Gu Weijing closed his eyes and felt the rich content covered in the "Summary of the Essence of New Style Painting" provided by the system.

Brush holding brush, oil brush holding brush, color mixing, brush, focus perspective......

Massive amounts of information flow through my mind,

He even had the illusion of color in front of his eyes, as if he had walked into the Forbidden City of the Qing Palace three hundred years ago, and was witnessing how this foreign painter who had been awarded the title of Emperor Qianlong and wore a flower feather painted with three products.

He once got Wang Wei's "Maha Notes".

That book is more like a literati essay by a traditional scholar in the Eastern Xia Dynasty, and it has a strong literary temperament.

Although there are many refreshing and brilliant painting tricks,

However, it is still far from being as comprehensive and detailed as this "Summary of the Essence of New Style Painting", which explains the painting techniques of Lang Shining's works.

The works of court painters like Lang Shining have been inherited in an orderly manner, and like official kiln porcelain, they rarely fall to the people.

Therefore, the Forbidden City on both sides of the strait in Dongxia and the museums in the United States, Japan, and France have more than 90% of Lang Shining's works, and most of them are well preserved.

There is no shortage of experts and scholars at home and abroad who specialize in the study of new style painting techniques.

However, the painting technique is restored based on the finished work. It is still based on the painter's own painting experience, and he thinks about and studies the works.

The difficulty of the two is completely different.

The rich colors and gorgeous visual perception of the paintings are interwoven by the most subtle brushstrokes.

Pushing backwards is like speculating from a grand symphony how the fingertips of the first violinist's left hand gently stir the strings as thin as a hair.

Not completely impossible, just very difficult.

Historically, there have been many painting techniques that have left paintings but lost their paintings.

The double-hook and heavy color technique of Chinese painting, some pigment formulas of Western tempera painting, and the light perspective technique of the Renaissance......

Some of it was because of the war, some because of the complexity of the craft, some because of the self-cherishing of the broom of a niche school, or even simply because some pigment ore was depleted a hundred years ago.

It can only leave future generations of scholars to rack their brains to speculate and restore in a futile sigh.

Gu Weijing didn't know,

This work of art theory is systematically restored and summarized according to Lang Shining's works. Or maybe the historical artist Lang Shining really wrote down his technique experience, but he died in the long river of time without being known to outsiders.

Lang Shining himself's specific painting technique is like a black box.

There are many records about the characteristics of his paintings in the literature - "the scenes are grand, the brushwork is smooth, the paintings are delicate, and there is no failure".

There is little record of the detailed drawing.

In the memoirs of Lang Nian Xiyao, a famous painter of the Qing Dynasty, it is mentioned that he once followed Lang Shining to learn Western heavy color and benefited a lot.

As well as the record in the "Qing Dynasty Living Record", Qianlong once ordered, "Then pick six smart and delicate children from the Internal Affairs Bureau, and follow (Lang) Shining and other students to draw line sketches, which are quite fine, refreshing, and cannot be lost." ”

Later generations can find these historical records of just a few words, which makes people reverie infinitely.

Gu Weijing is well aware of the preciousness of the system's reward.

In the history of Eastern Xia, there were actually very few professional art "teaching materials".

The famous "Book of Painting" and "Six Methods of Painting" are more often just literary works that talk about the philosophy of art on a macro scale, rather than teaching techniques.

I want to learn the real thing.

Otherwise, you will have a good baby.

Otherwise, first do five or six years, seven or eight years with the teacher to serve tea and water to paint children. Then be an apprentice for a few years, and finally test and test the character, pass five levels and kill six generals, a great painter can accept five or six true disciples in his life.

The apprentice wants to be more important than the son.

This is why Cao Lao's acceptance of apprentices will be a major event that will shake the animation world.

In ancient times, this kind of scholar and doctor class of Wenzong and Huazong accepted closed disciples, and the emperor would pay attention to it.

The court painters, who specialized in painting for a living, were even more reluctant to teach others the skills of housekeeping.

Father to son, son to grandson, hereditary iron rice bowl.

As long as the craftsmanship is not lost, you will not starve to death.

Until Gu Weijing learned painting when he was a child, and when the old man taught him the Chinese painting techniques passed down from his family, even if it was not very profound, even the uncle who didn't do this business was not allowed to listen.

This meticulous and illustrative of the techniques of painting is undoubtedly worth a thousand dollars.

