Notebook Need

Where ever I go, my notebook goes with me. Its aestethics is important to me; my notebook is made of faux leather (vegan, I hope), it has brown and white sub-notebooks inside, and a bamboo pen goes well with it. Inside are my name & business cards, decorated with ‘Birds, Butterflies, Fish & Botany’ 😉.

My notebook contains to-do lists decorated with Japanese origami stickers and paper, ideas for essays drawings, paintings, and sketches.

When I was a teenager, there was only one kind of notebook available.  Classroom girls all had the same notebook, with different colours but all with a worthless mini lock and a mini-key. Now, in our digital age, there are so many different ones, made for different needs and for a wide range of personalities.

Remember it was said that the computer would make our desks book-, snail-mail- and paper-less? No such thing happened. On the contrary! We still have way too many books; we buy newspapers and we have sketching, drawing, Japanese, Korean, decorative, packing and so much other paper; there is more instead of less.

Do you have a notebook? How do you use it? To inspire others or to act out inspiration? To digital detox? As a memoirs for your children or for yourself?

Paula

Stonehenge Essay

For me it is a great honour that my essay on Stonehenge was re-blogged on Wiltshire Local History Forum. I hope you will have a quick look by clicking on the link. https://wiltshirelocalhistory.org/2017/05/22/stonehenge-through-art/

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Should you be interested in reading my essay ‘Stonehenge through art’, I am willing to print it and send it to you as you are probably like me not willing to read long pieces from a screen. One should sit down with a cup of tea, a cereal bar or a bar of chocolate and have some intellectual quality time by reading instead of being distracted by your computer screen.

Love,

Paula

Three of Feng Shui’s Five Elements: Fire, Water & Wood (Earth & Metal still to go)

Three elements 3

Water Element:

I have drawn a circular Lotus Pond that offers Feng Shui fans a perfect ‘Water Element’ decoration, Buddhists a celebration of their Lotus symbol, and nature-lovers an artistic and decorative lotus pond that shows 3 layers: the mud from which the lotus grows, the water part and the part above the water, where the lotus grown and shows us her beauty. Most drawings and paintings of the lotus concentrate on the flower itself; the next part, the stem, is submerged. However, in this drawing the long stems are decoratively visible.
Water flows and makes plants and animals grow. It is full energy, sometimes wild, often calm. We love swimming in calm water, or sitting near a pond, water calms us. It slows us down and refreshes us. Put a pool in the garden and within minutes, children seems to burst with energy and joy. Adults feel spiritual nourishment and a chance to meditate near water and artists feel inspired dwelling near pond and lakes. As if the depths of lakes are filled with mysteries that like to be explored.
To vitalize your home with Feng Shui’s water element, put this print up near your fish bowl, a mirror, glasses, or glassy gemstones. A bowl filled with water with a lily floating on its surface is beautiful. But don’t feel inhibition by Feng Shui’s guidelines. In the end Feng Shui is about your relation with your environment. You combine everything that represents wood in Feng Shui and in your life; combining it through using your creative ideas and love for art, nature and botany will make you happy.

Wood Element:

A circular Wood Element composition with Tree Branches and a Wood Cut Through, showing its annual growth rings, drawn by Paula Kuitenbrouwer, Dutch nature artist living in Ireland.
Counting the growth rings of a tree is a way to tell how old a tree is. This tree is old, the branches are ageless, as we don’t see their rings but we do see how beautiful they are.
Feng Shui’s Wood element symbolizes new beginnings, new relations, new family, wealth and the energy of a growing tree. As trees are strong and support our houses, ships, shelters, bridges and furniture, wood provides us strength, vitality and support. Feng Shui’s wood element is shown in Paula’s drawing as vertical columns of beautiful, rustic branches as well as a cut through to show a healthy and old tree. This drawing is done with brown and greenish colours as Feng Shui’s wood element has the colour green.
This drawing isn’t made of wood; but its paper is, its pencils are and you can give this art print of a pencil drawing a pretty, wooden frame. Place it near something botanical, something growing upwards, like a strong and big house plant and you have a lovely wood element added to your home decor. Built a nice wood element setting with wood, with botany and with art, exactly in a way that makes you celebrate wood. Don’t pay too much attention to guide lines, in the end Feng Shui is about your relation with your environment. You combine everything that represents wood in Feng Shui and in your life; combining it through using your creative ideas and love for art, nature and botany will make you happy.

