Religion Paintings

**Religion and Other Paintings**

1. To Morius

(This sketch has been drawn on a large sheet of cream colored parchment. The
drawing consists of charcoal line work that is accented by a sparing use of
paint. The title at the top of the page has been penned in a dark red ink. It
reads: 'All Are Welcome'.)

The temple foyer that celebrates the Lord of Sin has been recreated in striking
detail. From the wooden benches to the faint glow of the hanging lantern,
nothing has been overlooked. The painting of Morius has been emphasized with
matte black and glossy paint to highlight the brilliance of his smile. The frame
has been reimagined in ornate gold filigree tipped with silver. Undulating
shadows creep from behind the painting, sinking down to the floor to embrace
some of those who have come to the temple.

Over twenty men and women have crowded around the floor before the painting.
While all seem to have ventured to the temple willingly, their expressions seem
almost too intense for worship. Some depict manic lust, their eyelids fluttering
while their flushed cheeks burn with the warmth of their desire. Still others
are angry - their bloody fists clenched at their sides as they elbow their way
to the front - their eyes fixed entirely on the painting. A small group has
gathered on the benches - leaning against each other languidly - their eyes
taking in the splendor of Lord Morius from afar. Countless emotions have been
detailed here - and each and every form speaks to some deeper hunger, save for
one.

Nearly forgotten in the shadows of the back of the church is the body of a
bruised and beaten elven woman. Blood leaks onto the floor from numerous small
abrasions, sinking into her the side of her face and her braided hair. Her spine
has been broken just inside the threshold of the temple - as if someone was
waiting for her. No assailant can be seen, however, and the gathered masses at
the front of the temple pay her no heed. One hand stretches backwards towards
the graveyard - depicting an unspoken final gesture of regret.


2. To Rahsael

This painting would likely be considered bland at a glance. A large black circle
takes up the majority of the oversized canvas, though small flaws can be seen
within the expansive swath of ebony paint. Weathered stones have been stacked
around the edge of the circle, marking this particular void as a well. A figure
waits at the edge of the abyss, eyes transfixed on something deep within the
darkness. The proportions of the figure are wrong in comparison to the well,
causing the young man to be dwarfed by even the stones he leans upon. His
features have been drawn hastily, with eyes that lack depth and shadow, as if
his mere existence is an afterthought.

If one were to peer closely, the initial 'flaws' are not a fault in the
consistency of the paint or errant brushstrokes that were left to mar the
stillness of the well. Instead, a myriad of small scenes are nested within the
darkness. These smaller works have been brought to life in hues that are only a
shade or two lighter than the surrounding paint. In contrast to the man at the
edge of the well, extreme care has been taken with each scene, and it is
abundantly clear that the artist planned out the sequence ahead of time.

The easiest scenes to spot are characterized by the paper thin slate grey lines
that have been used to create a number of stairs that wrap around the inner edge
of the well. The effect is both dizzying and unsettling. The strange perspective
goes against all reason, demanding that the viewer believe the steps are
anchored to an edge that does not exist. Many of these stairs crumble off into
nothingness. Still others depict the scenes of a life, including a heartwarming
depiction of a man hugging a woman tightly, with tears of joy streaming down his
face. As the stairs near the middle of the well, the scenes shift drastically.
Where there was once happiness and calm, only pain and sorrow remains. The
anguished expression of the man grows worse as the stairs near the center of the
void. At the final set of stairs, the man lays face down, and his fate is a
mystery.

Many other figures have been painted around the stairs. Some of the paint is so
dark that one would assume the artist painted blindly. At the top of the well, a
kindly older woman looks fondly upon the young couple. As the stairs descend
into the well, the figures become less human, blending human appendages with
horrific shadows and impossible nightmares. They stalk the man, drawing ever
closer as he descends into the depths of the well.


3. To Daphedee

This oversized cream colored canvas is surrounded by a plain cedar frame. The
weathered wood has been meticulously sanded and stained a deep indigo. The
foreground of the painting features the whitecaps of the Dragon Sea - many of
which have been accented with bubbles, frothy foam, or seaweed. In the
background, a rising sun has been painted a pale pastel yellow. A number of
rays of light stretch to the top of the frame, while others light up the
waters of the sea. Along the right edge of the canvas is the beleaguered
Island of Corte, though most of the island is surrounded by a patchy fog,
obscuring the archmage's tower from view. The cliffs of Insanity have been
replicated almost perfectly, and it is clear that the artist spent no small
amount of time observing them from afar.

All of these details pale in comparison to the two figures that walk upon the
waves. The goddess Daphedee is accompanied by her loyal hellhound -
Cerberuffs. Paper thin brushstrokes of slate grey and ebony have been expertly
painted atop his skin, giving his fur a slightly glossy sheen. A deep crimson
light emanates from eyes that are focused upon the island in the distance.
Curiously, the hellhound has been outfitted in a pair of yellow rubber rain
boots that have been cinched tight with a strand of leather cord. The boots
are most assuredly enhanced by some form of divine magic, as they glow faintly
against the dark water.

Daphedee's gaze is fixed upon the same cliffs, and a soft smile graces her
face. Her golden blonde hair has been caught by the sea breeze, and it floats
just behind her, adding to her elven beauty. There is a slight longing in her
gaze, but it is tempered by the length of her stride. She does not rush, and
Cerberuffs stays near to her, making it clear that this is a path they have
both walked many times before. The painting evokes the feeling of returning
home after a long trip, along with all of the relief and bittersweet memories
that accompany it.


4. To Einoh

This painting features a familiar lake that is surrounded by a copse. The
crystal clear water has been interrupted by an afternoon thunderstorm. Ripples
have been carefully painted in muted watercolor paint, varying in size and the
amount by which they overlap. Above the lake, puffy clouds have been stippled
onto the canvas and shaded with charcoal. Lightning dances between the clouds to
the left. Bright shafts of electrical energy zigzag between the clouds, depicted
in a blinding cerulean blue that is highlighted with smaller streaks of yellow
and white. To the right of the canvas is a radiant depiction of the sun. Beams
of light shine forth, piercing the clouds to rest upon the lake and treetops.

A note has been painted beneath the lake in a flowing script.

"Lord Einoh,

Ever since the first time you brought me to this lake, I have wondered about it.
Why a lake? And above all else, why is there so much rain? It is undoubtedly the
rainiest place I have seen on Thera. One day, when I brought Skjarl to the lake,
something occurred to me. The perfect surface of the lake is temporary. The
ripples of the rain lend an imperfection to what is otherwise a flawless
surface.

I do not know whether you meant it to be a divine metaphor for the struggles we
encounter when pursuing the path to virtue or whether you just like rain. I
rather hope it is the former, and I have adopted it as my mindset when I visit
this holy place. It reminds me that something can be wonderful and a benefit to
the Light without being perfect. It also reminds me that there is still evil
deep inside me just like the lake has storm clouds above it.

I know I am in no way the perfect adherent. My path is stormier than most, and I
know there are tenets that I have not succeeded in incorporating to the degree a
priestess should. I wished to thank you for not giving up on me and for all the
worry that you show for your followers and the world at large. I cannot imagine
it is easy for you. Maybe that's why you chose this place. In closing, I am most
grateful for your presence in Thera and all you have taught me.

- Cedany"