After Cao Lao began to paint.

The people who were still reluctant to watch were dispersed by Lin Tao and the staff.

"Cao Lao wants to paint, idle people, etc., let's go back." Lin Tao said.

"Lao Lin, we are quietly on the side, ensuring that we do not speak and do not affect the master's painting."

"Professor Lin, give me face, Elder Cao didn't say anything."

There are old professors who are familiar with Lin Tao who want to be cheeky and stay to listen to Cao Lao's lectures.

Song Taizong said that opening the book is beneficial.

I finally had the opportunity to meet Master Cao, and I wanted to pass on the art in person.

Even if it is because of Gu Weijing, the content may be shallow, and it is earned by hearing it, and it is not a matter of being thick-skinned at this time.

In front of Cao Lao, who is not a student.

"I'm sorry, but I like to be quiet when I paint, so please go about your work."

Lin Tao is not happy that these old guys are here for free to rub the teacher's guidance.

He knew all too well the nature of these people.

100-foot clubhead, it is even more difficult to go further.

Everyone has their own confusion about painting in their hearts, and if they want a grandmaster like Cao Lao to answer it, give them a chance and they will stick to it.

As long as these shameless old things are left, it is guaranteed that after a while, it will become a special lecture.

Why should they take advantage of this?

I often want Cao Lao to point out that I don't have time for two sentences, so it's still my master.

He even politely invited Gu Tongxiang, Gu Weijing's grandfather, to the side.

Gu Weijing was looking up to admire the little old man Cao Xuan's painting, his eyes unblinking.

He watched the tip of the pen leap over the mural as if watching a grand, enthusiastic silent performance.

"It's almost the way to go."

This is the most intuitive feeling in Gu Weijing's mind.

Cao Lao held the brush, the tip of the pen did not tremble at all, picking, painting, pointing, and wiping, so that it looked pleasing to the eye, but also had some ethereal and agile feeling.

"The teacher is so old that he can still write like a dragon, which is really ashamed of us juniors."

After Lin Tao completely drove away the idle people, he walked back to Gu Weijing, who was holding a palette, with sincere admiration in his tone.

Mr. Cao Xuan's artistic life is really amazing.

"Tell you to drink less, and you won't listen. I can't even control my own body, so how can I hold a good paintbrush and useless things. ”

The little old man glanced at his second apprentice and reprimanded mercilessly.

"If you reach my age, you can still hold a steady paintbrush, maybe your artistic achievements can be even better, but do you have the ability?"

"I don't dare to compare with the teacher. The teacher is a once-in-a-500-year art master. ”

Lin Tao was still blushing as he was old, and lowered his head embarrassedly. If Professor Lin Tao's students saw the rigid and serious CAFA professor being reprimanded like a primary school student, they would probably drop their jaws in surprise.

can be accepted as the second disciple by Cao Lao, he is also a young and promising, and he was a high-profile cutting-edge painter when he was young.

Young people are proud, and naturally they are indispensable.

Lin Tao doesn't smoke, but he loves to drink rice wine, although he has been scolded by the teacher many times, he has not been able to completely quit this hobby.

"A once-in-a-500-year piece of bullshit." Cao Lao shook his head, "I'm just working harder than my peers, having better luck, and living longer." ”

I don't know if it's because of private, Gu Weijing feels that Master Cao Xuan's performance is very frank and real.

There is no master's frame at all, and he is like an elder who simply sees his juniors not fighting and is distressed.

It made him very kind in his heart.

"Gu boy, you are a good seedling. But if you want to go further on the road of art, it is not enough to have good seedlings, and it is best not to touch any of wine, sex, wealth, and gas. The path of art is complex and simple. You have to live long enough to boil all the old guys who are stronger than you into the loess, and you are the master. ”

Cao Lao stopped his brush, looked at Gu Weijing, and said in a very serious tone: "Self-discipline, this is the first lesson I teach you, and it is also a lesson that I think is more important than painting itself." ”

"Teachable." Gu Weijing nodded seriously.

Self-discipline is a very significant characteristic of old-fashioned Oriental artists that distinguishes them from Western painters.

Gu Weijing heard that the calligrapher of Dongxia, the ninth Mr. Sun Qigong of Emperor Yongzheng, paid great attention to health preservation.

Even in his later years, he can still walk like a dragon with a pen, and even if he writes a calligraphy of 300 words with his arm raised, he can still keep his hands shaking, his face not red, and his breath not panting.

