Almighty painter

Chapter 331 "Wisteria Flower Picture"

Late at night.

I don't know when it started to rain lightly. The low and cold rain clouds covered the moon in the sky.

The candles and gas lamps in the shacks in the neighborhood were extinguished one by one, like fireflies swallowed up by the chaotic and dark evening fog in the wild.

The small studio facing the street on the second floor of the Good Luck Orphanage is still lit.

The misty cold wind came in through the breathable screen in the corner of the window, blowing the plaid curtain beside the window and swaying slightly.

The average temperature in Yangon in April is 24 or [-] degrees Celsius. It looks like a pleasant warm and cold weather, but in fact the temperature difference is huge.

When the temperature is high during the day, it can climb up to over 15 degrees, while in such rainy weather, it can occasionally drop below [-] degrees.

Because of the heavy water vapor in the city, the physical temperature difference between hot and cold is greater than what is predicted in the weather forecast.

On a drizzly night, it is a bit exaggerated to say that it is freezing cold, so turning on the heater is a bit exaggerated. For those who are weak, cover yourself with a thin blanket, and you will definitely shiver slightly when the wind and rain blow.

While he was painting, Gu Weijing didn't feel the cold at all.

Fragrant breeze, spring.

The flowers and branches are colorful and purple.

Gu Weijing wrote quickly, and the swaying flowers and trees seemed to be blown by the wind and rain outside the window. In a matter of seconds, a shower of flowers bloomed on the rice paper.

Mrs. Sakai taught her daughter that a painter should have peace of mind and leave himself a small quiet space even when his emotions are the most intense.

Use seven points of emotion to turn the clouds and rain, and the remaining three points of calmness to create flowers.

Gu Weijing discovered that this was really a wonderful feeling.

His mind is in a Schrödinger state between "quiet" and "unquiet".

He was clearly copying the master's traditional Chinese paintings hanging on the wall in his small studio, concentrating and meticulous, and his mind was as calm as a flat lake.

The whole person's thoughts are highly active, and his mind wanders thousands of miles away.

Painting and trance.

There is no delay between the two, and it is just right for the two to live in peace and harmony.

Every time he tried to copy "Hundred Flowers", he tried his best to keep himself calm and focused on comparing the outlines of each stroke between himself and Ms. Tangning to see if the master's meaning was the same. Have you learned a little bit about the divine form?

It's not like painting, but rather like a high school student holding an answer book of exercises, racking his brains, and meticulously studying for the Physics Olympiad.

Each stroke is drawn with thought over and over again.

Ms. Tangning's "master taste" is what she strives to pursue.

Gu Weijing has painted many "feelings from the heart" and even one "painstakingly painstaking" level works before.

But otherwise it depends on the momentary resonance of emotions and environment.

Otherwise, after the small candle in the system was lit, it was piled up by the half-dreaming, half-awake, half-awake, half-real and half-illusory emotional state.

It wasn't until tonight when he started painting that he had a clearer understanding of the painter's emotional state.

If you want to be a painter and pursue painting works of the level of "plain works", then there is nothing wrong with focusing on it without any distractions.

The most important thing about simple works is seriousness.

Don't underestimate the word serious.

Xu Beihong and Qi Baishi also painted paintings that were very perfunctory and hasty.

If you do it carefully, you will have surpassed more than 80.00% of your peers.

The works of [Simple Works] are absolutely not shameful when placed among the four major art academies in the world.

however.

If you want more, if you want one-percent masterpieces, even art biennales in developed countries like Singapore won't be able to get a single shocking and "heart-breaking" emotional painting for several years.

Then just being serious is not enough.

100% seriousness equals 100% craftsmanship. Miss Mona’s works have this problem.

I took it seriously.

Apart from seriousness, there is no other emotion that can be filled in the writing.

The mood needs to be relaxed.

Only when you relax can you have the space to let your emotions flow from your heart into your writing.

Recall.

The reason why he was able to draw the cover of "The Little Prince" so penetratingly was because his thoughts were traveling around the universe in the literary space described by Saint-Exupéry at that time, and he did not think about how to move at all. Strokes draw.

At this moment, Gu Weijing was very relaxed.

He no longer tried to kill every clutter in his mind.

Rather, it seems like a Baroque violinist who has loosened the strings that are about to break by three thirds, allowing the strings of gut to jump uncontrollably and playfully at his fingertips.

It is also like a diver lying on his back at the bottom of the lake, letting himself go and lying comfortably on the bottom of the lake with swaying water plants.

