1. 今日願上帝摸到我, 今日願上帝摸到我, pra chow son sum pak chen wan ni (repeat 2 times)
主為我捨生命, 並獻身代贖我罪, 今日願上帝摸到我.Son mop chi wit high car, lam chi wa pra ong lon pli,Pra chow son sum pak chen wan ni
(副):不論生或死, 和歡笑或哭泣, 我活著為要全心愛主;cha pen ruo cha die, cha hua rock ruo rumhigh,cha yu pua cha rak chun mod duan cay
我活著為要傳揚耶穌基督, 我活著為要歌頌讚美主聖名.Cha yu pua cha glau leed cha baal ron ruan pra ong,Cha yu pua ron pleen sun rak shan pra naam pra ong.
2. 今日求主向我說話, 今日求主向我說話, prod drat chi cay chen wan ni (repeat 2 times)
主為我捨生命, 並獻身代贖我罪, 今日求主向我說話.Son mop chi wit high car, lam chi wa pra ong lon pli,Prod drat chi cay chen wan ni
(副):不論生或死, 和歡笑或哭泣, 我活著為要全心愛主;cha pen ruo cha die, cha hua rock ruo rumhigh,cha yu pua cha rak chun mod duan cay
我活著為要傳揚耶穌基督, 我活著為要歌頌讚美主聖名.Cha yu pua cha glau leed cha baal ron ruan pra ong,Cha yu pua ron pleen sun rak shan pra naam pra ong.
Sunday, November 4, 2007
Sunday, October 14, 2007
pra chow son sum pak chen wan ni
pra chow son sum pak chen wan ni
son mop chi wit high car, lam chi wa pra ong lon pli,
pra chow son sum pak chen wan ni
cha pen ruo cha die, cha hua rock ruo rumhigh,
cha yu pua cha rak chun mod duan cay
cha yu pua cha glau leed cha baal ron ruan pra ong,
cha yu pua pleen sun rak shan pra naam pra ong
From the courtesy of Yuen
son mop chi wit high car, lam chi wa pra ong lon pli,
pra chow son sum pak chen wan ni
cha pen ruo cha die, cha hua rock ruo rumhigh,
cha yu pua cha rak chun mod duan cay
cha yu pua cha glau leed cha baal ron ruan pra ong,
cha yu pua pleen sun rak shan pra naam pra ong
From the courtesy of Yuen
A song in Thai
Khaawp khoon Yesu
Khaawp khoon Khaawp khoon Yesu,
Khaawp khoon Khaawp khoon Yesu,
Khaawp khoon, Khaawp khoon Yesh, Nu Mo Zai
From the courtesy of Yuen
Khaawp khoon Khaawp khoon Yesu,
Khaawp khoon Khaawp khoon Yesu,
Khaawp khoon, Khaawp khoon Yesh, Nu Mo Zai
From the courtesy of Yuen
Monday, October 8, 2007
Bikes
Dad's given us a bike each not new but shiny
Mum whispers he's been up till midnight painting and polishing
we ride them fast all over the farmdown the road past the store
over the bridge and back again
fast as the windpedalling hard
trying to ignore the feeling that maybe these bikes are making up for something we've lost.
Mum whispers he's been up till midnight painting and polishing
we ride them fast all over the farmdown the road past the store
over the bridge and back again
fast as the windpedalling hard
trying to ignore the feeling that maybe these bikes are making up for something we've lost.
Night song
Every night when Mum and Dad go to bed they talk.
Their voices are like music, lilting, humming, murmuring me to sleep.
Their voices are like music, lilting, humming, murmuring me to sleep.
Just me
sometimes I like being on my own down at the creek
in the far paddock or up on the hill.
in the quiet I hear everything cicadas chirp, cockatoos screech, bees hum, trees creak.
I lie on my back and stare up at blue.
in the far paddock or up on the hill.
in the quiet I hear everything cicadas chirp, cockatoos screech, bees hum, trees creak.
I lie on my back and stare up at blue.
Sugarcake bubble
Sugarcake, Sugarcake
Bubbling in a pot
Bubble, Bubble
Sugarcake Bubble thick and hot
Sugarcake, Sugarcake
Spice and coconut
Sweet and sticky
Brown and gooey
I could eat the lot.
