditional motif in Chinese art. The lively branch here was created by covering the surface of the vase with wax or some other resist before covering it with a glaze. This technique is typical of the art of the Jizhou kilns, located in the southeast in Jiangxi Province and noted for their experimentation with surface decoration as well as for their tea bowls. Unlike many other ceramic types, Jizhou wares were not exported to other countries.

Excerpt attributed to The Metropolitan Museum of Art, New York.

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scrabble legend david gibson’s annotated dictionary

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study of the love note

there is something about the action of folding that is integral to the love note. once folded, it’s charged with a furtive and hopeful magic, like finishing a spell

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Orange County Government Center, Goshen, New York. Interior. Courtroom.

Paul Rudolph, architect.

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I just want to see you, please

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Yasmeen Ghauri for Jil Sander Fall 1991

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ph. Danko Maksimovic - Paris, France (2025)

Film: Kodak Ultramax 400

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The Soviet Union, 1975 - Dmitry Simchenko

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medinatrevathan

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When a seed unfolds into a flower, the seed does not merely ‘grow’ or become a bigger seed. If development were simply growth or expansion, then there would be no flowers at all, just gargantuan seeds swaying in the fields. Instead, something dramatic occurs within the logic of the seed; something within the seed’s very structure allows it to differentiate into a new, more elaborate form. The seed gradually gives way to the flower not merely by expanding but by differentiating into an ever more complex organism. This dialectical process of becoming moves from the first thread-like root of the seedling to the upward rising of the stem through the gradual maturation and emergence of the blossom itself. Through this development, the seed is not destroyed; rather, it unfolds within the logical progression of its own internal structure. In this way, we could say that there was something distinctive about the seed’s structure which allowed it to engage in this process of ‘becoming’, undergoing a series of phases in which it was able to become ‘more of itself’. We could say that the flower represents the differentiated expression of the seed’s potential for becoming a flower.

Chaia Heller, Ecology of Everyday Life: Rethinking the Desire for Nature

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"Absolutely no one comes to save us but us."

Ismatu Gwendolyn, "you've been traumatized into hating reading (and it makes you easier to oppress)", from Threadings, on Substack [ID'd]

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France Nuyen in The World of Suzie Wong, photographed by Milton Greene, 1960.