Almighty painter

Chapter 533 Sakai Katsuko meets Gu Weijing
Gu Weijing can handle textured straight lines very well.

It is not a large straight line with strict rules measured with a ruler.

It’s not like the oil painting where the song goes all the way to the end and everything is round.

Lines that are too straight will become stiff.

Things that are too round will have a charming aura that tends to be followed by others, rather than a fairy aura or a gentle gentleman's virtue.

A gentleman is gentle and gentle.

There is softness within hardness, and hardness within softness.

There are things to do and things not to do.

Like many Eastern painters from the Song and Ming dynasties who liked to use the double-hook coloring method to depict magnolia flowers.

Gu Weijing's pen is pointed.

At first glance, it is even a bit naive, but when you open it carefully, there is a rich meaning floating out from the pen and ink, as if you smell the elegant fragrance of flowers.

This ingenious switching of two different artistic veins, grafting them together, and blooming new flowers is what the Impressionists always wanted to achieve.

Sakai Katsuko felt that Gu Weijing could do better than herself.

even.

She slipped in a less than respectful comment in private.

Shengzi feels that techniques, various groundbreaking artistic expressions, and philosophical reflections on the relationship between human nature and artistry that Foucault considers to be the most important aspects of painting are excluded.

Of course these are awesome.

But in taking these grand propositions of the metaphysical "master's way" that have begun to rise to the level of art philosophy and creative ethics.

After removing them all.

I can only talk about the temperament of this kind of gathering of things, and the moistness and flexibility of the brushwork.

Even if beauty is in the eye of the beholder, Sakai Katsuko still feels that Gu Weijing not only did better than her, but actually did better than Monet, Renoir, Degas in the early years... than the entire generation of Impressionist pioneers , do better.

This sounds too arrogant, but Miss Sakai really thinks so.

Future generations need not be inferior to the ancients.

Monet has his own greatness.

But to be honest, Monet was just a fan of Japanese culture.

Reano was just an apprentice in an Oriental porcelain shop.

Just like he couldn't draw the straight line of the hem of a woman's skirt no matter what.

In the entire early stage of the painting process, they were only peripheral spectators of Eastern culture.

At least not scholars who have studied very deeply.

Eastern painting method with Western thinking——

This feeling is like the Japanese watching "The Last Samurai" and "Shogun".

People in Eastern Xia watch "The Great Wall".

The actors are all world-famous superstar actors, including Tom Cruise and Matt Damon, all of whom performed very well.

The director may also be very proud of the film.

But there seems to be a sense of cultural curiosity in it after all.

Westerners travel to the mysterious Eastern land to obtain "pure" spiritual power from the "simple and backward" nature, and then cleanse their souls and gain true peace.

According to Hollywood's best-selling formula, the entire local lover must also come and sleep during this process.

It's like an artistic gaze from a special perspective.

If the review is harsh enough, it can even be said that it still contains some afterimages of the "exploration of civilized man" novels about Central Asia and Africa in the 19th century Victorian era.

Literature, art and film and television.

It is very difficult to truly express the spiritual core of two different cultures and switch them cleverly, instead of simply showing off some oriental elements like adding flavoring to potato chips.

Not only does the West express the East, but also vice versa.

It is easy to draw skin, but difficult to draw bones.

And cultural tradition is the marrow of a civilization.

Hong Kong films, Japanese dramas, and the Korean Wave have all made waves in the European and American markets. In recent years, major Asian directors have gone to Hollywood.

The only traditional oriental director who can really stand high in the European and American markets is John Woo.

Director Ang Lee from Taiwan, China's treasure island, is a semi-exception, because although he is an outsider in Hollywood, he received a complete film education in the United States.

How to bring a very in-depth cultural experience to the audience is the most difficult subject in the entire art field. Even masters who are at the forefront of the industry are often blocked from entering.

Most Westerners still remain at the level of "seeing mountains as mountains and water as water".

There is no deeper philosophical understanding of the soul.

It’s not that Monet isn’t good enough, but that the limitations of the times exist.

You can't expect Monet to master oriental languages ​​and direct reading of primary documents.

