Almighty painter

Chapter 19 Mission Complete (Two in One)

"Gangchang, do you think what he said makes sense?"

Sakai Kazunari turned his gaze to his son.

Sakai Tsunachang didn't expect that there was still his own business here, and he suddenly became nervous.

"Uh, uh..."

He hesitated.

"I see that all the petals of your lotus have been painted. Obviously, Gang Chang, you don't think this is a problem, so why don't you answer your companion's concerns?"

Uncle Sakai didn't let him go just because Tsunachang Sakai was so embarrassed.

He forcefully asked: "Is it Gu Weijing's mistake, or is there something wrong with the design of this draft? Should the painting core be color No. 2 or No. 3?"

Sakai Tsunamasa was even more hesitant.

The whole morning's work has put his brain into a state of mechanical numb assembly line.

He paints whatever is written in the draft, and never thinks about such trivial issues as the shade of lotus stamens.

What shade should the stamens be?

There are different versions of this question.

Maybe what Gu Weijing said is reasonable, but these experienced old painters generally can't make mistakes.

and many more.

He had a little impression of the author of this manuscript.

Out of the corner of Sakai Tsunasaka's eyes, he glanced at the drawing paper, and saw the artist's name written on the corner of the No. 9 mural——Sakai Kazunari.

The draft of this painting was drawn by my father himself, and the paint marks on it were also determined by my father.

Sakai Tsunashang immediately gained confidence in his heart.

One's father had a background in painting ukiyo-e.

Ukiyo-e in the traditional sense originated from the prints of the Sui Dynasty, which prevailed in the Edo period, and were more influenced by Western painting schools than Chinese paintings. In order to ensure the effect of mass reproduction of woodblock printing, the control of pigments has reached a harsh point.

Although the Ukiyo-e genre in the most original sense has come to an end in the early twentieth century, painters now generally learn from variants and schools such as "Post-Impressionism" that absorb some of the essence of Ukiyo-e.

But Kazushige Sakai is still famous among painters of his generation for his sensitivity to pigments.

Sakai Tsunamasa didn't think his father would have a problem with this kind of thing.

"Number 3 should be used."

"Normal painting of lotus should use No. 3 off-white color?"

Uncle Sakai confirmed.

"Yes, normally you should use No. 3 beige."

He replied decisively.

"Ugh……"

Hearing the familiar sigh, Sakai Tsunamasa's heart sank immediately.

"You have a sharp eye, you are right, but you are also wrong."

Sakai Kasunari completely ignored his son and turned his attention to Gu Weijing.

"Normal painting of lotus stamens, for better contrast, would use dark pigments, or even gold powder, but..."

"Is this abnormal?"

Gu Weijing captured the emphasis on the word "normal" in Uncle Sakai's mouth.

Professor Kazushige Sakai nodded.

"Because it's a mural."

He explained: "The base of the murals here is made of chalk powder, which is relatively weaker than the silk or Shengxuan commonly used in Chinese paintings, and more importantly, the clay made of chalk. yellow."

"Hmm... is that so? The adobe of the wall is yellow, which can neutralize the light-colored paint with good light transmission."

Gu Weijing nodded in admiration.

As long as you put your heart into it, give these seasoned artists a hand and you will always learn something new.

"Come and paint this lotus."

Sakai Kazunari motioned.

Gu Weijing turned his head to look at Uncle Sakai, and found that the other party had no intention of leaving at all.

"Do you want to point yourself at the scene?"

He was a little pleasantly surprised that such an artist could teach him personally, but he was treated like a direct disciple.

Don't look at Uncle Sakai's name at the Tama Academy of Fine Arts, but this is the same as the academician or academic bull signboard at the University of Science and Technology.

The school provides such good food and drink for such professors, for fear of being snatched away by other art schools.

Whether he wants to take students or not depends entirely on his personal mood.

The other party is willing to give me advice here, but there are no scumbags left in paying for popular knowledge such as online master classes that sell for 69998.

He immediately adjusted the paint and picked up the pen.

Gu Weijing's strokes are gentle, and he gently rotates the brush around the color block, sweeping the light pink paint around.

This kind of brushwork is called Woran, because the blush of the color is deeper. Generally, this kind of brushwork is used on the red glow of a lady's cheek or the reverse root of a petal.

"When it transitions to the position of the front end of the lotus petals, it changes from dyeing to silk drawing."

Kassei Sakai taught on the sidelines.

"Wire drawing method?"

Gu Weijing paused for a moment.

