Painting working group, mural no.9.
"Tch, if I had known better, I wouldn't have come with my father. Even a painter can do this shitty job."
Sakai Tsunamasa put down the tray and paint in his hands, and looked through his mask He yawned loudly, lowered his head and said to his companions under the ladder.
"Feed that person, aren't you bored?"
Gu Weijing just raised his head, glanced at the other person, and shook his head.
"Not at all, and I don't think if your sister were here, she wouldn't ask this question."
This is already the second day of the mural restoration project.
Although the official name of this project is called Shedanada Fresrestoration Master Project, it can be simply translated as "Shwedagon Pagoda Mural Repair and Restoration" project.
But in detail, it is actually a very complicated task.
First of all, Shwedagon Pagoda is just a general concept.
Since the Bagan Dynasty in the eighth century AD, Myanmar has been known as the country of a thousand pagodas and is also the site of one of the largest Buddhist murals in Southeast Asia.
This project includes the Shwedagon Pagoda itself, the Chinese-style Fuhui Temple on the left side of the Shwedagon Pagoda, which was built with donations from local overseas Chinese businessmen during the Guangxu period, and a series of related historic sites.
Secondly, mural restoration is also a very complex category, and can even be completely independent of the painting system.
It includes pigment analysis, disease classification statistics, retention of original data, protection of the on-site environment, etc.
The knowledge in specific professional fields can be written into hundreds of pages of textbooks, which can take days and nights to finish.
In short.
For this kind of ancient temple murals, repair is the main task, supplementation is the supplement, and repainting is the last.
For those walls that are not severely weathered and cracked, they can basically retain their original appearance and monuments. Injection molding and other processes are generally used. This is similar to the practice of carefully adding a layer of glue between the wall embryo and the mural to fix it, and then having a specialized cultural relic restorer smooth out all traces of wind erosion through powder filling and other processes.
The work that approximates the restoration of broken porcelain is carried out by a professional working group specializing in cultural relics protection. It is a parallel line with painters like them and has little to do with it.
The work projects hosted by Mr. Cao are mainly divided into two categories.
First, there is the painting of new murals.
Some of Yangon’s ancient monuments are more than two thousand years old.
Dynastic changes in the past dynasties, wind, frost, rain and snow. In modern times, foreign colonial invasions by the British, French, and Japanese came and went like a revolving door.
Many of the original murals have been lost in the long river of history.
This part of the work is mainly aimed at those murals that have been recorded in history but have disappeared, and they can reappear in the world by re-painting them in their original locations based on ancient book materials.
Secondly, for some damaged murals that have been partially lost due to various reasons, they should be repaired without destroying the original appearance.
If the secondary restoration of the mural is not careful, it will destroy the original state, resulting in the visual effect of "obsessing the guest with the host".
This is also the reason why the Myanmar government is determined to invite so many internationally renowned master artists this time.
The first is to enhance international influence, and the second is that local painters do not have the confidence.
The real test of painting skills will definitely not come to young people like Gu Weijing and Sakai Tsunamasa.
Gu Weijing’s current task is to carefully use pink Chinese painting paint on the wall to repair a lotus on the wall numbered no9 according to the manuscripts and templates given by others.
“Coloring simple patterns.”
This is the job assigned to young painters like him and Tsunamasa Sakai.
After the walls have been painted white, the painting of the mural is divided into three major steps: drafting, inking, and coloring.
Usually these three steps can also be used to clearly divide the work and level of each artist in the work group.
The so-called first draft is also called a pink draft or a score.
This part is the easiest and the most difficult.
It is the simplest because it requires the least physical effort to operate. It is just a normal Chinese painting on paper.
It is said to be the most difficult because this step is the foundation of everything. It determines what should be painted in the mural, how to paint it, and what the spatial layout is.
Making good drafts and blueprints on drawing paper is also the most challenging place for an artist to test his skills.
The person in charge of this work is Mr. Cao, Kazunari Sakai, Lin Tao and other highly respected old artists.
The second step is inking. The painter needs to use charcoal to completely draw the mural on the wall on the paper basket. After confirming that it is correct, use black ink lines. Outline the mural.
This step is the work of ordinary painters like Gu Weijing's grandfather Gu Tongxiang.
The third step, which is also the most workload, is coloring.
Old painters will confirm what color should be painted on the manuscript, such as beige, light cyan, and each color number has a special mark.
After the marking is completed, in order to reduce the workload, young students will be responsible for painting the colors.
After experiencing Mr. Cao's words "I won't tolerate him", every painter is now very hard-working, and they do every step personally for fear that they will bump into Mr. Cao's gun. Orally.
For example, the facial makeup of characters, the shapes of animals, and the Buddha’s Dharmakaya, which require high color requirements, are simply not in the hands of young painters.
They can only draw the lotus, apply the background color, and trace the prayer flags in the hands of the monks. This structure is not complicated.pictures.
Tired and without a sense of accomplishment, this is what Tsunamasa Sakai said could be done by hiring a painter.
"Humph, it sounds like my sister is very familiar with you."
Sakai Tsunamasa was even more unhappy.
He originally wanted to be in a working group with his sister Shengzi, but he discovered a problem after arriving at the Shwedagon Pagoda.
Due to religious customs, many temples can only be entered by barefoot men and monks.
For example, the group of the mural numbered no9 is located.
Sakai Katsuko could only go to the project where Fuqing Temple was located, and the one who was in the same group as Sakai Tsunasa in the Shwedagon Pagoda became Gu Weijing.
Introduction to Chinese Painting 74100
Gu Weijing carefully controlled the movement of the pen tip.
Today is already the second day of the project. There are less than thirty hours left before the deadline for the panel reward task, so there is not much time.
He has not rested for a moment since morning. Gu Weijing must seize every opportunity to improve his proficiency.
Copying the works of masters is the only way to improve your art skills.
After the Middle Ages, almost every famous art master started by copying the works of other masters.
On the manuscript notebook in his hand, every drawing embodies the hard work of the old artists.
You can learn a lot even from simple coloring.
So he was not as impatient as Tsunamasa Sakai.
Gu Weijing gently held the pen and drew the petals of the lotus along the black ink line.
Looking at the proficiency experience value on the panel, it turned into 75100 for entry into Chinese painting. Please remember to collect it, the latest and fastest website is free to read without anti-theft