From: Grace Nichols
Bubbling in a pot
Bubble, Bubble
Sugarcake Bubble thick and hot
Sugarcake, Sugarcake
Spice and coconut
Sweet and sticky
Brown and gooey
I could eat the lot.
From: Grace Nichols
Thursday, October 4, 2007
Taste of purple
Grapes hang purple
In their bunches,
Ready for September lunches,
Gather them, no minutes wasting.
Purple is Delicious tasting.
From: Leland B. Jacobs
In their bunches,
Ready for September lunches,
Gather them, no minutes wasting.
Purple is Delicious tasting.
From: Leland B. Jacobs
I like cabbage
I like eating cabbage,
Turnip, beetroot, cress,
Very smelly foreign cheese,
And, best, (you'll never guess)
It isn't chocolate or ice-cream,
No, no, it isn't custard,
My very best, my favourite food,
Is sausags with mustard.
From: John Kitching
Turnip, beetroot, cress,
Very smelly foreign cheese,
And, best, (you'll never guess)
It isn't chocolate or ice-cream,
No, no, it isn't custard,
My very best, my favourite food,
Is sausags with mustard.
From: John Kitching
My mouth
stays shut but food just finds a way
my tongue says we are full today but teeth just grin and say come in
i am alway hungry
From: Arnold Adoff
my tongue says we are full today but teeth just grin and say come in
i am alway hungry
From: Arnold Adoff
Wednesday, September 26, 2007
Tuesday, September 25, 2007
1639 Isaac Blessing Jacob
FüHRICH, Joseph von(b. 1800, Kratzau, d. 1876, Wien)Biography Bohemian painter, printmaker and teacher. Until he was 18 he was trained by his father, Wenzel Führich, a painter and mason. In 1819, at the academy exhibition in Prague, he made his début with two history paintings. Their success enabled him to study in Prague. Dürer was the first powerful influence on his style; on a visit to Vienna in 1822, medieval and Renaissance art made a similar impression. His illustrations for Ludwig Tieck’s Leben und Tod der heiligen Genoveva (1824-05) attracted the interest of Prince Metternich, who helped him obtain a scholarship to study in Italy.
On his arrival in Rome in 1827, Führich made contact with Friedrich Overbeck and other German artists there. He met Joseph Anton Koch and was commissioned to complete the Tasso room (1827-09) in the Casino Massimo. In Rome he was impressed by Italian Renaissance works, particularly Raphael’s frescoes in the Vatican. On the return journey to Vienna, he admired Fra Angelico's paintings and the frescoes in the Camposanto in Pisa.
After a period in Prague, Führich obtained a teaching post in Vienna in 1834, becoming professor of historical composition at the Kunstschule in 1840. Such works as Jacob and Rachel at the Well (1836; Vienna, Belvedere) and the Legend of St Isidore (1839; Mannheim, Kunsthalle) made him the leading representative of Nazarene-style painting in Austria. In 1844-6 he produced a monumental cycle of the Stations of the Cross for the church of Johann-Nepomuk and in 1850 completed the cartoons for the frescoes in the Altlerchen Church, Vienna. His late work consists largely of prints and drawings with a religious content, which brought him great popularity.
FLINCK, Govert Teunisz.(b. 1615, Kleve, d. 1660, Amsterdam)
Biography Dutch Baroque painter of portraits, genre, and narrative subjects, one of Rembrandt's most accomplished followers.
His father was strongly opposed to his idea of becoming a painter and secured him an apprenticeship with a silk merchant. According to Houbraken, however, the young Flinck was passionately fond of painting and spent much of his time drawing and sketching instead of attending to his work. Lambert Jacobsz (ca. 1592-1637), a Mennonite preacher and a painter as well, managed to persuade Flinck's father that painting was a perfectly honourable occupation. Around 1629-1630, Flinck accompanied Lambert Jacobsz to Leeuwarden, where he was to study under Jacobsz's supervision. At the studio in Leeuwarden Flinck met Jacob Adriaensz Backer, who was seven years his senior. The two men moved to Amsterdam, probably in the early 1630s. Houbraken mentions that they left together, but we have only his word to go by.
