"Tsuna Chang, do you think what he said makes sense?"
Sakai Kazunari turned his attention to his son.
Sakai Tsunamasa didn't expect that he would have his own affairs here, and he suddenly became nervous.
"Uh, uh..."
He hesitated.
"I see that the petals of your lotus are all painted. Apparently Tsunasaha you don't think this is a problem, so why don't you answer your companion's concerns?"
Uncle Sakai didn't let him go just because Sakai Tsunamasa looked very embarrassed.
He pressed and asked: "Did Gu Weijing make a mistake, or was there something wrong with the design of this manuscript? Should I use color No. 2 or No. 3 for the core of the painting?"
Sakai Tsunamasa was even more hesitant.
A morning's work had put his brain into a mechanical, numb assembly line state.
He painted whatever was written on the manuscript, never thinking about such trivial issues as the color of the lotus stamens.
What color should the stamens be?
Everyone has his or her own opinion on this issue.
Maybe what Gu Weijing said makes sense, but these experienced painters generally don't make mistakes.
etc.
He had some impression of the author of this manuscript.
With the corner of his eye, Tsunamasa Sakai glanced at the drawing paper and saw the artist's name written on the corner of mural No. 9 - Kazunari Sakai.
The manuscript of this painting was drawn by his father himself, and the paint marks on it were also determined by his father.
Sakai Tsunamasa immediately felt confident.
My father was good at painting Ukiyo-e.
In the traditional sense, ukiyo-e originated from the prints of the Sui Dynasty, became popular in the Edo period, and was more influenced by Western painting schools than Chinese paintings. In order to ensure the effect of mass reproduction of woodblock printing, the control of pigments reached a strict level.
Although the ukiyo-e genre in its most original sense came to an end in the early twentieth century, painters now generally study variations and styles such as "Post-Impressionism" that absorbed some of the essence of ukiyo-e.
But Kazunari Sakai is still famous among painters of his generation for his sensitivity to paint.
Sakai Tsunamasa didn't think his father would have a problem with this kind of thing.
"It should be No. 3."
"Normally, when painting lotus flowers, we should use No. 3 off-white?"
Uncle Sakai confirmed.
"Yes, normally you should use No. 3 off-white color."
He answered decisively.
"well……"
Hearing the familiar sigh, Sakai Tsunamasa's heart immediately sank.
"You have a keen eye. You are right, but you are also wrong."
Sakai Kazunari completely ignored his son and turned his attention to Gu Weijing.
"Normally, when painting lotus stamens, for better contrast, dark pigments or even gold powder would be used. However..."
"Is this an abnormal situation?"
Gu Weijing captured the emphasis on the word "normal" in Uncle Sakai's mouth.
Professor Kazunari Sakai nodded.
"Because it's a mural."
He explained: "The base of the murals here uses chalk clay powder. Compared with silk or raw material commonly used in Chinese paintings, white clay powder is relatively weak in water content, and more importantly, the clay powder is made of clay." yellow."
"Hmm... that's it. The adobe of the wall turns yellow, which can neutralize light-colored pigments with good translucency."
Gu Weijing nodded in admiration.
As long as you put your mind to it and work with these experienced artists, you will always learn something new.
"Come and color this lotus."
Kazunari Sakai signaled.
Gu Weijing turned to look at Uncle Sakai and found that he had no intention of leaving at all.
"Are you going to give me guidance on the spot?"
He was a little surprised that such an artist could teach him personally, but he was treated like a direct disciple.
Even though Uncle Sakai has his name at Tama Art Academy, it is just like being an academician or an academic figure at the Polytechnic University.
The school provides all kinds of good food and drinks to such professors, for fear that they will be snatched away by other art schools.
Whether he wants to take students with him or not depends entirely on his personal mood.
The other party is willing to give me guidance here, but he can't compare to the popular paid-for-knowledge projects like the online master classes that sell for 69,998 yuan.
He immediately mixed the paint and picked up the pen.
Gu Weijing's brush strokes were gentle, and he gently rotated the brush around the color block, sweeping the light pink paint around.
This kind of brushwork is called 桡 dye, because the blush is deeper. This kind of brushwork is usually used on the red glow of the lady's cheeks or the reverse root of the petals.
"When it transitions to the position of the front end of the lotus petals, it changes from dyeing to thread-pulling."
Kazunari Sakai taught on the side.
"Thread-pulling method?"
Gu Wei paused for a while.
The pulling method is often used to outline the feathers of birds, but is rarely used on flowers.
