Veins Aesthetic Quotes

A reverie is one soul's river - a word is one heart's vein.

Here's the plain truth, at least as it has been shown to me: We are never far from wonders. I remember when my son was about two, we were walking in the woods one November morning. We were along a ridge, looking down at a forest in the valley below, where a cold haze seemed to hug the forest floor. I kept trying to get my oblivious two-year-old to appreciate the landscape. At one point, I picked him up and pointed out toward the horizon and said, "Look at that, Henry, just look at it!" And he said, "Weaf!" I said, "What?" And again he said, "Weaf," and then reached out and grabbed a single brown oak leaf from the little tree next to us. I wanted to explain to him that you can see a brown oak leaf anywhere in the eastern United States in November, that nothing in the forest was less interesting. But after watching him look at it, I began to look as well, and I soon realized it wasn't just a brown leaf. Its veins spidered out red and orange and yellow in a pattern too complex for my brain to synthesize, and the more I looked at that leaf with Henry, the more I was compelled into an aesthetic contemplation I neither understood nor desired, face-to-face with something commensurate to my capacity for wonder. Marveling at the perfection of that leaf, I was reminded that aesthetic beauty is as much about how and whether you look as what you see. From the quark to the supernova, the wonders do not cease. It is our attentiveness that is in short supply, our ability and willingness to do the work that awe requires.

In Japanese pottery, there’s an artful form of repair called kintsugi. When a piece of ceramic pottery breaks, rather than trying to restore it to its original condition, the artisan accentuates the fault by using gold to fill the crack. This beautifully draws attention to where the work was broken, creating a golden vein. Instead of the flaw diminishing the work, it becomes a focal point, an area of both physical and aesthetic strength. The scar also tells the story of the piece, chronicling its past experience.

Even in rainier areas, where dust is less inexorable and submits to brooms and rags, it is generally detested, because dust is not organized and is therefore considered aesthetically bankrupt. Our light is not kind to faint diffuse spreading things. Our soft comfortable light flatters carefully organized, formally structured things like wedding cakes with their scrolls and overlapping flounces. It takes the mortal storms of a star to transform dust into something incandescent. Our dust, shambling and subtractive as it is, would be radiant, if we were close enough to such a star, to that deep and dangerous light, and we would be ravished by the vision—emerald shreds veined in gold, diamond bursts fraught with deep-red flashes, aqua and violet and icy-green astral manifestations, splintery blinking harbor of light, dust as it can be, the quintessence of dust.

the survivor learns to “follows his own bliss”. He is freer to pursue activities and interests that naturally appeal to him. He evolves into his own sense of style. He may even feel emboldened to coif and dress himself without adherence to the standards of fashion. He may extend this freedom into his home décor. In this vein, I have seen many survivors discover their own aesthetic, as well as an increased appreciation of beauty in general.

BLOOMING SCARS Those flowers dance around vour marble bust like they were fearing October's kiss - gently they laugh and fall asleep on vour stone veins and cold lips. For they love their names written upon your chest in gold for your heart may be broken, yet it is searching for something untold. They do not know that silver mends the scars that the years formed and the cracks on your skin the sun caused - so silent, still, and weary are the blossoms with whom my love for you is betrothed.

FLORENCE Soft emerald valleys lay in crimson light beneath the rolling hills; the waters of the Arno gleam like bronze the city's vein, so still. Each artist at the shore of the river stares in wonder and delight - how far do the lines reach across the bridge, beyond their work? One may seek rest under the cypresses and soft light of the August amber sun - here, at his grave, the city walls lay high around the garden, he knew once as paradise. His dark eyes still seem to pierce the lines of the hills, like he searches for his soul - still; (somewhere between the Arno and the nightfall). The trees - heavily laid with summer's fruit - stand high above the city in marble glance. Clear is now the dark sky - full of shards which dreamers call the stars.

At a certain point, you no longer hope; you just keep on existing. One day at a time, for the rest of your life. And that feeling is not shallow but runs deep— deeper than any happiness or love could ever run. A vein is a mere line poets like me used to write on and a lifeline where sailors swim towards at night. If we keep on writing and giving, we grow on that existing line with millions of words that save hope - and thus give existence and life.

THE MONSTER & THE MAN One obstacle pierces his soul and calls him down the dark road - heavy sighing he must carry on and at last, the thorn is retrieved - with agony in his brown eyes - he suddenly sees: Fever dreams, scarlet on blue velvet, like ink drowning in words - words drowning inside his veins - words that pleaded in vain - words so scarlet... so stained. Empty lines for empty souls that carry too much inside; empty pages for empty hands with nothing else to hide nor to control the beast inside his soul.

the Japanese art of kintsugi, or “golden joinery,” a method of repairing cracked pottery with a vein of lacquer mixed with gold or silver. A plausible origin story dates this art to the fifteenth century, when Japanese shogun Ashikaga Yoshimasa broke his favorite tea bowl and sent it back to China to be repaired. It was returned with ugly metal staples, prompting the shogun to order his craftsmen to find a more aesthetic means of repair. I love the idea that an accident can be an occasion to make something more delightful, not less so.