NeoRetribution
2010-06-05, 05:52 PM
Abstract:
One by one the woman would look them over from their sturdy wood cages on the dock. In the humid air she would ask a question to some. Those that answered she scrutinized more closely before returning to speak with the stock master. The slaves had not even reached market yet and already they were receiving attention. A few of the slaves that caught the woman's attention were shackled with belts and led from the cages. She paid promptly for her purchases before leaving the dock and was followed by town guards which escorted the slaves that she had purchased with silver.
The most obvious trait about the woman was her bearing. She stood tall in a way that reminded observers of a flower. Her movements were not wasted and seemed to collect together as water under the intricately ornate robes that she wore. The tresses of her hair were tied up behind her head and held with long needles which artfully displayed her neck.
Many long wooden steps led to the shore and dry ground. The harbor behind the tethered slaves vanished among the mud and wood huts of the muddled quay. The paths between structures were neither straight, lined, nor made any pretense at order. Long beams of logs or square cross-sections jutted out above the head in the middle of the street. Some completely crossed the expanses and dove into other buildings. Many tipped at odd angles while lines of hanging clothes high up near the roof line dried in the meager light of day available.
The woman's gait seemed competent. On and on she led, upward into the quay and away from the thoughts of boats, water, and motion-sickness. She preceded the guards onto a large platform; one walled and girded with fisherman's netting and long ropes that stretched upward toward the canopy above. As the platform began to rise the slaves felt fear, but the ride was long and they slowly became used to the motion. Ascending toward the sky far above the river below, the woman led her purchases onto the thick and sturdy branches above the harbor, markets, and poor populace.
Clean streets met the slaves' bare feet. Painted and decorated shops and houses met the eyes of the travelers. Open courtyards and plazas filtered in gentle light and wind from the canopy above. All of the revealed civic structures seemed superior, better cleaned, and better kept, than those below on the surface.
The straight and trim streets of the upper reaches gave way to a high wall. In, the slaves were led, and treated to a beautiful garden of grass, bush, trees, and flowers. A little conversation between the guards and the woman passed before they retreated and the heavy doors of the wall closed behind. A long and short hedge nestled up against the wall and followed its course around the inside of the complex and disappeared behind the shapes of the large buildings and the other garden decorations.
In the welcome shade and fresh air the slaves basked until a lean male of medium stature exited the wooden veranda of the large house within the walls. Dressed in a pristine white robe and a thick magenta belt, the human crossed the open gardens. A straight handle of some black object protruded upward from the belt while the human exercised perfect posture. Collected around his mouth and under his nose were hairs trimmed to an excellent length. The beard was not bushy, but well groomed, and when his eyes crossed the slaves they did not show disdain.
The woman from the dock, in her own beautiful robes, bowed to the gentleman and he returned her courtesy in kind. A short conversation of soft words followed before small black eyes left the female and turned their attention to the purchase from the dock. Whether custom or not the woman stood aside and turned her attention the same way.
"I am Cerulean Sky," the stately masculine voice introduced. The timber of the words were flavored with tones of wood, spices, and some land very far away. He continued small polite pauses, gesturing lightly with his hands for graceful and purposed effect. "Scholar and teacher. Headmaster of this Seven Senses School of Art, here, in Qian-dav.
"And you," he measured another pause in his words, "are free." At this the woman drew out the paper contracts which were the receipts of slave purchase. Silently, she showed them openly and plainly to the eyes of the captive audience before tearing them into quartered pieces.
"In thirty days," the headmaster continued, "you will be required to make a choice. If you choose to leave you will be given food, clothes, silver, a weapon, and allowed to seek your fortune. You will no longer be our responsibility.
"If you choose to stay you will be taught to read, to write, and count; to any number you want and back from any number you want. We have classes here where you are welcome to learn. We teach the arts of flowers, dance, calligraphy, conversation, and music -- to name only a few. If you choose to stay your education will be paid for completely. All that we ask is that if you do stay, and if you graduate, you share a portion of your profits with us when you leave.
"This school is a light house on the ocean of slavery. Your education here has been paid for by the students who have graduated before you. The school's purpose is purchase slaves who have no means to support themselves, teach them, and then free them so that they may also do the same for others.
"But all of those things are far away," a soft smile graced the lips behind his comely facial hair. "Whether you believe me is not important. You will find out soon enough that what I have told you is the truth. For now, I imagine that you would like a warm bath, clothes, a hot meal, and bed." Gesturing to the poised woman at his side, Cerulean Sky continued, "Shaded Tears will help you find these things. Welcome to our school."
Purpose:
The purpose of this HomeBrew is to provide a reasonable extension and definition into the setting of Exalted. While the source material does cover numerous topics and possible aspects of society it seems to fall flat in areas that relate to beauty and peaceful past times. All of the material related to this HomeBrew is intended to add, or at least suggest, another facet of possibilities which story-tellers can explore.
Reasoning:
Quite literally, this HomeBrew began as a question.
"Why is there no system to counter the Immaculate Order?"
