"No, no, no, brother, you're wrong, if it's just a general daily necessities, maybe you can't really see anything, but there are many ceramics in ancient times that are not only utensils, but also works of art, for example, my idol Shi Dabin's purple clay pot, and many official kiln porcelain, which is definitely integrated into the author's thoughts, spirit and expectations, and together it becomes the soul of ceramics. Liu Dabin shook his head and said.

Regarding the soul of antiques, Zhang Tianyuan felt that the most thorough thing was a painting he once saw from Master Yuanbo.

A painting copied from the Bada Shanren.

In this era, it is an unconventional society, and few painters who have already made a name for themselves are willing to copy the works of their predecessors, even if you see that there is copying, but the more you look at it, the more you look at it, the less it looks, because the brush and ink have shown their individuality.

At that time, when he approached ink painting, he had read some of the influences of the Bada Shanren in the works of some painters, but he only saw that Master Yuanbo had copied the works of the Bada Shanren in its original form—a small bird standing alone on a stone.

The bird's black feathers were always loose and untidy, but you could see the rebelliousness and unruliness hidden beneath the feathers. This is not a tame bird, and the slightest humiliation will not be tolerated. It is not a bird vying for fame and fortune, it does not even need a name to identify itself, it can be at ease with what happens, but it cannot tolerate the dictates of others, it can endure the poorest life, but it must demand the noblest freedom. This is by no means a small bird that can be raised by anyone, this bird is full of wildness enough to scare every peeping person. It's also enough to make every caged bird bow its head.

Through the thin back of the paper, Zhang Tianyuan can still feel the lonely figure of the Bada Shanren who has made countless literati before him. This attitude of copying. The attitude of one soul towards another.

Reckless and earthly, it is enough to have the white eyes of such a small bird. The rest of the time, you can play, you can plow, you can walk, you can lie down, you can sit in the small window to read Zhou Yi when you are tired, and when you are tired, you can look up to see the flowers bloom and fall in front of the court, and look at the sky and clouds.

This is probably the soul of the so-called work, this kind of thing can really be hidden in the work. Only those who truly understand it can see and understand.

Zhang Tianyuan has always felt that his local spirit can communicate with the soul of antiques, and because of this, his character appreciation skills can see through the ancient and modern, and have inner resonance with the author of the work, and can understand the author's mood, the author's story, the author's life, and even the era in which the author lives through that seemingly simple brushstroke.

It's a peculiar feeling. It's hard to explain, but it does exist.

However, Zhang Tianyuan has always felt that this kind of thing only exists in paintings, but through Liu Dabin's words, he can probably understand it more deeply. In fact, no matter what it is, as long as the person who makes it cares, it can bring the soul of this thing.

The modern manufacturing industry is well developed. But most of the things were put together, and many of them were made from cold machines. No soul, no connotation.

The printed Tang Bohu's transformation can be said to be exactly the same. But why does it look so fake?

In fact, there is no soul, it is an empty thing.

Liu Dabin has actually integrated his spirit and soul into the ceramics he makes. But this is not quite right, if he wants to imitate something, he does not want his own mind and his own soul, but the soul of the ancients obtained through history, to that extent, it can be regarded as truly imitated to perfection.

Of course, it doesn't really matter.

Especially for businessmen, it is really insignificant, and people in today's society are in a hurry, and they don't have the patience to look at a thing. Only a very few, if not a very few, can see the soul through a single thing.

Therefore, if it is just to make money, it is obviously not necessary, most people can't see it, if not, there is no it, not to mention that kind of ethereal thing, many people don't believe it at all.

Zhang Tianyuan relies on the skill of word appreciation, so he can be compared with some old experts, and it is too difficult for him to rely on his own ability to dialyse the spirit of the author of the work.

"I see, you want to use your own hands to give those works the soul they deserve, right?" asked Zhang Tianyuan.

"Yes, I think so, sometimes it's not necessarily a big deal to be different. In our time, there are too many people who are unconventional, and there is no shortage of me, I just want to restore the ancient things as they are, including its soul and life!" Liu Dabin nodded.

Hearing this, Zhang Tianyuan was a little shocked, modern people have always pursued innovation, but anything that learns from the ancients will be considered conservative and backward.

But in his opinion, not everything is like this, for science and technology, it is naturally more powerful in modern times than in ancient times, including medicine and so on. But some things are not.

