I began class by occupying myself with a lesson I had studied several months ago. I chose "poet." The combination of straight and arched lines attracted me to it. It seemed like an appropriately aesthetically pleasing depiction. And once again I was drawn into the world of recreating movement from stasis. It's incredible how lines on a page incite the imagination to understand the movement that created them, or even their own intrinsic movement. I think it might be the process of acquiring the brush as a part of my body. How does it contact the page, how does the arm draw it across? Does it turn, go straight, double back on itself? What is its volition?
I studied the two characters of the example Sensei had drawn.
|"shi" meaning "poetry"|
|"jin" meaning "person"|
I managed to do one to at least partial satisfaction and sensei approved and gave me another–"spring breeze." Looking back at the one full example that I completed in that second hour of class, I think I was doing ok. But at the time, I became obsessed with the short horizontal lines of the first figure and how those interacted with the swooping lines that intersect them.
|"spring breeze" "haru kaze"|
and horizontal lines