Gu Weijing subconsciously turned around and looked at Miss Katsuko next to him. Sakai Katsuko also looked at the boy he was holding quietly with big bright lilac eyes.
The two people's eyes met,
In this situation, there was no need for a teacher to teach him. Gu Weijing subconsciously lowered his head slowly, pursuing the girl beside him who instinctively wanted to kiss him.
Sakai Shengzi felt Gu Weijing's movements.
Her pupils contracted, her breathing began to become rapid, and her chest rose and fell rapidly.
"It's not... yet."
Sakai Shengzi suddenly lowered his head and put his forehead against Gu Weijing's chest, avoiding his kiss.
Gu Weijing's lips could only smell the plant scent of Miss Sakai's dark hair, which was stained with traces of conditioner.
"Oh, I'm sorry."
Seeing Sakai Katsuko's retreat, Gu Weijing blushed a little and apologized sheepishly.
"No need to apologize, I don't want to refuse your request, it's just... I hope our first kiss can be more ceremonial and memorable."
Katsuko Sakai’s earlobes were red.
She had just hesitated for a long time, with a fierce battle between heaven and man in her mind, and finally decided to listen to her mother's words.
"Wait a minute, okay?"
Sakai Shengzi rubbed her little head on Gu Weijing's chest and asked softly.
Gu Weijing smiled.
He stopped painting, and the two of them just stayed next to each other and hugged each other for a while, until Katsuko Sakai suddenly said: "By the way, I also filled out the audition application form for the Singapore Art Biennale in early autumn this year."
Gu Weijing was stunned for a moment and then became curious.
"So Katsuko, what theme do you want to paint?"
"I haven't made up my mind about the specific content yet. The theme of this year's art exhibition is [The Noise of the World], and the requirements are very broad." Sakai Katsuko let go of her arms, blinked and said, "You can also paint people, and you can also paint buildings. It's okay, but I've thought about the type of painting method, and your creative painting method inspired me... but it's not the fusion of Chinese painting and oil painting like yours."
There are similarities throughout East Asian art.
Vietnam and Myanmar have traditional silk paintings that evolved from Chinese paintings, and Japan has Yamato-e, a painting method that evolved from Tang paintings, and is also called Ningwa-e.
The painting method is closer to the traditional calligraphy and painting of the Eastern Xia Dynasty than the ukiyo-e that people often hear about.
Katsuko Sakai learned the corresponding painting techniques.
Her Chinese language ability is limited, but she has learned soft-pen calligraphy.
Brush calligraphy is very prosperous in Japan, and Chinese character culture is also very important among literati.
Until the 20th century, there were calligraphy masters such as Inoue Ichi and Furuya Cangyun who were very famous in the calligraphy circles of Asia.
Katsuko Sakai learned calligraphy in the same way as copying paintings, focusing on body, beauty, and shape. When copying calligraphy, she paid attention to the artistic value of copying calligraphy. As for the meaning of the specific words, it was not that important.
If not,
She will not be brought by her father to participate in international projects in Myanmar.
However, although Katsuko Sakai loved the eroticism of pen and ink displayed in Gu Weijing's works, after careful consideration, she gave up and followed a similar path.
It was inconvenient for Ms. Sakai to choose the exact same painting method as Gu Weijing.
First of all, her brush painting skills are still much worse than oil painting.
From a long-term perspective, if she is creating by herself, Katsuko Sakai would prefer to focus all her painting energy on oil painting.
Forcibly choosing this long road may not be suitable for you.
Secondly, from the perspective of participating in art exhibitions.
She didn't want to steal Gu Weijing's limelight.
If two people's paintings are too similar, especially in unpopular categories and have similar painting levels, the organizing committee will make a choice whether they are selected or participated in the exhibition.
A more understandable description is that four sisters in a university dormitory took the public examination and applied for the same highly competitive establishment position in the same unit at the same time.
Immediately, the best friends changed careers to perform Infernal Affairs, and it was difficult not to intrigue.
"What is it?" Gu Weijing asked.
"Actually, the story I just told about Manet and Monet is not just a metaphor. In addition to this year's art exhibition, I also hope to concentrate on Manet's painting style for a long time in the future, and absorb a certain amount of Carroll. The senior's impressionistic treatment of dark tones. This is a natural fusion painting!"
Sakai Katsuko said with a smile.
Gu Weijing nodded.
