Almighty painter

Chapter 653 Paper Publication (Part )

Koko wore a turquoise Dior one-piece dress with delicate decorations embroidered with lake blue silk thread.

With the sun shining on it, the skirt is so clear that it seems to create ripples, and the large area of ​​skin exposed on the shoulders is like the lake water that the skirt is holding back.

Neck, shoulders, chest, abdomen... different smooth curves are spliced ​​together. The water flows vertically downward from the neck, converges and stays slightly at the shoulder sockets, and then spreads horizontally to both ends, sliding over the outline of the shoulders. The shoulder ends are connected to the naturally drooping arms, and between the arms and below the clavicle is the chest that bulges forward.

That feeling is not of flesh, but of flowing light.

Soft and bright.

Koko is the kind of girl you can't figure out.

Most of the time, she behaved chatteringly like a frivolous little animal.

The vitality is ever-changing and the sunshine is endless.

Others would think that such a girl would be a ghost who was abducted and enslaved by the grandmother in "Strange Stories from a Chinese Studio" one day.

She is also the type of person who can tell jokes and chat with you while eating melon seeds - "You know, you know, in a certain dynasty, there was a scholar who was taking an imperial examination and became Chen Shimei, a man who despised the poor and loved the rich." You say, "Really? So despicable?" She says, "Right, right, he was chopped off by a dog-headed guillotine, and his body is still buried under the sunflower over there. I'm not lying to you, if you don't believe me you can bring a hoe tomorrow and dig it yourself!" She is a gossipy female monster.

But she is definitely not the type of lonely beauty like Nie Xiaoqian who cries and has tears in her eyes.

But there are times.

She sat there motionless, no gossip, no noise, no talk, just standing there quietly, like a frozen lady in a painting, or as if she was the dancer posing in a high splits pose under the spotlight at the end of the final scene of a ballet, standing still, embedded in the background of the stage, freezing time with her body.

At that moment, Koko's body even had a more delicate and slender feeling than Miss Sakai.

Strange to say.

She is definitely not the kind of girl who is like a pea princess, or a sickly, frail girl who gasps for air with every step.

This delicate feeling is more like moonlight dancing on the surface of the lake, and the lake is filled with the rouge-colored fragrance of osmanthus.

A little bit of wind and sand, a little bit of dust will break this misty and charming feeling.

Katsuko Sakai was inspired to design this painting by capturing the two completely different color textures of Koko.

"The curvature of the X-shaped clothing will make the transition of the body smoother and more natural."

Katsuko Sakai finished the last stroke, put the brush into the brush washer, turned sideways and said, "It's done. Look, my painting is pretty good, isn't it?"

I heard that Ms. Sakai has finished the painting.

Koko suddenly felt liberated.

She cheered softly and placed Awang in her hand on the windowsill.

The cat seemed to realize that it was finally free.

It moved forward a few steps, but didn't dare to run far.

If it was to escape from Jasmine's hands, unless Jasmine had food in her hands, Awang would have rolled away the moment she let go.

But when King Awang met King Koko.

It's like a naughty kid meeting the king of kids, a sneaky little thief meeting the powerful Liangshan hero, and an energetic little wild beast meeting an even more energetic female monster.

Being too restrained by the species.

It doesn't even dare to run without permission.

It twisted its fat butt and secretly took two steps forward, tilting its head to stare at Koko with a tentative look. In its ginger-yellow pupils, there was a hint of joy at clocking out of get off work, but also a hint of uncertainty as to "Have I finally redeemed myself?"

After taking two small steps on the windowsill and making sure that the other party was not going to catch it, flatten it, or force it into a prostitute, and force it to continue to serve customers with its belly turned up, Awang jumped down from the windowsill with its tail raised.

Because Koko was around, it didn't dare to go to its beloved Miss Sakai to beg for food. Instead, it shrank into the corner of the studio, picked up a chew stick, and went to play by itself.

Koko moved closer to Shengzi.

“It’s a good painting.”

She put her arms around Shengzi's neck and rubbed her cheek with her nose like a cat. She took out her phone and took a photo, then commented: "She looks a bit like a fairy in the woods. When I get old, I will print this photo and hang it on the wall so that those young girls can see that when I was young, I was such a beautiful model and participated in art exhibitions!"