Fire Element:

A circular Tulip composition with fire or tulip leaves motives. This composition can serve as a Feng Shui Fire Element; it is full red hues, passion, ‘flames’, natural reds. The tulip leaves act like flames of candles, enhancing the feeling of fire. This is a high energy and high creative drawing, full passion, life and expression. Yet, it doesn’t burn out. It is like a calm and steady fire, adding glow to your room by displaying hues of red, yellow, purple, magenta, yellow and bits of pink. This print can be put near a red candle or anything that symbolizes a sunrise. It will brighten your mood and ignite your creativity.

I would love to hear how would you fancy an expression of Feng Shui’s Metal and Earth Element? I have my ideas, but I love to hear yours.

Paula at www.paulaartshop.com

 

Feng Shui Wood Element

I have drawn a circular Wood Element composition with tree branches and a wood cut through, showing its annual growth rings. Counting the growth rings of a tree is a way to tell how old a tree is. This tree is old, the branches are ageless, as we don’t see their rings but we do see how beautiful they are.

Feng Shui’s Wood element symbolizes new beginnings, new relations, new family, wealth and the energy of a growing tree. As trees are strong and support our houses, ships, shelters, bridges and furniture, wood provides us strength, vitality and support. Feng Shui’s wood element is shown in thisdrawing as vertical columns of beautiful, rustic branches as well as a cut through to show a healthy and old tree. This drawing is done with brown and greenish colours as Feng Shui’s wood element has the colour green.

This drawing isn’t made of wood; but its paper is, its pencils are and you can give this art print of a pencil drawing a pretty, wooden frame. Place it near something botanical, something growing upwards, like a strong and big house plant and you have a lovely wood element added to your home decor. Built a nice wood element setting with wood, with botany and with art, exactly in a way that makes you celebrate wood. Don’t pay too much attention to guide lines, in the end Feng Shui is about your relation with your environment. You combine everything that represents wood in Feng Shui and in your life; combining it through using your creative ideas and love for art, nature and botany will make you happy.

This print will be registered with a ‘Certificate of Authenticity’ at Hahnemuhle Fine Art Registry. Hahnemulhe is a German based producer of high quality art paper. This means this print is very high in quality and the registry of your limited edition can be checked. Your Certificate of Authenticity comes with an Artwork Protection Hologram System (a gold coloured hologram sticker with a number).

Size of print, that comes with a neat and sturdy white mount, is  20.4 cm/25.4 cm or 8 by 10 inches. The print with mount is packed in protective cellophane.  It makes a beautiful gift: neatly packed and ready to frame or put it up on a small easel or shelf.

Paula Kuitenbrouwer

Owner of http://www.mindfuldrawing.com & www.birdsbutterfliesfishandbotany.wordpress.com

Inviting Book Stars or Reviews

Dear Reader,

Summery: My booklet needs some stars (or reviews). I am happy with it having stars. No need to write an extensive review. Stars say a lot! 

November 2016, I published ‘Bird, Butterflies, Fish & Botany’. My booklet is now available online on most bookselling sites. Given your nature  and art loving side and my booklet being about nature musings, I thought it might be of interest to you.

‘Bird, Butterflies, Fish & Botany’ is a sweet and beautiful booklet that shows 24 of my artwork along with 13 short elucidating stories. It narrates many nature meditations. Leslie Darlington advised me on the lay-out and Blurb, the publishing company, helped with editing. It is a neat book, a perfect gift for bird-lovers, botany-admirers, butterfly chasers, tree huggers in general.

