Where the heart goes, where the love moves, the hand can't stop, every drop of blood-red molten slurry splashed, every gushing fire, all let Qin Huai's brain return to the era when the mountains and seas were broken.

Thirty-five million dead are buried in this land during this period.

Some of them are still pregnant, some of them are still in their mother's womb, and some of them are dying of old age, and they want to live for the rest of their lives.

Outcome.

Bombers flew in the sky, and inhumane executioners rushed over the ground.

The word history.

Never forget.

You have been trying to distort history, so I will warn you.

This is Qin Huai's unshirkable responsibility as a Chinese and an artist.

He wants to use one, two, three works to tell the world that real history cannot be distorted.

……

The scorching mist swirled around Qin Huai, which was made of tears falling into the molten slurry and atomizing.

Qin Huai burst into tears for the first time when he was creating.

One by one, the teardrops hit the molten slurry and participated in the creation with Qin Huai.

After a while.

The liquid copper came to an abrupt halt, and the redness in the container had bottomed out.

Qin Huai turned around and picked up another container, the creator in one go.

Half an hour of pouring, the mold on the table, has been covered with red magma, bright red dead blood.

Looking at the source, you can see mottled tear stains, and as the molten slurry slowly slows, there is also an emotion of gritting teeth and stagnating teeth.

Emotions of humiliation did not erupt.

But it's more moving than an outburst.

Silent.

Speechless.

Silent silence.

Only fog shrouded.

Qin Huai couldn't breathe, his heart was suffocated, he leaned back on the wooden chair to take a nap, so heavy that his mind was blank.

Careful creation is often exhausting.

What's more, what Qin Huai created was not just a few words, what he wanted to express was the darkness of 35 million victims, and the blood of 9.6 million square kilometers.

……

The next day.

Qin Huai got up early.

Locked himself in the workshop, carefully polishing this painstaking work.

Every time he polishes, Qin Huai has to weigh it in his heart for a long time, which angle should he start with, how many edges and corners should he polish off, and how can he highlight the theme?

Qin Huai didn't want to be wrong. I'm afraid there will be any flaw in a small detail.

In the constant entanglement, calculation, and repetition, Qin Huai's creative progress is extremely slow, and at the same time, he is also extremely tired.

The task of coaxing two cute babies to sleep every night can only be handed over to Shang Ya.

Shang Ya saw Qin Huai's exhaustion in her eyes and hurt in her heart, but she couldn't do anything about it.

I can only hope that Qin Huai will successfully complete this work at one time.

……

Day 3.

Representatives of the Kyoto Museum came to sign.

For the rest of the time, Qin Huai continued to polish the details and did his best to give the work the artistic language it wanted to express.

……

After the tenth day.

Qin Huai began to prepare the dyeing formula, spray dyeing, and coloring.

The following days.

The color of the bronze ware is constantly changing, from gold at the beginning, to gray, which is mixed with a lot of blood red, like coagulated blood spots.

The whole work.

It's so depressed.

Those withered colors.

It's like the blood flowing out of the body of a bronze vessel......

Ghastly.

Such as eighteen layers of purgatory.

Overall.

It is an overpass-like work of art, with staggered copper limbs that resemble the roots of a tree.

On the overpass, there are many strange and twisted 'creatures'.

For example, human beings—

The human limbs are twisted, and the head is resting on the neck, but the top of the head and the jaw are exaggerated upside down.

The eyeballs are down, and the mouth and nose are up.

Their gaze fell straight ahead, and no matter which angle they stood, they seemed to be staring at the viewer, their expressions were sullen and their eyes were hopeless.

The viewer can't help but fall into panic, and even produce pain like a burn.

On the overpass, there are also creatures with their heads on the ground.

Their eye sockets are rotten.

But with his head on his body and his legs facing the sky, he has been standing.

If you turn the perspective, you will find that all the creatures here are upside down.

The wings of a bird are born on its feet.

The ox walks on all fours and on two crooked feet.

The snake's teeth are all over its body, and it can only walk on its head.

In the whole work, the only normal thing is a crack in the hillside, and from the gap, a wizened arm with a lamp on it sticks out.

The lights are dim.

Shining a small yellow flower.

The stubborn growth of the florets......

……

Everything depicted on the bronze is like an absurd and bizarre ghost story, which makes people scratch their heads.

However, the composition of each perspective has a kind of magic and tension, which seems to dissect a gloom, making the viewer's heart beat faster, and they can't help but want to interpret the artistic language.

"Just call you "Face Me". ”

Qin Huai gently covered the work with a cloth.

The two little ones are too young to have nightmares when they see them.

……

Day 20.

The work was taken away.

The representative of the Kyoto Museum opened it and looked at it, but did not see why.

Taken away with it, there is also a bronze deer with a height of one meter and six meters, and the horns of a metal tree, like pines and cypresses growing out of a fairyland, whether it is a demeanor, a posture, or a vivid black eyeball, it looks very fairy.

Compared with "Face Me", they can appreciate Tonglu more.

However, Qin Hezhou's works only had these two, so they took them together.

The exhibition is the same as that of the Vatican and Clark, very enthusiastic, after all, people all over the world actually want to see this 'Master Barthes'.

Of course.

In Qin Huai's request, the reason for Barthes must be carefully explained when exhibiting, and the most obvious signature of the exhibition must be written as Qin Huai.

For the rest, Qin Huai put it aside for the time being, ready to rest for a while.

It's really tiring!

……

Kyoto Museum.

Qin Huai's works are exhibited at a special counter.

There is an endless stream of tourists watching, and there are even Chinese tourists who stop by to watch.

It's just that.

While most Chinese tourists feel a dull pain in their hearts, visitors to Dongying feel extremely uncomfortable with a stab in the heart.

"I don't see any sense of being a master at all...... But Tonglu is a little better, this work makes me think it's hard to take a look. ”

"I don't think it's a masterpiece, and I can't face it. ”

This is the remark of tourists in Dongying Country.

Basically.

It is said that Qin Huai is not worthy of his name.

The configuration is obscure, dim, and completely unclear, and the construction of the work is chattering like a mental illness.

For these.

Even domestic fans are confused.

They saw from the video: the color like a scab of dirty blood, like a picture of purgatory on earth, is not at all like Qin Huai's little brother's works.

Qin Huai's little brother can dream like a traditional skills town.

It can also sprinkle the light of the morning sun on the army.

It can also play with the dynamic philosophical conception of the Yin and Yang Taiji diagram.

But this is the first time that such an obscure work has been made.

Does it mean something?

But they racked their brains, and they didn't see anything from these upside-down and absurd monsters.

Thereupon.

Many fans came to ask Qin Huai for an explanation.

Qin Huai didn't want to explain.

But the creative background, source of inspiration, and artistic style of this work are not actually straightforward, but suppressed and suppressed.

It's like the souls of the 9.6 million lands who can't wake up and can't speak anymore.

Qin Huai decided to say two words.