Looking Up at the Stars

This week, for Poetry Friday, not a poem, exactly, but a poetic thought.












Mostly I wanted a reason to post this photo of my son from almost ten years ago. It is a collage which must have been a Valentines Day gift. He is two or three here, wearing his favorite train shirt. He was crazy about trains. I keep this little collage on my bookshelf, just above my meditation altar, which takes up another shelf. But I hadn't looked closely at it in a while. I suppose I am feeling sentimental about it as my son has been away for a few days, visiting my father and his wife.

But the foregoing is not the poetic thought I wish to offer. I remembered a passage from a short story by Garrison Keillor having to do with his baby son, and that is what I am offering today.

From "Laying on Our Backs Looking Up at the Stars," by Garrison Keillor:

In 1970, in search of freedom and dignity and cheap rent, I moved out to a farmhouse on the rolling prairie in central Minnesota, ... where I planted a garden and wrote stories to support my wife and year-old son. ... On the Fourth of July, 1971, we had twenty people come for a picnic in the yard, ... and that night we sat around the kitchen ... and talked about the dismal future.

America was trapped in Vietnam, a tragedy, and how could it end if not in holocaust? We were pessimists; we needed fear to make us feel truly alive. We talked about death ..., about racial hatred, pesticides, radiation, television, the stupidity of politicians, and whether Vietnam was the result of strategic mistakes or a reflection of evil in American culture. It was a conversation with cement shoes.

I snuck out to the screen porch with my son and sat and listened to crickets, and my friend Greg Bitz sat with us and two others came out, tired of politics and talk, and we walked along the driveway out of the yard light and through the dark trees and sat down in a strip of alfalfa. ... And then we lay down on our backs and looked up at the sky full of stars.


The sky was clear. Lying there, looking up at 180 degrees of billions of dazzling single brilliances, made us feel we had gone away and left the farm far behind.

As we usually see the sky, it is a backdrop, the sky over our house, the sky beyond the clotheslines, but lying down eliminates the horizon and rids us of that strange realistic perspective of the sky as a canopy centered over our heads, and we see the sky as what it is: everything known and unknown, the universe, the whole beach other than the grain of sand we live on. ...

Indoors, the news is second-hand, mostly bad, and even good people are drawn into a dreadful fascination with doom and demise; their faith in extinction gets stronger; they sit and tell stories that begin with The End. Outdoors, the news is usually miraculous. A fly flew in my mouth and went deep, forcing me to swallow, inducing a major life change for him, from fly to simple protein, and so shall we all be changed someday, but here under heaven our spirits are immense, we are so blessed. The stars in the sky, my friends in the grass, my son asleep on my chest, his hands clutching my shirt.

Indeed.

A Tiger for Tết

Today is the Lunar New Year, which in Vietnam is called Tết Nguyên Đán (or just Tết). The monastics, along with many of my sangha brothers and sisters, are celebrating at Blue Cliff Monastery this weekend.

I read that it is traditional in Vietnam to exchange gifts during Tết (more specifically, to give gifts to family and friends who visit your home on the holiday) and I decided I wanted to give the monastics a painting. It is also traditional to give a piece of artwork created in the village of Dong Ho, in their particular style, a woodblock print with black line and bright colors. I don't know how to make block prints, but I could create a painting with black outline. The new year is the Year of the Tiger, so a tiger it would be.

And here it is:








[click on image for an enlarged view]

Seeing it all complete like this, the process is hidden. Here is the process revealed.

I generally need a lot of art reference when I paint or draw. I used to feel guilty and embarrassed about this. But my self-judgment has loosened up a bit since I started studying Chinese brush painting. Traditionally, brush painting students have always copied. That is how they are expected to learn. One should look at mountains, but also look at great paintings of mountains. And copy them. That is the way to enter the spirit in which the artist partook, perhaps centuries ago. It is a way of borrowing the great artist's more enlightened eyes, and more expressive stroke.

So, for this tiger painting, I spent time finding just the right reference. First, some examples of Dong Ho paintings.















While searching for Dong Ho tigers, I found tiger images in another style by a Vietnamese artist, Duy Thai. I liked this one in particular:























I also needed an actual mountain to look at -- a tiger in all his actual stripes:







As well, I looked up the place of tigers in Buddhist lore, in case something interesting came up. What I found was the Zen story about the the sweet-tasting strawberry. (Retold here by Paul Reps, in Zen Flesh, Zen Bones.)

The Buddha told a parable in a sutra:

One day while walking across a field a man encountered a vicious tiger. He fled, the tiger after him. Coming to a precipice, he caught hold of the root of a wild vine and swung himself down over the edge. The tiger sniffed at him from above. Trembling the man looked down to where, far below, another tiger was waiting to eat him.

Only the vine sustained him. Two mice, one white and one black, little by little started to gnaw away the vine. The man saw a luscious strawberry near him. Grasping the vine with one hand, he picked the strawberry with the other. How sweet it tasted.

Fortunately, I don't need reference for a strawberry vine, since one grew in my garden last summer.

Now I was ready to try to paint a tiger. I painted three; one of them became the Tiger for Tết.

Finally, I looked up how to write "tiger" in Chinese calligraphy, and practiced writing it over two evenings. And I practiced writing "meditation," or "zen," since my teacher had told me that "zen" was almost always an appropriate character to add to a Chinese brush painting. The complete inscription reads, "tiger meditation."

This was the process of painting the painting.

Then there was the process of mounting it on backing paper, with improvised potato starch glue; trimming the backed painting and mounting it with linen-tape "hinges" to the background sheet, a piece of corrugated paper that I'd held onto for more than a year which did not want to lie flat; finding strips of wood lathing to glue onto the back to make the thing rigid, since when it rolled up, the painting would pop off; and packing it up for mailing, flat. A lot of process for this Tiger for Tết.

But how could one expect otherwise? And where else would the joy reside?

Happy New Year!

Chúc mừng năm mới!

A Message for My Readers

Dear Readers,

First, thank you for reading this blog. I know very little about you beyond how many of you there are. But I am grateful. I would probably post even if no one ever read what I post, but it is wonderful to know that someone, somewhere, will at least glance at it.














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Thanks again, everyone.

Bowing and smiling,

Lauren