Three Views of Crystal Water

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Authors: Katherine Govier
Tags: Historical
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a view of water, because the women were the interesting part, an even dozen of them, with their gently curved arms and their modesty, which she could feel, despite their nakedness. There was a child with them. The child had a small string bag of shells in her hand and a little threepronged rake. The child’s clothing matched the women’s red underrobes. They had all covered their heads with a white kerchief with blue leaves. They had been in the water and had come out, and these baskets held their catch, perhaps seashells, or fish, although Vera could see no means of catching fish in the picture.
    Yet, she realised, as she continued to look, more than half the picture was water. It was flat and turquoise close in, and, where rocks stood up from the surface, transparent: you could see through to the base of the rocks beneath. But out from this shore, the sea reached from one side of the paper to the other and up to a flat horizon. There were waves drawn on it, hard white lines marching relentlessly one after another. The sea was not easy for the small boats that dotted it.
    She put the print aside. In the second print the crystal water was black and without waves. The sky was dark, but Vera guessed it was nearly dawn. There were stars, like pricks of white; the artist had copied these stars into asterisks of white in the water as well. Two people, their faces hidden in travelling robes that half covered kimonos of orange and peacock blue, were on a graceful, arched bridge that crossed a stream of water. Drawn together by equal forces from opposite sides to the highest point of the arch, they seemed to tremble there. They were not facing, but back to back: each had walked a few steps past the other, as if they had tried to pass by, but could not. There was danger in the air, and yearning. The woman reached back, a long tapered hand emerging from her robe; she handed the man a letter.
    Vera gazed long and hard at this one. It was a very satisfying picture, with the deep black and the royal blue, and the orange patterns of both the kimonos, and the white letter changing hands. Whatever secret was here was successfully passed; she felt relief.
    She lifted that print and put it to the side, revealing the last of the three.
    In the third view, there had been a catastrophe. It was snowing and the ground was white. But on the horizon, far back in the picture, a pagoda was in flames, turning the sky orange. A road wound through skeletal trees from the gates of that pagoda down to the centre bottom of the picture, and on that road were two hooded women. One was on horseback; the other stood beside her. They wore black and white cloaks with pointed black hoods that draped over the sides of their faces, half concealing them. The mounted woman held a long spear with a curved blade. Veraunderstood that she would journey through danger, and must protect herself and her younger charge. Behind them, outside the pagoda gate, was a fearsome warrior in laced armour, brandishing his sword. He was their scourge, or their protector. His skirts flew up revealing thick legs in sandals, and the scabbard from his curved sword.
    At first Vera didn’t see the crystal water. But there, under the snow-laden branch of a tree was a stream. Unfrozen, the water bubbled over rocks. Aside from the roaring of the flames it would be the only sound. The women would follow its path to safety.
    Vera wondered who had named these ‘Three Views of Crystal Water’. The pictures belonged together, and therefore they must tell a story. But it was not clear where the story began.
    She stared at the three prints, making up a story that would put them in order. Twelve women went to the seashore to fish and were seen by a stranger. The stranger fell in love with one of the women; but she was promised, or bound. Her trusted servant met him in the dead of night and gave him a letter telling him to go away, that all was lost. However, he would not go away. Instead he set fire

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