Lan Wangji (蓝忘机) (
lightbearinglord) wrote2023-10-27 07:38 am
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[ open post: Lan Wangji, training ]
Lan Wangji is upside-down.
This is not unusual for him, although he is more used to practicing this in the company of students, his brother, or his husband.1 Recently, however, his mind has come up against more turmoil than he would prefer, and turmoil of a variety that is unusual for him. It can't go amiss to return himself to the basics of his training.
He is in a small enough room, largely bare aside from the stick of sandalwood incense2 he has set burning on a side table. Its scent drifts into the hallway, and anyone who follows it to the source may see a white-clad cultivator standing on his hands.
Well: standing on his hand. Lan Wangji needs one only to keep himself aloft, his body straight as an arrow. His hair is pulled into a ponytail so that it may pool off to one side over his neck and onto the floor rather than spilling in all directions, the long ends of his forehead ribbon tucked into the same tie and falling in the same way. He is in trousers and an undershirt of a decent heft, in deference to the fact that he is arguably in public.3
With the hand that is not currently holding him up, Lan Wangji is holding an ink brush. He is copying, from memory, the lines of a sutra.
1Wei Ying is not good at it. Particularly not in his second body.
2This may explain it to anyone who has been wondering why he always smells faintly of sandalwood himself.
3If he does this in their quarters, Wei Ying insists it must be done with nothing on his torso at all. Lan Wangji invariably becomes distracted. Now anyone else is welcome to distract him (in a different way, ideally).
This is not unusual for him, although he is more used to practicing this in the company of students, his brother, or his husband.1 Recently, however, his mind has come up against more turmoil than he would prefer, and turmoil of a variety that is unusual for him. It can't go amiss to return himself to the basics of his training.
He is in a small enough room, largely bare aside from the stick of sandalwood incense2 he has set burning on a side table. Its scent drifts into the hallway, and anyone who follows it to the source may see a white-clad cultivator standing on his hands.
Well: standing on his hand. Lan Wangji needs one only to keep himself aloft, his body straight as an arrow. His hair is pulled into a ponytail so that it may pool off to one side over his neck and onto the floor rather than spilling in all directions, the long ends of his forehead ribbon tucked into the same tie and falling in the same way. He is in trousers and an undershirt of a decent heft, in deference to the fact that he is arguably in public.3
With the hand that is not currently holding him up, Lan Wangji is holding an ink brush. He is copying, from memory, the lines of a sutra.
1Wei Ying is not good at it. Particularly not in his second body.
2This may explain it to anyone who has been wondering why he always smells faintly of sandalwood himself.
3If he does this in their quarters, Wei Ying insists it must be done with nothing on his torso at all. Lan Wangji invariably becomes distracted. Now anyone else is welcome to distract him (in a different way, ideally).
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They are not far from Lan Wangji and Wei Wuxian's shared bedchamber, and the journey is quick, even allowing for the need to slow down for Qi Yuanjun.
Lan Wangji opens the door to reveal the room -- it's odd to look at, sometimes, still, a mash of the unfamiliar architectural style of the mansion and the more familiar style of the jingshi in its furniture and decor. Wei Ying has not made the bed properly; Lan Wangji will correct him later. There is a crimson inner robe strewn across the floor. Lan Wangji picks it up and folds it as he goes. "My husband," he says by way of explanation.
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Within it, he rummages until he finds what he is looking for: another packet of herbs, a handful of pills in a tightly-wrapped cloth, and a small container of medicinal tea. These he offers to Qi Yuanjun without comment.
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1It is.
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He does, however, have a sincere interest in calligraphy. From his waist he draws another qiankun pouch, the one he typically carries1 at all times. Out of it he pulls xuan paper, an inkstone, an inkstick, and a brush. There is a low table in the room, with two cushioned stools, at which he and Wei Ying typically take meals. It's only a moment's work (and would be less, if Wei Ying were more diligent about tidiness) to clear that, array the supplies, and nod toward Qi Yuanjun. A brief touch of his qi fills the well of the inkstone with water for grinding the ink.
1This one contains Nina's jurda parem, which he promised to keep safe, and so it does not leave his person.
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She returns his nod, and takes her seat. It's soothing, after such a strange week, to sit and grind ink as she might have done back in the Guanquan Palace. She thinks about the inscription as she grinds. Lan Wangji appears reserved; he would probably like something classical. Perhaps her own melancholy influences the choice as well. Once prepared, she dips the brush and writes: "After rain, the forest is sleek / Between the pines, the moon startles my heart. / I smile and think of home / A foreign guest in a foreign land."¹
¹"After Rain" by Yue Fu.
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The choice of poem, too, tugs at his interest and his sympathies. He won't comment on that, but he watches Qi Yuanjun's face for a moment before he says, calmly, "You're talented." This is an extremely sincere compliment coming from him.
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He stands in turn to mirror Qi Yuanjun's bow. "I have no more medicine, but once that is depleted, I may still be able to assist with my spiritual power."
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