The weather in Yangon was perfect in the afternoon, and the windows were opened to the maximum.
The warm wind carried the sunlight and poured it in from the outside. The light blue curtains were rolled up by the wind, leaving an unpredictable dark shadow on the white wall, as well as the tall and graceful figure.
Amidst the noise of people,
At some point, Katsuko Sakai walked a few meters behind them.
The girl stood by the window, the curve of her hips slightly leaning on the window sill, staring at the classmates who still had mocking smiles on their faces that had not been completely replaced by surprise.
“When jealousy clouds the eyes, one loses the calmness needed to appreciate the beauty of art.”
Sakai Katsuko said slowly and word by word.
"Senior Komatsu, I'm sorry but I don't feel any regret about what happened to us. I appreciate your sacrifice for me, but I also have the right to refuse this kindness. I am prepared to bear your insults and anger towards me. I'm ready, but I can't accept your insult to Gu Weijing."
"Osomatsu Taro, I, Katsuko Sakai, completely and completely disagree with you at all."
"You can take out your anger on me."
"But Senior Komatsu, for insulting one of the most outstanding peers I have ever seen in my life, I really can't afford to lose."
Her clear voice rose and fell with solemnity and determination, like a string of wind chimes hanging on a Zen temple on the Himalayan plateau, tinkling.
Everyone in the classroom opened their mouths.
If it weren't for the limitations of their physical structure, their jaws would have hit the floor neatly.
What the hell kind of divine expansion is this?
There must be something wrong with the way the world opens today. Everything familiar around us has become incredibly strange.
There is a saying in the art world that there is no need to judge standards for art, people’s eyes will naturally give the answer.
This statement is only half true at best.
There are a thousand Hamlets in the eyes of a thousand people. Of course, everyone has the right to like or hate a certain painting.
You can love Van Gogh, you can hate Monet. You can think that Andy Warhol is just a first-rate art speculator who tore rare treasures like Picasso's "Guernica" worth hundreds of millions of dollars into pieces, and then graffitied by Mr. Wang when he went to the toilet. Carefully put it into the underground vault of Citibank.
As long as you own the work, have enough financial resources and are willful enough, you can certainly do this.
In the long history of human art, whether it is a marketing trick of hype or simply the collector himself is more "unrestrained and free".
There are many things that are even more outrageous than these examples.
Every individual has the right to pursue individual and aesthetic differences.
But under the tide of society, art needs to have unified evaluation standards.
Galleries need to know which paintings are not worth mentioning and which paintings are worth collecting in glass display cases with constant temperature and humidity, and then hire three old men wearing armbands to watch them in shifts 24 hours a day.
Collectors also need to know which works bought for the price of toilet paper may become Mediterranean yachts and Victoria's Secret supermodels in the future.
What kind of work was bought with the price of a Mediterranean yacht and a Victoria's Secret supermodel? There is a risk that it will be passed on to the grandson and become toilet paper in the future.
The art world always likes to create an atmosphere for ordinary people, thinking that the evaluation criterion is the beauty or ugliness of artworks.
If the painting is good-looking, it will naturally be valuable; if the painting has low artistic value, it will naturally be worthless.
Of course this is bullshit to fool children.
Painters who engage in classical art that pays attention to technique can still follow the evaluation methods.
Those avant-garde artists who focus on form and concept are talking nonsense. Why should a tree branch you bring to an exhibition be more noble than my stone? Why should your entire urinal be considered art? I peed in front of a Van Gogh painting and the police dragged me away?
The standard has never been beauty or ugliness.
It is the convincing authority of those who hold aesthetic rights.
In the Qing Dynasty, Emperor Qianlong was the authority. In the world of modern art, the Elena family's "Oil Painting" magazine is the authority.
At this time, in this Dulwich classroom, Taro Komatsu was the absolute authority.
He said that Gu Weijing was rubbish and that his painting skills were so bad that he could not even draw with his toes. Everyone would immediately believe that Gu Weijing's painting skills were useless, and they would laugh and boo with each other.
Any objections and questions from students not only appear to have low emotional intelligence, but will also be easily crushed by the authority of Assistant Professor Komatsu.
unless……
This person is Katsuko Sakai.
Miss Sakai's father is an internationally renowned artist, and her mother is a professor in the advanced class at Dulwich College. She herself is known as an art genius and has been constantly mentioned by Japanese local media and some Asian newspapers since she was a child.
Such girls are like fairies floating in the sky in the minds of their classmates.
It is also no less academically authoritative than Taro Komatsu.
So when two academic authorities collide.
Miss Sakai suddenly jumped out and defended Gu Weijing with a decisive attitude that was almost as if she was protecting religious beliefs or taboos in her heart and was completely unwilling to give in.