Nowadays, there are European and American sinologists who do not understand Chinese and understand Dong Qichang's calligraphy entirely through painting, and have made good results.

But it is inevitable that there will be regrets about falling short.

In his early years, Monet was influenced by a large number of Faust paintings. In the process of creation, he constantly simplified the details, using large blocks of color to replace brush strokes, flattening the compressed space, and not overly regular line arrangement to express movement.

but.

The thousand-year-old spirit of pen and ink in the East cannot be condensed and summarized simply by using sporadic and broken words such as "simplifying details", "rapid creation", "flat space", "no excess"...

Until much later.

Monet realized this problem.

He realized that the absorption of Eastern art theory should go far beyond superficial imitation of colors and forms.

What is more critical is the philosophy of conceptual expression.

The Japanese rich were the largest collectors of Impressionism in the early days, and Monet himself also collected many ukiyo-e and prints by Suzuki Harunobu and Katsushika Hokusai. In the letters he wrote to friends in the later stages of his creation, he discussed a lot about Katsushika. "The Peony and the Butterfly" by Hokusai.

When he was young, he believed that such curves in painted flowers would never really exist in nature. But later, he finally realized that "this is an interception theme that is completely different from European artistic thinking. It is an artistic composition method that expresses the world. This is beyond doubt."

Monet dismissed his Camel kimono painting as "rubbish."

Because it was full of blunt and incomprehensible "Japanese taste", he began to want to integrate the green, purple, white and gold colors in the paintings to express a true traditional oriental style.

This is what Monet always wanted to do when he created the "Water Lilies" series in his later years.

Monet only began his attempts when he was nearly seventy years old.

Gu Weijing had already shown it in his writings when he was seventeen years old.

Sakai Katsuko watched from the side as Gu Weijing sketched flowers and leaves on the canvas. She turned her head slightly to look at Jasmine and she lying face to face on the small bench under the tree. She didn't know whether she was lying down out of exhaustion or because she was in shock. With the majesty of Sister Moli's head lying flat, Awang was licking the hair on his body honestly. It feels like this moment.

All the noise in the world has fallen into silence.

Sometimes the quietness and refinement are superficial and remain in appearance. For example, Tang Ning ridiculed the indifference of the whole article, saying "Ah ah ah, I can't be an official!" After living idle, Pan An, a super handsome man, gave way to Lu Chen in order to seek an official position.

Some times.

A person's quietness and refinement, his strong love for all things in the world, and his dislike of hypocrisy and pretentiousness in creation can last a lifetime.

For example, words and life are like dew on grass blades in the morning, ethereal and delicate, and the story of Kobayashi Icha, a farmer who has been wandering for a lifetime.

The creative inspiration line signed by Katsuko Sakai on the canvas - "In the mist, under the shade of the locust tree, a girl is teaching the cat to read Shelley's poems".

It comes from "My Spring Collection" by Kobayashi Icha.

Maybe it's because Ms. Sakai is a little painter herself.

Not sure either.

When a girl really likes someone for the first time, the whole world will become different because of his presence.

Sakai Katsuko feels that many people around her, including some seniors in the art world who seem to have great personalities, have their "elegance and tranquility" only in their hair and skin.

When the wind blew, all the lamps were blown away.

Some people's elegance lies in their "guts and stomachs". They usually look polite and elegant, but at a private banquet, after three glasses of sake and whiskey, and a few trips to the toilet, their true colors are immediately revealed.

But some works, some people, and some things are so tranquil and profoundly beautiful.

For example, Kobayashi Icha’s poems.

For example, in the yard right now, the little girl and the kitten are lying together reading a book with their heads almost touching.

Another example is the appearance of classmate Xiao Gu, who is not a super handsome man, when he is painting.

Sakai Katsuko was still thinking about the painting techniques at first. Later, Miss Katsuko stopped looking at the paintings. She just looked at people.

In Katsuko's eyes, she could only see the young man painting beside her.

The world is noisy.

There he stood.

One stroke fell.

Then, the spring flowers bloomed and the sun and the moon lasted long.
-
Gu Weijing put down his brush, stared at the magnolia flowers covering the canvas, and took out some silk gloves from his pocket.

