Word: bonelessly
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...Boneless Brush. The word Rimpa means, literally, "school of precious gems." Though the Rimpa school spanned 250 years and produced some of the finest decorative art Japan-or the world at large-has seen, its members were few and their identity often vague. Its founder was Hon'ami Koetsu (1558-1637). In 1615, a warlord gave Koetsu some land in the mountains around Kyoto. The artist laid out a village there: papermakers, dyers, weavers, calligraphers, lacquer masters and painters settled in it, with Koetsu presiding over them all. The collaborations that followed make it excruciatingly hard to determine which...
Koetsu and Sotatsu reacted against the hard, linear, brushpoint drawing derived from the Chinese that dominated Japanese art in the early 17th century; instead they used the mokkotsu or "boneless" technique, dropping pigment into wet pigment, staining and mottling the shapes of flowers, twigs and thunder-god with infinitely subtle gradations of color, preparing the paper with washes of gold or silver dust or with a snowy, glistening mixture of eggshell white and flakes of mica. These hallmarks-which must in their time have seemed very "Japanese," in elaborate contrast to the austerities of Chinese brush technique-helped form...
...Boneless Fadeaway. Ogdon and his pianist wife Brenda Lucas, together with their children Annabel, 9, and Richard, 5, live quietly in a town house on London's Regent's Park. There he seems the farthest thing in the world from what many consider him to be: a reincarnation of the flamboyant temperaments of bygone eras. His handshake is a boneless fadeaway. His response to a lengthy conversational thrust of a close friend is likely to range from a noncommittal "Mmmmmmm," to a rare "Very interesting." Brenda recalls that when she first met him at music school, he hardly...
...boneless are of a flying arrow...
...style. In The Flagellation of St. Barbara, the brutal, peasant faces and awkward, potbellied figures of Barbara's tormentors foreshadow the popular style of Bruegel or Bosch-though neither painter had been born when they were painted. By contrast, nothing could be more courtly than the boneless sinuosity of Barbara's figure, the vapid sweetness of her untroubled expression or the richly brocaded gowns and hierarchic formality of the aristocratic spectators...