Lin Gao Qiming

Chapter 1002 Future Artist

After a sumptuous dinner, Trini sent Van der Lantron to rest in a dedicated guest room—a full bathroom would have pleased him.It is a kind of inertia in the "local" to please people from the "central", and the Dutch in the 17th century were not exempt from it.

Mr. Leib Trini returned to his studio.It was a large room by the standards of any time and space, with large glass windows that were extravagant by European standards.The day-to-day work of this Mr. Trini provided plenty of light.

The studio, like all artists' studios, was a little messy, with huge workbenches piled high with scrolls, and brushes and paints everywhere—many of which were European shipments from Batavia.

Plaster heads and statues are displayed on shelves along the walls, and easels and drawing benches are arranged in a semicircle in the middle of the room.This is Trini's drawing class equipment.

In one corner of the room is his carving workbench, on which stands a semi-finished stone sculpture—this is an order from the Australians, and they want to erect a small victory monument under Chengmai City.Leib Trini is responsible for everything from design to sculpture.His order was far more than that.

In the history of art, the Italian Leib Trini is an unknown person, but in terms of both pure art and arts and crafts, he is a "master" figure in Lingao.

In the studio there are small coke ovens, crucibles of various sizes for melting glass and metal, and various tools for making glass and metal crafts are placed on the table.Here he made stained glass and various metal ornaments.From the wrought iron ornaments inlaid on the lintel of the Senate house marked with "S? S? A? E" cursive Latin letters to various medals and coats of arms issued by the Senate...

The demand for fine art by Australians was so great that Trini found that his main time was not engaged in consular or intelligence work, but was busy fulfilling Australian orders.

He sat down on his wicker chair, lit a cigar, smoked it slowly, and savored the aroma.Cigars made by Australians are a luxury locally, and it is said that only "veterans" can enjoy them.But to Trini, Australian cigarettes were nothing more than a modified product of American tobacco—just like the cheaper paper cigarettes.

Generally speaking, the luxury goods in this time and space have the following characteristics: the place of origin is remote and rare.The two complement each other, and the remote nature is rare.Just like silk and porcelain in China, although they are not everywhere in China, they are not priceless items.Once they cross the ocean and travel thousands of miles to Europe and America, their value will increase tenfold, twentyfold.The smooth arrival of a ship can bring back countless wealth.It is the most common trade mode in this world to purchase strange and rare items from distant places, and then transport them over long distances to obtain high profits.

Australians are always changing things up, using some secret methods that are not known to increase their value.Whether it is the "Datang Princess" wine they sold in Guangzhou in the past, or the cigarettes and cigars they are selling now.

Strictly speaking, Australians have nothing that Europeans and Chinese do not have—it can even be said that apart from their weapons, there are no real "Australian goods", and all the so-called Australian goods are in Lingao , manufactured using Chinese and imported raw materials.

After the cigar was finished, the room was completely plunged into darkness. The Dutch servant who always had a straight face came in. He came in holding a candle, and carefully lit the gas lamp with an explosion-proof lampshade in the corner of the room.Soon the whole room was brightly lit.

After lighting the gas lamp he withdrew.Trini's spirits began to pick up—his apprentices were coming to follow him for night studies.

I don’t know why, Australians are keen on working at night. Of course, they also have this condition: the bright gas lamp allows him to sit on the rattan chair and still see clearly a large-scale oil painting on the easel: this is Lingao Seminary Ordered, will be used to decorate Bairen Cathedral.The Senate, half-forced and half-baited, gave Trini fifteen students to study art, and several of them showed sufficient talent.

Trini likes the attitude of Australians towards women. They don't care about letting women show up, go to all occasions, let them be artisans, farmers, engage in all walks of life, have free contact with men, and even let girls go to school. , Acting as an official, which makes the whole society more colorful-especially the Australians let all the female students wear short skirts that are outrageous, even showing to the knees!It is said that on some special occasions, some women even wear skirts that reveal their thighs. Mr. Trini is not a person who has never seen a woman naked. Like all Italian painters, he has painted many women's nudes, but female students wear The appearance of the short-sleeved top and short skirt can arouse his desire more than a naked body.