For example, in art, literature, and philosophy, modern people are not necessarily stronger than the ancients. Zhang Tianyuan has absolutely reason to believe that if there is such a person in modern times who can write a novel at the same level as Cao Xueqin's "Dream of Red Mansions", he must be able to become famous.

It's a pity that no, modern people only care about innovation, and forget the existence of many beautiful things in ancient times.

In fact, the production of ceramics is a bit similar to this.

Of course, the soulless ceramic tools made by modern machines are more practical, after all, they are cheap, and they are also considered to be cheap.

But there are some things that are created as art, and we must not blindly engage in any innovation.

Zhang Tianyuan felt that if Liu Dabin could really give soul to his works, then when he reached a certain level, he would naturally be able to create his own master-level works, and his ceramics might become the top ceramics in history after decades, centuries, or even thousands of years, and become treasures that people are vying to collect.

As the saying goes, it comes naturally.

Anyone doesn't have their own style to create from the beginning.

Tang Bohu's painting is also learned from others first, and after reaching a certain level, with the understanding of painting skills, he gradually has his own style.

"Brother Da Bin, I didn't expect you to have such a mind, now my attitude is more determined, as long as you are willing, I can definitely promise to help you succeed and help you become an excellent ceramic master. You can ask for money, you can ask for people, and when you go down in history, I can add a name next to it, and that's enough. In fact, Zhang Tianyuan had thought about such a problem before, and at that time, when he was imitating the works of the ancient masters, he thought that he could make himself such a person.

But reality made him give up this plan, he really didn't have that kind of material, he could only imitate mechanically through imitation of words, and he really couldn't integrate it into his soul, because he lacked time and talent.

Strictly speaking, he is a collector, he has too many things to dabble in, and he likes too many things, so it is impossible to be as dedicated as Liu Dabin.

Liu Dabin is the best candidate in this industry.

"You...... Do you really want to go crazy with me?" Liu Dabin was a little excited and a little worried, he didn't know if this would harm Zhang Tianyuan, but he really wanted to try, I was afraid that it was also his dream in this life.

Zhang Tianyuan nodded and said: "If you only talk about imitation, I won't lose to you Brother Da Bin, but I'm not as good as you, because I can't integrate my soul into a work no matter what, so I will never be able to catch up with you, and you can, you are more powerful than the king of concealment......"

Zhang Tianyuan knew why he couldn't integrate into his soul, it was because he didn't use his soul to create, he just used imitation words to be opportunistic.

He couldn't help but think of the painting of the Bada Shanren again.

Regarding the ink painting of the Bada Shanren, Zhang Tianyuan did not know how good and where it was good before, but when he met by chance, he admired the purity of his temperament, the rush of life, the exaggerated ugliness, and the extreme coldness of his pen and ink. The freehand painters in the history of art, as well as Xu Wei, Shi Tao, Wu Changshuo, and Qi Baishi.

"There are not many ink spots and many tears", sometimes, he even wonders if it is because of his melancholy that he loves Bada Shanren so much. Later, when encountering some things, it is not possible to cross the threshold by lifting your feet, and melancholy is like a sponge soaked in tears, sinking more and more, sinking more and more.

Zhang Tianyuan began to read about the Bada Shanren, reading his works, and articles about him.

He also said to Master Yuanbo at that time: "Bada Shanren is the most ambiguous painter. ”

Master Yuanbo smiled and said: "What puzzles me is that no matter whether I understand it or not, I like the Bada Shanren, and I love them to the bone. A closer look reveals that all the love and hate of the Bada Mountain people are in the pen and ink, and the love and hate of women can also read his love and hate the most. There are no people who love or hate, and the Bada Shanren are only left with their bodies. ”

This kind of love, this kind of hatred, is it a family hatred and a national hatred, but is it also about love?

The Bada Shanren inscribed the thrush bird, and associated with the good story of Zhang Jingzhao for his wife's thrush, the leap of thought can be seen from this, which can be understood as the painter yearning for a beautiful love life in the world at the same time, through Zhang Jingzhao's beautiful love and family life, to pour out his unsatisfactory love and family.

Legend has it that this may have something to do with the fact that the painter did not live happily ever after in his later years. Everyone yearns for a beautiful love, and in addition, the ill-fated Bada Shanren did not let us read about his blasphemy of love due to his indiscriminate or indifferent affection. Clean pain will surely precipitate, sink in the bottom of the heart, alone, read slowly.

What if someone could capture this feeling through time and space and incorporate it into their work?

This can even be said to be the resurrection of the ancients! (To be continued......