What began as a mental exercise immediately became more. The mere implication that there might be an antiquated and organized group capable of politically confronting ascetic monks or wealthy guildsmen was too fruitious to pass up.
It would be ludicrous to think that so many centuries have passed with no rogue masters leaving the Scarlet Empire. And also that no brilliant warriors have founded their own schools outside the Blessed Isle. There are too many other great populaces in Creation to simply shrug the proverbial shoulder at the social, political, and economic machinations which rival the Scarlet Empire.
Therefore this HomeBrew is presented with the concepts of cultural and political weight in its structure. It is intended to perform and function as a check and balance system against the Guild, the Immaculate Order, and all other academies to which dragon-blooded so often attend.
The School of Art is not specifically for dragon-bloods. It is for the mere mortals who do not experience terrestrial exaltation and yet wish to influence Creation.
The Compass:
Historically speaking, the School of Art was founded outside of the Blessed Isle. This independence is essential to the theme and flavor of the school. Story-tellers are encouraged to make up their own names, locations, histories, and participants of a particular arts school.
Functionally speaking, the School of Art can exist in any direction on the Terrestrial Compass. Much like the establishment of a shrine or guild hall, the art school can be established anywhere that they can. There are two major exceptions, however. The first is that the arts school is far more attractive.
The Guild brings the promise of economy while rumors of drugs and slavery follow on its heels. The Immaculate Order brings the promise ascetic teaching and enlightenment along with rumors of proselytizing and threats to whatever local religion is prevalent. The Arts School, however, brings the promise of knowledge with no such threats to local community or culture. The practice of the school is to instruct their students in the mastery of their focus. This includes the incorporation of local traditions and customs rather than their exclusion.
The School of Art also doubles as an orphanage and its instructors are already trained and groomed to incorporate that kind of work into their classes. This aspect is usually extremely attractive to local authorities that are always looking for a place to house and motivate their poor.
The second exception to the establishment of an Arts School is that dynasts are stubborn. The Scarlet Empire has its own academies for training dragon-bloods. This includes mortals that are wealthy enough to enroll themselves or their children. Most any attempt to establish a foreign influenced academy on the Blessed Isle would be met with heavy political and economic resistance
Practically speaking, this means that students looking to enroll into one of these Schools of Art must travel off of the Blessed Isle to participate in study. This is the default expression of the setting and intended to be used as a method to open the eyes of any young dynast characters in play. These exceptions are, by assumption, expected to change at the whims of the story-teller.
Story-tellers are encouraged to use the founding of a school on the Blessed Isle as a hook inside a story, and not a means to setup potential play. This is suggested in order to avoid confusion as to the justifications of a school's existence.
Slavery(An Opinionated Note):
Many players consider the concept of Former Slave for their characters because they think it will be flavorful or cool.
Slavery is anything but that.
The most civilized form of slavery that exists on Planet Creation is practiced in Lookshy, where one person may come into debt toward another and is compelled to serve until that debt is payed off. Real slaves are not so fortunate. Real slaves are poor, dirty, naked, and stupid. They are kept that way because wealth, health, personal boundaries, and knowledge are equal to power. This power means influence and most owners of slaves are not comfortable in allowing their slaves any influence. This is especially true when considering that all slaves are extremely obedient and a little power might make one slave the leader of them all.
Real slaves have been cowed by their owners who hold some kind of power, and often whips, to make their slaves serve whether they wish to or not. This is what makes a slave obedient by nature: The force of habit. Slaves spend their days yearning to be free of their owner ( subject to the relationship with that owner ). Most slaves crave independence and not the raw powers to force others to serve them.
Think on the subject this way: To do a good deed because you want is generosity. To do a good deed because you are forced is slavery.
The System:
Every school begins with a student. There are no teachers only varying stages of study. Long before the urchins of the streets are allowed into the doors of the Arts School, a system has been established inside it and is rolling forward.
Most new schools only begin with a few students. There is only so much time in an instructor's day and the headmaster is not interested in merely teaching. The students are typically selected from among the local community, though it is not unheard of for a number of instructors to found a new school. Former graduates of other schools tend to be helpful in these early days, sharing their stories and experiences while resting in their travels.
The creed of a headmaster is in the Beautiful Principle. The greater expressions of an artists' teaching are not for knowledge, but to preserve the art that has been passed down to that student. In the same way the headmaster's first priority is to find or groom students of character from the local population who will adopt the Beautiful Principle in order to preserve what they learn.
Most schools are only truly founded after a small number of local instructors are acknowledged. These individuals have attained, at least, the third echelon ( three motes ) of what ever subject that they study. Only assistant instructors would be allowed to have lesser learning. These lesser instructors would only be given basic classes to educate newly enrolled students. At this stage in a school's development it is approximately two to four decades in age.
All instructors are brought into a school by invitation only. Simple knowledge of attributes or abilities is not enough. The willingness to teach and the desire to share are central to the Beautiful Principle and the goals of the Arts School. Instructors who possess a fourth level in their studies are considered masters. It is rare, due to time constraints and class schedules, for a master to attain a fifth level in any art. If they do so it is a celebratory event. The cause of this is that there are so many arts for only one mortal to study.