Flinck studied with Rembrandt in or around 1633, during which time he absorbed the master's style and produced similar compositions. Houbraken reports that many of his works from that period were actually mistaken for Rembrandt's. Later, however, Flinck apparently made a conscious effort to change his style and turned to Flemish masters for inspiration. His earliest dated works are from 1636, which is probably the year he left Rembrandt's studio.
On 3 June 1645, Flinck married the wealthy Ingertje Thoveling, the daughter of a distinguished director of the Dutch East India Company. Flinck himself was a man of considerable means, as we know from the fact that he bought two houses on the Lauriergracht, for which he paid 10,000 guilders on 26 May 1644. Shortly afterwards, he built a studio on these premises. His wife died in 1651, five years after the birth of their son Nicolaes Anthonie. On 30 May 1656, Flinck married his second wife, Sofia van der Houven, of Gouda. On 24 January 1652, he became a burgher of Amsterdam.
Flinck was much sought after as a portraitist in the 1640s. He had good contacts and influential patrons in both Amsterdam and the area in which he was born. He worked on several major projects in the last decade of his life. In 1654, he executed a painting commissioned by Amalia van Solms for a private room in Huis ten Bosch. This was followed by two commissions for Amsterdam's new Town Hall in Dam Square, one for the Burgomasters' Chamber in 1656 and one for the Council Chamber in 1658.
In November 1659, Flinck received his most prestigious commission of all, once again for the Town Hall of Amsterdam. He was invited to paint twelve pictures for the large gallery, but his death a few months later, on 2 February 1660, prevented him from completing the project.
Biography Dutch Baroque painter of portraits, genre, and narrative subjects, one of Rembrandt's most accomplished followers.His father was strongly opposed to his idea of becoming a painter and secured him an apprenticeship with a silk merchant. According to Houbraken, however, the young Flinck was passionately fond of painting and spent much of his time drawing and sketching instead of attending to his work. Lambert Jacobsz (ca. 1592-1637), a Mennonite preacher and a painter as well, managed to persuade Flinck's father that painting was a perfectly honourable occupation. Around 1629-1630, Flinck accompanied Lambert Jacobsz to Leeuwarden, where he was to study under Jacobsz's supervision. At the studio in Leeuwarden Flinck met Jacob Adriaensz Backer, who was seven years his senior. The two men moved to Amsterdam, probably in the early 1630s. Houbraken mentions that they left together, but we have only his word to go by.
Flinck studied with Rembrandt in or around 1633, during which time he absorbed the master's style and produced similar compositions. Houbraken reports that many of his works from that period were actually mistaken for Rembrandt's. Later, however, Flinck apparently made a conscious effort to change his style and turned to Flemish masters for inspiration. His earliest dated works are from 1636, which is probably the year he left Rembrandt's studio.
On 3 June 1645, Flinck married the wealthy Ingertje Thoveling, the daughter of a distinguished director of the Dutch East India Company. Flinck himself was a man of considerable means, as we know from the fact that he bought two houses on the Lauriergracht, for which he paid 10,000 guilders on 26 May 1644. Shortly afterwards, he built a studio on these premises. His wife died in 1651, five years after the birth of their son Nicolaes Anthonie. On 30 May 1656, Flinck married his second wife, Sofia van der Houven, of Gouda. On 24 January 1652, he became a burgher of Amsterdam.
Flinck was much sought after as a portraitist in the 1640s. He had good contacts and influential patrons in both Amsterdam and the area in which he was born. He worked on several major projects in the last decade of his life. In 1654, he executed a painting commissioned by Amalia van Solms for a private room in Huis ten Bosch. This was followed by two commissions for Amsterdam's new Town Hall in Dam Square, one for the Burgomasters' Chamber in 1656 and one for the Council Chamber in 1658.
In November 1659, Flinck received his most prestigious commission of all, once again for the Town Hall of Amsterdam. He was invited to paint twelve pictures for the large gallery, but his death a few months later, on 2 February 1660, prevented him from completing the project.
Saturday, September 22, 2007
Subscribe to:
Posts (Atom)
