Almighty painter

Chapter 475 There is lingering fragrance in the hand
"When Professor Lin Tao taught Ping Tu, he said that a very important point is to have the spirit of spirituality. Just for the simple Ping Tu, he asked me to search for Zou Yigui, Zhao Songxue, Qian Shunju, Yun Shouping By observing the works of many famous painting masters and observing their different styles, your understanding of painting skills will be improved.”

Gu Weijing held the pen.

Dip the tip of the pen into some ink and create a new branch among the tea trees drawn on Gu Tongxiang's rice paper.

"Outlining and flat painting is the most plain and simple painting method. But plainness does not mean dullness or rigidity, nor does it mean no change. Professor Lin Tao asked me to read the art theory book "The Rain and the Fragrance". Grandpa You have been exposed to relatively little formal art training in your life. Although in the eyes of Teacher Lin Tao, that book is just an amateur book for enlightenment and hobbies. "

"But the whole book is very comprehensive, and it also records some interesting stories and thoughts of famous people. I think it is very interesting to read at your level."

What’s great is that at his level, it’s interesting to read!
Gu Tongxiang's eyebrows twitched.

This is obviously mocking your grandfather and me for being uneducated, right?

Don't think I can't understand what this guy means.

This is like the primary school English class teacher checking the learning level of each child, and finally walking up to your parents and sighing with pity, saying that with your children's level, they will definitely not be able to understand the normal lectures, so why not start with "A" , B, C, D. Fortunately, it shouldn’t be difficult to sing.”

Stop looking down on people.

While talking.

The tip of the pen traveled several folds on the snow-white rice paper, as if the hair-growing magic of several springs was expressed on his fingertips in just a few breaths.

On the contrary, the two of them are in the same vein, but you are one step ahead.

After all, Gu Weijing was only one rank higher than his grandfather.

Besides, he may have had less exposure to cutting-edge art trends.

He made dots among the branches.

Start decorating along the branches of the leaves.

then.

Especially Eastern aesthetics and philosophy have always been relatively abstract.

A person practicing Iron Sand Palm was slapped to death by practicing Tathagata Divine Palm. Maybe you don’t realize anything at all, you just feel that it is very powerful, what the hell, swish, you will be killed in seconds.

Gu Tongxiang was hit hard again and felt very sad and angry.

Gu Tongxiang was shocked by Gu Weijing's momentum just now, and now his heart calmed down.

Your grandfather and I are also good at traditional Chinese painting, okay? Your grandpa and I also went to school, okay? I'm considered a high school student nearby. Do you really think we are illiterate?

It's far from being painted, and Gu Tongxiang can't understand it at all.

Forming a whole continuous time transition.

It means, alas, this guy is uneducated. I don't expect you to discuss art with me, but you don't even have the ability to understand what I say. What's the point of talking to you? It's just a secret.

Its main veins are obviously still newly sprouted twigs, but you can no longer only see the brilliance and brightness of spring.

Traces of life cycles one after another are expressed on a twig, and finally return to the spring when camellias bloom.

The twigs that had just sprouted began to grow old again in the blink of an eye.

The hooking method is also very basic.

Both the person photographing and the person being photographed felt bored.

Gu Weijing washed the pen again and dipped it in ink again.

The branches stretch out.

Ruan Yu, the younger brother of Ruan Ji in the famous Seven Sages of the Bamboo Forest in history, was a well-known aesthetic theorist, and he looked down upon Xie An, the commander of the Feishui War. When my fanboy Xie An was young, he eagerly ran out to Ruan Yu to ask for advice and art advice from the boss. Ruan Yu casually chatted with him for a few words, then asked the servant to invite him out. He taught him a very arrogant lesson: "Not only can you not get one who can talk to people, but you can't get them by asking for answers."

Instead of using thicker branches to write time, time writes the branches.

Xie An was already one of the most capable and celebrity-like people in the entire Eastern Jin Dynasty, but he suffered an epic humiliation from Ruan Yu, who could be called the king of coercion.

This time, he only tapped the pen tip in the inkstone like a dragonfly, and only absorbed a very small amount of light ink.

Quite the opposite.

The lines are not very antelope-hanging horns, but are mysterious and mysterious freehand lines.

He temporarily put aside the aunts who were waiting for him to take pictures in the park, and did not want to rescue Awang's tea squatting under his butt.

Everything in front of me was drawn with a brush and a small dish of ink, without even coloring.

