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Back to Celfaire | Relief Themed Paintings
A
man, too much of a shadow cast on him to tell much past his having
short hair, wearing worn clothes, and carrying a bag at one side, walks
along a wide, dirt road. Behind him, storm clouds, yet dead crops on
either side of the road. Ahead of him, shining sun, endless corn.
Things are looking up.
Another
short-haired man--his hair clearly brown this time--sits in a tavern or
a restaurant (alcohol is present and the wooden tables are bare of
cloth, but then again, so is food), surrounded by many laughing,
smiling people who could only be his friends. Although he is bandaged
and bruised, he laughs along with them as though he hasn't a care in
the world.
A
thin woman, her sand-colored hair dirty and stringy with exposure,
clothes torn (though exposing only parts of dirty, bruised or scabbed
skin), stands in a room empty but for an immense table of food, water
and wine. All appears fresh, untouched and delicious, the sunlight from
a window beyond it giving the feast an almost ethereal glow.
A
third man, this one's hair long and black, stands in a washroom with a
white button-up shirt halfway off and one hand at his black trousers.
The skin revealed as such is hard and the well-defined muscles beneath
look tight, but his posture is beginning to relax; the claw-foot tub,
surrounded by bars of soap and bottles of various things, is full of
water steaming with welcome. - Over
the rest of the paintings is hung a wide, relatively recent painting
with an angelic figure as the centerpiece. Among the rest of his
paintings depicting fairly straightforward, humanoid figures, this
stands out as slightly surreal. Both sides of the painting are consumed
by the female angel's wings, obsessively detailed down to the smallest
feather. That they are attached to a humanoid body seems impossible,
even when one considered the winged humans that did exist in this
world. Among them, her body appears almost insignificant.
Yet
it too is done to the finest detail as she, nude, sits on her knees and
draws a human to her heavy breast, her hand splayed across the back of
his head and holding him there with an eye to comfort. Something of the
way her other hand is positioned on his lower back (also nude),
however, might be recognized to suggest a touch less chaste--but no
less holy, was it? Her smallest finger rests there, extended, while the
others are relaxed out of sight, hidden by the man's body.
His
is a long and lean physique, one's first hint to the indulgent nature
of this work. Nicholas had given him a head of short, dirty blond hair
to deter associations between them--but a perceptive eye surely
wouldn't fail to recognize this rather essential similarity.
The
work serves many a purpose for him, for it turns out the man is not
without flaws, scars, where the angel is painted to perfection, not a
single mark marring the soft expanse of her skin, having the gentlest
pink blush of life to it, such that the desire to kiss that skin would
be natural to absolutely anyone to look upon it. Across his long back
there extends a thin scar, lifted slightly from the woundless skin
around it and outlined in a deep pink; and between his shoulders there
is written an ornate blue symbol, rarely recognized as that of The
Mother--for hers was a religion all but unworshipped at present, known
by more religious scholars than followers.
Though his arms are
largely thrown around the angel who so cradles him, the few inches of
forearm one might see began to show a similar scar, traveling at a
slightly steeper angle than the one before it. From what little can be
seen beneath the two's knees, beyond their bodies and just above their
heads, the both are in a richly decorated hall of some sort, with an
ornately decorated rug and walls papered with some other scene, having
sky and wispy, pinkish clouds as one might associate with depictions of
Heaven. (Note: This description is stylistically different as I'd
adapted it from the middle of an RP post. Sorry.)
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