Line

Opening

The second gate.

If color is surface, line is time.

Color has no beginning and no end.
There is only the place where it was laid.

A line has a beginning and an end.

Where the brush was set down and where it was lifted remains.
Where pressure was given and where it quickened remains as well.

One can tell how many seconds a stroke took.

Color can be corrected.
Paint over it and the color beneath is covered.

Correct a line and there are two.

The erased place is visible, and the redrawn place is visible.
Hesitation cannot hide.

So a line is honest.

The question of this part is this.

What sets the speed of the brush.

Answer that the hand sets it and that is half.

The hand holds the brush.
But what lies under the brush sets the speed.

On wet paper one cannot linger.
On dry paper one can.

The speed of cutting into stone and the speed of drawing on paper are not the same.

Material sets speed, and material comes from that land.

Three people stand before this gate.

But the order differs from the last part.

In the last part the witness for the other side came at the end.
The proposition was raised and then shaken.

In this part the witness for the other side comes first.

Chusa.

Because the man who went furthest in line is at the same time the counter-evidence to this proposition.

There are cases where the strongest example is the strongest counter-example.
When that happens, better to say so first.

Then comes Sesshū.
The speed of wet paper.

Last comes Emily Carr.
The brush that rises.

The three men held different relations to the continent.

Chusa saw the writing of the continent and stayed with the continent.
Sesshū saw the landscape of the continent and came back to his own land.
Emily Carr learned in Europe and went into the forest of her own land.

They did the same thing and went elsewhere.