It's late at night.
I don’t know when it started to rain lightly. The low and cold rain clouds covered the moon in the sky.
The candles and gas lamps in the shanties in the neighborhood were extinguished one by one, like fireflies swallowed up by the chaotic and dark evening fog in the wild.
The small studio facing the street on the second floor of the Lucky Orphanage is still lit.
The misty cold wind came in through the breathable screen in the corner of the window, blowing the plaid curtain beside the window and swaying slightly.
The average temperature in Yangon in April is 24 or 5 degrees Celsius. It looks like a pleasant and pleasant weather, but in fact the temperature difference is very large.
When the temperature is high during the day, it can climb to more than 40 degrees at most, but in rainy weather like this, it can occasionally drop below 15 degrees.
Because of the heavy water vapor in the city, the temperature difference between hot and cold feels greater than what is predicted in the weather forecast.
On a drizzling night, it is a bit exaggerated to say that it is freezing cold, so turning on the heater is a bit exaggerated. For those who are weak, cover yourself with a thin blanket, and you will definitely shiver slightly when the wind and rain blow.
Gu Weijing was painting and could not feel the cold at all.
Fragrant breeze, spring mood.
The flowers and branches are colorful and purple.
Gu Weijing wrote quickly, and the swaying flowers and trees seemed to be blown by the wind and rain outside the window. In a matter of seconds, a shower of flowers bloomed on the rice paper.
Mrs. Sakai taught her daughter that a painter should have peace of mind and leave himself a small quiet space even when his emotions are the most intense.
Use seven points of emotion to turn the clouds and rain, and the remaining three points of calmness to create flowers.
Gu Weijing discovered that this was really a wonderful feeling.
His mind is in a Schrödinger state between "quiet" and "not quiet".
He was clearly copying the master's traditional Chinese paintings hanging on the wall in his small studio, concentrating on them, meticulous, and as calm as a lake.
The whole person's thoughts are highly active, and his mind is wandering thousands of miles away.
Paint and be lost in thought.
It is just right for the two to live in peace and harmony without any delay.
Every time he tried to copy the Hundred Flowers Picture, he tried his best to keep himself calm and focused on comparing the outlines of every stroke between himself and Ms. Tangning. Similarly, whether I have learned a little bit about the master's meaning and form.
It’s not like painting, but rather like a high school student holding an answer book to exercises, racking his brains, and meticulously studying for the Physics Olympiad.
Every stroke is drawn with constant thought.
Trying to pursue the original "master taste" of Ms. Tangning.
Gu Weijing has painted many heartfelt and even painstaking works before.
But either it depends on the momentary resonance of emotions and the environment.
Or it is the kind of half-dream, half-awake, half-dream, half-awake, half-dream, half-awake, half-dream, and half-illusion after the system's small candle is lit.The emotional state is piled up.
It wasn’t until tonight when he started painting that he had a clearer understanding of the painter’s emotional state.
If you want to be a painter and pursue painting works of a simple level, then there is nothing wrong with focusing on it without any distractions.
The most important thing about simple works is seriousness.
Don’t underestimate the word seriousness.
Xu Beihong and Qi Baishi also painted paintings that were very perfunctory and hasty.
If you are serious, you will already be better than more than 80% of your peers.
Simple works are absolutely not shameful when placed among the four major art academies in the world.
However.
If you want more, if you want that one-percent masterpiece, even the art biennale in developed countries like Singapore cannot get a piece of shocking and heart-breaking emotion in several years. paintings.
Then just being serious is not enough.
One hundred percent seriousness equals one hundred percent craftsmanship. This is the problem with Miss Mona’s works.
Be patronizing and serious.
In addition to seriousness, the writing cannot be filled with other emotions.
The mood needs to be relaxed.
When you relax, you have the space to let your emotions flow from your heart into your writing.
Recall.
The reason why he was able to draw the cover of The Little Prince so penetratingly was because at that time his thoughts were traveling around the universe in the literary space written by Saint-Exupéry, and he was not thinking about it at all. How to draw.
At this moment, Gu Weijing was very relaxed.
He no longer tries to kill every clutter in his heart.
Rather, it seems to be a Baroque violinist who has loosened the strings that are about to break by three thirds, allowing the strings of gut to jump uncontrollably and playfully at the fingertips. .
It is like a diver lying on his back at the bottom of the lake, letting himself go and lying comfortably on the bottom of the lake with swaying water plants.
Appreciate the waves echoing on the surface of the lake.
