Post by Lisa on Apr 4, 2010 13:57:19 GMT 10
Title: Social Obligations (II)
Subtitle: The Art Show
Rating: G
Length: 645 words
Character: Wyldon
Summary: Kel teaches Wyldon what she knows of Yamani art.
“You’re the last person I expected to see here,” Neal greeted with a sardonic smile. He and Yuki were heading toward the large palace room chosen to host Seishiro, an artist visiting from the Yamani Islands. Neal’s large hand rested above Yuki’s elaborately tied obi, guiding her into the well-lit hall.
“I like Yamani art,” Kel insisted, falling into step with them. She wasn’t lying. However, the last place she expected to find herself was in the palace, wearing a kimono, in order to meet an artist her parents were fond of. She scanned the room, looking for other familiar faces, and was pleased to see Lord Wyldon among the other nobles. He looked less distressed than the last time she had come across him. And, she had to admit, he was handsome in his formal, shin-length russet red tunic.
Yuki pulled Kel over to a hand scroll with illustrations for a Yamani classic, depicting a court scene. “I’ve never known you to care for art, Kel,” she whispered in her native tongue. “Why the interest now?”
Kel fought the heat rising to her cheeks. “I like the otoko-e.”
Yuki’s nose wrinkled. “You would prefer the battle scenarios.”
“I thought you liked combat!”
“I do – but not in my art,” she said, smiling behind her fan.
Kel shook her head, moving on to the next painting. She was not as accustomed to the narrow steps necessary for wearing a kimono; it had been so many years since she had donned one. Suddenly she wished she’d worn the long dress tunic she preferred for these occasions. Even a traditional Eastern-style dress would’ve felt more natural.
Musing about how much she’d changed in fifteen years, now living in a world where Yamani clothing was a burden, she was easily caught off guard by a low, crisp voice in her ear. “Can you enlighten me as to the point of this painting?”
She gazed with startled eyes at her former training-master. He had a perplexed expression on his face, searching hers. It was almost as if he was surprised to have caught her off guard.
“This is monogotari – a depiction of court life centuries ago. They’re usually illustrating scenes from the classic works of Yamani literature.”
“So it’s just people sitting around, playing instruments.”
She smiled slightly. “Well, these people are writing waka – thirty-one syllable poetry – while these people are likely listening to insects.”
“Listening to insects,” he repeated.
She nodded. “Crickets in the evening are romantic, my lord.”
He shook his head, resigned. “And how about this painting?” he asked, stepping toward another work.
“Shiki-e,” she replied.
“What does that mean?”
“They’re seasonal landscapes, often depicting the mountains and sea. It’s impossible to go anywhere in the islands where you don’t see one of the two, after all.”
“Do you miss it?” he asked softly.
“Sometimes. But I couldn’t have become a knight there.”
“But Yamani women fight,” he said, dark brows furrowed. “Don’t they?”
“Of course,” she replied, leading him to the next works of art. “But training with a naginata or knowing how to properly use a tessen – or shukusen – is what women are limited to. Perhaps she might carry a tanto ¬¬– a dagger – in her obi, if she suspected danger. Noblewomen must be decorative and paragons of virtue first, then fighters. Their weapons are to preserve their honor as members of the warrior class.”
“The tessen is the fan?”
She nodded. “I know for a fact that Princess Shinkokami doesn’t leave the palace without one.”
“It’s probably wise.”
“You’ve come a long way, my lord, since you referred to my glaive as a pig-sticker.”
“Most pole-arms are useful in boar-hunts,” he said practically.
Grinning, she gestured to one of the statues. “Unlike here in the east, Yamani sculpture is almost always religious in nature,” she informed him, liking that he was an attentive student.
Subtitle: The Art Show
Rating: G
Length: 645 words
Character: Wyldon
Summary: Kel teaches Wyldon what she knows of Yamani art.
“You’re the last person I expected to see here,” Neal greeted with a sardonic smile. He and Yuki were heading toward the large palace room chosen to host Seishiro, an artist visiting from the Yamani Islands. Neal’s large hand rested above Yuki’s elaborately tied obi, guiding her into the well-lit hall.
“I like Yamani art,” Kel insisted, falling into step with them. She wasn’t lying. However, the last place she expected to find herself was in the palace, wearing a kimono, in order to meet an artist her parents were fond of. She scanned the room, looking for other familiar faces, and was pleased to see Lord Wyldon among the other nobles. He looked less distressed than the last time she had come across him. And, she had to admit, he was handsome in his formal, shin-length russet red tunic.
Yuki pulled Kel over to a hand scroll with illustrations for a Yamani classic, depicting a court scene. “I’ve never known you to care for art, Kel,” she whispered in her native tongue. “Why the interest now?”
Kel fought the heat rising to her cheeks. “I like the otoko-e.”
Yuki’s nose wrinkled. “You would prefer the battle scenarios.”
“I thought you liked combat!”
“I do – but not in my art,” she said, smiling behind her fan.
Kel shook her head, moving on to the next painting. She was not as accustomed to the narrow steps necessary for wearing a kimono; it had been so many years since she had donned one. Suddenly she wished she’d worn the long dress tunic she preferred for these occasions. Even a traditional Eastern-style dress would’ve felt more natural.
Musing about how much she’d changed in fifteen years, now living in a world where Yamani clothing was a burden, she was easily caught off guard by a low, crisp voice in her ear. “Can you enlighten me as to the point of this painting?”
She gazed with startled eyes at her former training-master. He had a perplexed expression on his face, searching hers. It was almost as if he was surprised to have caught her off guard.
“This is monogotari – a depiction of court life centuries ago. They’re usually illustrating scenes from the classic works of Yamani literature.”
“So it’s just people sitting around, playing instruments.”
She smiled slightly. “Well, these people are writing waka – thirty-one syllable poetry – while these people are likely listening to insects.”
“Listening to insects,” he repeated.
She nodded. “Crickets in the evening are romantic, my lord.”
He shook his head, resigned. “And how about this painting?” he asked, stepping toward another work.
“Shiki-e,” she replied.
“What does that mean?”
“They’re seasonal landscapes, often depicting the mountains and sea. It’s impossible to go anywhere in the islands where you don’t see one of the two, after all.”
“Do you miss it?” he asked softly.
“Sometimes. But I couldn’t have become a knight there.”
“But Yamani women fight,” he said, dark brows furrowed. “Don’t they?”
“Of course,” she replied, leading him to the next works of art. “But training with a naginata or knowing how to properly use a tessen – or shukusen – is what women are limited to. Perhaps she might carry a tanto ¬¬– a dagger – in her obi, if she suspected danger. Noblewomen must be decorative and paragons of virtue first, then fighters. Their weapons are to preserve their honor as members of the warrior class.”
“The tessen is the fan?”
She nodded. “I know for a fact that Princess Shinkokami doesn’t leave the palace without one.”
“It’s probably wise.”
“You’ve come a long way, my lord, since you referred to my glaive as a pig-sticker.”
“Most pole-arms are useful in boar-hunts,” he said practically.
Grinning, she gestured to one of the statues. “Unlike here in the east, Yamani sculpture is almost always religious in nature,” she informed him, liking that he was an attentive student.