It is on Barns & Noble, Waterstones, Bookdepository, Amazon.de, Amazon.fr, Amazon.co.uk. Go to these bookselling sites and google Paula Kuitenbrouwer: ISBN-10: 1366428781 ISBN-13: 978-1366428783

“Paula’s passion for drawing nature has resulted in a booklet containing her artwork and a collection of texts that show the process and the ideas behind her drawings and paintings”.

My book is less than 20 Euro’s/Dollars, including shipping. To thank you for ordering my book online (the only person being allowed to write a review is the person ordering my booklet online), I will send you a Registered Art Print of my Mandarin Ducks. Let me know via the (below) contact form about your willingness to review and ordering of my book, and do add your address so I can have my Mandarin Duck couple flying to your home.

Please, inform me of your having ordered my book, so that can send the Mandarin Duck print to you. It comes beautifully wrapped in vintage packing paper; you can use it as a gift. I look forward to hearing from you.

Warm Regards,
Paula Kuitenbrouwer

Here are the links to my booklet:

Amazon.com

Amazon.co.uk

Amazon.de

Amazon.fr

Bookdepository

Barns & Noble

Waterstones

Print will arrive in vintage wrapping paper with an old post stamp.

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How Interpretations of the Ritual Nature of Stonehenge Have Changed over Time; a study illustrated with 5 artworks

Stonehenge is like a church in a big city in the south of the Netherlands. Most likely this church has been built before Roman times but currently will house modern apartments, or a movie theater, a concert venue, an art gallery or will still be in function as a church. In other words, the building shows how adaptable it is to different social needs. Stonehenge has a much longer but equally varied succession of functions.

I take the freedom to bring artistic interpretations to the scene, alongside with archeological references, because Stonehenge is such powerful visual icon. Visiting Stonehenge offers a different experience compared to overgrown Neolithic hill-forts like Tara Hill in Ireland. Stonehenge’s visual impact has, since it first days, not lost any of its appeal. It has inspired artists, writers, and photographers and it is therefore justifiable to include artworks in this assignment. Next to art resources, ‘Researching Stonehenge; Theories Past and Present’, by Mike Parker Pearson has providing me with an overview of research done at Stonehenge as well as evolving insights into rituals functions of Stonehenge.

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A 14th Century Print with Merlin Building Stonehenge

In this 14th century print we see Merlin, as an unshaven giant, helping humans building Stonehenge. Geoffrey of Monmouth (1100-1155) thought that Stonehenge was originally built in Ireland by giants and was later relocated to Britain to function as a temple for ancient druids. The temple function of Stonehenge was confirmed in Roman times by Hecateus who assumed Stonehenge to be a temple for honouring Apollo. John Aubrey/William Stukeley, both mid-17th century, proposed a likewise theory. Aubrey and Stukeley thought Stonehenge was built before the Romans. Stukeley, a member of Freemasonry, even took druidry up himself and attempted to date Stonehenge for the first time. He wrongly ascribed the building of Stonehenge to druids. Later, Lieutenant-Colonel William Hawley (1851–1941), a British archaeologist undertaking pioneering excavations at Stonehenge, followed Stukeley’s theory Stonehenge was indeed a temple, for priests and for nobles.

Despite archaeologists disapproving with Stonehenge as a ‘temple of the Druids’ as modern dating methods indicate that Stonehenge was built long before the time of the Druids, up to today druid-style dressed up visitors celebrate the summer solstice at Stonehenge.