Many of the detail processing and brushstrokes that troubled Gu Weijing before were instead painted smoothly and satisfactorily by him.
This time when I was copying the Hundred Flowers Picture.
He even had the time to think of the painting stories of the great ancient Eastern Xia painters that many had read about when they were children, as well as the documentary records describing their moods.
It corroborates with my current painting state of mind.
The finishing touch and the wonderful strokes bring out the flowers.
The ancient scholar-bureaucrats of the Eastern Xia Dynasty liked to place their affection on pen and ink, and integrate their own spirit and philosophy into the art of calligraphy and painting, leaving behind many folk stories that are both true and illusory, magnificent and unpredictable.
The ancestors in Confucian culture are the inseparable religious beliefs that are integrated into the blood of every modern person.
Zheng Sixiao, the great painter whom grandpa admired most, had to sit facing his motherland even when he was eating or drinking.
The old man Gu Tongxiang did not do such performance art, but in order to prevent Gu Weijing from forgetting his hometown and losing his cultural roots and historical soul.
Since he was a child, he has found many stories and biographies about the lives of great painters in history for him to read.
Gu’s ancestral home is Wuxi.
Their family claims to be the descendant of Gu Kaizhi, the Gu family in Wuxi. It is unclear whether they are trying to put their face on the line, but many of the children's books he wrote when he was young were about this great painter.
Gu Tongxiang hopes that his grandson can learn a bit of upright, noble, romantic and elegant literati temperament.
He still remembers a story written in Shishuoxinyu Qiaopai about "the neighbor girl seizes the god with acupuncture", praising Gu Kaizhi's unbelievable skills.
Legend has it that there was a girl from Gu Kaizhi’s neighbor. She was a beautiful girl who was “clear and beautiful”. Classmate Gu fell in love with her after taking a few glances. He provoked her many times, but she looked down on him and refused to agree.
So Classmate Gu painted his image on the wall and nailed thorns to his heart.
Because the painting he painted was so similar, the portrait of the beautiful young lady on the wall already carried a bit of her soul.
As a result, the woman suffered from heartache.
Classmate Gu told his longing, so the beautiful girl agreed to follow him this time, and Gu Kaizhi quietly pulled out the needle. From then on, the girl's heart disease was cured, and the world became the legend of the painter.
When I was a child, I read the vernacular phonetic version of Gu Weijing, who spoke New Language, and was not sensible.
What grandpa said is what it means.
I just feel that in this article Gu Kaizhi really looks like an immortal or a Taoist priest from Maoshan. How similar the paintings are to capture people’s souls
After growing up When Gu Weijing recalled this story, he almost spit out blood.
Damn it.
Some pretty girl doesn’t like you, so she goes home and beats the villain wildly to make her obedient.
Where is this story "upright and noble" and where is it "romantic and elegant"
This is similar to those Japanese porn comics circulated among boys, where they hide at home with a hypnotic remote control Hey hey hey, is there any essential difference between a bald perverted uncle who presses buttons like crazy?
This is considered romantic.
The perverted uncle in the book can also be regarded as pure love, okay?
This record cast a considerable psychological shadow on Gu Weijing for a long time, and he was quite confused about what the so-called "literary sentiment of scholar-bureaucrats" was.
Although he is also a family member, in his heart he actually prefers the description of Wu Daozi's painting of the Eighty-seven Immortals in the Tang Dynasty Famous Paintings Book, which is much more objective.
It is said that Wu Daozi painted wonderful things, such as "raining stars from the sky", "crying phoenixes", and "dragons chanting over the marsh". He also said that there was a painting boy who sat down to serve tea and water. Outside the house, I could hear the owner having a heated conversation.
He hurried into the house and found that the spacious hall was full of people exceptExcept for Wu Daozi, who was drawing with a brush, there was no one else.
Wu Daozi frowned and asked what was going on with the hurriedly running over. The boy replied that the owner likes to be quiet in painting. He heard noises in the house and was afraid that there was a thief, so he came in to take a look.
Wu Daozi Wenyan was furious, threw the brush on the boy's head, and said angrily, there is no thief anywhere. It was obvious that the immortal in the painting came out to chat with me, and when he was talking about something wonderful, he was frightened away by a fool like you, which disturbed the mood.
During the Republic of China, some American sinologists read this story and used it as a documentary argument to speculate that Wu Daozi was suffering from a disease similar to that of the Norwegian painter Edvard Munch and later Yayoi Kusama. Same as congenital schizophrenia.