Shengzi smiled helplessly.

She broke free from Koko's arms and packed up her painting supplies.

While packing her things, Miss Sakai took out a large envelope from her schoolbag and handed it to Gu Weijing.

"what is this?"

Gu Weijing took the thing that looked like a file bag from the other party.

It feels heavy and substantial.

"My parents came all the way from Japan yesterday and brought this with them, saying it was a gift." Sakai Katsuko explained, "My mom specifically told us to open it when we're together."

Gu Weijing was stunned for a moment, and immediately he had a guess in his mind, and his heart started beating faster and faster.

He untied the rope on the manila envelope, and found a slightly smaller but still thick airmail bag inside the file bag. The sender's address on the mail bag was written in English as "9500 Wil SG Kanton St. Gallen Wahlkreis Toggenburg Kirchberg (SG)" and the words "Editorial Department of Asian Art Journal".

Although it is called Asian Art, "Asian Art" is a magazine based in Switzerland.

This airmail was also sent from Switzerland to Uncle Sakai.

Although when writing the paper, I firmly declared that the two children should write it by themselves, and whether they can succeed depends on their own ability, and the adults will never interfere.

But this is all nonsense, just like Mrs. Sakai telling Katsuko that she has to rely on her own efforts to participate in an art exhibition and her parents won't help.

It is one thing to educate children and make them work hard.

Turning around, the blonde aunt was holding a whip and was driving the fat uncle around to help her, like whipping a spinning top, without any mercy.

They are your own children. If you don’t help them, who will?

Eastern parents always try their best to the best of their ability.

And Western parents...actually there is no essential difference.

It seems that in the propaganda of foreign media, there are all kinds of theories, such as free growth, happy education, cultivating children's independent living ability, no longer intervening in their lives after the age of 14, and success or failure are all the paths chosen by themselves... The cowherd-style happy education concept is indeed common in places like Europe and the United States, but it is mainly in some lower-class communities or government public schools with very average enrollment rates, or the so-called "Hillbilly (redneck country bumpkin)" group.

You should look at the better private schools, especially those that cater to children from ordinary small middle-class families whose financial conditions are not that good.

From students to parents, no matter whether they are German, Asian or African, the whole family is often very competitive and still adheres to the concept of "not letting children lose at the starting line."

There are many cases of a father gritting his teeth and working three hours to support his children's private school which costs $55000 a year, and a mother taking her three children to various extracurricular tutoring classes every day regardless of the weather.

During the start of the school year at a prestigious university, there were students who actually drove a second-hand Mustang on a 1200-kilometer road trip and just came here to report.

But you can also see white or black families, with their whole family, grandma, grandpa, uncle, and second uncle, carrying large and small bags, sending their sons and daughters to school like they were escorting Tang Monk on his journey to the West to obtain Buddhist scriptures.

All I can say is, no matter what your cultural background, ethnicity, beliefs, or whether you have yellow, white or black skin.

No one is a demon or monster, and no one is a monk with pure six senses.

We are all ordinary people.

In some families with an Eastern cultural background, parents tend to express their love in a more subtle and restrained way; in some families with a Western cultural background, the relationship between parents and children may seem relatively distant.

However, on the whole, it is nothing but the pity of parents in the world.

Katsuko Sakai and Weijing Gu, the quality of each version of their papers, each improvement, which journal they should submit to, and which journal's reviewers like this type of paper, were all discussed by the blonde aunt while she poked her husband's round belly with her fingers.

Especially AHCI papers in the arts.

To put it simply, it must be bullshit.

Some small countries may not publish a single paper in a year, but publishing one or two papers in a major journal is enough to be evaluated as a professor in a university. Even a great man like Sir Brown would put his AHCI papers and the OBE awarded by Queen Elizabeth under a glass cover in his office to show off to every visitor.

Say it's difficult.

Objectively speaking, some archaeological papers are the crystallization of all the results obtained by a scholar after working for five years or even spending a full ten years of his youth at a remote excavation site.