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Stonehenge as imagined in Francis Grose

Returning to the suggested relation between druids and Stonehenge, I present this engraving which shows a druid holding mistletoe and a sickle. The druid obviously has collected mistletoe and is now turning towards Stonehenge. What connects druids, mistletoe and Stonehenge? Mistletoe was regarded a sacred herb as it grows without soils between heaven and earth. Mistletoe growing on oak tree is rare, which has been noticed and utilized in the Celtic world. Gaius Plinius Secundus (23-79 AD), a Roman author also known as Pliny the Elder, describes a Celtic ritual sacrifice at which a druid, dressed in white, climbs an oak tree collecting mistletoe with the help of a sickle. This was done with great ceremony on the sixth day of the moon, by using a golden coloured sickle. Mistletoe, according to druids, as recorded by Pliny the Elder, increased fertility of cattle. This could have been important to Salisbury farming communities. Old theories, by Geoff Wainwright and Francis Grose both connecting Stonehenge to druidic practices, stressing healing properties, reemerge in 2006 when Tim Darvill uses the studies of Wainwright where he theorizes that Merlin collects the blue-stones from Ireland because of their healing properties. There is no archeological evidence that Stonehenge blue stones were relocated from Ireland. They come from West-Wales’ Preseli Hills. Thus the theory changes but keeps Stonehenge associated with healing rituals because Preseli’s holy wells were believed by Medieval people to offer healing water. Water throw against the blue stones of Stonehenge likewise resulted in to empowering water with healing properties. Up till the 18th century visitors of Stonehenge chiseled off pieces of blue stones believing these pieces to have curative powers. Stonehenge’s healing hypothesis has survived the test of time despite that its focus changed from mistletoe utilizing healing rituals to healing properties of Stonehenge’s blue stones.

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Wiltshire, a stylized 1700s look at Stonehenge

The artist of this etching or drawing, shows two groups of people as such expressing two different ritual functions of Stonehenge. There is a clear distinction in fashion between the men standing within Stonehenge circular structure and those who are working at the front. The artist shows neatly dressed men as researches, noblemen or landowners within Stonehenge. More importantly, brought to the front, are (probably) grave robbers. They have just unearthed a skull and three large bones. Hence, Stonehenge is depicted in its function as a place of (elite) interest, as well in its sepulchral function as it is surrounded by interesting burials that are worth robbing. It doesn’t comes as a surprise that only a skull and some large (human?) bones are found in Stonehenge’s ditch as in Neolithic times human and animal bones were offered or buried in ditches or under buildings. It was William Flinders Petrie, working on Stonehenge between 1874-1880, who suggested that Stonehenge’s function was ‘sepulchral, religious, astronomical and monumental’.

In the 1920s Lieutenant-Colonel William Hawley (1851–1941), a British archeologist digs up nearly 60 cremated and uncremated human remains inside Stonehenge; the remains are reburied in 1935. Hawley’s excavations confirm Stonehenge’s funerary function. In 2002 of the grave of the Amesbury Archer, 3 miles from Stonehenge, is found by archaeologists from Wessex Archaeology. The grave dates back to 2,300 BC and is richest array of items ever found from this period thus leading to the believe that the archer possibly was the King of Stonehenge.

In 2007 the Stonehenge Riverside Project and the Beaker People Project radiocarbon date surviving skeletal remains. This results in establishing Stonehenge’s cemetery function as from the early third millennium BC. Interpreting Stonehenge’s ritual function, as far back as the 1700s, as a burial place that has seen different funerary rituals and mortuary practices has thus been supported by past and recent (2007) archeological research.

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Avebury, Stonehenge and The Rollright Stones 1806

As far back as in 1806, somebody with drawing skills, connects Avebury, Stonehenge and the Rollright stones in Oxfordshire. Later, long-term multidisciplinary research discovers that Stonehenge stands at the heart of a vast Neolithic landscape with temples, burial mounds, pits and ritual shrines. As one of the most rewarding archeological research being done on Stonehenge, the Stonehenge Riverside Project, lasting over 10 years, connects Stonehenge to other Neolithic monuments, i.e. Durrington Wall, the Cursus, Amesbury, Woodhenge and the Preseli Hills in Wales. The person who drew Avebury, Stonehenge and the Rollright stones in1806 similarly tries to connect Neolithic monuments, by drawing them with similar compositional perspective and thus trying to see resemblances in appearance and character. However, there have been long interludes in which theorizing about the function of Stonehenge was done in isolation, not relating Stonehenge to its prehistoric landscape features, that are ‘teeming with previously unseen archeology’ (Vince Gaffney, 2014).

