Immagine & poesia, Lidia Chiarelli, Premi di Poesia, Premio IL MELETO DI GUIDO GOZZANO, World Peace Day

Lidia Chiarelli wins the prize “Premio della Giuria”, Il Meleto di Guido Gozzano, Agliè (Torino)

LIDIA AL MELETO 2019Premio 2019 IL MELETO (1)

Italian Artist-Poet Lidia Chiarelli wins the Special Jury Prize in Agliè (Torino), September 14 2019.

Cross-Cultural Communications, Immagine & poesia, Lidia Chiarelli, Stanley H. Barkan

Lidia Chiarelli’s SLANTS OF LIGHT at THE POETS HOUSE, New York 2019


Lidia Chiarelli: Inclinazioni di Luce – Slants of Light, Cross-Cultural Communicactions, New York 2019 (Editor Publisher: Stanley H. Barkan) on show at  the

27th Annual Poets House Showcase

Jun 27, 2019 | 6:00 pm – Aug 17, 2019 | 6:00 pm

New York


Poets House is a national poetry library and literary center that invites poets and the public to step into the living tradition of poetry.


Immagine & poesia, Lidia Chiarelli, Muhammad Azram, Uncategorized

“Twilight” poem and image by Lidia Chiarelli, translation in Urdu by Muhammad Azram






 (پہاڑوں پر ڈوبتا سورج)


“This bread I break was once the oat,

This wine upon a foreign tree

Plunged in its fruit

Dylan Thomas: from “ This bread I break”



گرمیوں کی

اس لمبی شام میں

روشنی کی سرخ اور جامنی


(جیسے کسی  نظر نہ آنے والے مصور

کے ہاتھ)

گرمیوں کی اس شام میں

انگوروں کے باغات کو

چمکا رہے ہیں



ہوا کا ہلکا سا لمس بھی

ہر پتے کو

ہوا میں ایک جادوئی رقص کرنے پر

مجبور کر دیتا ہے

اور میں

(ایک نامکمل کینوس یا

ایک خالی صفحہ کی طرح)

وقت کی

وہ ہلکی آوازیں

نہیں سن سکتی

خاموش رہ کر انتظار کروں گی

رات کو

اپنی بانہوں میں لے کر گلے لگانے کا




(Sunset on the hills)


This bread I break was once the oat,
This wine upon a foreign tree
Plunged in its fruit;
Man in the day or wine at night
Laid the crops low, broke the grape’s joy…


Dylan Thomas: from “ This bread I break”




of red and purple


(marks left by the hand

of an invisible painter)


light up

the vineyards on the hills

on this


summer evening.


Only the touch of the wind


rustles every leaf

in a magical dance.


And I


(like an unfinished canvas

or a blank page)


unable to listen to

those soft sounds of another time

will stay and wait

in silence

for the enveloping embrace

of the night.



Immagine & poesia, Lidia Chiarelli, Shurouk Hammod

“The Forest’s Daughter” poem by Shurouk Hammoud , image and Italian translation by Lidia Chiarelli



The forests’ daughter


Finland the astonished

Like a lover’s intoxication after the first kiss

The furious like a night that tries not to end

The affectionate like a sky that rains at a later date

The placid like the remnants of a forgotten flower in a book

Finland the white

Like clouds those pray on the waiting cross…

Because I love you

The wings stretched on my shoulders

So I could almost fly

Because I love you

I cut my heart in half

One half for the country that gave birth to me

And the other for the snow lady…for you

Because I saw god in you

My prayers became more beautiful

My voice began coming out

Warm like a wine on the soul’s lips

And because I became a friend of your night

O forests ‘daughter!

My face got a new dawn…

Dear Finland

The one whose heart can see you

Becomes a poet

0r a prophet


La figlia delle foreste


Finlandia meravigliata

Come l’intossicazione di un amante dopo il primo bacio

Furiosa come una notte che cerca di non finire

Amabile come un cielo che piove in un momento successivo

Placida come i resti di un fiore dimenticato in un libro

Finlandia bianca

Come nuvole che pregano sulla croce in attesa …

Perché ti amo

Le ali stese sulle mie spalle

Come potessi quasi volare

Perché ti amo

Ho tagliato il cuore a metà

Una metà per il paese che mi ha dato alla luce

E l’altro per la signora delle nevi … per te

Perché ho visto Dio in te

Le mie preghiere sono diventate più belle

La mia voce ha iniziato a uscire

Calda come vino sulle labbra dell’anima

E perché sono diventata amica della tua notte

O figlia delle foreste!

