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On Being with Krista Tippett is a public radio project delving into the human side of news stories + issues. Curated + edited by senior editor Trent Gilliss.

We publish guest contributions. We edit long; we scrapbook. We do big ideas + deep meaning. We answer questions.

We've even won a couple of Webbys + a Peabody Award.

A New JubileeAndy Dayton, Associate Web Producer
Just when I thought I’d had my fill of historical Jewish customs for the time being (last week I waist-deep in Scott-Martin Kosofsky’s The Book of Customs for our Hanukkah program), I ran into an interesting Financial Times article referencing a tradition of routinely absolving debts described in the Old Testiment and Torah.
Deuteronomy dictates that “at the end of every seven years you shall grant a release of debts.” After seven of those seven-year cycles (called Sabbatical cycles), comes the jubilee year — a year where material possessions and land are returned to their original owners, and servants are emancipated. The FT article suggests that one solution to the current economic crisis could be to have our own version of the jubilee year — not by absolving debts outright, but by converting them into government-backed, low-interest loans.
I was equally intrigued by the image that was selected to accompany this article: The Moneylender and His Wife, by Flemish painter Quentin Metsys (seen above). According to the description on the Musée du Louvre’s Web site, “the shiny gold, pearls (a symbol of lust), and jewelry have distracted the wife from her spiritual duty, reading a work of devotion.” The objects behind the two figures are also ripe for interperetation, but perhaps the most potent item in this painting — especially for an artist intending to send a moral message — is in the foreground: a mirror “reflecting” the world outside.
Find more of our coverage of the economic downturn, see our Web site for Repossessing Virtue.

A New Jubilee
Andy Dayton, Associate Web Producer

Just when I thought I’d had my fill of historical Jewish customs for the time being (last week I waist-deep in Scott-Martin Kosofsky’s The Book of Customs for our Hanukkah program), I ran into an interesting Financial Times article referencing a tradition of routinely absolving debts described in the Old Testiment and Torah.

Deuteronomy dictates that “at the end of every seven years you shall grant a release of debts.” After seven of those seven-year cycles (called Sabbatical cycles), comes the jubilee year — a year where material possessions and land are returned to their original owners, and servants are emancipated. The FT article suggests that one solution to the current economic crisis could be to have our own version of the jubilee year — not by absolving debts outright, but by converting them into government-backed, low-interest loans.

I was equally intrigued by the image that was selected to accompany this article: The Moneylender and His Wife, by Flemish painter Quentin Metsys (seen above). According to the description on the Musée du Louvre’s Web site, “the shiny gold, pearls (a symbol of lust), and jewelry have distracted the wife from her spiritual duty, reading a work of devotion.” The objects behind the two figures are also ripe for interperetation, but perhaps the most potent item in this painting — especially for an artist intending to send a moral message — is in the foreground: a mirror “reflecting” the world outside.

Find more of our coverage of the economic downturn, see our Web site for Repossessing Virtue.

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Ebru — Water as Canvas
Mitch Hanley, Senior Producer

This past Sunday, my colleague Shiraz and I went to an Iftar dinner put on by the Northern Lights Society, a Turkish-based interfaith group based in the Twin Cities. Iftar is the meal that breaks the fast for the day during Ramadan. The meal included various speakers from the community, as well as a video presentation of Ebru, a Turkish form of painting on water with dyes.

Also referred to as paper marbling, Ebru is a process of dripping dyes upon water, shaping the colors in every which way with various tools and finally, transferring the final composition to paper that is laid over the water. Upon contact the dyes cleave to the paper, leaving the water blank as in the beginning, thus, each print is one-of-a-kind. In the video, you will see the transfer to paper take place at 8:33. Yılmaz Eneş, an ebru artist, has a great Web site including videos and some beautiful images in his gallery.

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