"Yes, it's the thread pulling method."
Sakai Kazunari said: "You will understand it after you practice it."
Gu Weijing gently raised his pen and changed the position where the tip of the pen touched the wall.
It's really different.
He found that compared to the previous open-and-close type dyeing, it was much more delicate to draw out the color little by little, like dragonfly dots of water, especially when dealing with the narrowing of the petals.
[Experience value +5]
[Experience value +7]
[Experience value +9]
Hints of increasing experience keep appearing.
Gu Weijing somewhat understood why Sakai Katsuko's painting skills were so exaggerated.
This feeling of being cared for personally by a master artist at all times is indeed an obvious improvement in one's painting skills.
He was really a little envious.
What Gu Weijing didn't know was that Kazunari Sakai, who was looking at him, also liked his understanding and hard work.
Artists like students who are attentive and smart.
For example, Gu Weijing's previous confusion about paint was obviously the result of careful thinking.
The most important difference between a genius and a mediocre person lies in this little bit.
Tsunamasa Sakai's talent is not bad at all.
Compared with Shengzi, what he lacked was this kind of patience and meticulousness, and he didn't even realize it.
Gu Weijing was already a little better than his own son in being able to spot the problem. This gap in mentality is more difficult to bridge than the shortcomings of temporary painting skills.
"If only he were my son."
"well."
He looked at Gu Weijing, then at Tsunasa Sakai on the side, sighed heavily again, gave Gu Weijing a few words, and rolled away again.
Looking at his father's retreating back, Tsunamasa Sakai, who was ignored, felt even more sore in his arm holding the drawing board.
Soon, when Gu Weijing completed the seventeen petals of this lotus painting, the experience value panel in front of him came to [Chinese Painting: Introduction (100/100)] almost instantly.
Gu Weijing held his breath and carefully drew the last stamen on the wall with the tip of his pen.
Just like the finishing touch.
The moment he put down the last stroke, the experience bar in front of him received a new hint.
[Your Chinese painting level has been improved. 】
[Current level: lv3 semi-professional (1/1000)]
[Task - Raise the level of Chinese painting to lv3, completed. 】
[Reward: "Mojie Notes" can be collected. 】
Gu Weijing looked at the panel and blinked.
[Item: Mojie layman’s hand]
[Quality: Knowledge Card]
[Special Effect: After obtaining the knowledge card, you will clearly understand its corresponding content. 】
[Equipment requirements: Chinese painting level Lv.3]
[Introduction to the master: Wang Wei, who worshiped Buddhism as a child, was given the nickname Mojie, taking the meaning of the wise layman Vimalakirti in the scriptures. He was also known as the layman Mojie. He was a poet and painter in the Tang Dynasty. It is said that his skills were as skillful as gods. It is a mural of Buddhist scriptures painted at Dajianfukuji Temple, which was called "directly pointing to the human heart" and "becoming a Buddha by seeing one's nature" by people at the time.
Su Shi of the Northern Song Dynasty commented: "When you taste Mojie's poems, there are paintings within the poems; when you look at Mojie's paintings, there are poems within the paintings."
[Note: From a distance, the mountains are colored, but up close, the water is silent. When spring comes, the flowers are still there, and the birds are not surprised when people come. 】
Unlike the sketching skills that could be activated, Gu Weijing only felt a burst of complex knowledge pouring into his mind.
He closed his eyes and realized it carefully.
There is no doubt that the prosperous Tang Dynasty was a climax of the entire Chinese civilization where a hundred flowers bloomed, and layman Wang Wei was one of the lotus flowers that neither spread nor branches.
When people think of Tang Dynasty calligraphy and painting, they often first think of Wu Daozi, the painting saint who painted "Eighty-seven Immortals". The second is Er Li, also known as Li Sixun, Li Zhaodao and his son. Few people can think of Wang Wei at once.
This is not because Wang Wei’s paintings are not good.
Gu Weijing knew that Wang Wei was a very versatile painter.
Not only did he paint countless temple walls, but the then prime minister Cui Yuan wanted to paint a screen wall for his home, and the first person invited was his colleague Wang Wei. Moreover, he was even invited to paint with Wu Daozi at Daci'en Temple.
He is also good at painting landscapes and pastoral areas.
"He began to use light rendering and then changed to the method of hooking and hooking" - this is the praise and summary of his painting skills from later generations.
It's just that he should be regarded as too almighty. As an official, he is a high-ranking official of fifth rank or above who can wear nobles. When it comes to writing poems, he is an extraordinary talent who can make Princess Yuzhen stunned with just a few words.