Of course, Impressionism is the product of the fusion of Eastern and Western Asian art and European art. The reason why their paper was submitted to a journal called "Asian Art" is not just that Carroll's painting "Old Church" was created in Yangon.
Every Impressionist painter was more or less influenced by Eastern art.
But unlike Castiglione, who needed to please the literati class to gain recognition from the Qing court, the techniques of the Impressionists were purely oil painting.
"Manet's way of painting..." he thought.
"Manet's painting style leans towards modernism. He was mainly influenced by two art trends, Japanese Ukiyo-e and Spanish traditional painting. He boldly used bright colors and abandoned the mid-tones of traditional paintings. I think this should suit me very well. "
Regarding the painting ideas, after deciding to try to participate in the exhibition, Sakai Katsuko had already thought about it in advance, and now it was very organized.
Manet was French, but the two painting styles that had the greatest influence on him in his life were one from Japan and the other from Spain.
The brushwork contains both the passion and splendor of the Iberian Peninsula and the two-dimensional flatness of Ukiyo-e.
These are Miss Sakai's two hometowns.
"Manet likes to paint very bright and brilliant works, and I can see in the painting style of Carroll's predecessors the idea of using dark tones to express intense colors. In a sense, these two painting styles can be blended . I want to use this as a basis to find a painting path that suits me."
Sakai Katsuko looked serious and said with fascination.
"The thinking is very clear." Gu Weijing nodded in affirmation.
He didn't think he could think of any better advice.
"I already have the path to painting, but my skills and proficiency in using brushes can only be improved slowly, and I can't rush it." Sakai Katsuko took out a palm-sized teak from the small schoolbag placed on the sofa. He took the photo frame and wiped his fingers with a tissue again before taking out the well-preserved sketch illustration.
"I've always been bad at incorporating my own emotions into paintings. I felt a little bit better a few days ago, but when I was practicing in the hotel, I was still a little unsure."
She handed the sketch to Gu Weijing and asked with expectation in her tone: "Teach me, okay?"
Gu Weijing took the sketch paper.
He recognized it as a small portrait he had given to Katsuko Sakai in the study room of Dulwich School.
"My father told me that painters should get close to nature and feel life. I would also like to hear your opinion, Gu Jun. You are the only person of your age I have seen who can handle emotions so well."
"Even if it's just a simple pencil sketch, when I look at this piece of paper, I can feel myself looking at myself in the painting, as if I'm looking in a mirror."
Miss Sakai stood beside Gu Weijing and asked for advice seriously.
"What are you thinking about when you draw? I feel that the lines I draw are always not as smart and sentimental as what you draw."
What are you thinking about?
Looking at the sketch paper in front of me,
Gu Weijing recalled his inner feelings when the first piece of work he created received a "feeling from the heart" evaluation on the system panel.
"I'm thinking about painting, but I'm not thinking about painting. I'm thinking about models, but I'm not thinking about models."
"It sounds like he's fighting Zen."
Sakai Katsuko had a confused look in her eyes.
"Actually... I don't quite understand. Can you explain it more intuitively?" She said openly that she did not quite understand the meaning of Gu Weijing's words.
"Remember when I was writing the thesis, I mentioned the idea of empathy." Gu Weijing said, "You need to resonate enough with the scenery you write, and your heart and environment are connected. When your heart is full of When you express your desire, painting is just a natural thing. There is nothing in your heart, and you are fully focused. You don’t have to pursue the emotion in the pen, you can easily feel the emotion flowing slowly at the tip of the pen."
"This resonance should be what Uncle Sakai said is the purpose of experiencing life and nature."
"Empty and yet utterly absorbed."
Ms. Sakai murmured to herself, thinking about the feeling of this kind of painting.
Gu Weijing gently touched the hair on the back of Sakai Katsuko's head and said: "The fastest way to feel all this is not to dream, but to find a model that can make you interested enough in painting. Don't treat the model like plaster. Empty things are not just a bunch of lines, but a living person. Get to know them and care about them. Draw them more and practice more every day, and you will be able to find the feeling."
Sakai Katsuko thought for a few seconds, curled her lips, and looked at Gu Weijing: "Gu Jun, do you mean that I should draw you more?"
"I think--"
Gu Weijing did not refuse, but also smiled back: "The common models in the works of great painters are mostly their lovers. There is a reason for this."
"Well, then you are not only my Monet, but also my Miss Molan occasionally!" Sakai Katsuko said casually.
"Then please ask Miss Sakai to take care of you." Gu Weijing joked smoothly.