When an instructor is considered for the position of schoolmaster, their character is the first aspect considered. Experienced persons tend to be considered more than new instructors given that their character has been shown to be more generous. The personal goals of the instructor are next considered. Some individuals have no desire, or skill, to master many art forms. Some simply do not wish to remain inside their home school and find their studies leading them in a different direction. Those instructors that fit this lesser profile often graduate from their school to become artist alumni.
Logistics
Whether through silver or some other means most established schools are substantially funded through contact with alumni of other Arts Schools across Creation. Most often the school will keep contact with traveling performers and provide food and shelter to them while. Artist alumni will share the portion of their profit to host schools that they feel is appropriate from their work. From very established institutions more than ninety percent of all alumni are former slaves or destitute children who owe the Arts School and a particular teacher their beloved gratitude. This relational bond is the foundation of the Arts School, its system, and its success.
The School of Art, in turn, provides protection for the alumni that pass through their walls. This includes the instructors and masters doing what they can to assist the alumni with local processes, be they legal, civic, martial, or practical in nature. It is often seen as best to speed the graduate on to their next destination. The only exception to this is the regular request for a master alumni to teach a class, perform without payment, or share their thoughts to the hosting school about a subject for which they hold acuity.
In this way the local teachers, students, and traveling alumni are all offered the opportunity to converse and improve from the various sources that they have access to.
Art Ethic
The simplicity of Arts School customs are the foundation of the Beautiful Principle. These concepts are what is most often misunderstood about dedicated artists. In a few words, the Beautiful Principle is as follows:
Love beauty.
Share art.
Live lessons.
Preserve traditions.
The concept of teaching art is a misnomer to the dynastic mind because most of their culture assumes a class-room system complete with lectures. The custom of the Arts School, however, is to teach by example. Students are encouraged to watch the actions of the instructor, or master, and then emulate what they see in order to learn. For this reason the arts school can, and often does, teach any aspect of an attribute or ability to a student -- much more than simple Performance.
Guests that visit the school are often treated to a demonstration of a student's way of life. This service is complimentary and is regularly practiced inside school grounds in a limited days' duration. The attitude of the Arts School is tied into its local community because of its founding membership. The instructors and students participate in festivals and holidays giving free demonstrations of their crafts for the pleasure and disposition of the public.
Masters
Arts School size is dictated by the number of resident masters. A master artist is not the plain and simple instructor who happens to possess sufficient levels in various arts. A Master of Arts is one that has dedicated their life to the pursuit and discovery of a particular interest. By common sense one master can teach many subjects. However, a master can only teach a smaller number of subjects very well. In this way a small number of artists are considered schoolmasters while a much larger portion are considered wandering master alumni.
Loyalty
Of those slaves that are purchased by an established and funded Arts School, fifty percent immediately request freedom. Of the fifty percent that remain only half choose to stay after their trial period ends and become dedicated students. From those students who dedicate their purpose to a specific art only one in fifty are asked to become permanent instructors at an Arts School. The reason for this is because many arts ( at three motes ) can hide inside a single artist.
At the discretion of the headmaster, a student will eventually be asked to leave. This is not a simple request and can only be forfeited if another instructor chooses to nominate that student to replace them. In either case most slaves and orphans that enter the school become alumni. The civic, social, and political connections of the school facilitate requests from the wealthy or other powerful individuals. Many alumni leave the Arts School to simply change residences and continue practicing their arts for those who would pay for them. A portion of this wealth, decided by the alumni, is then returned to the school to supply its operating budget.
In most areas of Creation the Arts Schools and the land they consume are not taxed as they support the history and traditions of the culture that surrounds them.
Headmasters
Headmasters are those students that have dedicated their lives to the study of their arts of choice and the desire to share that knowledge with others. The headmaster is the practical foundation of an Arts School. They may not be the most brilliant of masters in other arts, but they are the representatives of the school and the public face that outsiders turn to when questions are asked. All headmasters are expected to possess three echelons of capability in the abilities of Bureaucracy, Integrity, Investigation, Linguistics, Lore, Presence, Socialization, and Survival. These necessary arts may be independent of the headmaster's most favored pursuit, but specialties in an ability are not acceptable as substitutes.
Given the traditions of large and established Schools of Art it is very rare that any student would become a headmaster without travel. Most headmasters have either spent a great deal of time wandering through Creation as alumni or have founded their own school for their own reasons. The latter tends to have more relaxed rules as to the expectations of a headmaster, but as it is said, "The pursuit of art never ends."
When a headmaster feels it is time they make an announcement to the school that they have served for so many years. The former headmaster then chooses the candidate most able to guide the school forward. Most often the new headmaster is a resident schoolmaster or a wandering master who is a trusted friend. Most traveling instructor alumni do not possess enough skill to justify a position as headmaster though that precedent does exist. Once the new guide for the school has been chosen the former headmaster becomes an instructor or master in effect, but does not usually stay at the school unless physically unable to travel.
