"Gangchang, do you think what he said makes sense?"

Kazunari Sakai turned his attention to his son.

Sakai Tsunamasa didn't expect that there would be his own affairs here, and he suddenly became nervous.

"Uh, uh......"

He hesitated.

"I see that the petals of your lotus flower are all colored, obviously Gangchang you don't think it's a problem, so why don't you answer your companion's concerns?"

Uncle Sakai didn't let him go because Sakai Tsunamasa was very embarrassed.

He asked, "Is Gu Weijing wrong, or is there a problem with the design of this manuscript?" Should I use color 2 or 3? ”

Tsunamasa Sakai was even more hesitant.

A morning's work had put his brain into a state of mechanical numbness.

He painted what was written on the manuscript, and never thought about such a trivial issue as the color of the lotus stamen.

What shade of color should the stamen be?

There are different versions of this question.

Maybe what Gu Weijing said makes sense, but these experienced veteran painters generally can't go wrong.

Wait a minute.

He was somewhat impressed with the author of this manuscript.

Out of the corner of his eye, Tsunamasa Sakai swept over the drawing paper and saw the name of the artist in the corner of the No. 9 mural - Kazunari Sakai.

The sketch of this painting was drawn by his father, and the paint marks on it were also determined by his father.

Sakai Tsunamasa immediately had confidence in his heart.

His father had a knack for ukiyo-e.

Ukiyo-e in the traditional sense originated from the prints of the Sui Dynasty, flourished in the Edo period, and was more influenced by the Western school of painting than Chinese painting.

Although the ukiyo-e school in its original sense came to an end in the early 20th century, painters now generally study the genre of ukiyo-e and the "Post-Impressionism" that absorbed some of the essence of ukiyo-e.

However, Sakai is still known for his sensitivity to paint.

Tsunamasa Sakai didn't think his father would have a problem with such a thing.

"It should be a number 3."

"The normal painting of lotus flowers should be used No. 3 off-white?"

Uncle Sakai confirmed.

"Yes, it should be No. 3 off-white normally."

He replied categorically.

"Alas......"

Hearing the familiar sigh, Sakai Tsunamasa's heart immediately sank.

"Your eye is sharp, right, but also wrong."

Sakai Kazunari completely ignored his son and turned his attention to Gu Weijing.

"Normally for lotus flowers, for better contrast, dark pigments or even gold dust would be used, but ......"

"Is this not normal?"

Gu Weijing captured the aggravated word "normal" in Uncle Sakai's mouth.

Professor Kazunari Sakai nodded.

"Because it's a mural."

He explains: "The base of the murals here is made of chalk powder, which is relatively weak in fineness compared to the silk silk or shengxuan commonly used in Chinese painting, and more importantly, the yellowing of the chalk soil. ”

"Hmm...... Is that so? The adobe of the wall is yellow, which can neutralize the pigments with good light transmittance. ”

Gu Weijing nodded in admiration.

As long as you put your heart into these experienced artists, you can always learn something new.

"You can color this lotus."

Sakai Kazunari gestured.

Gu Weijing turned his head to look at Uncle Sakai and found that the other party had no intention of leaving at all.

"Do you want to guide yourself on the spot?"

He was a little surprised in his heart, he could let such an artist personally instruct, but he was treated as a disciple.

Don't look at Uncle Sakai's name at the Tama Academy of Fine Arts, but this is the same as the academician or academic master in the Polytechnic University.

The school is completely good at eating and drinking for such professors, for fear of being snatched away by other art academies.

Whether you want to take the student completely depends on his personal mood.

The other party is willing to point out himself here, but there is no scum left in the very hot knowledge payment projects such as the master class that sells 69998 on the Internet.

He immediately adjusted the paint and picked up the pen.

Gu Weijing's brush is gentle, gently rotating the brush around the color block, sweeping the pale pink paint around.

This kind of brushwork is called dyeing, because the redness of the color is deeper, and it is generally used in the red glow of the cheeks of the ladies or the reverse roots of the petals.

"When transitioning to the position of the front end of the lotus petals, it is transformed from dyeing to drawing silk."

Kazunari Sakai taught on the side.

"Wire drawing?"

Gu Weijing paused for a moment.

The wire drawing method is often used to outline the feathers of birds, and it is rare to see flowers.

"Yes, it's the wire drawing method."

Sakai Kazunari said: "If you actually operate it, it will be clear. ”

Gu Weijing gently lifted the pen and changed the position where the pen touched the wall.