He stared at Gu Weijing's pen tip for a while. It was strange that the technique was obviously the most basic technique.

Take a serious look at Gu Weijing's works.

If you have been trapped in a bottleneck for many years, this line is like a natural chasm, which is extremely difficult to break.

But before he could force his mouth to reply, his eyes were attracted by the ink written by Sun Tzu.

Being punched and kicked like this makes me feel even more inscrutable and terrifying.

Literati discuss painting like martial arts people competing against each other.

Wrinkles, elegance, and twisted branches appear one after another in Gu Weijing's pen.

The heat of summer, the bleakness of autumn, and the snow of winter.

I have been sketching and drawing flat lines all my life. How could I be lacking in this basic knowledge and theory?

The corners of Gu Tongxiang's eyes stopped twitching again.

This is how Gu Tongxiang feels now.

Gu Tongxiang could clearly see every line, every turn, and every change of the pen tip made by Gu Weijing, and he seemed to have learned it immediately.

Can be combined.

Huh?
What did I see? What did you learn? How is this sense of agility outlined with the simplest lines?
Huh?
You are so rude, how can you use magic in front of Muggles!
"Muggle Old Man Gu" sat his butt firmly on the back of the chair again and moved forward. His curiosity made him feel itchy.

After all, he has been holding a paintbrush all his life.

just now.

The temptation to learn a skill overcame the temptation of vanity to defend the name "Teacher Gu" from my aunts.

It also defeated the last bit of self-esteem in Gu Tongxiang's heart that he wanted to maintain the "noble and cool" image of his elders in front of his grandson.

"Ha, this line is interesting. These are all from that book. What is that book called?"

""The sky rains and the fragrance flows"."

"Is it taught in a book called "Heavenly Rain Flowing Fragrance"?"

Gu Tongxiang was amazed in his heart.

What a book, it’s so awesome, turning two pages is like taking an elixir.

That's it...it's just the enlightenment reading from Mr. Lin Tao.

He is worthy of being a disciple of Cao Lao. His vision is truly out of this world.

"It's definitely not just reading. It should be said that it is a combination of knowledge reserves and my own painting experience. Reading can only play a supporting role." Gu Weijing said with a smile knowing that the old man might have misunderstood.

"Professor Lin Tao said that the best way for painters to feel the bottleneck and want to break through it is to walk on two legs. We must start from two paths: [pragmatism] and [retreat]. Pragmatism is the 'skill', that is To hone one's writing skills and practice pragmatism is the 'Tao', to open up the pattern and broaden one's knowledge structure and aesthetic cultivation is to read."

"Just take this hook as an example."

"The book says that the most important thing in drawing lines is to have the spirit of spirit and grace. As for how to achieve the spirit of spirit and kindness, the author quoted Shen Zongqian of the Qing Dynasty from "Gate Zhou Xue Hua Bian" Point of view - Scholars should first seek out the art of writing, and then embellish and embellish things later. The form is there and the spirit is in it.”

"Oh, that's right. That's very well said."

Gu Tongxiang thought for a moment and nodded seriously.

Don't understand.

Well, we are indeed uneducated.

Later generations have their own difficulties in reading traditional Eastern and Western art theory works. The difficulty with foreign books is mainly in language. The most serious and orthodox scriptures hundreds of years ago were all written in Latin, and even the minor texts wished they were in Greek. This was the most popular language acceptable to the upper class scholars of the Middle Ages.

Not even in French.

Logically speaking, the status of English literature is not as good as that of Arabic literature.

In the world's impression, the representative English writers of that era, such as Shakespeare, actually experienced a process of rediscovery in the seventeenth and eighteenth centuries. They were never the highly respected writers that many people imagined. An old man who is serious about literary and artistic creation.

A popular comment in the literature department is that during the era in which Shakespeare lived and the two hundred years after his death, his personal image was actually very similar to Guo Degang in the Renaissance era, rather than a great writer.

As for those ancient primary documents, it is extremely difficult for Western scholars engaged in art history research to read them, and the English versions are usually unreliable.

The advantage of Eastern literature is that the Chinese cultural context is continuous and continuous.

No need for professional paleophilologists.

Ordinary high school students who have completed compulsory education and have relatively good training in classical Chinese will not have much difficulty reading original articles from the Han and Jin dynasties 2000 years ago, let alone hundreds of years ago.

But the disadvantage is that it is more difficult to understand.

