At the beginning of the music, it was mellow and elegant, and then continued to rise, and the melody jumped like water waves in the mountains, rippling out, however, Zheng Lang frowned, and his emotions were deep and sad.

At this time, not only Xue, but even Gu Yun, who was painting, involuntarily put down his pen, held his breath and concentrated, temporarily immersed his body and mind in this long and continuous "sound of water clouds".

Gradually, the tune changed to a greater ups and downs, as if the listener was showing her uncalm inner world, although Xue did not understand music, but her mind involuntarily moved with the sound of the piano, she lowered her eyes slightly, and a melancholy mood rose from the bottom of her heart.

Zheng Lang's fingering is like flowing water, sometimes "back and forth" gliding, the melody jumps up and down, like a cloud shadow, and sometimes "swaying" and caressing, low and endless, creating a scene of water and air.

Different from the previous slow and low sound, Xue heard the trembling timbre in it, and Zheng Lang's movement range was also larger, as if he was moaning through the sound of the piano to vent the pain in his heart.

Xue sighed slightly, looked towards Gu Yun's side, and saw that he had already picked up the pen again, dialed out a gray and cyan color in the white disk, and then with a big stroke of the pen, he rendered a large piece of color on the white paper.

Although I don't know what Gu Yun plans to paint, but looking at the faint gray and cyan color, I only feel that my heart is becoming more and more depressed, and I suddenly feel a little lonely, a little ethereal, and unpredictable.

Xue didn't want to be trapped by such a dull emotion, so she got up again and walked among the students.

At this time, with the advancement of the rhythm, the sound of the piano has become richer and more compact, and the staggered playing presents a colorful and gorgeous effect.

As the snow approached, Gu Yun began to sketch the small scenes in the painting with a thin brush, the lines were straight, not knotted or stagnant, the brushstrokes were plump and smooth, round and powerful, or thick, or light, or dry, or wet, or deep, or shallow, full of changes.

I saw Gu Yun scribble a few strokes, and on one side of the scroll, you can already see the scenery such as the slanted willows, the waterfront, and the flat boat, and he replaced it with a slightly larger pen, stained with color, and the ripples on the water surface were displayed.

It seems that after listening to Zheng Lang's music, her temperament is great, and the hazy smoke and rain landscapes leap on the paper, Xue is already amazed in her heart, she can't stroke the piano, and she can't paint, but these are all ways to express emotions, even if it's just listening to the music and watching the painting, Xue seems to understand the bitterness in the hearts of the two of them more.

Xue paced slowly to Lu Hibiscus's wooden case, and saw that it was indeed a different scene.

Although Lu Hibiscus's paintings are also dominated by ink and cyan, they are not a sense of chaos that is neither gray nor green, the green bamboo is lush, the dark earth is deep and stable, and a few children with sideburns in the corner are wearing vermilion or yellow clothes, and the picture suddenly becomes lively.

There are also many men of various shapes in the painting, dressed in white clothes with wide sleeves and loose clothes

This should be the virtuous that Wei Shuo yearns for the most

The colors are more intense,

Flat, such as "cone sand stroke", the force is even, only by controlling the pen, the line can be flat and powerful.

Round, such as "folding hairpin strands", rich in elasticity, free turning, rigid and soft, elastic and powerful.

Stay, such as "house leakage marks", height control, like carved into the wall skin, calm and powerful. The lines are highly controlled, and the lines are left everywhere, meaning that the pen follows. Song Guoxi said: "A kind of pen cannot be reversed as a pen; One kind of ink, not the other way around. Pen and ink, people are shallow and close, two things and don't know how to manipulate, and how wonderful it is? "Heavy, such as" mountain falling stones", the pen has strength, the pressure of the pen should be large, to be able to hold the paper, full of strength, force through the back of the paper, into the wood three points.

5. Change, such as "a hundred rivers return to the sea", "startled the snake into the grass".

"Beginning", "Inheritance", "Turning" and "Combination" are several key related links in a Chinese painting. The so-called "rising" is the main body unfolding momentum and direction, and "bearing" is the movement process of increasing changes, enriching and enriching levels, and taking advantage of the situation according to the main momentum and rising momentum. "Turn" is to take advantage of the reversal of the situation to increase change and interest, which refers to breaking the main momentum and increasing the contradiction to change the direction. "Together" is to return to the main potential, summarize the overall situation, and return to the momentum, so as to achieve a unified and perfect ending that is inherited and echoed by each other. There are many openings and closings, undertakings, and transitions in a painting.

In Chinese painting, there is a theory of "yin and yang are born together" and "virtual and real are born together". It is a pair of contradictions, there is a virtual existence, and there is a real life, so as to achieve "vivid nature". "Real" can refer to the prominent real subject on the picture, and "virtual" often refers to the secondary, distant, faint, and foiling objects. The ancients had the saying of "knowing white and guarding black" and "lining reality with fiction". In Chinese painting, special attention is paid to the place of "void and whiteness", "there is reality in the void, and there is void in the reality", which is often the key place in the painting. The viewer often focuses on the real place and pays attention to the imaginary place, which can make people associate and imagine, and achieve the meaning of the unexpected, the "virtual realm" of the painting outside the painting.

There is a saying in Chinese painting that "sparse can run horses, dense but not ventilated", which requires a contrasting relationship between large sparse and dense. There are contrasts between sparse and dense, gathering and scattering, movement and stillness, light and dark. It is required to produce a sense of movement, rhythm and rhythm through contrast, and make the picture more varied in the layout.

The ancients called the composition "the arrangement of the array". A Chinese painting must have a momentum and strength, a vigorous vitality and an unstoppable momentum. The use of virtual and real, modulation and frustration, zigzag and reciprocating methods, in order to achieve the "want left first right", "want to release first receiving", "want to do first store" changes, and finally complete the "accumulation".

The loose sound is loose and distant, which makes people think of ancient times;

Its overtones are like heavenly sounds, ethereal and ethereal, with a sense of coldness and immortality;

The sound is very rich, the lingering rhyme under the fingers is subtle and long, sometimes like human language, can be dialogued, sometimes like the mood of people's hearts, ethereal and changeable.

It is also like a stormy outpouring of passion in the author's heart.

Subsequently, the music enters the ** passage marked by two jumps, the melody is strong and powerful, in one go, galloping in the high register, majestic, emotionally agitated, especially the use of two-tone glissanda fingering is extremely good, and the irrepressible "tiredness" is expressed very touching.

The fourth part of the piece consists of two sections, 17 and 18. The melody shifts to soothing and calm again, and the author blends melancholy into a low, oppressive tone. However, at the end of the music, a continuous, transposed "4" suddenly appears, bringing the piece to a new level:

This music seems to be the last flash of the author's burning patriotic flame, and the end of the overtone performance is like a sigh of powerlessness.

The music ends on the quotient in the lower register, and the melody has a heavy and oppressive color. The once turbulent Xiaoxiang water clouds have calmed down so far, and only the aftermath of the author's feelings is still fluctuating weakly, causing deep resonance in people's hearts.

At the beginning of the piece, the ethereal overtones bring people into the artistic conception of rippling blue waves and smoke. The melodic tone of the first phrase begins in the second stanza from the middle range and continues throughout the piece. The unique chanting and kneading techniques of the guqin repeatedly change and develop around the backbone sound, profoundly revealing the author's depressed and anxious inner world.