The traditional calligraphy and painting of Dongxia are not separated, Gu Weijing observed, and so did Mr. Cao Xuan.

His hand with the pen was extremely steady and powerful.

The old gentleman's arms were as thin as firewood sticks. However, the brush, wrist and muscles in the arm have formed a very stable grip triangle, and it is scary to be stable when drawing.

Only the accumulation of training and the maintenance of absolute self-discipline of the body can maintain the state of the body at such an age.

This kind of self-discipline of the literati is a tradition of Dongxia artists, and it is also a very important aspect of virtue in the cultivation of "virtue" in ancient Chinese culture.

In contrast, his grandfather Gu Tongxiang does not have this attainment, although Gu Tongxiang is about the same age as Lin Tao.

He had heard his grandfather sigh several years ago that he was no longer stable in holding a pen.

There's no way around it.

Yangon is a society of personal connections and human feelings.

Especially in the turbulent times, it is difficult to become a small building alone in a small building in a calligraphy and painting shop by the Yangon River, and quietly do your own small business of calligraphy and painting.

All kinds of ushers and send-offs, wine and shows, it's not that you don't want to go and you don't want to participate.

Nicotine and alcohol not only cause cancer, but also damage the brain, and many perennial alcoholic neighbors on the street have minor problems such as hand tremors.

For artists, that's the big deal.

After Old Man Gu was fifty years old, his hands became more and more unstable.

However, the painter is not bad at this point.

You look at those singers who cough up medicine, absorb fans, and have promiscuous sex all day long and play underground music in Europe and the United States, especially the representatives of hippie culture, not to mention whether they can still be active in the music scene at the age of 60, and they can live through the age of 40 without illness or disaster.

"As for the second point, have you ever thought about what kind of elements a professional painter should have when painting?"

What elements?

Gu Weijing shook his head.

"Skill, knowledge, and emotion."

Lin Tao, who was standing on the side, had a solemn expression.

"These are the three elements that my teacher taught me when he introduced me, and they are the foundation of all my achievements today."

Skill?

Knowledge?

Emotion?

He had heard of the six categories of painters, the three major items, and so on, but this three-element theory was the first time he had heard of it.

"The so-called technique is the foundation of painting a painting, which is the source of water and the foundation of wood. If you don't have the blessing of skill, no matter how much knowledge you have, how turbulent and rich the emotions in your chest are. There is no basis for painting as a medium, but it is only the moon in the water and the flowers in the mirror. ”

Lin Tao explained to Gu Weijing: "You have done a very good job of this. At your age, at least the basis of sketching is close to that of a professional painter, which is very good, and it is clear that there has been hard work. ”

These old painters judged correctly.

Gu Weijing sighed, according to the system panel, his sketches are also semi-professional to the point of being full.

"But you don't do well with knowledge. I can tell how tall the Shwedagon Pagoda is, how many bells there are on it, where the gold is thicker, and what kind of construction techniques are used? ”

"You know?"

Gu Weijing felt that although he didn't understand, the other party would never know more than himself, a native of Myanmar.

Lin Tao nodded, and took out a small notebook from his arms, on which were densely written records.

"From the day I started drawing, my teacher asked me to record any background knowledge about any buildings, people or scenery that I was considering drawing. Before I came to Yangon, I knew about Shwedagon Pagoda. You can never draw well what you don't understand. I've been doing this for 50 years. A full notebook can fill an entire house. ”

Gu Weijing was convinced: "This is knowledge? ”

"That's knowledge."

"Ancient painters like Raphael or Titian, no matter how brilliant they were, could not have painted airplanes well, because they would have regarded them as miracles with a religious aura, rather than pursuing mechanical rigor. Knowledge is power, don't look at the Impressionist abstraction, Monet's painting of architecture, whether it is "The Reichstag at Sunset" or "Doge's Palace" is based on the incomparably familiar with the building itself. ”

"So boy, don't be unconvinced by that little girl who lost to Katsuko Sakai. I heard that she has been paying attention to this aspect since she was a child, and her famous work "Birds on the Sea" once made professional marine biologists marvel at the fine texture of bird feathers. Cao Lao spoke at this time.

"As for the last, and the hardest part, it's the emotions."

The little old man changed his paintbrush and picked it in the palette.

"Look at it. Let me show you once what is the so-called finishing touch in Chinese painting. ”