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Abstract
A painter seats himself before his pupils. He examines his brush and slowly makes it ready for use, carefully rubs ink, straightens the long strip of paper that lies before him on the mat, and finally, after lapsing for a while into profound concentration, in which he sits like one inviolable, he produces with rapid, absolutely sure strokes a picture which, capable of no further correction and needing none, serves the class as a model. (Eugen Herrigel, Zen in the Art of Archery. New York: Vintage Books, 1971, p 46.)
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Notes on contributors
Julie Moir Messervy
Julie Moir Messervy graduate of MIT's School of Architecture and Planning. She has taught courses in Japanese landscape and architectural design in programs at Harvard, Radcliffe and MIT. and works as a landscape design consultant in the Boston area.