Paths of Sages
Those former headmasters that are physically able to travel often become one of three types. The first is the civic arts sage. Many headmasters find it difficult to separate themselves from the community that they have lived in and supported. As itinerant artists these masters take residence locally near their school and indulge in their creativity. This provides current examples to the community and the students of what an accomplished master artist is capable of.
Some civic arts sages take a more officious path and enter the retinue of a local noble or government official. These extremely talented and educated masters make excellent advisers and are able to suggest to their employers on a variety of subjects. In terms of wealth this is a very attractive option to a former headmaster who wishes to support their school with silver.
The second type of path chosen by a former headmaster is to either begin, or return to, traveling. These vagabonds are both eccentric and poised. They often travel simply for the sake of doing so, but are sages of art in their own right. The impact of these alumni is in acting out the Beautiful Principle while they journey. Many wandering master alumni enter this path also, but both are effective itinerant artists.
The third path available to the former headmaster is the founding of their own school. Many headmasters discover that they have been directing a school for so long that they can not give it up. Others have specifically taken the vocation to prepare them for their future plans of founding a school. Whether the artist has dreamed of founding their own institution, wishes to return to a land far away, or has been asked to help alumni in another area, a number of headmasters establish arts schools.
It must be noted, however, that Schools of Art are most likely founded by the indigenous population, well educated schoolmasters, or wandering alumni.
School Policy
Tradition is often the word which so incorporates the concept of law into the various cultures of Creation. In the case of the School of Art it is their tradition to remain discreet about their membership and any who seek sanctuary within the walls. Each headmaster is likely to use their own judgement regarding external political affairs, but the school makes an excellent refuge for all sorts. Criminals and murderers are turned away at the prudence of the school, but those whose only crime was to offend the Immaculate Philosophy or the Guild's Profit Margin will often find the school as a haven. This implicitly applies to Celestial Exalted that have found themselves recently uprooted from home, family, and livelihood.
Beneath The Surface
Most common peasants completely forget that cultured folk are not simply lucky. Dexterous individuals are not automatically silent in their movement. Charismatic socialites are not cosmically appointed with knowledge in manners. And perceptive surveyors do not intrinsically know what items of interest to search for.
The Arts School provides a middle ground for those who search to refine the scope of their skills. Inside the thick walls is a safe and private learning environment where souls can practice stealth-craft, court-craft, or war-craft without fear of failure or public exposure. The various houses inside the compound serve as class spaces, but also double as practice areas for various skills which commoners only wish that they knew.
The School Itself:
As a school's population grows so do the grounds. Cleanliness and beauty are key here because no mortal wishes to study in an unpleasing environment. Even more, one never knows when strangers, visitors, other alumni, local dignitaries, or fugitives will decide to stop by. Landscape architecture becomes very important to the instructors and masters as their students are often too busy studying other subjects to keep up with all of the work.
Hedges, shrubs, flowers, and other ornamentation are sculpted into gardens. These pleasant areas are those where classes will most often take place. Workers are very rarely hired to care for the grounds from outside the school staff or membership. This is what makes the environment so closed to outside society. If an instructor has the tendency to lecture it most likely happens while walking along a garden area with their class.
Abandoned military bases or large family residencies make perfect real estate from which to build and grow a school. In the early stages school grounds are often shrouded with tall grasses or other fast growing hedges if the property area begins as large. If not the Arts School must change properties as it grows in membership.
In either case, rock, sand, or wood block gardens are extensively used in young schools where form and beauty are necessary and yet the local plant-life has not caught up. It is not considered necessary, but some schools go to the trouble of painting their sand or rocks to add a dimension of color to an otherwise bland scape.
Tile and mosaic are almost completely non-existent in all but the most ancient and established Schools of Art. The reason for this is the same as the hesitation for outside workers. Only masons or carpenters are regularly expected inside school grounds for either construction or repair. Even the painting of a wall in solid colors is left to the membership in order to encourage community and a work ethic among members.
While the inside of an Arts School is intended to stimulate the mind, the outside is anything but. Like flower arrangement, the external grounds of a school are made to blend into the surrounding locale. Recently established schools make use of fences from whatever local flora is prevalent. Walls made of latticed wood are also optional, though thin stone walls are not unheard of in the south regions.
Established schools paint their walls to blend into the landscape. If the center of learning is rooted among rocks or mountains then the school is often painted that color or camouflaged with the same material. If the School of Art rests inside an urban city, its walls are made of the same material and painted as all the other buildings are. This includes the thatching or roofing customs of the other buildings being incorporated around the tops of the walls.
The reasonings for this custom among Art Schools are many, but the two most brief explanations are wealth and simplicity. In any and every market the common construction materials will be the least expensive to purchase over others. Also, if a school does not fight for attention among its civic neighbors neither will the students that study stealth, larceny, or assassination.