Enjoy the waves echoing on the surface of the lake.

Many of the detail processing and brushstrokes that troubled Gu Weijing in the past were instead painted smoothly and satisfactorily by him.

This time I was copying "Hundred Flowers".

He even had the time to think of the painting stories of the great ancient Eastern Xia painters that many had read about when they were children, as well as the documentary records describing their moods.

It corroborates with my current painting state of mind.

The finishing touch, the wonderful strokes bring flowers to life.

The ancient scholar-bureaucrats of the Eastern Xia Dynasty liked to put their emotions into pen and ink and integrate their own spirit and philosophy into the art of calligraphy and painting, leaving behind many folk stories that are both true and illusory, magnificent and unpredictable.

The ancestors in Confucian culture are the inseparable religious beliefs that are integrated into the blood of every modern person.

Zheng Sixiao, the great painter whom grandpa admired most, had to sit facing his motherland even when he was eating or drinking.

The old man Gu Tongxiang did not do such performance art, but in order to prevent Gu Weijing from forgetting his hometown and losing his cultural roots and historical soul.

Since he was a child, he has found many stories and biographies about the lives of great painters in history for him to read.

Gu's ancestral home is Wuxi.

Their family claimed to be descendants of Gu Kaizhi, the Gu family in Wuxi. It is unclear whether they were trying to show off their reputation, but many of the children's books he wrote when he was young were about this great painter.

Gu Tongxiang hopes that his grandson can learn a bit of the upright, noble, romantic and elegant literati temperament.

He still remembered a story written in "Shi Shuo Xin Yu Qiao Lai" about "the neighbor girl seizing the god with acupuncture", and praised Gu Kaizhi's unbelievable skills.

Legend has it that there was a girl in Gu Kaizhi's neighbor's house. She was a beautiful girl who was "clear and beautiful". Gu Kaizhi fell in love with her after taking a few glances. She provoked her many times, but she didn't agree because she looked down on him.

So classmate Gu painted his image on the wall and nailed thorns to his heart.

Because what he painted was so similar, the portrait of the beautiful young lady on the wall already had a bit of her soul in it.As a result, the woman suffered from heartache.

Classmate Gu told his longing for her, so the beautiful girl agreed to follow him this time, and Gu Kaizhi quietly pulled out the needle. From then on, the girl's heart disease was cured, and the world regarded it as the legend of the painter.

Gu Weijing was an ignorant child when he watched the vernacular phonetic version of "Shishuoxinyu" when he was a child.

What grandpa said is what it is.

I just feel that in this article Gu Kaizhi really looks like an immortal or a Taoist priest from Maoshan. How similar are the paintings to capture people's souls?
When Gu Weijing grew up and recalled this story, he almost spit out a mouthful of old blood.

Heck.

If a pretty girl doesn't like you, she'll go home and beat the villain wildly to make her obedient.

Where is this story "upright and noble" and where is it "romantic and elegant"? ! !

Is there any essential difference between this and those Japanese pornographic comics circulated among boys, in which the bald perverted uncle hides at home with a hypnotic remote control and presses buttons frantically?
This is considered romantic.

The perverted uncle in the book can also be regarded as pure love, okay?

This record cast a considerable psychological shadow on Gu Weijing for a long time, and he was quite confused about what the so-called "literati sentiment" was.

Although he is also a member of the Gu family, in his heart he actually prefers the description of Wu Daozi's "87 Immortals" in "Famous Paintings of the Tang Dynasty", which is much more objective.

It is said that Wu Daozi's paintings were sublime, with "raining stars from the sky", "crying of phoenixes", and the sound of "dragons chanting in the Fang Ze". He also said that there was a painting boy who sat down to serve tea and water outside the house and listened to the master's fierce argument. The sound of conversation came inaudibly.

He hurried into the house and found that there was no one else in the spacious hall except Wu Daozi, who was drawing with a brush.

Wu Daozi frowned and asked what was going on with the hurriedly running over. The boy replied that the owner likes to be quiet in painting. He heard noises in the house and was afraid that there was a thief, so he came in to take a look.

Wu Daozi Wenyan was furious, threw the brush on the boy's head, and said angrily, where is the thief?It was obvious that the immortal in the painting came out to chat with me, and when he was talking about something wonderful, he was frightened away by a fool like you, which disturbed the mood.

During the Republic of China, an American sinologist read this story and used it as a documentary argument to speculate that Wu Daozi might have been born with the same disease as the Norwegian painter Edvard Munch at the time and the later Mrs. Yayoi Kusama. A schizophrenic illness.

