"If you want to take a step forward, you have to work hard from both sides, pragmatism and pragmatism. Only by combining virtuality and reality can you achieve both strength and softness."
During the video call, Professor Lin Tao was stroking his beard and wagging his finger.
Art is a very personal subject.
Theoretically,
The difficulties that trouble each individual painter are different.
The bottlenecks that limit a painter from moving to the next level vary from person to person.
The path to breakthrough that is suitable for one painter may not be suitable for another painter. Advice given by outsiders is tantamount to trying to find a sword.
At this time, the benefit of having a boss-level teacher around you who can be consulted at any time begins to become apparent again.
Lin Tao himself has experienced this stage.
Most of his brothers and sisters, as well as the students in the studio who were carefully selected from the most talented students of CAFA, have also gone through this stage.
Although he could not directly help Gu Weijing to clear up his "karma" in just a few words, he was able to look at everything from a high-level perspective and give very feasible suggestions based on half a century of painting experience.
[Retreat] and [Pragmatic].
It seems like an empty-headed argument without any substance.
But don’t underestimate the value of this sentence. How many teachers from the Eastern Xia Painting Association, who start out alone and start out with tens of thousands of yuan for a painting, carry lapsang souchong worth a few thousand yuan a tael during the Chinese New Year? , carrying boxes of Feitian Moutai in the trunk, he came to Professor Lin’s house and asked Professor Lin for advice in an honest and polite manner.
The purpose is to give some advice to myself or to my juniors, Professor Lin.
When it comes to traditional Chinese painting, calligraphy, and teaching, one sentence is really passed down, and tens of thousands of scriptures are pretended to be passed down.
Charlatans can talk eloquently and make you dizzy, but they have no nutrition.
A master like Lin Tao hits the point with just a few words and is worth gold.
Even if a junior like Gu Weijing is a genius, he is just a sapling at his age. It is far from time to think about how to start a sect, become a self-contained entity, and form a forest of its own.
If a sapling doesn't grow big, it's most likely because its roots aren't deep enough.
If a young painter cannot break through the bottleneck, it is most likely because of insufficient accumulation.
The so-called retreat among art practitioners is nothing more than reading, and the so-called pragmatism is nothing more than painting.
How to read, how to draw.
There is a lot to pay attention to.
Professor Lin Tao did not choose any teaching materials to teach the details of painting. As for artistic techniques, it is enough to teach him on a regular basis.
In his heart.
What Gu Weijing lacked most was not painting experience, but orthodox Chinese literacy.
Although this child's ancestor was a palace painter.
However, the family has been migrating to Southeast Asia for too long, and the living environment since childhood lacked the rich cultural environment of a well-known scholar family like Mr. Cao or Junior Sister Tang Ning.
Gu Weijing studied painting from his grandfather since he was a child, and he learned more about "skills" than "Tao".
Compared with Western aesthetics, the most important feature of Eastern art is that what is painted is not only the pattern, but also the artist's personal style and spirit.
Therefore, he specially selected "The Rise and Fall of National Treasures" by Mr. Yang Renkai and "The Fragrance of Heavenly Rain" by Mr. Li Lincan, the former deputy director of the National Palace Museum in Taipei, the treasure island of Eastern Xia.
Both of these are relatively unknown painting books.
The former summarizes a large number of allusions to the national treasures of the Eastern Xia Dynasty and the stories of protecting these lost cultural relics during the Anti-Japanese War. Reading it makes people sometimes feel high-spirited, sometimes sigh with sadness, and feel sad and happy at the same time.
The latter systematically sorts out the artistic context of Chinese history, covering everything from painting and calligraphy to pottery, architecture, sculpture, and views on life and death.
Professor Lin Tao asked Gu Weijing to read these two books every day.
You can read without asking for a thorough understanding, but you should read it over and over again. It is not limited to the rhetoric of a certain chapter, but focuses on the overall atmosphere of the book.
Gradually, all the meanings and images coming from between the lines of the pen and ink words when reading are integrated into my heart.
When Mr. Cao Xuan taught painting to Lin Tao and his brothers and sisters, he repeatedly emphasized that only when an oriental painter understands the responsibility of inheriting art and understands the feelings and elegance contained in every famous painting by his predecessors, Rooted in five thousand years of cultural accumulation——
Only then can one make a single stroke that is so enchanting that it will never be destroyed.
You should also draw while reading.
The old man asked Gu Weijing to continue copying Tang Ning's painting "Hundred Flowers", but there was no need to copy the entire painting.
All other flowers are skipped and only the wisteria is painted.