You can see many illusions while painting.
If this is not the case, it is because Wu Daozi is well versed in the methods of hype prevalent in the modern and contemporary art world.
He deliberately made all kinds of strange noises while painting, and then spread the word among the children, making himself famous in Chang'an City. He was a master of self-marketing in the art industry.
Sinologists have conclusively concluded that Wu Daozi in the Tang Dynasty can therefore be called the ancestor of the entire art promotion industry.
Gu Weijing once firmly believed in this argument and regarded it as a guideline.
Now, he knows that the sinologist may have done some research in the field of psychology and has good documentation skills, but he is definitely not a successful art expert.
He must have never painted like Wu Daozi.
I also didn’t realize the most indescribable beauty of the painters’ mentality.
When the emotions are brewing to a climax, let the brush in your hand pull your soul, and you can have free rein on the paper.
A painter can be really drawn into the art world between paper and ink by the brush.
At this moment, Gu Weijing was drawing in his hands, but his mind seemed to be standing on an endless grassland, with only one wisteria tree in front of him.
Its posture is as graceful as the Queen Mother’s fairy tree, and as majestic as the world tree that supports the world in Nordic mythology.
It was raining outside the studio window, and it was also raining on the wisteria tree in Gu Weijing's heart.
Millions of purple flowers and leaves are scattered from the swaying branches.
It was like a piece of purple cloud slowly descending from the sky, covering the entire earth. As you looked up, the sky and the earth were covered with purple frost.
Since ancient times, a spectacular rain of flowers that has never existed in the human world fell in Gu Weijing's heart.
What he did was not to draw carefully, but to catch a flower from the rain of flowers in the air and throw it on the rice paper in front of him, and then painted the flowers and leaves as vividly and lovely as never before.
That’s all.
It seems real and imaginary.
Even the wisteria trees in the Royal Botanic Garden in Yangon have been cut down. Gu Weijing may have never seen a real wisteria in reality since he was a child.There are trees, but in his heart he can see the sky filled with flowers and rain.
When Wu Daozi, a highly skilled artist, was painting pictures of immortals, he could hear the chirping of the birds and be immersed in his creation, giving him the feeling that the immortals were coming out of his painting brush to talk to him personally.
It may not be true or false.
Ms. Tang Ning’s technique once made Gu Weijing stand in admiration.
However, Gu Weijing, who had already understood something, realized that there was an element of trickery in the emotional design of her paintings.
Big but not sophisticated, broad but not deep.
Every emotion is not enough to be absorbed.
The grace of the peony, the nobility of the plum blossoms, the purple energy of the wisteria, and the shining of the hibiscus in the snow are all slightly attached to each emotion.
It is like a fruit tea made from expired and discolored flavoring agents. It does have the taste of fruit, but not much.
Gu Weijing’s previous imitation of Ms. Tang Ning’s Hundred Flowers Painting could only scratch the surface, but Ms. Tang Ning’s Hundred Flowers Painting is compared to those shocking and moving masterpieces handed down from generation to generation.
It is just a superficial imitation.
She could only draw one or two points of each flower's ten colors at most.
Otherwise, there would not be a hundred paintings in full bloom. It would only receive a heart-felt evaluation on the system panel, not even perfection.
Gu Weijing can also capture emotions at this level.
When his inner lake is calm enough, all the ripples of emotions will be clearly visible, and everyone lives in the seven emotions and six desires all the time.
Whether it is Li Bai's prosperity, Xu Wei's vicissitudes, or Tang Ning's nobility, they are all in Gu Weijing's mind, but the depth and amplitude of the waves are different.
If he could pick out these ripples and blend them into his brushwork, it would not be difficult for him to draw a person with feelings like Tang Ning.
Gu Weijing no longer likes this copying style.
After experiencing so much, he wants to imprint the patterns on the porcelain of his state of mind on the rice paper, and bring the colorful wisteria flowers and leaves falling from his heart to the paper.
As Gu Weijing continued to draw, he no longer looked at Tang Ning's original painting on the wall.
He is not imitating the painting of flowers now, but painting his own wisteria flowers.
Russian leaning.
He put the final touch.
The flower cloud in my heart dissipated, and a brilliant purple flower tree appeared on the rice paper. The purple color was almost red, and the tree was like ink, as if there was painstaking effort flowing through it.
A prompt appears on the system panel.
The name of the work is Wisteria Flower Picture
Chinese Painting Techniques v5 Professional Level 2 505610000
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