Now that I have the front row and middle seats filled with vestals, I am looking the fill in the side aisles.
I surmise I have enough space for 4 models to occupy the left side of the painting.
I am going to paint all four of them and not to wait for the completion of each individual models. Perhaps I want to have some continuity in my thoughts, or could it be that I am actually getting a little weary over this project.
For this arrangement, I have the top model flat on her back, as if nothing worries her, and having a profite de l'instant attitude.
In contrast the vestal directly below her is doubled over, clenching her fist as in frustration. I am keeping what I've learned from Chinese painting about contrasts, in form, in density and in meaning. I am hoping that the viewer will explore the hidden meaning of this painting. The Ying Yang as you call it. If all else fails, at least I am secretly rejoiced that I am interpreting and expressing some kind of a notion.
The model to the left of her has an open gesture, as if to appeal or to offer an explanation. The fact that she has her legs crossed and clamped down signals that she is trying to make herself appear more streamlined and diminutive, making herself more appealing, less confrontational.
The fourth member of this new recruit team is on her knees crawling over to another vestal who has her leg legs stretched out. I find the placement of this model tricky. My first sketching inadvertently placing her outreached hand between the legs of the other model. The implication of that is rather dubious. I placate the critic in me by placing her hand behind the legs.
Upon closer examination I become aware of another inadvertent quagmire. In my haste, I had an impulsive moment to paint some shadows. I wouldn't exactly call that prosaic, but I did it without much thought or planning, lacking in discipline.
The consequence of such an act renders my model with the appearance of having 3 legs.
In fact I have difficulty deciphering which one is not a leg. Oh boy!
There is a saving grace for this painting so far however. The brushstrokes in the top model display such raw energy. It is true that I try to attain the same virtuosity with all my brushstrokes but this particular model allows the brushstrokes to showcase their own nuances. I don't know if it has to do with her pose, but all the lines seem to add up and my brush just traverses on its own. No going over or correction is necessary. Thus I decide to let this stand as it is, without the same garnishment of fine white lines etc. that all the other models received. I feel that I had practiced perfect calligraphy.
This particular figure perhaps helps to address the elephant in the room, "What does this painting have to do with Chinese brush painting". Here I take liberty in interpreting "Chinese brush painting", and by that I mean painting done with a Chinese brush, and not in the narrow context that the painting has to exhibit the stereotypical image of a classical Chinese painting. Thus the girl's top thigh is done with a center tip brushstroke with the "tips" hidden for round ends. The bottom thigh is another center tip brushstroke that extends beyond the waist, with rotating brush shaft at the buttock, such that the brush tip is always following the direction of the brush travel. Areas that have ink is "written" in and not filled in or smeared in as in a coloring book. One can say that the entire body is made up of adjoining brushstrokes as in writing. So here I am trying to extoll the virtues of the Chinese brush and point out some of the nuances. Am I being didactic?
A most fortuitous happening for sure.
