no personality > All-around great painter > Chapter 21: Picture of Worshiping the Buddha and Protecting the Dharma

Chapter 21: Picture of Worshiping the Buddha and Protecting the Dharma

Gu Weijing tried for the first time to prepare the paint according to the formula in Mojie's notes.

He picked up the knife on one side and roughly drew on the cinnabar ink ingot, cut off a few small pieces and placed them in the mortar on the side, carefully mashing and grinding them.

After seeing that it was almost a bright pink color, Gu Weijing put down the porcelain rod in his hand and added a little diluted gelatin to increase the viscosity.

Logically speaking, the current cinnabar ink should appear as a clear liquid like red ink.

But Gu Weijing could clearly see that the bottom of the paint showed many small and uneven particles like sand.

Precipitation is what Gu Weijing was worried about before using cinnabar ore.

There is a huge gap in properties between naturally mined raw mineral pigments and modern chemical red pigments, and one of the obvious shortcomings is easy precipitation.

Unless you are very experienced, there will be a problem of adding more noodles and more water, and adding more water and noodles.

If you add too little water, sand-like particles will appear on the brush, destroying the overall texture of a painting. If you add too much water, the paint will not solidify and may even drip on the mural.

There is a reason why each pigment is eliminated. Perhaps the effect is not good, or the conditions for use were harsh in the past.

The masters of these mural restoration projects may not have considered the possibility of using cinnabar to color.

However, the conditions for using cinnabar are difficult and the preparation process is complicated, which is the important reason why this natural mineral pigment was not used in the end.

"Add warm soup and stir with your fingers until smooth and moist."

In the notes in my mind, a line of notes flashed at this moment.

Gu Weijing was startled. He rolled up his sleeves, tentatively fetched hot water, put his fingers into the paint tray, and used the porcelain rod to grind it.

Unexpectedly, this method is surprisingly easy to use

He could feel the cinnabar powder melting little by little in the hot water through the clear touch on the skin between his fingers.

When he just felt that all the particles had disappeared, he immediately stopped adding water.

The paint in the plate immediately turned into a just right color, with a slight jelly-like feeling but a color that would never stick to the pen.

Painting Experience 7

Chinese Painting v3 Semi-Professional 81000

The virtual panel in front of him prompted that his painting proficiency has increased. This is what Gu Weijing has gained. After the panel, for the first time, I did not gain experience points while painting.

This unique tip cannot be summarized unless you have used cinnabar hundreds of times.

Simple yet incredibly effective.

Add warm water and use your fingers to stir the paint.

Only these two incredibly simple points have easily solved a problem that has troubled countless Chinese painting painters.

Gu Weijing sighed with emotion, he knew that according to the master's habit, in order to prevent the disciples from starving to death, this kind of little trick is often a magic weapon to keep.

For example, passing on a male but not a female, only passing on the first-time disciple, not the first-name disciple, only passing on the junior apprentice, not the eldest disciple, etc.

The hands of the old cobbler are stained The recipe and the temperature of the roast duck in the master's mouth are all similar.

If a disciple dares to learn secretly, his master will not say anything even if he is beaten to death.

This is a social experience with local cunning, and it is also the reason why many precious skills have been lost.

People reinvent the wheel again and again.

Needless to say, he can think of techniques like using warm water and fingers. In history, there must have been many inventions by masters like Wang Wei who were proficient in calligraphy and painting, but they were gradually lost, waiting for someone to invent them again.

Gu Weijing is not a sentimental person.

He just sighed for a moment, and continued to follow the instructions in the notes, quickly adding clay silver, cyanine and other items in sequence. From time to time, various corresponding tips would pop up in the notes.

When the Chinese painting proficiency on the panel in front of Gu Weijing reached Chinese painting v3 semi-professional 351000.

The small pool of paint in the tray in front of me has turned into a lovely, translucent pink and blue.

Just like a lotus floating in the water.

Gu Weijing excitedly picked up the paintbrush in his hand and dipped it gently into the palette.

Time passed quickly.

Preparing pigments is not only a technical job, but also a manual job, especially when it is separated from the convenient modern chemical reagents in tin tubes and completely uses the ancient method to mix ink.

But when you watch the various mineral pigments dissolve and penetrate each other in the palette under your own command, and finally turn into a texture-filled color on the painting, this kind of feeling in your heart The sense of satisfaction and fulfillment is also something that cannot be explained in words.

Looking at the pink-red texture of the lotus on the mural, Gu Weijing was very fond of it.

This color is really beautiful. Just relying on the unique three-dimensional effect of the pigment color under the sunlight, it actually feels like drawing a three-dimensional space on a two-dimensional plane.

Gu Weijing was so satisfied with what he saw. Looking at the unused paint in the tray, he even had the urge to lick it with the tip of his tongue.

He finally experienced the feeling that Wang Xizhi’s child had when he dipped steamed buns in ink and ate them.

Not to mention, this use of five colors and five flavors may really be the expression of the ancient Eastern Xia literati's way of conveying the Tao in writing and painting, and they can't live without going crazy.

In Mojie’s notes in his mind, there is also a record of Wang Mojie’s painting process. He used his sense of taste to assist him in preparing the pigments he wanted. He also noted the sweetness and bitterness of different ores. Wait for detailed description.

The book in my mind has a lot of pages that record the combination of different paints and related sketches.The skills are waiting for Gu Weijing to put them to the test. Now he even has the pleasure of opening treasure chests in online games.

Chinese paintings are admittedly not as scientific as Western painters in dealing with perspective and character texture.

But the so-called freehand charm lies precisely in the unpredictable changes between the light and dark colors.

He speeded up his work and couldn't wait to try more color combinations.

Painting experience value 9

Painting experience value 7

Painting experience value 5

The speed with which Gu Weijing completed the painting work Faster and faster.

His most experience now comes from the process of pigment preparation, which is also a kind of learning about light, shadow and color in painting.

As for the coloring itself, he no longer needs to spend too much time reasoning and thinking based on the manuscript to know the best way to draw.

As for whether you can draw well, the only way is to practice more.

When Gu Weijing finished all the work on the mural in front of him, the time on the watch had only gone for more than half an hour.

He looked at his watch. It was already a bit late to eat at this time.

Gu Weijing didn’t want to wait until everyone started working together in the afternoon.

He was looking for the next set of tasks assigned to him. The card Tsunasa Sakai signed and received before leaving for lunch break was in Gu Weijing's pocket.

It is the wall numbered "no17".

All the walls that need to be repaired have their own Arabic numeral numbers, and the wall numbered seventeen is further inside.

Gu Weijing took his brush and paint tray and walked to the west side of the Shwedagon Pagoda for a few minutes, crossed several sets of isolation lines, and finally came to Wall No. 17.

He raised his head.

"Eh"

This turned out to be a somewhat incomplete picture of worshiping the Buddha and protecting the Dharma. Please remember to collect it, the latest and fastest website is free to read without anti-theft

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