These Dulwich students all felt stupid.
"Gu Weijing—the most outstanding young man I have ever seen in my life?"
A thud.
Mona swept her arm over the stapler on the table and knocked it aside.
The stapler fell from the one-meter-high table and hit the student union president's feet wearing small leather shoes.
In order to facilitate the binding of portfolios, the staplers placed in the classrooms of Dulwich schools are not the lightweight versions that can be held in the hand, but desktop printers made entirely of cast iron.
One weighs seven or eight kilograms, like a small dumbbell filled with lead.
The impact from such a height immediately left deep marks on Mona's white instep.
The instep of the student council president immediately became red and swollen, and the blood marks could be seen through the thin stockings.
Mona was still unconscious and couldn't feel the pain at all.
She felt that she understood every word of Miss Sakai's words, but the combined meaning was confusing and overwhelming.
Gu Weijing, the little donkey she fed... the most outstanding young man?
"Sakai Katsuko, please tell me, are there any mistakes in my just-mentioned comment?" Kosomatsu Taro was still gritting his teeth and breathing heavily.
As soon as he mentioned the wild boy Gu Weijing, he saw Sakai Katsuko raising her head and walking over.
Those comments after Komatsu Taro were directed at Katsuko Sakai.
They say beauty is in the eye of the beholder, but he wanted to see if Sakai Katsuko could just ignore all the shortcomings he pointed out and praise Gu Weijing like a flower!
Ms. Sakai stepped forward gently.
The onlookers at Dulwich College automatically moved back to make way, like the Red Sea being parted by Moses.
Only Miss Sandnu still stood there blankly, as if she hadn't seen him before.
"These shortcomings do exist and this is not a perfect painting."
Sakai Katsuko didn't rack her brains to find excuses to defend Gu Weijing.
She took the tablet from Taro Kosomatsu, looked sideways at the paintings on the computer, and shook her head gently.
"Haha, doesn't your mother like to praise him to the sky? It turns out that our Miss Sakai can also see Gu Weijing's garbage..."
Komatsu Taro was interrupted by Katsuko Sakai just in the middle of his sarcasm.
"But no one can paint a truly perfect work, just like no one can impress every viewer in the world just by relying on the beauty of the picture itself. This is the right only God has."
"Gu Weijing can't do it, you can't do it, I can't do it, and neither can my father."
"All of us painters are just servants of the Muse. We can only do our best to paint every painting of ours, and try to touch the edge of perfection as much as possible in our long life."
Sakai Katsuko turned her head and looked directly into Komatsu Taro's eyes.
"So in your eyes, you see that this painting is full of shortcomings, but in my heart, I can see that the surface of this canvas is filled with the serious and persistent brushstrokes of a boy. His painting is childish, but he has a good space. The sense, line structure and contours are also very accurate. These are the qualities needed to become a good painter, and they are also Gu Weijing’s strengths.”
"Traits, huh, what's the use of traits? There are a lot of people with good painting qualities in the world. Some of them can really become great painters, and some of them are qualified to sign contracts with our Komatsu Gallery. "
Komatsu Taro completely disapproved of it.
Katsuko Sakai held the tablet in her arms and said softly: "Gu Weijing not only possesses the qualities of painting, but he is turning these qualities into beautiful light and shadow colors under the brush at a miraculous speed."
"Senior Xiaosong, you look down on Gu Weijing. That's why you have never seriously wanted to understand Gu Weijing for so long since you came to Yangon. If you really come into contact with him and witness Gu Jun's incredible ability to make progress, , you will also be moved by him from the bottom of your heart.”
"His brush skills have surpassed yours, and are even slowly surpassing mine. If he can continue to improve at this rate, he may be able to surpass my father one day in the future."
Sakai Katsuko smiled: "I'm looking forward to this day coming."
"you--"
"You may have guessed it that day, maybe you haven't. But whether you know it or not, I want to tell you clearly. Gu Weijing is the person I am willing to come to Yangon this semester across the ocean. reason."
Taro Komatsu...
Jerry…
Myo Aung Win…
Mona…
Everyone in the classroom had expressions of astonishment on their faces.
Some of them know Gu Weijing well, and some don't know Gu Weijing that well.
But when everyone heard Katsuko Sakai describe the thin figure in their eyes with admiration.
There is a sense of absurdity that a good classmate suddenly turns into an X-Men or Spider-Man Peter Parker.
The whole place was in an uproar,
The whole world was shocked.
Among the students at Dulwich, the most normal one is probably Myo Aung Win.
This is not the first time that Mr. Miao's world view has been refreshed by Gu Weijing.