Australians are very keen on nude women in paintings, but He Ying, the religious affairs officer, clearly instructed him that when painting nude women, he should only be limited to religious themes—in most cases, they must have wings, and they can only appear in very rare places. There are a few specific occasions, such as in front of the martyrs, in the sky behind the senators, and in church icons approved by the religious office, but there must always be one or two of the saints in front of them with the faces of certain senators, such as for the saints. The one who offered frankincense was Dean Wu Shimang, and the one who shot down the six-winged beauty with a flaming long sword was Chairman Wen with long wings...

Of course, these unhappiness did not shake Trini's love for Lingao. The Australians provided Trini with high-quality paper, canvas, dip pens, high-quality ink, and absorbent pens and pencils that were unheard of before.

Trini likes the drawing tools of Lingaoyi very much, especially the drawing pencils: various types of drawing pencils with different shades greatly reduce the workload of the painter when drawing sketches.As for the plaster heads, he admits that this is a wonderful method - many people who learn to paint cannot afford marble reproductions, and the most beautiful sculptures can be easily reproduced in large quantities by using molds and plaster casting. Ornamental.

Four of his best students entered, three boys and one girl, and bowed to him.Next in came a young man in uniform.He stood up and smiled at the visitors: He can't speak Chinese yet, so he can only teach lessons through translation.And this interpreter with serious expression is said to be a patriarch.He comes here every day to act as a bridge between the students and him, and he never misses classes regardless of the weather, and the students he serves are all the most ordinary Chinese children from humble origins, which makes Trini full of Australian elders. respect.

Trini taught the four students in the traditional way of mentoring.The apprentices do some simple auxiliary work within their ability, observe what he does, and he will give some pointers.This is also the traditional teaching method of Italian artists in the Renaissance era.

"What class do we have today?" the interpreter asked.

"The oil painting course starts with the most basic preparations for painting," Trini said.

To paint oil paintings in the 17th century, the painter must first be a craftsman.In the old time and space, it is not feasible in this time and space to buy all the painting tools and start painting by going to the stationery store once.Whether it is canvas, paint, grease, or even brushes, the painter needs to prepare it himself.

There are many small drawers in one corner of the room, and the drawers are filled with paints shipped from Europe thousands of miles away.Pigments are not tubes, but various solid fragments, most of which are minerals, but also products of plants and animals. The most peculiar thing is the blue broken glass produced in Venice-used to concoct a relatively common blue.There are mortars and dishes of various sizes on the table.

Trini taught them how to choose the pigment fragments, how to break them into suitable sizes, and then grind them.Grinding is done step by step, first in a larger mortar and then in a smaller mortar.Until it becomes a powder of different thickness that can be modulated.

The students gradually became interested in the work.They were curious at first, and then changed to a serious face. They helped the master prepare a poisonous potion: dissolving arsenic disulfide and mercury chloride in alcohol, and then pouring it on the wooden board-used to prevent Silverfish on board.Then they applied the first coat, covering all the joints and crevices with a mixture of alabaster, resin and frankincense, and smoothed out uneven spots with a smoothing iron.

Work is always easy and quick in the hands of the master, as if it were a kind of entertainment.While working, Trini taught the skills of preparing various oil painting tools: taught students how to bundle brushes: from the thickest and hardest bristle pen wrapped in a lead, to the thinnest and softest millet inserted in a goose quill Mouse Brush: He has also tried to use Chinese brushes, but he always feels that they are not very handy.

The students are eager to try it-although it is simple and easy to see the master doing it, it seems clumsy to do it by themselves.Trini then slowly heats a pure oil on the stove: it is pressed from hemp seeds.Because of the mild hallucinogenic effects, the Senate required them to wear masks when using heat.

Following his instructions, the students rubbed the drawing board with a small piece of sheepskin dipped in hot sesame oil.Let the drawing board fully absorb the oil.

"Rub it while it's hot, and you won't be able to suck it in when it's cold." Trini kept instructing the students.

The young elder stood aside with great interest, translating Trini's instructions and students' questions from time to time.Watching their every move with interest.He noticed that the Italian looked at the female students from time to time, and every time he was more focused when instructing the female students, he smiled knowingly.

(End of this chapter)