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A pen drawing and watercolour by George Heywood Maunoir Sumner (1853–1940) c. 1920.

Visible in this pen drawing of Stonehenge, seen from the north west, are the upright positioned Aubrey Holes, a ring of fifty-six (56) chalk pits, named after the seventeenth-century John Aubrey who identified them. Although the Aubrey Holes date back to the earliest phases of Stonehenge (4th millennium BC), their purpose is still discussed.
Before Pearson’s Stonehenge Riverside Project, Stonehenge has been proposed to a monument to honour Apollo (Hecates of Abdera, 4th century BC), a religious monument for Druids (John Audrey), a monument for the dead (Sir Arthur Evans 1851-1941), an astronomical centre (Sir Norman Lockyer 1836-1920), and an astronomical observatory (Gerald S. Hawkins (1982-2003). Also, Stonehenge has been identified as a Neolithic Lourdes, a place were people with illnesses travelled to, even as far as from Switzerland, as the Amesbury Arches shows, in hope for a cure. Trepanation probably took place at Stonehenge (R. Atkinson, 1920-1994). Despite research and restorations, Stonehenge remains ‘a terra incognita, an icon, occupying one of the richest archeological landscapes in the world’ (Vince Gaffney).

CONCLUSION

Artworks dating back as far as the 14th century show a varied succession of theories about Stonehenge. Putting all research together holistically and evaluating Stonehenge in relation to neighboring monuments, offers hope we will succeed in understanding Stonehenge in its different functions. Interpretations of the ritual nature of Stonehenge have changed, expanded, have been refuted and have been upgraded. Having concluded that, is safe to state that Stonehenge has seen a long succession of varied rituals, many of them being related to health, burial and ancestral honouring.

Paula Kuitenbrouwer

Paula Kuitenbrouwer studied Philosophy (Utrecht/Amsterdam) and works currently as an artist at mindfuldrawing.com & paulaartshop.com. Paula’s latest written publication, a booklet titled ‘Birds, Butterflies, Fish & Botany’, is available at all online bookselling stores and at http://www.paulaartshop.com as well as at Etsy.

 

This assignment was written for ‘Ritual and Religion in Prehistory’, Oxford Department for Continuing Education, a course Paula thoroughly enjoyed and highly recommends. Copyright 2017

Harris Hawk from Graphite to Full Colour


My Harris Hawk rests on a Saguaro cactus. It is a female hawk and she has chosen this man-high cactus as her favourite location for building her nest. Her partner swoops over, looking for predators that might need to get chased away. 

Ten limited edition prints A3 or regular A5 size available: one sold, nine left. Prints come with a Certificate of Authenticity, registered at My Art Registry at Hahnemeuhle. 

Visit http://www.paulaartshop.com for more information on contact me.

Bird of Prey and pet bird (🐔🐧🐦🐤🐣🐥🦆🦅🦉) commissions: contact me at mindfuldrawing@gmail (dot)com.

💖

Paula 

Instagram

I started an Instagram account if you’re interested: @mindfuldrawing

I use Instagram as mini blogging with useful commenting. Eye candy is nice, but not enough. We are on the world-wide-web to built a world community that learns from each other, respects each-other, and grows emotionally connected. So than when something goes wrong in one part of the world, there is worldwide support.

Collecting of big-data through social media is something I deeply dislike. But I do like to see people grow connected and with the use of emoticons we now can talk and share emotions world wide with strangers, who become a bit less stranger to us. That is wonderful, isn’t it? And maybe it out-weights the big data grab. I hope so.

And I am working on a Harris Hawk. Landing soon…on my blog.

Love,

Paula