Birds flying high, you know how I feel Sun in the sky, you know how I feel
Breeze driftin' on by, you know how I feel

It's a new dawn
It's a new day
It's a new life for me, yeah

It's a new dawn
It's a new day
It's a new life for me, ooh
And I'm feeling good

Fish in the sea, you know how I feel
River running free, you know how I feel
Blossom on the tree, you know how I feel

It's a new dawn
It's a new day
It's a new life for me
And I'm feeling good

Dragonfly out in the sun you know what I mean, don't you know?
Butterflies all havin' fun, you know what I mean
Sleep in peace when day is done, that's what I mean
And this old world, is a new world
And a bold world for me, yeah-yeah

Stars when you shine, you know how I feel
Scent of the pine, you know how I feel
Oh, freedom is mine
And I know how I feel

It's a new dawn
It's a new day
It's a new life for me

I'm feeling good

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.