Mademoiselle Meulin is the most common female model in Manet's works, and she is also Manet's long-term court...er, prostitute.
In the literary and artistic circles of the 18th and 19th centuries, this bohemian tone was the main theme.
Venereal diseases and tuberculosis were among the artists' signature traits.
Celebrities who were infected or died of syphilis, including Van Gogh, Maupassant, Nietzsche, Wilde, Schubert... you can think of half a company of names just at a glance in your mind.
Manet's favorite female model, Mo Lan, was not even a lover or a courtesan, but a prostitute with a serious career.
Sakai Katsuko was stunned for two seconds.
When she realized the meaning of the other party's teasing in her heart, her cheeks immediately turned red, and she patted Gu Weijing's arm lightly in embarrassment.
"Not serious, you know that's not what I meant." Miss Katsuko's voice was as thin as a mosquito's buzz.
Gu Weijing liked it very much when he saw Miss Sakai Katsuko's tender-skinned face, her cheeks turning red like ripe apples and her innocent look when she joked.
He easily grabbed the other person's arm and held her in his arms.
Sakai Katsuko struggled twice symbolically, then half-pushed and half-stretched her arms around the other person's neck.
The two of them made love for a while.
Gu Weijing didn't do anything too extreme, he just hugged, and at most just whispered some words face to face.
But it is also a simple physical contact. The physical stimulation brought by Lang's love and concubine at this time is not at the same level as when he was just painting.
In a short while,
Two young people who were equally young and fell in love for the first time felt a little hot all over.
Gu Weijing was only a little sweaty on his collar and forehead, but Miss Shengzi was no longer nervous or shy, as if she had been fished out of the water and was soaked in sweat.
A few strands of wet hair clung to her temples. The girl's breathing was as fast as a fish out of the pond, and even her eyes were a little blurry.
Looking at Miss Sakai's pitiful and pleading look.
After all, Gu Weijing decided to be a gentleman with great willpower and did not take the opportunity to kiss her.
"I feel... no... not good."
Sakai Katsuko sat on the fabric sofa on the side for several minutes, and the violent ups and downs in her chest slowly subsided.
She took herself half a cup of coffee from the coffee machine, and added a small half cup of ice water from the refrigerated water dispenser to the coffee cup.
The girl was not in a hurry to drink, so she held the iced coffee in front of her chest and sipped it in small sips, using the coolness from her chest to calm her body that was hot under the pheromones.
that's all,
Her voice was still breathless.
"Did we just get too close?"
"No...I'm not referring to this." Sakai Katsuko said slowly, "I'm referring to Mo Lan, the matter of letting you be my model."
"I don't think this is good." Sakai Katsuko shook her head.
The two were just making out for a few minutes before Miss Sakai suddenly changed her mind. Gu Weijing didn't speak, but looked at the girl on the sofa with doubtful eyes.
"I probably have to practice a lot every day. If I draw you, I will be very familiar with using the brush like this." Sakai Katsuko looked at Gu Weijing.
"Isn't it good to be familiar?"
"not good."
Sakai Katsuko shook her head.
“That’s probably not a bad thing for making art, but I don’t like it.”
"Familiarity will make people lose the original passion and make me regard it as normal. And, frankly speaking, I have to consider the possibility of not being able to draw the work I want for a long time. Paintings with the same theme may also make me feel tired and frustrated.”
Miss Sakai pinched a strand of wet hair with her fingertips, "I don't like to associate your face in my heart with the psychological feelings of exhaustion and frustration at any time."
psychologically,
Associative effects occur in the human brain.
When a person listens to a piece of music he likes, but does something that makes him feel very painful, such as eating dark food.
Over time,
When you hear a similar melody again, you will be reminded of the taste of dark cuisine.
"Gu Jun, I don't want you to be my practice model. Just like a kiss, a kiss that comes too easily will lose its charm. I hope that in the future, when I feel that I can feel our emotions as warm and beautiful as today, my heartbeat will When it sounds like a drum, pick up the brush again.”
"I hope that every time I want to draw your face, it will make me excited and shy." Sakai Shengzi looked at Gu Weijing's profile.
Miss Sakai is very shy now, but her tone is very serious: "I hope that when you are gray-haired, I will still blush when you draw pictures for you."
"Well...then you can change to a model? How about Jasmine."
"Jasmine?"
"She's always been a sweet little model, and I promise you, she's still very well behaved."
(End of chapter)
