Thanks for the comment Hawk, and i am glad you're enjoying the new series.
I read the post in your link. Really great stuff on East v West perspectives on interacting with precious things - described in a very Western manner ;). I could not find Suzuki's original essay. If you come across it please send it my way - I plan to do more exploration of his work.
Your post put me in mind of an essay I read in high school that always stuck with me. I couldn't find it, but here's a post about it, which includes the two contrasting poems that are the meat of the thing. https://www.hermitary.com/thatch/?p=440.
"Opposite Dualities" is beautiful to me. I also really enjoyed the background on "O" -- to me, anything about language origin is endlessly fascinating.
Thanks for interacting with the post! So glad you found some additional dualities.
I worked on another peice recently with the same brush technique that eneded up with a more direct resemblance to wood. I will be interesting to see what other people see in that texture.
I really enjoy this piece. Before reading, I saw/felt a warm, wooden, human construct (like an ancient boat?) sailing on a big sea at the terminator between night and day. I enjoyed the exercise exploring how our minds interpret the "K" and the "O". I agree the O did not jump out as a letter immediately. I appreciate the Japanese style signature too.
Thanks for the comment Hawk, and i am glad you're enjoying the new series.
I read the post in your link. Really great stuff on East v West perspectives on interacting with precious things - described in a very Western manner ;). I could not find Suzuki's original essay. If you come across it please send it my way - I plan to do more exploration of his work.
Your post put me in mind of an essay I read in high school that always stuck with me. I couldn't find it, but here's a post about it, which includes the two contrasting poems that are the meat of the thing. https://www.hermitary.com/thatch/?p=440.
"Opposite Dualities" is beautiful to me. I also really enjoyed the background on "O" -- to me, anything about language origin is endlessly fascinating.
Thanks Ben,
Thanks for interacting with the post! So glad you found some additional dualities.
I worked on another peice recently with the same brush technique that eneded up with a more direct resemblance to wood. I will be interesting to see what other people see in that texture.
I really enjoy this piece. Before reading, I saw/felt a warm, wooden, human construct (like an ancient boat?) sailing on a big sea at the terminator between night and day. I enjoyed the exercise exploring how our minds interpret the "K" and the "O". I agree the O did not jump out as a letter immediately. I appreciate the Japanese style signature too.