Comments:
Any comments, analyses, and reviews about this post are welcome provided that they are constructive. A significant amount of time and thought has gone into this project before it was submitted here. The Abstract section is not free to use and neither are the names of places or characters within it. Please do not duplicate this post in any manner without permission.
Thank you for your consideration.
One by one the woman would look them over from their sturdy wood cages on the dock. In the humid air she would ask a question to some. Those that answered she scrutinized more closely before returning to speak with the stock master. The slaves had not even reached market yet and already they were receiving attention. A few of the slaves that caught the woman's attention were shackled with belts and led from the cages. She paid promptly for her purchases before leaving the dock and was followed by town guards which escorted the slaves that she had purchased with silver.
The most obvious trait about the woman was her bearing. She stood tall in a way that reminded observers of a flower. Her movements were not wasted and seemed to collect together as water under the intricately ornate robes that she wore. The tresses of her hair were tied up behind her head and held with long needles which artfully displayed her neck.
Many long wooden steps led to the shore and dry ground. The harbor behind the tethered slaves vanished among the mud and wood huts of the muddled quay. The paths between structures were neither straight, lined, nor made any pretense at order. Long beams of logs or square cross-sections jutted out above the head in the middle of the street. Some completely crossed the expanses and dove into other buildings. Many tipped at odd angles while lines of hanging clothes high up near the roof line dried in the meager light of day available.
The woman's gait seemed competent. On and on she led, upward into the quay and away from the thoughts of boats, water, and motion-sickness. She preceded the guards onto a large platform; one walled and girded with fisherman's netting and long ropes that stretched upward toward the canopy above. As the platform began to rise the slaves felt fear, but the ride was long and they slowly became used to the motion. Ascending toward the sky far above the river below, the woman led her purchases onto the thick and sturdy branches above the harbor, markets, and poor populace.
Clean streets met the slaves' bare feet. Painted and decorated shops and houses met the eyes of the travelers. Open courtyards and plazas filtered in gentle light and wind from the canopy above. All of the revealed civic structures seemed superior, better cleaned, and better kept, than those below on the surface.
The straight and trim streets of the upper reaches gave way to a high wall. In, the slaves were led, and treated to a beautiful garden of grass, bush, trees, and flowers. A little conversation between the guards and the woman passed before they retreated and the heavy doors of the wall closed behind. A long and short hedge nestled up against the wall and followed its course around the inside of the complex and disappeared behind the shapes of the large buildings and the other garden decorations.
In the welcome shade and fresh air the slaves basked until a lean male of medium stature exited the wooden veranda of the large house within the walls. Dressed in a pristine white robe and a thick magenta belt, the human crossed the open gardens. A straight handle of some black object protruded upward from the belt while the human exercised perfect posture. Collected around his mouth and under his nose were hairs trimmed to an excellent length. The beard was not bushy, but well groomed, and when his eyes crossed the slaves they did not show disdain.
The woman from the dock, in her own beautiful robes, bowed to the gentleman and he returned her courtesy in kind. A short conversation of soft words followed before small black eyes left the female and turned their attention to the purchase from the dock. Whether custom or not the woman stood aside and turned her attention the same way.
"I am Cerulean Sky," the stately masculine voice introduced. The timber of the words were flavored with tones of wood, spices, and some land very far away. He continued small polite pauses, gesturing lightly with his hands for graceful and purposed effect. "Scholar and teacher. Headmaster of this Seven Senses School of Art, here, in Qian-dav.
"And you," he measured another pause in his words, "are free." At this the woman drew out the paper contracts which were the receipts of slave purchase. Silently, she showed them openly and plainly to the eyes of the captive audience before tearing them into quartered pieces.
"In thirty days," the headmaster continued, "you will be required to make a choice. If you choose to leave you will be given food, clothes, silver, a weapon, and allowed to seek your fortune. You will no longer be our responsibility.
"If you choose to stay you will be taught to read, to write, and count; to any number you want and back from any number you want. We have classes here where you are welcome to learn. We teach the arts of flowers, dance, calligraphy, conversation, and music -- to name only a few. If you choose to stay your education will be paid for completely. All that we ask is that if you do stay, and if you graduate, you share a portion of your profits with us when you leave.
"This school is a light house on the ocean of slavery. Your education here has been paid for by the students who have graduated before you. The school's purpose is purchase slaves who have no means to support themselves, teach them, and then free them so that they may also do the same for others.
"But all of those things are far away," a soft smile graced the lips behind his comely facial hair. "Whether you believe me is not important. You will find out soon enough that what I have told you is the truth. For now, I imagine that you would like a warm bath, clothes, a hot meal, and bed." Gesturing to the poised woman at his side, Cerulean Sky continued, "Shaded Tears will help you find these things. Welcome to our school."
Purpose:
The purpose of this HomeBrew is to provide a reasonable extension and definition into the setting of Exalted. While the source material does cover numerous topics and possible aspects of society it seems to fall flat in areas that relate to beauty and peaceful past times. All of the material related to this HomeBrew is intended to add, or at least suggest, another facet of possibilities which story-tellers can explore.