There are many hallucinations that can be seen while painting.

If not, Wu Daozi is well versed in the methods of hype prevalent in the modern and contemporary art world.

He deliberately made all kinds of strange noises while painting, and then spread the word among the children to make himself famous in Chang'an City. He was a master of self-marketing in the art industry.

Sinologists have conclusively concluded that Wu Daozi in the Tang Dynasty can therefore be called the ancestor of the entire art promotion industry.

Gu Weijing once firmly believed in this argument and regarded it as a guideline.

Now, he knows that the sinologist may have done some research in the field of psychology and has good documentation skills, but he is definitely not a successful art expert.

He must have never painted like Wu Daozi.

Nor did I realize the most indescribable beauty of the painters’ mentality.

When the emotions are brewing to a climax, let the paintbrush in your hand pull your soul, and you can have fun on the paper without hesitation.

Painters can be really drawn into the art world between paper and ink by the brush.

At this moment, Gu Weijing was drawing in his hands, but his mind seemed to be standing on an endless grassland, with only one wisteria tree in front of him.

Its posture is as graceful as the Queen Mother's fairy tree, and as majestic as the world tree that supports the world in Nordic mythology.

It was raining outside the studio window, and it was also raining on the wisteria tree in Gu Weijing's heart.

Millions of purple flowers and leaves fell together from the swaying branches.

It was like a purple cloud slowly descending from the sky, covering the entire earth. As you looked up, the sky and the earth were covered with purple frost.

Since ancient times, a spectacular rain of flowers that has never existed in the human world fell on Gu Weijing's heart.

What he did was not to draw carefully, but to randomly catch a flower from the rain of flowers in the air, throw it on the rice paper in front of him, and then paint the flowers and leaves as vividly and lovely as never before.

That's it.

It seems real and unreal.

Even the wisteria trees in the Royal Botanic Garden in Yangon have been cut down. Gu Weijing may have never seen a real wisteria tree in reality since he was a child, but in his heart he could see the sky filled with flowers.

When the master Wu Daozi painted pictures of immortals with superb skills, he could hear the chirping of the phoenix birds and be immersed in his creation, giving him the feeling that the immortals were coming out from under his painting brush and talking to him personally.

It may not be true.

Ms. Tang Ning's technique once made Gu Weijing stand in admiration.

However, Gu Weijing, who had already realized something, realized that there was some element of trickery in the emotional design of her paintings.

Big but not sophisticated, broad but not deep.

Every emotion is not enough.

The grace of peonies, the nobility of plum blossoms, the purple energy of wisteria coming from the east, the hibiscus shining in the snow... every emotion is slightly attached.

It's like a fruit tea made from expired and discolored flavoring agents. It does have a fruity taste, but not much.

Gu Weijing's previous imitation of Ms. Tang Ning's "Hundred Flowers" could only scratch the surface, but Ms. Tang Ning's "Hundred Flowers" is compared to those shocking and moving masterpieces handed down from generation to generation.

It's just an imitation that only scratches the surface.

She could only draw one or two points of each flower's ten colors at most.

Otherwise, there will not be a hundred paintings in full bloom, and it will only get the evaluation of "I feel something" on the system panel, and it will not even reach perfection.

Gu Weijing can also capture emotions at this level.

When his inner lake is calm enough, all the ripples of emotions will be clearly visible, and everyone lives in the midst of seven emotions and six desires all the time.

Whether it's Li Bai's prosperity, Xu Wei's vicissitudes, or Tang Ning's nobility, Gu Weijing also has it in his mind, but the depth and amplitude of the waves are different.

If he picks out these ripples and blends them into his brushwork, it will not be difficult to draw a "feeling" like Tang Ning.

Gu Weijing no longer likes this copying feeling.

After experiencing so much, he wanted to imprint the patterns on the porcelain on the rice paper, and bring the colorful wisteria leaves from his heart to the paper.

As Gu Weijing continued to draw, he no longer looked at Tang Ning's original painting on the wall.

He is not imitating the "Hundred Flowers" painting now, but painting his own wisteria flowers.

Russian tilt.

He made the final stroke.

The flower clouds in my heart dissipated, and a brilliant purple flower tree appeared on the rice paper. The purple color was almost red, and the trees were like ink, as if there was blood flowing through them.

A prompt appears on the system panel.

[Title of work: "Wisteria Flower Picture"]

[Chinese Painting Technique: Lv.5 Professional Level 5056 (10000/[-])]

【Emotion: painstaking efforts】

(End of this chapter)