In the education he received in school, Wang Wei appeared more as a scholar-official and a literati. I will only lightly add a note behind those famous poems that have been read by countless people - the famous painter of the Tang Dynasty.
Gu Weijing held the brush and pointed it in the air, trying to figure out the feeling of painting.
This is different from the basic painting skills of another reward given by the system [Adolf von Menzel].
That skill gave him experience. When the skill was activated, Gu Weijing seemed to be possessed by the ghost of the old man, possessing extremely skilled pen skills.
And this time the reward is knowledge.
Wang Wei experienced the Anshi Rebellion, which turned from prosperity to decline in the Tang Dynasty. After that, vassal towns were separated and wars continued.
His poems and songs can still be preserved in the world through word of mouth. His original paintings and related books and notes have been lost like the precious manuscripts of many masters of his generation.
Nowadays, the only theoretical insights on painting art that are clearly written by Wang Wei and circulated in the world are two short songs of just 100 words, "Landscape Sutra" and "Landscape Jue".
The "Notes of Mojie" provided by this system is obviously of the type that has been scattered in the long river of history.
This knowledge card is very magical.
There is no need for him to read word by word. As long as he concentrates, the relevant contents of "Mojie Notes" will naturally become familiar to him, as if he has excerpted and recited the entire text thousands of times.
The content here is very casual, including interesting conversations with friends and daily essays.
There was even a seemingly nonsensical note: "Today, the housekeeper took a box of Suzhai and four snacks from Zen Master Jinchangfang Shenhui." This kind of note was obviously written casually.
What really makes Gu Weijing feel like he has found a treasure is that the main content of this book contains a large number of techniques and insights written down by Wang Wei, a senior artist of the Tang Dynasty, about his daily painting.
"The beauty of color lies in the five senses. I often say that brush and ink bring out the nature of nature and are the work of creation..."
In my mind, I felt like there was a middle-aged scribe holding his hands behind his back, frowning slightly and splashing ink on the paper while reciting various insights and insights.
He secretly compared the two rewards given by the system with each other in his mind.
It was difficult for him to judge which reward was better. He could only say that each had its own merits, and each time exceeded his imagination.
If he really had to choose, he would even prefer this Mojie Notes.
Because the former is just like its type [skill] in the system, it is more like a martial skill like Lingbo Weibu and Six Meridians Divine Sword. The latter is the more essential [mental method].
His current skill bar proficiency is still at the semi-professional level (1/1000), which is much weaker than Sketch, which is close to lv.4.
But it seems that he has a pair of extremely wise eyes that span thousands of years. Through his own eyes, he looks at the manuscripts and murals in front of him, and examines the level of those who come after him with the eyes of his predecessors.
Gu Weijing took two steps back slightly and looked at the mural in front of him.
He found that when he was coloring, he could only follow the content arranged in the manuscript, step by step, and even if he was confused, he could only keep it in mind.
Now, I can almost immediately get the answer from the experience in my notes.
If he had acquired such a skill before, he wouldn't have to wait for Uncle Sakai to discover the mystery of the color of the stamens.
Moreover, his proficiency in the techniques of traditional Chinese painting is still far inferior to those of older painters who have been immersed in gongbi painting for half their lives.
But he had begun to see problems with the painting in front of him.
For example, if you compare the knowledge in your hand notes, the ink lines at the petals of the lotus should be thinner, the curve at the root of the flower should not be rounded enough, and the ink lines at the branches should be thinner to show the tall and straight posture of the lotus... …
Gu Weijing picked up the pen and prepared to weigh the hot iron and complete the coloring of several other blank spaces.
He glanced at another Buddha's rosette waiting for him to color. Gu Weijing mixed the paint according to the instructions on the manuscript and was about to start writing, but stopped again.
The color here is industrial red according to the original manuscript.
I should use a light red pigment mixed mainly with safflower, azurite and cinnabar.
But Gu Weijing hesitated for a moment, and a line of text suddenly flashed in his mind from the "Notes of Mojie".
"Paired with cinnabar, the lotus platform painted will have a moist and radiant color, and its desire will fly out of life."
Cinnabar, also known as cinnabar, the main chemical component is mercury sulfide, which is one of the dyes commonly used in industries such as alchemy and construction in ancient times.
According to the notes in my mind - if cinnabar is added to the paint configuration, when painting the lotus platform, the color will appear moist and lustrous, as if it is about to fly out of the painting.