The wire-drawing method is often used to outline the feathers of birds, but it is rarely seen on flowers.

"Yes, it's the silk-drawing method."

Kazushige Sakai said: "You will understand after you actually operate it."

Gu Weijing raised the pen lightly, changing the position where the pen touches the wall.

Sure enough, it was different.

He found that compared with the previous wide-open and wide-closed dyeing, it is much more delicate to pull out the color little by little, especially the narrowing of the petals is more advantageous.

【Experience value +5】

【Experience value +7】

【Experience value +9】

The hints of increasing experience after a period of time keep appearing.

Gu Weijing somewhat understood why Sakai Katsuko's painting skills were so exaggerated.

This feeling of being personally cared for by the master artist is really obvious for the improvement of a person's painting skills.

He was really a little envious.

What Gu Weijing didn't know was that Sakai Kasunari, who was looking at him, also liked his understanding and hard work in his heart at this moment.

Artists like students who are attentive and energetic.

For example, Gu Weijing's confusion about paints before was obviously the result of hard thinking.

The most important gap between a genius and a mediocre lies in such a little bit.

Tsunamasa Sakai's talent is not bad at all.

Compared with Shengzi, what he lacks is this kind of patience and meticulousness, and he doesn't even realize it.

Gu Weijing is more than a little bit better than his own son if he can find out the problem.This gap in mentality is more difficult to make up than the short-term painting skills.

"If only he were my son."

"Ugh."

He looked at Gu Weijing, then at Sakai Tsunashang on the side, sighed heavily again, instructed Gu Weijing a few words, and rolled away to the side again.

Looking at the back of his father going away, Sakai Tsunamasa, who was ignored, felt even more sore in the arm holding the drawing board.

Soon, after Gu Weijing completed the seventeen petals of this lotus painting, the experience value panel in front of him came almost instantly [Chinese Painting: Getting Started (100/100)]

Gu Weijing held his breath, and carefully drew the last stamen on the wall with the tip of a pen.

It's like finishing touches.

The moment he put down the last stroke, the experience bar in front of him got a new reminder.

[Your Chinese painting level has been raised. 】

[Current level: lv3 semi-professional (1/1000)]

[Mission - upgrade the level of Chinese painting to lv3, completed. 】

[Reward: "Moji's Notes" can be claimed. 】

Gu Weijing looked at the panel and blinked.

[Item: Layman Mojie's hand tie]

[Quality: Knowledge Card]

[Special effect: After obtaining the knowledge card, you will understand the corresponding content clearly. 】

[Equipment requirements: Chinese painting level Lv.3]

[Master's introduction: Wang Wei, who worshiped Buddha when he was young, was named Mojie, which means Vimalakirti, a wise layman in the scriptures, and he is known as Layman Majie.A poet and painter in the Tang Dynasty, the world said that his skills are as good as gods.It is a mural of Buddhist scriptures painted by Dajianfu Temple, which was called "directly pointing to people's hearts" and "becoming a Buddha by seeing one's nature" by the people at that time.

Su Shi in the Northern Song Dynasty commented: "When you taste the poems of Mojie, there are paintings in the poems; when you look at the paintings of Mojie, there are poems in the paintings."

[Remarks: The mountains look colorful from a distance, but the water is silent when you listen to them up close.When spring is gone, flowers are still there, and birds are not surprised when people come. 】

Unlike the sketching skills that can be activated, Gu Weijing only felt a burst of complicated knowledge rushing into his mind.

He closed his eyes and realized carefully.

There is no doubt that the flourishing Tang Dynasty was a climax of a hundred flowers blooming in the entire Chinese civilization, and Layman Wang Wei is one of the lotus flowers that do not grow or branch.

When people think of calligraphy and painting in the Tang Dynasty, they often first think of Wu Daozi, the painter who painted "87 Immortals".The second is the second Li, that is, the famous Li Sixun, Li Zhaodao and his son. Few people can think of Wang Wei at once.

This is not because Wang Wei's paintings are bad.

Gu Weijing knew that Wang Wei was a very versatile painter.

Not only did he paint countless temple walls, but also his colleague Wang Wei was the first to be invited by then Prime Minister Cui Yuan to paint a screen wall for his home.Moreover, he was even invited to paint with Wu Daozi at Da Ci'en Temple.

He is also very good at painting landscapes and countryside.

"Start using shading, then change the method of sketching" - this is the praise and summary of his painting skills by later generations.

