Almighty painter

Chapter 29 Skills Knowledge Emotions
After Cao Lao started painting.

Lin Tao asked the staff to disperse the people who were still reluctant to part with and wanted to watch.

"Mr. Cao wants to paint, everyone else, let's all go back," Lin Tao said.

"Old Lin, let's just sit quietly and promise not to talk, so as not to affect the master's painting."

"Professor Lin, please save face, Mr. Cao didn't say anything."

There are old professors who are familiar with Lin Tao who want to stay cheeky and listen to Mr. Cao's lectures.

Song Taizong said that opening a book is beneficial.

After finally having the opportunity to meet Master Cao, he decided to pass on the art himself.

Even if it is because of Gu Weijing, the content may be shallower, and it is still earned by hearing it. At this time, it is not a big deal to be thick-skinned.

In front of Mr. Cao, who is not a student?

"Sorry, the teacher likes to be quiet when painting, please go to your own work."

Lin Tao is not happy that these old guys are here to take the teacher's guidance for free.

He knew the temperament of these people too well.

With a hundred-foot club head, it is even more difficult to go further.

Everyone has their own confusion about painting and wants to be answered by a master like Mr. Cao. If they are given a chance, they will stick to it.

Just let these shameless old things stay, and guarantee that after a while, it will become a special lecture.

Why let them take advantage of this?
Many times I want Mr. Cao to give me some advice and I don’t have time to say a few words, so that’s still my master.

He even invited Gu Weijing's grandfather Gu Tongxiang aside politely.

Gu Weijing was looking up at the painting of the little old man Cao Xuan, without blinking his eyes.

He watched the nib jumping on the mural, as if watching a grand and enthusiastic silent performance.

"Skills like this are close to the road."

This is the most intuitive feeling in Gu Weijing's mind.

Mr. Cao held the paintbrush, and the tip of the brush did not tremble at all. He picked, painted, tapped, and wiped, making it look pleasing to the eye, but also a little ethereal and agile.

"At such an age, the teacher can still write like a dragon. It really makes us juniors feel ashamed."

After Lin Tao drove away the idlers and others, he walked back to Gu Weijing, who was holding the palette, with sincere admiration in his tone.

Mr. Cao Xuan's artistic life is really long and amazing.

"If you tell you to drink less, you won't listen. You can't even control your own body, so why can you hold a good paintbrush, which is useless."

The little old man squinted at his second apprentice, and reprimanded him mercilessly.

"If you reach my age, you can still hold a paintbrush steadily, and maybe your artistic achievements will be improved to a higher level, but do you have this ability?"

"Don't dare to compare with the teacher. The teacher is a great art talent who meets once in 500 years."

Lin Tao blushed even though he was old, and lowered his head in embarrassment.If the students of Professor Lin Tao saw the rigid and serious Professor Yang Mei being reprimanded like a primary school student, they would probably drop their jaws in surprise.

To be accepted as the second disciple by Mr. Cao, he was also young and promising, and he was a cutting-edge painter who attracted much attention when he was young.

Young people are proud, of course, there is no lack of toasting.

Lin Tao doesn't smoke, but he loves to drink rice wine. Although he was reprimanded many times by his teacher, he couldn't completely quit this hobby.

"You shitty art master who comes in every 500 years." Mr. Cao shook his head, "I just worked harder than my peers, had better luck, and lived longer."

I don't know if it's because of it in private, but Gu Weijing feels that Master Cao Xuan's performance is very frank and real.

He doesn't have the pretensions of a master at all, and looks like an elder who simply sees his younger generation not living up to expectations and is heartbroken.

It made him very kind.

"Gu boy, you are a good seedling. But if you want to go further on the road of art, good seedlings alone are not enough. It is best not to get involved in alcohol, sex, wealth, and anger. The path of art is very complicated. It's also very simple. You have to live long enough to boil the old guys who are stronger than you into the loess, and you are the master."

Cao Lao stopped his brush, looked at Gu Weijing, and said in a very serious tone: "Self-discipline, this is the first lesson I teach you, and it is also a lesson that I think is more important than painting itself."

"Taught." Gu Weijing nodded seriously.

Self-discipline is a distinctive feature of old-fashioned Eastern artists that are different from Western painters.

Gu Weijing heard that the great calligrapher of Eastern Xia, Mr. Sun Qigong, the ninth generation of Emperor Yongzheng, paid great attention to health preservation.

Even in his later years, he was still able to move his pen like a dragon, and even with a brush stroke, he could write a three-hundred-character calligraphy without shaking his hands, blushing, or panting.