Being shocked is something that happens once and twice. After being shocked, I feel used to it.
No matter how shocking Ms. Sakai's words were, they could still have a more impact on people than Brother Hao, who had someone put a gun to his head and pull the trigger.
Miao Aung Win just felt it was a bit outrageous.
TNND why!
Whether it's Brother Hao or the beautiful little artistic princess in front of him, they all like it so much that they can't wait to hold Gu Weijing and chew on it like a treasure.
Hey hey hey, look here, I am also very persistent and serious in my paintings, okay!
Jerry suddenly felt inexplicably that he had lost.
He has always been a little dissatisfied with Gu Weijing. He is handsomer than him, has a better family background than him, has more resources than him, and is bigger and stronger than Gu Weijing.
Jerry can easily knock Gu Weijing to the ground on the flag football field, make a love-themed short film, and pin the most advanced Boy Scout badge on his chest. He was so arrogant that all the girls in the school cheered for him.
But when a beautiful girl like Miss Sakai, who is not like a mortal creature, jumps out and defends Gu Weijing like a fairy stepping on colorful auspicious clouds.
Jerry still felt for no reason at all that he had failed miserably.
It seemed that he was out of the city to compete in martial arts, eating hot pot and singing songs, and was in high spirits when he was suddenly slapped to the ground by a Tathagata palm.
He glanced at Mona, who was standing next to the printer.
Mona still stood in place like a marble sculpture, and the delicate facial features on her face remained unchanged from the beginning, as if they were wearing an iron mask.
Jerry could still tell from the clenched fists of the student council president that her mood was definitely not as calm as she appeared.
Mona was still confused.
She looked at Katsuko Sakai and blinked.
She didn't even know what she should be feeling at the moment.
Mona felt that she should be happy for the outstanding Gu Weijing mentioned by Miss Sakai, but a part of her heart felt that she actually did not want to hear such Gu Weijing.
Ever since I was little, I have always been the more eye-catching of the two.
That's why she can have a more calm attitude to deal with the relationship between them. If they are separated, she will abandon them if she wants to.
For a moment, Mona thought it was very cool that Katsuko Sakai spoke up for her childhood sweetheart.
But there was a little devil roaring deep in her soul, wishing she could rush up and tear Miss Sakai's clothes to pieces like those little girls in school, scratch her pretty face, and then pull her hair and call her "Bitch" .
Hell,
She is the president of the student union, how could she have such an idea?
However, deep inside, I could clearly hear the snoring and screaming sound of such a little devil.
She had never felt this way about Kou Kou, whom she had never gotten used to in the past.
So Mona could only stay where she was, motionless like a piece of wood, maintaining an empty facial expression.
Miss Sakai Katsuko was standing a few steps in front of Mona, so close that she seemed to be able to smell the strawberry scent on her body.
The warm spring breeze gently blew the pleated skirt at the hem of Miss Sakai's school uniform, revealing the smooth calves in her socks.
The jumping shadows of the curtains were cast on Sakai Katsuko's undulating body. The scent of grass and spring plants coming from the window floated in the air, blending with the scent of Miss Sakai, making her look like a forest creature. Elf.
Even Mona had to admit it.
Miss Sakai is really beautiful at this moment.
"Back to you."
Sakai Katsuko handed the IPad back to Mona.
"As long as a genius like Gu Jun has enough patience and trust, he will naturally shine with you a hundred times more brilliantly. You know, Gu Weijing is completing a painting that I think will attract the attention of the entire Asian art world. Big paintings.”
"I said that I came to Yangon because of Gu Jun. And my decision to participate in the Singapore Art Biennale was to follow in his footsteps."
"I just hope that when he shines brightly in the future, he won't be left too far away." Sakai Katsuko smiled.
Ms. Sakai said this to Komatsu Taro.
But Mona still felt that she was stabbed in the chest again for no reason.
…
Among the art critics of the 19th century, one of the most influential is Giovanni Moleri.
He is an Italian, a fellow countryman of Leonardo da Vinci.
One of the three editors of Oil Painting magazine when it was first published.
At that time, there was no new general term like the visual arts section. There are three editors, one is the main painter of oil paintings, one is the main painter of watercolors, and one is the main painter of sketches. Molery is the chief writer responsible for writing reviews of sketches.
His research found that in the sketches of each master, the sketches would have a strong personal style when describing delicate details such as fingers and ears.
The sketch lines drawn by the master are freely retractable and densely intertwined.
The precise artistic lines drawn by a pencil are as simple as ordinary people's doodles.
He named this phenomenon "gesture".
In the corner of the classroom, Gu Weijing now felt that he was gradually forming his own strokes.
