Tobe's Sketch of the River Is and the World 

 12" x 16"    mixed media on canvas

 

 

 

 

 

 

In this illustration and text from Tobe and the River Is, the Unified Field (the River Is) is once again the subject. This excerpt from the book describes how I actually approach painting.

 

 

   Tobe felt an irresistible urge to draw. He turned toward Auriel and said, “I would like to draw the River Is . . . here, in this place. Do you think it can be done? I cannot think of a greater subject. Can you, Auriel?”

 

   “I think it’s a splendid idea,” she said. “I don’t see how you can miss!”

 

   Tobe, excited at this new challenge, quickly took off his backpack and got out his brushes, colored pencils, sketchbook, and paints. Auriel joined Tobe on a large rock where she could watch.

 

   Since Tobe was already standing in the River, he didn’t need to call It. He took a moment to study It though, as an artist studies things. Then, out of his backpack, he pulled a simple piece of black paper. He held it out, musing over its deep, rich blackness.

 

   “Here, Auriel, look at this paper; its blackness . . . the deepest essence of the River Is, beyond all form. Do you see how still It is? Do you feel Its bottomless peace?” He smiled in wonderment at the simplicity of truth.

 

   “Amazing, like magic,” said Auriel. “The black paper says it perfectly. And you haven’t even done anything yet!”

 

   On his palette, Tobe squeezed out a splotch of gold paint from a tube. In two wide, bold, wavy strokes he brushed on the iridescent gold, all glittery against the deep black of the paper.

 

   “Ah, there. . . . That expresses It even better—the radiant, ever-flowing life of the River Is in all Its glory!” said Tobe, in awe at how simple it was to paint the incomprehensible River in just a couple strokes. Auriel seemed impressed too.

 

  Tobe grew still as he looked upon the River’s splendor. In firm vertical lines, he drew Its will and power. He drew Its clear, conscious energy with wavy lines, with curlicues, and dancing specs of energy, changing colors as he went; and he drew the peace of the River in horizontal lines—with a slow and gentle hand. Next, he started painting the River flowing around and through everything, with washes of color—turquoise, purple, and blue—all transparent.

 

  Then, with a light hand, Tobe started drawing the forms of the world—clouds, birds, mountains and mesas, trees, a stable and farmhouse, horses in the meadow with ducks, and someone tending their garden. He painted them with colors, transparent here and there, the way they seem to be, now and then, when one is swimming in the River.

 

  By now, the rendering of the forms of the world covered over much of the River. So Tobe redrew some zigzags, curlicues, and a few lines, wavy as well as straight, to make the River clear once again. The real subject, after all, is the River! Tobe told himself.

 

  Then at the top he brushed on white paint with a touch of yellow to give it warmth. As he painted, the thoughts came, Ah, the light that flows in the River—the light that is within and animates all things. He brushed it on, radiant and glowing. The image now felt complete. The creation of the picture came effortlessly, for the River was guiding Tobe’s heart and hand.

 

  Tobe chuckled. Back in Soñadora, no one would appreciate such squiggles and strokes, and they might even think him mad, but that did not matter. He knew that every creature in Inlăkesh would instantly recognize and appreciate a portrait of what they all knew and loved so well.

          

  So something happened that had never, ever happened before in Inlăkesh. That day, unpretentious, simple Tobe, with his modest skill, sitting on a rock with pencil and brush in hand, drew the great River Is. He drew It in all Its beauty and power; and he painted It flowing in Inlăkesh and beyond this dimension altogether!