Traditional calligraphy and painting in Eastern Xia are not divided into families. Gu Weijing observed that the same is true of old Mr. Cao Xuan.

His hand holding the pen is extremely steady and powerful.

The old man's arms were as thin as firewood sticks.However, the brush, wrist and arm muscles have formed a very stable pen-holding triangle, which is terrifying when drawing.

Only the accumulated training and the maintenance of absolute self-discipline to the body can maintain the state of the body at such an age.

This kind of literati self-discipline is the tradition of Eastern Xia artists, and it is also an important aspect of virtue in the cultivation of "virtue" by gentlemen in ancient Chinese culture.

In contrast, his grandfather Gu Tongxiang did not have this attainment, although Gu Tongxiang was about the same age as Lin Tao.

He had heard his grandfather lament several years ago that he could no longer hold the pen steadily.

This is also impossible.

Yangon is a society of connections and relationships.

Especially in the turbulent era, it is very difficult to be alone in a small building in a painting and calligraphy shop by the Yangon River, and to do your own small calligraphy and painting business quietly.

All kinds of greetings and sendings, and the show in the wine market, it is not that if you don't want to go, you don't have to participate.

Nicotine and alcohol can not only cause cancer, but also damage the brain. Many neighbors on the street who have been drinking for a long time have minor problems such as hand tremors.

For artists, this is the big problem.

After Mr. Gu turned 50, his hands became more and more unstable.

Still, the painter is not bad at this point.

Look at those European and American underground music singers who cough medicine, suck fans, and have promiscuous sex all day long, especially the representatives of hippie culture. Let alone whether they can still be active in the music scene at the age of 60, they can live without disease or disaster. Over 40 is considered longevity.

"As for the second point, have you ever thought about what elements a professional painter should possess when painting?"

what element?
Gu Weijing shook his head.

"Skill, knowledge, and emotion."

Lin Tao, who stood aside, spoke with a solemn face.

"This is the three elements that my teacher taught me when I started, and it is also the foundation of all my achievements today."

Skill?
knowledge?

emotion?

He has heard of the six categories of painters and the three categories, but this is the first time Gu Weijing has heard of this theory of three elements.

"The so-called skill is the foundation of painting a painting. This is the source of water and the root of wood. Without the blessing of skill, no matter how much knowledge you have, no matter how turbulent and rich your emotions are in your chest. Without the foundation of painting as a medium, But it’s just the moon in the water, the flower in the mirror.”

Lin Tao explained to Gu Weijing: "You have done a good job at this point. At your age, at least the foundation of sketching is very close to that of a professional painter. This is very good, obviously you have worked hard."

These old painters are really accurate.

Gu Weijing sighed, according to the system panel, his own sketch is also semi-professional close to the point of Yuanman.

"But knowing this, you can't do well. I can see that when you drew a pen drawing a few days ago, you were just simply copying. You can tell how tall the Shwedagon Pagoda is, how many bells are on it, those The gold park in the local area is thicker, what kind of construction technology is used?"

"You know?"

Gu Weijing feels that although he doesn't understand, the other party will never know more than himself, a native of Myanmar.

Lin Tao nodded, and took out a small notebook from his arms, with dense records written on it.

"From the day I learned to paint, the teacher asked me to record the background knowledge of any buildings, characters or scenery that I considered for painting. I knew about the Shwedagon Pagoda before I came to Yangon. You can never draw well what you don't understand. I've been doing this for 50 years. A full notebook could fill a whole house."

Gu Weijing was convinced: "Is this knowledge?"

"That's knowledge."

"Ancient painters like Raphael or Titian, no matter how outstanding they are, couldn't draw a good airplane, because they would only regard it as a miracle and add a religious aura instead of pursuing mechanical rigor. Knowledge is power, don't you Impressionist abstractions are terrible, and Monet’s paintings of buildings, whether it’s "The Capitol at Sunset" or "Governor's Palace", are all based on his familiarity with the buildings themselves."

"So boy, don't be unconvinced by the little girl who lost to Katsuko Sakai. I heard that she paid great attention to the accumulation of this aspect since she was a child. Her famous work "Flying Birds on the Sea" once made professional marine biologists admire birds. The texture of the feathers is fine." Cao Lao said at this time.

"The last, and the hardest part, is the emotions."

The little old man changed his paintbrush and picked it from the palette.

"Pay attention. Let me show you what is the so-called finishing touch in Chinese painting."

(End of this chapter)