When I realize this,
His heartbeat speeded up a bit.
Forming a personal aura-like brushstrokes in sketching is one of the distinguishing features of entering the realm of sketching experts.
Just like Dong Xia's comment on calligraphy works, he said that the calligrapher has already entered the palace. It is often said that the skeleton of his pen and ink has its own "calligraphy style".
Sketching and calligraphy use different painting tools and paper, but they are both arts that use exquisite pen and ink structures to express style.
So at this point, the evaluation criteria of the two are very similar.
Nothing can change without departing from its roots.
This is not the first time that Gu Weijing has felt something like brushstrokes. When using the skill [Menzel's Basic Painting Experience], he can feel the strong "brushstrokes".
Menzel's most typical personal style is clear anatomy and bold style.
The brushwork is vivid and expressive.
The old-timer once integrated tools such as hard pencil, soft charcoal, thick chalk, and light and transparent watercolor into his sketches, which produced extraordinary visual effects.
When Gu Weijing painted colored pencil drawings, he was "stuffed" with this strong personal style.
In the video on Mr. Hyperion’s channel, the judge commented on his creative style and commented that his pen has the feel of Rockwell, the greatest illustrator in American history.
It's not the portrait of Rockwell painted by Gu Weijing.
Rather, Rockwell was a direct disciple of Menzel, and both men painted portraits of Menzel.
But the sketching "gesture" brought by the skill is just a short-term experience card of a few hundred seconds. It's like an old monk giving you a dozen of kung fu with one breath, and then sucking it away with another breath.
When Kazuma progresses from down-to-earth sketching and gets that hazy feeling at the tip of his pen, the sense of accomplishment in his heart is completely different.
"accurate."
When Gu Weijing drew the small sketch grid given by Professor Watter, he discovered that the biggest difference between Level 5 and Level 4 was still accuracy.
Accuracy is the basic condition for forming a personal "gesture".
Only when the pencil on the fingertips is used like an arm, can we talk about the painting style on this basis.
No matter how messy your paintings are, or what you write in big letters, you can form your own painting style and calligraphy school as long as you persist in being "ugly" for a few years.
Being ugly is also a style.
But of course it would be funny to call such a work "brush gesture" or "calligraphy style".
Being able to draw beautiful scenes that can be controlled and reproduced is the skill of a sketch expert.
The first level of professional sketching is also very accurate when painting small grids.
But after entering the second level of his career, when Gu Weijing started writing, he already had the intention of further improving the rigid precision to the level of "freehand brushwork".
When he was drawing small grids before, he only painted quickly, but he had to focus on the edges of the small grids and always control the boundaries of the brush.
Applying it to the back creates a rigid muscle memory.
If the small grids on Professor Watter's sketch paper were of different sizes, or if Gu Weijing suddenly wanted to change the length of the lines, he would inevitably be a little confused, and the handwriting would be out of bounds or left blank at the edges of the grids.
It's different now,
Gu Weijing can handle his lines as he pleases, as fast as he wants, as slow as he wants, as thick as he wants, as shallow as he wants.
Draw as long as you like.
He can break lines anywhere and join them seamlessly anywhere, even using fine stacked pens in areas the size of a fingernail.
"It would be pointless to continue painting small grids like this."
Gu Weijing liked Professor Watter's advanced class before.
He no longer cares about things like portfolio format, but the painting tips summarized by Professor Wattel are still pretty good.
This kind of small grid practice can not only gain experience points in sketching, but also exercise your ability to polish details with pens.
At this time, he was still painting small grids, which was too unchallenging for Gu Weijing.
He decided to increase the difficulty.
Gu Weijing just thought that he could try to use monochromatic sketch tones to create three-dimensional complex light and shadow on a square inch of paper.
He first tried cutting the graph paper into four triangular areas by pulling diverging lines from the center point to the four corners of the grid.
Using four different colors of light, shadow and brushwork in four areas, the painted small squares look like pyramids viewed from a high altitude.
Then comes the curve,
Use perfect conch-like polyphonic curves to fill the small square space, and fill the blank spaces in the four corners with smaller curves.
This makes the entire scene look like it's filled with vortices of varying sizes. The picture may even make people's eyes out of focus, making it look like coiled snakes swimming end to end or vortexes flowing in the sea, which is a bit off-putting.
After trying the first two painting methods, Gu Weijing tried to use more sharp and difficult to handle polyline segments.
"rustle……"
When he was completely immersed in the world of sketching lines.
Professor Vatel, who used to like to go back to the office to catch fish while the students were doing their homework, opened the door again and walked in with a coffee cup.
(End of chapter)