Especially in the field of fine arts, which is very demanding of wisdom and understanding, it has entered the field of metaphysics.

Feudal era.

How many ordinary people with flat heads can read?

Talking about art issues such as calligraphy and painting is a privilege only reserved for the top literati.

These academic works were written by masters and were written for future generations of masters to read.

They are not only art works and philosophical works, but also a kind of word question and answer game among literati across the ages.

It was even intentionally written to be very imaginary and mysterious.

The lines are filled with all kinds of mysterious "secret words" and the hazy feeling covered by layers of silk gauze.

This is a deliberately set threshold.

Only if you can understand it, you are considered a member of our generation.

Can’t understand?

A common thing is no different from an insect or a wild beast. In ancient times, the masters didn't care whether you lived or died, and they thought you had insulted their books.

Gu Tongxiang can understand. This is probably what he is saying. For those who learn painting, the most important thing is not the advanced skills such as blending, but the basic brush and ink lines. The important thing about brush and ink lines is not the rules, but the way to get the spirit from the form. .

As for the more important thing.

How can we combine this seemingly nonsense theory with Gu Weijing's writing style?

Gu Tongxiang really didn't understand.

The twists and turns are thoughtful, the weight is appropriate, and no trace is missing.

A dozen simple words, placed in front of Gu Tongxiang, seemed like an unsolvable puzzle.

How to determine the twists and turns, how to determine the importance, and how to avoid loss.

He was vaguely aware that it contained great principles and great knowledge.

But he could only look at the ocean and sigh in front of the gate of knowledge, unable to jump over the threshold even if his old legs were broken.

Perhaps the old lady and grandpa who used to hold the title of first-class painter and enjoyed a seventh-grade salary could figure out some ideas about this little thing here.

But after all, Gu Tongxiang's understanding of the artistic philosophy of traditional Chinese painting was not deep enough.

His current mood was quite similar to that in his favorite Hong Kong martial arts movie, Mei Chaofeng stole the "Nine Yin Manual" from her teacher's house and slipped out of Peach Blossom Island, only to find that she knew every word in the secret book. However, this internal classic, which is full of Taoist terminology, is so weird that I can't understand a word of it when put together.

What is "Five Hearts Pointing to the Sky" and what is "Qi Gathered at the Top of the Pill".

What stands out is an uncultured beauty.

"Tell me about it, tell it to Grandpa Duo. Check what you read. It's the same as Grandpa's experience."

Gu Tongxiang moved forward twice more, and his face almost reached into the drawing paper.

The bad news is that he didn't get it.

The good news is that my grandson seems to understand it very well, and there is no need to capture Guo Jing like Mei Chaofeng to explain the Bible.

"What does it mean to break the rules and make no mistakes? I think there are two important points. The first point is not to be too delicate. Not to be too delicate, but close to the ancients; not to be delicate, but close to elegance. Done. With these two points, the branches, leaves, flowers and plants you draw are naturally solid and powerful, almost quaint. For example, have you noticed a problem? Almost all the flat outlines in your works use the double-outline technique.”

The hooking technique in traditional Chinese painting is divided into single hooking and double hooking.

As the name implies.

Single hook is to use a brush and ink line to draw the shape of branches, leaves and bamboo joints in one stroke.

As for the double hook, you use lines to outline the scenery from both sides, and then fill in the color from the middle.

"The double hook technique is often used in fine brushwork, and the single hook technique is often used in thick brushwork (i.e. freehand brushwork). This is the principle, but it should be handled differently according to each painting, and it should not be too cliché."

"Look, in your painting of camellias, clouds and birds, the double hook and single hook techniques are clearly distinguished. The branches and leaves are divided into pieces."

"This is the rule! People think you have rules." Gu Tongxiang took a sip of tea.

"This is a rule for selling paintings, not a rule for creation. The only rule for creation is to be natural. Chinese painting uses scattered perspective, not no perspective."

Gu Weijing pointed at the branches he drew carefully and explained.

"When the branches stick out from the branches, they are the thickest. All are made of double hooks, and the middle is filled with color. Going outward, the farther you go, the thinner it becomes. From a distance, it looks like it has been compressed into a thin strip. line, so I only kept an ink line here, and here, at the place where there are tree knots——"

Gu Weijing kept talking.

Suddenly I heard the prompt sound coming from the system panel.

[Chinese painting techniques +131! 】

[Chinese painting techniques +29! 】

[Chinese painting techniques +34! 】

(End of this chapter)