Reasoning:
Quite literally, this HomeBrew began as a question.
"Why is there no system to counter the Immaculate Order?"
What began as a mental exercise immediately became more. The mere implication that there might be an antiquated and organized group capable of politically confronting ascetic monks or wealthy guildsmen was too fruitious to pass up.
It would be ludicrous to think that so many centuries have passed with no rogue masters leaving the Scarlet Empire. And also that no brilliant warriors have founded their own schools outside the Blessed Isle. There are too many other great populaces in Creation to simply shrug the proverbial shoulder at the social, political, and economic machinations which rival the Scarlet Empire.
Therefore this HomeBrew is presented with the concepts of cultural and political weight in its structure. It is intended to perform and function as a check and balance system against the Guild, the Immaculate Order, and all other academies to which dragon-blooded so often attend.
The School of Art is not specifically for dragon-bloods. It is for the mere mortals who do not experience terrestrial exaltation and yet wish to influence Creation.
The Compass:
Historically speaking, the School of Art was founded outside of the Blessed Isle. This independence is essential to the theme and flavor of the school. Story-tellers are encouraged to make up their own names, locations, histories, and participants of a particular arts school.
Functionally speaking, the School of Art can exist in any direction on the Terrestrial Compass. Much like the establishment of a shrine or guild hall, the art school can be established anywhere that they can. There are two major exceptions, however. The first is that the arts school is far more attractive.
The Guild brings the promise of economy while rumors of drugs and slavery follow on its heels. The Immaculate Order brings the promise ascetic teaching and enlightenment along with rumors of proselytizing and threats to whatever local religion is prevalent. The Arts School, however, brings the promise of knowledge with no such threats to local community or culture. The practice of the school is to instruct their students in the mastery of their focus. This includes the incorporation of local traditions and customs rather than their exclusion.
The School of Art also doubles as an orphanage and its instructors are already trained and groomed to incorporate that kind of work into their classes. This aspect is usually extremely attractive to local authorities that are always looking for a place to house and motivate their poor.
The second exception to the establishment of an Arts School is that dynasts are stubborn. The Scarlet Empire has its own academies for training dragon-bloods. This includes mortals that are wealthy enough to enroll themselves or their children. Most any attempt to establish a foreign influenced academy on the Blessed Isle would be met with heavy political and economic resistance
Practically speaking, this means that students looking to enroll into one of these Schools of Art must travel off of the Blessed Isle to participate in study. This is the default expression of the setting and intended to be used as a method to open the eyes of any young dynast characters in play. These exceptions are, by assumption, expected to change at the whims of the story-teller.
Story-tellers are encouraged to use the founding of a school on the Blessed Isle as a hook inside a story, and not a means to setup potential play. This is suggested in order to avoid confusion as to the justifications of a school's existence.
Slavery(An Opinionated Note):
Many players consider the concept of Former Slave for their characters because they think it will be flavorful or cool.
Slavery is anything but that.
The most civilized form of slavery that exists on Planet Creation is practiced in Lookshy, where one person may come into debt toward another and is compelled to serve until that debt is payed off. Real slaves are not so fortunate. Real slaves are poor, dirty, naked, and stupid. They are kept that way because wealth, health, personal boundaries, and knowledge are equal to power. This power means influence and most owners of slaves are not comfortable in allowing their slaves any influence. This is especially true when considering that all slaves are extremely obedient and a little power might make one slave the leader of them all.
Real slaves have been cowed by their owners who hold some kind of power, and often whips, to make their slaves serve whether they wish to or not. This is what makes a slave obedient by nature: The force of habit. Slaves spend their days yearning to be free of their owner ( subject to the relationship with that owner ). Most slaves crave independence and not the raw powers to force others to serve them.
Think on the subject this way: To do a good deed because you want is generosity. To do a good deed because you are forced is slavery.
The System:
Every school begins with a student. There are no teachers only varying stages of study. Long before the urchins of the streets are allowed into the doors of the Arts School, a system has been established inside it and is rolling forward.
Most new schools only begin with a few students. There is only so much time in an instructor's day and the headmaster is not interested in merely teaching. The students are typically selected from among the local community, though it is not unheard of for a number of instructors to found a new school. Former graduates of other schools tend to be helpful in these early days, sharing their stories and experiences while resting in their travels.
The creed of a headmaster is in the Beautiful Principle. The greater expressions of an artists' teaching are not for knowledge, but to preserve the art that has been passed down to that student. In the same way the headmaster's first priority is to find or groom students of character from the local population who will adopt the Beautiful Principle in order to preserve what they learn.
Most schools are only truly founded after a small number of local instructors are acknowledged. These individuals have attained, at least, the third echelon ( three motes ) of what ever subject that they study. Only assistant instructors would be allowed to have lesser learning. These lesser instructors would only be given basic classes to educate newly enrolled students. At this stage in a school's development it is approximately two to four decades in age.