It's just that it should be too omnipotent. As an official, he is a high-ranking official who can wear nobles and above the fifth rank.When writing poems, he is a genius who can surprise Princess Yuzhen into a celestial being with just a few words.

In the education he received in school, Wang Wei appeared more as a scholar-bureaucrat and a literati.Only a remark will be added lightly behind the famous works handed down by countless people-famous painters of the Tang Dynasty.

Gu Weijing held the paintbrush and made dots in the air, thinking about the feeling of painting.

This is different from another reward given by the system [Adolf von Menzel]'s basic drawing skills.

What the skill gave him was experience. When the skill was activated, Gu Weijing himself seemed to be possessed by the ghost of the old man, and he possessed extremely skilled pen skills.

This time the reward is knowledge.

Wang Wei experienced the Anshi Rebellion that turned from prosperity to decline in the Tang Dynasty. After that, there were separatist regimes and wars.

His poems and songs can still survive in the world through people's word of mouth.His original paintings and related books and notes are lost like many precious manuscripts of his contemporary masters.

Today, only two short songs "Shanshui Jing" and "Shanshui Jue" are left in the world, which are clearly written by Wang Wei.

The "Mojie Notes" provided by this system is obviously the kind that has been scattered in the long river of history.

This knowledge card is very magical.

It is not necessary for him to read word by word, as long as he concentrates, the relevant content in "Mojie Notes" will naturally become familiar by heart, as if he has recited the entire text thousands of times.

The content above is very casual, including interesting stories of conversations with friends and daily essays.

There is even a seemingly nonsensical "Today, the housekeeper took a box of vegetarian food and four snacks from Zen Master Shenhui of Jinchangfang."-this kind of note is obviously written casually.

What really makes Gu Weijing feel that he has found a treasure is that in the main content of this book, there are a lot of skills and insights that Wang Wei, a senior artist in the Tang Dynasty, wrote down casually in his daily painting.

"The beauty of a husband's color lies in the five senses. Yu Changyan said that brush and ink are natural, and they are the work of good fortune..."

In my mind, there seems to be a middle-aged scribe with his hands behind his back, frowning slightly and splashing ink on the paper, while reciting various sentiments and experiences.

He secretly compared the two rewards given by the system in his mind.

It is difficult for him to judge which reward is better, it can only be said that each has its own merits, and each time is beyond his imagination.

If he really had to choose, he would even prefer this book of Moji's Notes.

Because the former is like its type [skill] in the system, it is more like a martial skill like Lingboweibu, Liumai Excalibur.The latter is a more essential [mind method].

His current proficiency in the skill bar is still semi-professional (1/1000), which is much weaker than Sketch, which is close to lv.4.

But it seems to have a pair of extremely intelligent eyes, spanning thousands of years, through his own eyes, looking at the manuscripts and murals in front of him, and examining the level of later generations with the eyes of the predecessors.

Gu Weijing took two steps back slightly, looking at the mural in front of him.

He found that when he was originally coloring, he could only follow the content arranged in the draft, step by step, and even if he was confused, he could only keep it in his heart.

Now, it can be answered almost immediately by the experience in the notes.

If he had acquired such a skill before, he wouldn't have to wait for Uncle Sakai to discover the mystery of the color of stamens.

Moreover, his proficiency in traditional Chinese painting skills is still far inferior to those old painters who have been immersed in meticulous painting for half their lives.

But he has already begun to discover the problems with the painting in front of him.

For example, if compared with the knowledge in the notes, the ink lines at the petals of the lotus should be thinner, the curves at the root of the flower should not be rounded enough, and the ink lines at the branches should be thinner to show the tall and straight posture of the lotus... …

Gu Weijing picked up the pen and prepared to weigh the hot iron to complete the coloring of several other blanks.

He glanced at another Buddha rosette waiting to be colored by himself.Gu Weijing prepared the paints according to the instructions on the manuscript, and was about to start writing when he stopped again.

Here, according to the original manuscript, the color is Gonghong.

Here I should use a light red pigment mixed with safflower, azurite and cinnabar as the main body.

But Gu Weijing hesitated for a moment, and a line of words suddenly flashed on the "Machi Notes" in his mind.

"Paired with cinnabar, the painted lotus platform is moist and radiant, and its desire flies out vividly."

Cinnabar, also known as cinnabar, the main chemical component is mercury sulfide, which is one of the commonly used dyeing agents in ancient alchemy construction and other industries.

According to the notes in my mind - if cinnabar is added to the paint, when painting the lotus stand, the color will be moist and radiant, as if it will fly out of the painting.

(End of this chapter)