Il mio volto ha avuto una nuova alba …

Cara Finlandia

Colui il cui cuore può vederti

Diventa un poeta

0 un profeta



Shurouk Hammoud “born in 1982 “, a Syrian poetess, literary translator, BA of arts graduate and a master degree graduate of text translation, Damascus University.
She has three published poetry collections in Arabic language and one published poetry collection in English titled: (the night papers), in addition; excerpts of her poetry that have been published in many poetry anthologies in France, Serbia, Netherlands and India,
A member of Palestinian writers and journalists union.
An honorary member at NAJI Naaman international library of honorary culture.
Award winner of many local and international poetry awards


Adel Gorgy, Aeronwy Thomas, Gianpiero Actis, Immagine & Poesia, Immagine & poesia, Lidia Chiarelli, Mary Gregory, Uncategorized

“Immagine & Poesia, Then and Now”, essay by Mary Gorgy Gregory



Immagine&Poesia…Then and Now


Mary Gorgy Gregory

Immagine&Poesia is an international art movement founded in Turin, Italy in 2007 by a small group of poets and artists, including Aeronwy Thomas, Lidia Chiarelli, Gianpiero Actis and others, who believe that the power of the written word and the power of visual image, when joined, create a new work which is not only greater than the parts, but altered, enhanced, changed and magnified by the union.  Since their founding, their ideas have spread and the group has grown to include a wide range of artists and writers from around the world—from fledgling painters, photographers, videographers and promising young poets to luminaries like Lawrence Ferlinghetti.


Immagine&Poesia shares in a great heritage that includes many important movements.  The manifesto of Surrealism was written by the poet/critic Andre Breton, and came to full voice in the imagery of Dali, de Chirico and Magritte.  Dante Rosetti, the poet/painter, founded the Pre-Raphaelites, who found not only inspiration, but a higher truth in the poetry of Keats.  Paul Klee wrote poetry; e. e. cummings painted.  For which was Blake better known?  Perhaps the greatest expression of the marriage is in the sister arts of poetry and painting that flowered in the Zen Buddhist art of China and Japan, including Zenga and the calligraphic works of the Edo period monks.


All art is inspired and informed by other art.  It is difficult, indeed, to imagine a serious trend in art that has not found its echo in literature, or a meaningful direction in literature without a parallel path in the visual arts.  How can art not reflect its own time and place, its unique world view, and be relevant?  Or, as Yeats says, “How can we tell the dancer from the dance?”


It may be that in the beginning was the word, but art has never been far behind.  Mankind’s first words were pictures—pictographs of men and animals, sun and moon.  Lascaux’s cave paintings and aboriginal rock art tell us of a world where men dwelled among demons to be conquered and gods to be appeased, and life depended upon the success of the hunt.  The walls of Egyptian temples employed pictures and hieroglyphs to tell of battles and kings, but their artistry and grace tell a greater story, one of a culture of elegance and refinement never before seen on earth.  Renaissance cathedrals and chapels were decorated with scenes from the Gospels and the stories of beloved saints, and the architecture and art took the place of the written word for an illiterate congregation listening to prayers in a language they did not speak.


Throughout history, art and literature, especially poetry and song, its most itinerant form, have been the means for mankind to make his story known.  No chronology of rulers or map of borders can tell of human joy and sorrow, longing and fulfillment, for these are the domain of poetry and art.


Immagine&Poesia has renewed the tradition of bringing together artists and poets to create new collaborations and in these collaborations reside new ideas, new vitality, and new ways of seeing.  And being, as all relevant art is, a product of its own time, Immagine&Poesia uses new technologies to reach its audience.  Through the use of digital imagery and global, always-on communications, artists from small towns in Asia can collaborate with poets in Europe.  A painter from South America can join her image to the work of a poet from Wales, and not only will the work be changed by the experience, but both poet and artist will be, too.  Like synaptic neurons firing together to form a thought, or tributaries flowing together to form a great river, the collaborations of artists and poets support, as Immagine&Poesia states in its manifesto, “activity, imagination, originality and research.”  And through publishing these collaborations, Immagine&Poesia brings to art a new, 21st century, illuminated manuscript, a modern day Zenga to contemplate.

New York, 2010