All instructors are brought into a school by invitation only. Simple knowledge of attributes or abilities is not enough. The willingness to teach and the desire to share are central to the Beautiful Principle and the goals of the Arts School. Instructors who possess a fourth level in their studies are considered masters. It is rare, due to time constraints and class schedules, for a master to attain a fifth level in any art. If they do so it is a celebratory event. The cause of this is that there are so many arts for only one mortal to study.
When an instructor is considered for the position of schoolmaster, their character is the first aspect considered. Experienced persons tend to be considered more than new instructors given that their character has been shown to be more generous. The personal goals of the instructor are next considered. Some individuals have no desire, or skill, to master many art forms. Some simply do not wish to remain inside their home school and find their studies leading them in a different direction. Those instructors that fit this lesser profile often graduate from their school to become artist alumni.
Logistics
Whether through silver or some other means most established schools are substantially funded through contact with alumni of other Arts Schools across Creation. Most often the school will keep contact with traveling performers and provide food and shelter to them while. Artist alumni will share the portion of their profit to host schools that they feel is appropriate from their work. From very established institutions more than ninety percent of all alumni are former slaves or destitute children who owe the Arts School and a particular teacher their beloved gratitude. This relational bond is the foundation of the Arts School, its system, and its success.
The School of Art, in turn, provides protection for the alumni that pass through their walls. This includes the instructors and masters doing what they can to assist the alumni with local processes, be they legal, civic, martial, or practical in nature. It is often seen as best to speed the graduate on to their next destination. The only exception to this is the regular request for a master alumni to teach a class, perform without payment, or share their thoughts to the hosting school about a subject for which they hold acuity.
In this way the local teachers, students, and traveling alumni are all offered the opportunity to converse and improve from the various sources that they have access to.
Art Ethic
The simplicity of Arts School customs are the foundation of the Beautiful Principle. These concepts are what is most often misunderstood about dedicated artists. In a few words, the Beautiful Principle is as follows:
Love beauty.
Share art.
Live lessons.
Preserve traditions.
The concept of teaching art is a misnomer to the dynastic mind because most of their culture assumes a class-room system complete with lectures. The custom of the Arts School, however, is to teach by example. Students are encouraged to watch the actions of the instructor, or master, and then emulate what they see in order to learn. For this reason the arts school can, and often does, teach any aspect of an attribute or ability to a student -- much more than simple Performance.
Guests that visit the school are often treated to a demonstration of a student's way of life. This service is complimentary and is regularly practiced inside school grounds in a limited days' duration. The attitude of the Arts School is tied into its local community because of its founding membership. The instructors and students participate in festivals and holidays giving free demonstrations of their crafts for the pleasure and disposition of the public.
Masters
Arts School size is dictated by the number of resident masters. A master artist is not the plain and simple instructor who happens to possess sufficient levels in various arts. A Master of Arts is one that has dedicated their life to the pursuit and discovery of a particular interest. By common sense one master can teach many subjects. However, a master can only teach a smaller number of subjects very well. In this way a small number of artists are considered schoolmasters while a much larger portion are considered wandering master alumni.
Loyalty
Of those slaves that are purchased by an established and funded Arts School, fifty percent immediately request freedom. Of the fifty percent that remain only half choose to stay after their trial period ends and become dedicated students. From those students who dedicate their purpose to a specific art only one in fifty are asked to become permanent instructors at an Arts School. The reason for this is because many arts ( at three motes ) can hide inside a single artist.
At the discretion of the headmaster, a student will eventually be asked to leave. This is not a simple request and can only be forfeited if another instructor chooses to nominate that student to replace them. In either case most slaves and orphans that enter the school become alumni. The civic, social, and political connections of the school facilitate requests from the wealthy or other powerful individuals. Many alumni leave the Arts School to simply change residences and continue practicing their arts for those who would pay for them. A portion of this wealth, decided by the alumni, is then returned to the school to supply its operating budget.
In most areas of Creation the Arts Schools and the land they consume are not taxed as they support the history and traditions of the culture that surrounds them.
Headmasters
Headmasters are those students that have dedicated their lives to the study of their arts of choice and the desire to share that knowledge with others. The headmaster is the practical foundation of an Arts School. They may not be the most brilliant of masters in other arts, but they are the representatives of the school and the public face that outsiders turn to when questions are asked. All headmasters are expected to possess three echelons of capability in the abilities of Bureaucracy, Integrity, Investigation, Linguistics, Lore, Presence, Socialization, and Survival. These necessary arts may be independent of the headmaster's most favored pursuit, but specialties in an ability are not acceptable as substitutes.
Given the traditions of large and established Schools of Art it is very rare that any student would become a headmaster without travel. Most headmasters have either spent a great deal of time wandering through Creation as alumni or have founded their own school for their own reasons. The latter tends to have more relaxed rules as to the expectations of a headmaster, but as it is said, "The pursuit of art never ends."
When a headmaster feels it is time they make an announcement to the school that they have served for so many years. The former headmaster then chooses the candidate most able to guide the school forward. Most often the new headmaster is a resident schoolmaster or a wandering master who is a trusted friend. Most traveling instructor alumni do not possess enough skill to justify a position as headmaster though that precedent does exist. Once the new guide for the school has been chosen the former headmaster becomes an instructor or master in effect, but does not usually stay at the school unless physically unable to travel.