The most noble flower in traditional oriental culture is the peony, which "brings wealth and wealth", followed by the wisteria, which is said to have "purple air coming from the east".
Painting wisteria is not as graceful and cumbersome as painting peonies, and the process of expressing the image with a brush is much simpler than painting the four classic flowers of plum, orchid, bamboo, and chrysanthemum, which carry deeper aesthetic images and cultural connotations.
But it can be connected with Chinese culture.
Li Bai once praised the lingering beauty of wisteria with the famous poem "Wisteria hangs on cloud trees, and the flowers and vines are suitable for spring. The dense leaves hide singing birds, and the fragrant wind lingers on beauties."
Emperor Qianlong was a lover of wisteria. He wrote poems and poems about wisteria throughout his life, but his level was mostly limited.
The more important point is.
Wisteria flower branches are in clusters, with single flowers like butterflies, pedicles like holders, and flower stalks like orchids.
For a small piece of wisteria flower, use medium regular script to draw the vines, small regular script to draw the petals, and the smallest outlining brush to fill in the leaf veins.
There are also differences in the postures of different wingers, centers, and reverse forwards.
It almost covers most of the techniques needed in flower painting.
If you practice wisteria well, you will be able to practice more than a dozen different strokes and strokes. Just like the eight methods for calligraphy and painting enthusiasts to write the word "Yong" when writing a calligraphy post, after writing the word "Yong", they also write the horizontal and vertical hooks at the same time.
Thinking of Professor Lin Tao's instructions on the phone, Gu Weijing in the auditorium turned over a page of the book in his hand.
Good birds are also friends on the branches, and fallen flowers and water are articles.
Gu Weijing happened to read Chapter 9 of "Sky Rain Flowing Fragrance" today, a chapter about flower and bird paintings and the feelings of literati.
He watched Mr. Li Lincan talk about the realism of the Song Dynasty and the freehand brushwork of the Tang Dynasty. He talked about how to use one's mind to respond to nature. He also talked about what kind of mentality the ancients used to paint the leaves of the phoenix grass in their paintings in a smooth manner, and to paint the weeds and flowers in an amiable way. Cute, a bit mesmerized to watch.
Gu Weijing's fingers naturally began to draw on the fabric armrests of the school auditorium seats.
[Chinese painting technique experience value +11! 】
[Chinese painting technique experience value +15! 】
[Chinese painting technique experience value +12! 】
[Chinese painting technique experience value +9! 】
…
A series of prompt messages constantly appeared on the system virtual panel.
The experience bar began to move towards the end of the first level of the profession again at an unpleasant but perceptible speed.
Although the content of the text he read was not directly related to painting techniques, Gu Weijing could still feel a potential transformation and sublimation taking place among the invisible lines drawn by his fingers.
"It's so convenient to have a portable grandpa on the phone."
Gu Weijing can now feel Professor Lin Tao's good intentions when assigning him training tasks every day.
Borrow the meaning of other people's words to nourish the style of writing in your own heart.
Especially when he read that Xu Wenchang, one of the three great talents of the Ming Dynasty, had a rough life and had no talent, so he had to devote himself to calligraphy and painting. In the "Wisteria Flowers" painted by Xu Wenchang, he wrote in a bohemian cursive inscription: " Throw it into the wild vines!"
This word is used as a metaphor for the fact that this pearl of mine has been abandoned by the ruthless world and the dark literati bureaucracy in the late Ming Dynasty, and has been mixed with weeds.
The silk painting of wisteria flowers and vines in the book is extremely delicate and yet extremely lonely.
Although this is just an illustration photo in a book rather than an actual object, even though the mineral pigments on the original silk have faded into a pool of dirty ink over the course of more than three hundred years.
Gu Weijing still has a deeper understanding of the flower language and emotional sustenance behind the four-character image of wisteria flower "Purple Air Coming from the East".
"Throw it into the wild vines, throw...throw it...in the wild vines."
Gu Weijing murmured this sentence to himself, which contained a lot of resentment and helplessness.
His fingertips sometimes splashed ink with large strokes, sometimes used small strokes to smudge, and lit up bunches of wisteria flowers on the rice paper he was thinking about.
Gu Weijing narrowed his eyes slightly and wandered away from the noisy and restless campus auditorium.
He felt like he was walking in a sea of wisteria flowers, surrounded by flying petals, and his nose seemed to be able to smell the faint fragrance of flowers.
The shadows of the flowers sway like purple waterfalls.
Just as Gu Weijing was getting closer and closer to the essence of the wisteria flower painting, he noticed someone standing in front of him.
"No date, I have a girlfriend, find someone else."
He just popped out a few words from his mouth without looking up.