Because the oil painting knife is "clumsy", it is not good at carving fine details.

in contrast.

As heavy as a metal painting knife is, people's fingers are so delicate and delicate.

Strictly speaking, the delicacy of finger painting is a natural delicacy with vitality.

If you compare painting to music.

Painting with an oil painting knife is like a very rough and rare sound, such as the big hammer used in "Mahler's Sixth Symphony", or if conditions permit, in order to restore the scenes of the Russo-French war, playing Shostakovich Some of the sounds in Veitch's music can be expressed in the most orthodox way by a symphony orchestra dragging a 12-pounder field gun.

Painting with your fingers is like the oldest musical instrument like the pottery xun, which is deep, continuous, twists and turns, and moves according to your heart.

But in terms of the number of scales covered and its versatility in performance.

Especially if you want to express the twelve equal temperament in a precise and precise manner like a mathematical formula, it is definitely not as good as a piano composed of tens of thousands of parts.

And the piano is the paintbrush.

The time when people use their fingers to paint can be traced back to primitive people playing with mud, which is much longer than the invention of the paintbrush.

The advantage of finger painting lies in its dynamic dexterity and fluid delicacy.

Realistic restoration, extreme restoration in the field of photorealism, is definitely not the strong point of finger painting.

When Gu Weijing painted "The Burning World", he couldn't use an oil painting knife to express that Miss Irina was carved like a sculpture knife... No, a better way to describe it is as beautiful as a knife, so beautiful that it makes people feel sharp. facial features.

Finger paint?

Gu Weijing definitely cannot draw now.

He didn't know what the legendary finger painting technique could achieve, but judging from his communication with the female painter Anya on his social account and what the legendary knife painting could achieve.

He should still be unable to draw it with his fingers.

fortunately.

Things like tiny bits of sunshine, sparkling water waves, falling petals...these are the strengths of the finger application method.

But there is one thing, the finger dabbing method is different from finger painting.

Or.

Finger painting is a painting method with a wide meaning. The fingerprint painting with oil paint taught by the kindergarten teacher, or simply the large handprints that were dipped in ink pad and pressed on the bedroom wall when you were a child. When your parents' blood pressure rises, copy before taking off the belt.

You can also tell them proudly with your hands on your hips.

No, look, this is my finger painting, it’s made of cowhide!
Whether the large handprints that children take on the wall are considered art - this matter often mainly depends on the competition between their ability to handle pressure and their parents' ability to handle pressure.

But there is one thing.

Artists in the traditional sense would not allow such things to appear in their works.

No matter how much Titian liked to create some bright and light tones of finger painting in his works, if you secretly paste this stuff on his works, look at the legendary Titian who had secret contacts with the Venetian underworld. Brother Titian , will he slap his big mouth on your face, just for fun?

Finger painting in the context of aesthetics usually refers to finger smearing, an artistic skill that requires repeated hard work to achieve perfection.

It's not even a popular skill.

Although this technique always has some shadow of children's painting, it is different from the "painting knife painting" that has often been classified by critics in the category of weird and obscene techniques over the years.

They are serious and have their own unique and irreplaceable position in serious orthodox painting.

Some painters don't like using a paint knife to create texture.

Most of the oil painting masters that one can imagine, such as Leonardo da Vinci, Titian, Goya, Monet or Titian, often use their fingers to directly shape their shapes.

of course.

It is quite rare for an avant-garde artist like Anya to give up the paintbrush and paint purely with her fingers. Her ability to use her fingers is at least a master level.

Imagine how fortunate it would be for a beginner in knife painting to find Professor Boggs as a teacher.

This is probably how lucky Gu Weijing found himself to have a world-class finger painting master like Anya who could consult him at any time.

People say that in the art industry, connections are king.

Network resources can not only bring external opportunities to your career development, but of course, they can also bring you a ladder of progress for the development of your own skills.

During this period of communication with Ms. Anya, Gu Weijing shared with her a lot of experience in knife painting. At the same time, he also deepened his own understanding of finger painting to a whole new level.

At least, he is no longer a noob.

(End of this chapter)