Paths of Sages
Those former headmasters that are physically able to travel often become one of three types. The first is the civic arts sage. Many headmasters find it difficult to separate themselves from the community that they have lived in and supported. As itinerant artists these masters take residence locally near their school and indulge in their creativity. This provides current examples to the community and the students of what an accomplished master artist is capable of.
Some civic arts sages take a more officious path and enter the retinue of a local noble or government official. These extremely talented and educated masters make excellent advisers and are able to suggest to their employers on a variety of subjects. In terms of wealth this is a very attractive option to a former headmaster who wishes to support their school with silver.
The second type of path chosen by a former headmaster is to either begin, or return to, traveling. These vagabonds are both eccentric and poised. They often travel simply for the sake of doing so, but are sages of art in their own right. The impact of these alumni is in acting out the Beautiful Principle while they journey. Many wandering master alumni enter this path also, but both are effective itinerant artists.
The third path available to the former headmaster is the founding of their own school. Many headmasters discover that they have been directing a school for so long that they can not give it up. Others have specifically taken the vocation to prepare them for their future plans of founding a school. Whether the artist has dreamed of founding their own institution, wishes to return to a land far away, or has been asked to help alumni in another area, a number of headmasters establish arts schools.
It must be noted, however, that Schools of Art are most likely founded by the indigenous population, well educated schoolmasters, or wandering alumni.
School Policy
Tradition is often the word which so incorporates the concept of law into the various cultures of Creation. In the case of the School of Art it is their tradition to remain discreet about their membership and any who seek sanctuary within the walls. Each headmaster is likely to use their own judgement regarding external political affairs, but the school makes an excellent refuge for all sorts. Criminals and murderers are turned away at the prudence of the school, but those whose only crime was to offend the Immaculate Philosophy or the Guild's Profit Margin will often find the school as a haven. This implicitly applies to Celestial Exalted that have found themselves recently uprooted from home, family, and livelihood.
Beneath The Surface
Most common peasants completely forget that cultured folk are not simply lucky. Dexterous individuals are not automatically silent in their movement. Charismatic socialites are not cosmically appointed with knowledge in manners. And perceptive surveyors do not intrinsically know what items of interest to search for.
The Arts School provides a middle ground for those who search to refine the scope of their skills. Inside the thick walls is a safe and private learning environment where souls can practice stealth-craft, court-craft, or war-craft without fear of failure or public exposure. The various houses inside the compound serve as class spaces, but also double as practice areas for various skills which commoners only wish that they knew.
The School Itself:
As a school's population grows so do the grounds. Cleanliness and beauty are key here because no mortal wishes to study in an unpleasing environment. Even more, one never knows when strangers, visitors, other alumni, local dignitaries, or fugitives will decide to stop by. Landscape architecture becomes very important to the instructors and masters as their students are often too busy studying other subjects to keep up with all of the work.
Hedges, shrubs, flowers, and other ornamentation are sculpted into gardens. These pleasant areas are those where classes will most often take place. Workers are very rarely hired to care for the grounds from outside the school staff or membership. This is what makes the environment so closed to outside society. If an instructor has the tendency to lecture it most likely happens while walking along a garden area with their class.
Abandoned military bases or large family residencies make perfect real estate from which to build and grow a school. In the early stages school grounds are often shrouded with tall grasses or other fast growing hedges if the property area begins as large. If not the Arts School must change properties as it grows in membership.
In either case, rock, sand, or wood block gardens are extensively used in young schools where form and beauty are necessary and yet the local plant-life has not caught up. It is not considered necessary, but some schools go to the trouble of painting their sand or rocks to add a dimension of color to an otherwise bland scape.
Tile and mosaic are almost completely non-existent in all but the most ancient and established Schools of Art. The reason for this is the same as the hesitation for outside workers. Only masons or carpenters are regularly expected inside school grounds for either construction or repair. Even the painting of a wall in solid colors is left to the membership in order to encourage community and a work ethic among members.
While the inside of an Arts School is intended to stimulate the mind, the outside is anything but. Like flower arrangement, the external grounds of a school are made to blend into the surrounding locale. Recently established schools make use of fences from whatever local flora is prevalent. Walls made of latticed wood are also optional, though thin stone walls are not unheard of in the south regions.
Established schools paint their walls to blend into the landscape. If the center of learning is rooted among rocks or mountains then the school is often painted that color or camouflaged with the same material. If the School of Art rests inside an urban city, its walls are made of the same material and painted as all the other buildings are. This includes the thatching or roofing customs of the other buildings being incorporated around the tops of the walls.
The reasonings for this custom among Art Schools are many, but the two most brief explanations are wealth and simplicity. In any and every market the common construction materials will be the least expensive to purchase over others. Also, if a school does not fight for attention among its civic neighbors neither will the students that study stealth, larceny, or assassination.
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