Sure enough, it's different.

He found that compared with the previous wide-open and wide-closed type of dyeing, little by little dragonflies and little water generally pull out the color, it is much more delicate, especially the narrowing of the petals.

[EXP +5]

【EXP +7】

[XP +9]

Hints of experience growth keep coming.

Gu Weijing somewhat understood why Sakai Katsuko's painting skills were so exaggerated.

This feeling of being personally cared for by the master artist at all times is really obvious for the improvement of a person's painting skills.

He was genuinely a little envious.

What Gu Weijing didn't know was that while looking at himself, Sakai Yicheng also liked his understanding and hard work in his heart at this time.

Artists like students who are attentive and have aura.

For example, Gu Weijing's confusion about pigments before was obviously the result of thinking about it.

The most important gap between a genius and a mediocre talent is just like this.

Tsunamasa Sakai's talent is not bad at all.

Compared with Katsuko, what he lacks is patience and meticulousness, and he himself is not aware of it.

Gu Weijing was able to find the problem, and he was already more than a star and a half stronger than his son. This gap in mentality is more difficult to make up for than the length of one's drawing skills.

"If only he were my son."

"Ugh."

He looked at Gu Weijing, then at Sakai Tsunachang on the side, sighed heavily, instructed Gu Weijing a few words, and rolled away to the side.

Looking at the back of his father in the distance, the arm holding the drawing board of Tsunamasa Sakai, who was ignored, felt even more sore.

Soon, when Gu Weijing completed the seventeen petals of this lotus picture, the experience value panel in front of him came to [Chinese Painting: Beginner (100/100)] almost instantly.

Gu Weijing held his breath and carefully drew the last stamen on the wall with the tip of his pen.

It's like the finishing touch.

The moment he dropped the last stroke, the experience bar in front of him got a new hint.

[Your Chinese painting level has been improved.] 】

[Current Level: Lv3 Semi-Professional (1/1000)]

[Quest - Raise the level of Chinese painting to lv3, completed.] 】

[Reward: "Maha Notes" can be claimed.] 】

Gu Weijing looked at the panel and blinked.

[Item: Maharaja Layman's Hand Tie]

[Quality: Knowledge Card]

[Special Effect: After obtaining the Knowledge Card, you will understand the corresponding content.] 】

[Equipment Requirements: Chinese Painting Level Lv.3]

[Master Profile: Wang Wei, whose young worship of Buddha, the word Maha, takes the meaning of the wisdom of the monk Vima in the scriptures, and is known as the Maha. A poet and painter of the Tang Dynasty, the world said that his skills were as skilled as gods. It is a mural of Buddhist scriptures painted by the Great Recommendation Temple, which is called "pointing directly to the hearts of the people" and "becoming a Buddha by seeing nature".

Su Shi of the Northern Song Dynasty commented on the clouds: "The poems of the taste of Maha, there are paintings in the poems; Looking at the painting, there is poetry in the painting. 】

[Note: The mountains are colored from afar, and the water is silent when you hear it closely.] The flowers are still in spring, and the birds are not surprised. 】

Unlike the sketching skills that could be activated, Gu Weijing only felt a huge amount of knowledge rushing into his mind.

He closed his eyes and realized it carefully.

There is no doubt that the Tang Dynasty is a great climax of the entire Chinese civilization, and Wang Weiju is one of the lotus flowers that does not have branches.

When people think of calligraphy and painting in the Tang Dynasty, they often think of Wu Daozi, the painter who painted the "Eighty-Seven Immortals". followed by Er Li, that is, the famous Li Sixun, Li Zhaodao father and son, few people can think of Wang Wei at once.

It's not that Wang Wei's painting is bad.

Gu Weijing knows that Wang Wei is a very versatile painter.

Not only did he paint countless temple walls, but the then prime minister Cui Yuan wanted to paint a shadow wall for his home, and the first one invited was his colleague Wang Wei. Moreover, he was even invited to the Great Ci'en Temple to paint with Wu Daozi.

He is also very good at painting landscapes and pastorals.

"Beginning with shading, changing the method of hooking" - this is the praise and summary of his painting skills in later generations.

It's just that he should be too omnipotent, as an official, he is a high-ranking official and dignitary who can wear vermilion and purple above the fifth grade. Writing poems, he is a genius who can make Princess Yuzhen amazed in just a few words.

