Almighty painter

Chapter 17 Mission
Painting Working Group, Mural No.9.

"Tch, if I knew it, I wouldn't have come here with my father. Even a painter can do this kind of crap."

Sakai Tsunasho put down the tray and paint in his hand, yawned big through the mask, and said to his companions under the ladder with his head down.

"Hey... that who, don't you feel bored?"

Gu Weijing just raised his head, glanced at the other party, and shook his head.

"Not at all, and I don't think that kind of question would be asked if your sister were here."

This is already the second day of the mural restoration project.

Although the official name of this project is [Shwedagon Pagoda Fresco restoration] master project, it can be simply translated as "Shwedagon Pagoda Fresco restoration" project.

But in detail, it is actually very complicated work.

First of all, Shwedagon Pagoda is just a general concept.

Since the Bagan Dynasty in the eighth century AD, Myanmar has been known as the country of a thousand pagodas, and it is also home to one of the largest Buddhist murals in Southeast Asia.

This project includes the Shwedagon Pagoda itself, the Chinese-style Fuhui Temple built on the left side of the Shwedagon Pagoda with donations from local overseas Chinese and Chinese businessmen during the Guangxu period, and a series of related historical sites.

Secondly, mural restoration is also a very complicated category, and it can even be completely independent of the painting system.

It includes pigment analysis, disease classification statistics, original data retention, site environment protection and so on.

The knowledge in a specific professional field can be written into a tome with hundreds of pages, and it can't be finished after a few days and nights.

all in all.

For this kind of ancient temple murals, repairing is the main method, supplemented by supplementation, and repainting is the last time.

For those walls that are not severely weathered and cracked, the original appearance and historic sites can basically be preserved.Generally, injection molding and other processes are used.It is similar to the practice of carefully filling the gap between the wall embryo and the mural with a layer of glue, and having a professional cultural relic restorer smooth out all traces of wind erosion through powder filling and other techniques.

The restoration of these pieces of broken porcelain is carried out by a professional cultural relics protection professional working group, which is regarded as two parallel lines with painters like them, and has little to do with it.

The work projects presided over by Mr. Cao are mainly divided into two categories.

First, the painting of new murals.

Some of the monuments in Yangon are more than 2000 years old.

The succession of dynasties in the past dynasties, wind, frost, rain and snow.After modern times, the foreign colonial aggression of the British, French, and RB people came and went like a revolving lantern.

Many original murals have been lost in the long river of history.

This part of the work is mainly aimed at those murals that have been recorded in history but have disappeared. Based on the re-drawing of the original site based on ancient books and materials, they will reappear in the world.

Secondly, for some of the damaged murals that have been lost due to various reasons, it is completed under the principle of not destroying the original appearance.

If the second restoration of the mural is not careful, the original state will be destroyed, resulting in the visual effect of "overwhelming guests".

This is also the reason why the Myanmar government officials insisted on inviting so many internationally renowned master artists this time.

One is to enhance the international influence, and the other is that local painters do not have the confidence.

Young people like Gu Weijing and Sakai Tsunashang will definitely not be able to truly test their painting skills.

Gu Weijing's current task is to carefully paint the wall with pink Chinese painting paint according to the draft and template given by others - to restore a lotus flower on the wall numbered No. 9.

"Coloring simple patterns."

This is the job assigned to young painters like him and Sakai Tsunasaga.

After the whitewashing of the walls has been done, the painting of murals is completely divided into three major steps-the name is: drafting, inking, and coloring.

Usually, these three steps can also be used to clearly divide the work and level of each artist in the working group.

The so-called starting draft is also called starting powder draft, or starting score.

This part is the easiest and the hardest.

The simplest is because it requires the least physical effort to operate, and it is just a normal Chinese painting on paper.

It is the most difficult, because this step is the foundation of everything. It determines what should be painted in the mural, how to paint it, and the spatial layout.

Making a good draft and blueprint on the drawing paper is also the place where the painter's skill is tested the most.

The person in charge of this work is Mr. Cao, Kassei Sakai, Lin Tao and other respected old artists.

The second step is ink. The artist needs to use charcoal to draw the mural on the wall in the paper basket that has been created, and after confirming that it is correct, outline the outline of the mural with black ink lines.

This step is the work of ordinary painters like Gu Weijing's grandfather Gu Tongxiang.

The third step, which is also the one with the largest workload, is coloring.

Veteran painters will confirm what color should be painted on the draft, such as (beige) yellow, (light) blue, and each color number has a special logo.

After the marking is completed, in order to reduce the workload, young students will be responsible for painting the colors.

After experiencing Mr. Cao's words "I won't allow him", now the painters are all working hard to death, and they have personally experienced every step for fear that they will hit the muzzle of Mr. Cao's gun with their own eyes.

Such as facial makeup of characters, animal shapes, Buddha's Dharma body, etc., which require a high level of color, are simply not in the hands of young painters to practice.

They can only draw lotus flowers, paint the background color, and trace the simple structure of the prayer flags in the hands of the monks.

Tired and without a sense of accomplishment, this is what Sakai Tsunasaka called "hire a painter" can be done.

"Hmph, it sounds like my sister knows you very well."

Sakai Tsunamasa was even more unhappy.

He originally wanted to be in the same working group as his sister Katsuko, but he discovered a problem after arriving at the Shwedagon Pagoda.

Due to religious customs, many temples can only be entered by barefoot men and monks.

For example, the group of the mural No.9.

Sakai Katsuko can only go to the project where Fuqing Temple is located, and the group with Sakai Tsunasaka in the Shwedagon Pagoda becomes Gu Weijing.

【Chinese Painting: Getting Started (74/100)】

Gu Weijing carefully controlled the movement of the pen tip.

Today is the second day of the project, and there are less than [-] hours before the deadline for the panel reward task, so there is not much time left.

He hasn't rested for a moment since the morning, Gu Weijing must seize every opportunity to improve his proficiency as much as possible.

Copying the works of masters is the only way to improve one's art skills.

After the Middle Ages, almost any famous art master started by copying the works of other masters.

On the draft powder book in his hand, every pattern is condensed with the painstaking efforts of old artists.

Even simple coloring can learn a lot.

So he didn't feel the impatience of Sakai Tsunasaga at all.

Gu Weijing lightly held the pen and drew the petals of the lotus along the black ink line.

Seeing that the proficiency experience value on the panel has changed to [Chinese Painting: Getting Started (75/100].

(End of this chapter)