Don't blame Gu Weijing for being a little rude.
He was immersed in the rare pleasure of the rapid and natural increase in painting experience, and he really didn't want to be disturbed by any covetous beasts.
No date?
Miao Angwen, who was standing in front of Gu Weijing and looking at him with a cool sideways glance, was a little bit off guard.
What the hell is not dating?
Ever since classmate Xiao Miao hugged the shiny, thick legs of Brother Hao, who is worth more than nine figures, she has completely changed her mind.
There is no need to wear uniforms at campus social evenings.
Miao Aung Win, who used to be a swindler and work-study student to rent a formal dress, has now become dazzling.
On her wrist is a Rolex Daytona watch.
The strap is solid gold.
Wearing a dark formal suit by Armani, the collar brace is made of pure gold, and the cuff pins are also made of pure gold.
The jade Buddha pendant inlaid with gold and jade hangs on the arm, and even the ball leather shoes on the feet are from the old Italian handmade shoe brand Iron Lion Tony.
At the dance, he stood like an ant.
And now.
He, Miao Aung Win, was really shaking!
There are only wrong names, not wrong nicknames.
Brother Hao looks elegant and thin in appearance. He is a compassionate layman who likes to burn incense and worship Buddha.
If you put this hero in the ancient feudal dynasty, he would definitely be the type of horse thief leader who could eat meat in large quantities in the Juyi Hall, drink wine from large bowls, divide gold on large scales, and those who obey me will prosper while those who go against me will perish.
While he was decisive in killing his subordinates, he was also very generous and generous. Not only did he make a fortune himself, but he was also willing to bring his subordinates to make a fortune together.
Although classmate Xiaomiao is dressed the way she is now, she looks like a nouveau riche like Guo Degang wearing Versace.
But on the other hand,
In the eyes of real public opinion, artists never look at the clothes but only who wears them.
When great artists wear vests full of holes, the media will praise them as bohemian.
Damien Hirst wears large leather coats with studded shoulders and thick silver chains all day long. In the spotlight, he prepared himself as if he was about to take to the streets in the next second and ride a motorcycle to rob and rob someone on the run.
It also does not delay his once-highest net worth in the world.
"Haha, Brother Miao, your classmate is quite interesting."
Next to him, holding Miao Anwen's arm, a girl wearing earrings and makeup who looked quite charming lay on his shoulder and joked.
She is a student at another local private middle school.
Dewey has campus co-construction agreements with several local sister private schools.
In addition to Dulwich College, there were students from several other schools at the social evening.
A man relies on his clothes and a horse relies on his saddle. Miao Aung Win's expensive coat can still attract the favor of those fishing girls.
"Okay, you go aside first, I have something to tell him."
Miao Angwen patted the face of the female companion next to him, waved her hand to leave, and glanced at Gu Weijing, who was sitting on the chair in front of him.
What would classmate Xiaomiao say about this person of the same age?
Three parts of jealousy, three parts of ridicule, two parts of fear, and one part of disdain.
Miao Angwen had seen the group of sketches and pencil drawings on the campus publicity board.
The painting is indeed pretty good, but if I think about it seriously, there is a high probability that I would not be able to draw such a work.
Unexpectedly, he even created together with Mr. Cao Xuan.
No wonder Brother Hao thinks so highly of him.
But what does this mean?
If a painter wants to become famous, he must first look at fate, secondly, thirdly, luckily, Feng Shui, fourthly, look at noble people, and fifthly, look at wealth.
Painting techniques are very late. There are so many people who are capable but not outstanding. These two sketches by Gu Weijing really mean nothing.
A wine glass made of bezoar stones worth five million dollars, NFT blockchain pixels worth ten million dollars, and shark specimens worth twenty million dollars.
The history of human art speculation is vast.
Measured in units of one hundred years and one century, each century is a big wave of sand, with lasting aesthetic value. Works of art that were once worth gold will still be worth gold even into the next century. Not even half of it.
Most art is nothing more than a Ponzi scheme. After spending time with Brother Hao, Miao Angwen has understood everything.
Its status in art history and so on.
please,
Why do you think so much? This kind of thing is inherently insulated from the nine thousand nine hundred and ninety-nine painters in the world. Only when you earn money can you truly own it.
"Gu Weijing, you think you are very proud and arrogant now, right?"
Miao Angwen smiled sinisterly.
Gu Weijing, boy, you don’t know what you’re giving up.
Thinking of the great future ahead of me, the one-year pre-signing contract with the Korean Academy of Fine Arts and the special channel leading to the Venice Art Exhibition.
Miao Aung Win is now walking with wind.
(End of chapter)