Every word seems to be written in blood.

But some papers... their value is very questionable. Not to mention that they are written in English in an air-conditioned office, but at least the technical difficulty is probably not as high as those NCS articles published in equally heavyweight science journals.

For example, the papers written by Gu Weijing and others.

Even though every word of this impressionist paper was written by these two young people and their names are on it, they are just leaves on the surface of the land that can be seen by people.

In addition to Ms. Carroll's painting, the most important contributor to this article is Uncle Sakai.

He is the 200-pound radish attached to the leaves.

The "temperament" of Gu Weijing's paper is quite like that of a paper published by an astronomer after observing a new Earth-like planet.

Hard work is important, but maybe luck is more important than hard work. The biggest difficulty is "discovery" rather than writing a paper.

Today is no longer the era when Galileo could do astronomical observations by finding a jeweler to polish two crystals and looking up at the sky. To be qualified to publish such a paper, you must at least have access to astronomical telescope data.

The same is true for the art industry.

In the eyes of other content editors, the content of Gu Weijing's paper is actually very suspicious.

After several months of research in Yangon, two high school students pushed back the date of the birth of the first female Impressionist painter in art history by more than ten years.

No matter how fancy your article is, it is essentially the same as someone looking up at the sky with a $500 telescope on the balcony before going to bed at night and claiming to have discovered the tenth largest planet in the solar system.

It’s a good gimmick, but who is willing to believe it?
When it comes to astronomical observations, as long as you really find something, scholars around the world will be able to replicate it.

And the painting "Old Church in a Thunderstorm" may indeed be a rare work of a famous artist.

Who can be sure that this was painted 150 years ago, rather than 50 or 100 years ago?

Their thesis had no solid evidence other than an oil painting in their hands.

The whole article is full of guesses... Perhaps the essence of archaeology is guessing. Whether the ancient city of Troy has been discovered, just guess; whether "Salvator Mundi", which was endorsed by the British Museum and sold for $5 million, was painted by Leonardo da Vinci, just guess.

But the art world produces 10,000 sensational conjectures every day. Why should a journal publish yours?
"The Savior" has the Arab royal family and the British Museum behind it, but what does Gu Weijing have? Fitz International School?
It comes down to it.

The reason why this painting was published in a heavyweight journal such as "Asian Art", and especially why it was selected by the editorial department as the cover article of this issue of the academic journal, occupying the best position in the entire collection of papers.

It's not because his artistic conjectures are novel, nor is it because Katsuko Sakai's English writing is beautiful.

There is only one core factor:

The contact person and mailing address of the article are both Kazunari Sakai’s office address at the Tama Academy of Art, which is like an astrophysics article published by Purple Mountain Observatory, or a physics paper published by the Cavendish Laboratory.

Maybe it's just a deduction from theoretical physics, or even just some academic review.

But the presence of such unit notes represents authority...or at least "reliability".

The opening booth for him and Katsuko Sakai at the Singapore Biennale was arranged by Kazunari Sakai using his personal connections.

The position of him and Katsuko Sakai on the cover of "Asian Art" was also Uncle Sakai rolling all the way in front, flattening all the gullies, crushing all the thorns blocking the way, and like a human bomb, crashing into the door of the journal's editorial office in Switzerland and delivering it to them.

It is true that only our own children can receive such treatment.

Normally, even if this kind of article could be published, it would have nothing to do with Gu Weijing.

It is considered conscientious of the author to have such a small line of words in the acknowledgments of the paper.

When Champollion became a world-famous figure for his research on the Rosetta Stone, who cared about the names of the local Egyptian laborers whose hands were covered with blisters after they discovered and carried the stone?
Although Gu Weijing knew that the publication of this paper was due to countless coincidences and countless factors of luck.

But when he tore open the package of the mail and looked at the familiar photo of "Old Church on a Thunderstorm Day" and the title letters "ARTIBUS ASIAE" on the cover of the paper.

There was still a huge sense of accomplishment surging and filling his heart.

he knows.

Starting from this day.

The name Gu Weijing will no longer be an unknown figure in the art world.

He changed from Nobody to Somebody.

(End of this chapter)