In his education in school, Wang Wei appeared more as a scholar and a literati. will only add a remark behind those famous passages that have been recited by countless people - famous painters of the Tang Dynasty.

Gu Weijing held the paintbrush and dotted in the air, figuring out the feeling of painting.

This is different from the other reward given by the system, Adolf von Menzel's basic drawing skills.

That skill gave him experience, and in the state of activating the skill, Gu Weijing himself was like being possessed by the ghost of the old man, and he had extremely skilled pen skills.

And this time the reward is knowledge.

Wang Wei experienced the Anshi Rebellion from prosperity to decline in the Tang Dynasty, and then the division of feudal towns and wars continued.

His poems and songs can still be preserved in the world through word of mouth. His original paintings and related book notes have perished, as have many precious manuscripts of his contemporaries.

Now circulating in the world, it is clear that Wang Wei wrote the theory of painting art, and there are only two short songs of 100 words, "Shanshui Jing" and "Shanshui Jue".

The Maha Notes provided by this system are clearly the kind that have been scattered in the long course of history.

This knowledge card is amazing.

He didn't need to read word by word, as long as he concentrated, the relevant content of the "Maha Notes" would naturally become familiar to his heart, as if he had copied and recited the whole text thousands of times.

The content on this is very casual, there are interesting stories about talking with friends, and there are daily essays.

There is even a look of "Today, the housekeeper took a box of vegetarian food and four dim sum from the Zen master of Jinchangfang Shenhui." This is obviously a casually written sticky note.

What really makes Gu Weijing feel that he has picked up a treasure is that the main content of this book contains a large number of skills and insights written down by Wang Wei, an ancestor artist of the Tang Dynasty, in his daily painting.

"The beauty of color lies in the five senses. Yu Chang said that the nature of pen and ink is natural, and the work of creation ......"

In his mind, there was a middle-aged scribe with his hands behind his back, frowning slightly and splashing ink on the paper, while reciting various feelings and experiences.

In his mind, he secretly compared the two rewards given by the system with each other.

It was difficult for him to judge which reward was better, but it could only be said that each time it was better, and each time it was beyond his imagination.

If he had to choose, he would even prefer this Maha Notebook.

Because the former is like its kind of [skill] in the system, it is more like Ling Bo Weibu, a martial art like the six-vein divine sword. And the latter is a more essential [Mental Law].

His current skill bar proficiency is still semi-professional (1/1000), which is much weaker than sketching close to lv.4.

But it is like having a pair of incomparably wise eyes, spanning thousands of years of time, looking at the manuscripts and murals in front of them through their own eyes, and examining the level of later generations with the eyes of their predecessors.

Gu Weijing took two steps back slightly, looking at the mural in front of him.

He found that when he was originally coloring, he could only follow the content arranged according to the manuscript, and follow the same trend, even if he was confused, he could only remember it in his heart.

Now, however, it can be answered almost immediately by the experience in the hand.

If he had acquired such a skill before, he would have discovered the mystery of the color of the stamens without waiting for Uncle Sakai.

Moreover, his proficiency in the techniques of Chinese painting is still far inferior to that of those old painters who have been immersed in gongbi painting for half their lives.

But he was already beginning to be able to spot the problem with the painting in front of him.

For example, if you compare the knowledge on the handwriting, the ink line at the petals of the lotus flower should be thinner, the curve at the root of the flower should not be moist enough, and the ink line at the flower branch should be thinner, so as to show the upright posture of the lotus......

Gu Weijing picked up the pen and prepared to weigh the hot iron and complete the coloring of several other blanks.

He swept his gaze to another Buddha rosette waiting to be colored. Gu Weijing prepared the paint according to the instructions on the manuscript, and was about to start writing, but stopped again.

Here, according to the original manuscript, the color is red.

I should use safflower, limestone and cinnabar as the main body to mix the light red pigment.

But Gu Weijing hesitated for a moment, and a line of text suddenly flashed on the "Maha Notes" in his mind.

"With the cinnabar, the lotus platform of the painting, its color is moist and brilliant, and its desire flies out vividly."

Cinnabar, also known as cinnabar, is mainly composed of mercury sulfide, which is one of the dyes commonly used in industries such as alchemical construction in ancient times.

According to the notes in my mind - if you add cinnabar to the arrangement of the paint, when you paint the lotus platform, the color will be moist and brilliant, as if it is about to fly out of the painting.