In ancient times, just having read this book thoroughly was enough for a top painter to start a sect. In martial arts, this is a peerless secret book that is enough to set off a bloody storm on the rivers and lakes.

With this book,

The sense of disconnection that has always plagued me in the style of fusion painting should have a way to understand.

Gu Weijing suppressed the excitement in his heart, and quickly threw all kinds of cranky thoughts out of his mind and calmed down.

He knows

The system only gives knowledge cards, not one-stop skills.

The difference between knowing how to draw and actually bringing it to life on paper often requires extremely tedious practice and hard work.

The know-how in the Maha Notes is more empirical than technical.

Take stirring cinnabar with your fingers as an example, and found that this trick requires a lot of experience, but after knowing the latter method, even a kindergarten child can easily do it.

Even so,

In order to mix the most appropriate color on the mural of the "Buddha Protector Map", it also took Gu Weijing a full noon.

Burriman's "Anatomy of the Human Structure" can only be used with the basic brushwork of Menzel, who uses the sketching technique up to the terrifying Lv.9, to exert an extremely stunning effect.

If it is changed to Gu Weijing's original sketching level, it will immediately become a dog riding Lu Bu, which can only be said to be amazing in the field of middle school students.

If you want to really use the knowledge cards rewarded by the system for your own use and draw them to the point of Lang Shining, there are still things to practice.

……

At night, Gu's calligraphy and painting shop is still lit up.

After returning home, Gu Weijing was not in a hurry to go back to his bedroom today.

He had just gotten a new knowledge card, and it was hard for him to fall asleep without drawing something.

Gu Weijing wandered around the façade of his small gallery for a while, and finally stopped in front of a wall.

【Bean Blossom of Changchun Atlas of Bean Blossom of Changchun Atlas】

[Type: ink and color on silk (fine reproduction)]

[Artist: Qing Lang Shining]

[Price: $1,500 / 3,680,000 kyats]

Gu Weijing carefully took the scroll off the wall and put it on the table on the side.

This picture scroll is a replica of collectible-level cultural relics produced by the Cultural Relics Exchange Project of the Forbidden City on both sides of the Eastern Xia Strait in 2017.

At that time, in addition to releasing some imitations of famous paintings, some commemorative lacquerware, fine blue and white porcelain were also produced.

Collectible prints, although they are machine-copied and printed, retain the original brushstrokes of Lang Shining very well, and are not at all comparable to the cheap souvenirs sold in front of tourist attractions.

The cost of each purchase price is more than 800 US dollars.

Old man Gu picked up Lang Shining's works and bought a batch of them at that time.

In addition to this "Immortal Calyx Changchun Atlas of Douhua", there are also several "Jurui Pictures" and "Qianlong Emperor Dayue Map" for sale in the store.

The sales are not bad.

Basically, the galleries in Yangon are mainly for foreign tourists.

When European and American tourists come to Southeast Asia, in addition to local oil paintings, they want to buy some oriental paintings.

But, honestly,

Just like the Qing Dynasty court did not like traditional oil paintings.

Traditional Chinese paintings, which do not focus on realism, may be a bit too "exotic" for them.

If you don't have enough cultural accumulation, you really don't appreciate it.

Western tourists are obsessed with some cool, oriental concepts, and at the same time the barrier to entry is not too high.

It would be nice if they could make them seem to understand it.

For example, cultural concepts such as "ninja" and "bushido" have become a hot mess in Europe and the United States.

The artworks of fusion style are awesome here, and there are no cultural barriers.

Lang Shining's new style painting was able to deal with the three generations of emperors of Kang, Yong and Qian, and now it is even easier to get these European and American scenic tourists.

Gu Weijing once saw a blonde-haired and blue-eyed foreigner more than once, covering his mouth in the store and shouting "OMG", thinking that these paintings were cool.

Not only can they understand it, but they also think that these paintings are full of Dongxia style and are rare to see.

It's a pity that the Palace Museum was originally copied in small batches, and now it is sold, and there is only this "Douhua Picture" left in the gallery.

The effect of imitation prints under the art of painting and calligraphy is certainly not as good as the original.

IN ANY CASE, THE LOOK AND FEEL IS STILL A LITTLE BETTER THAN A COLD ELECTRONIC ALBUM, AND IT IS ALSO MORE CONVENIENT THAN DRAWING ON AN IPAD.

["Fairy Calyx Changchun Atlas of Bean Flower"]

[Oil Painting Technique: Lv.7 Master 1st Order]

[Chinese Painting Technique: Lv.6 Professional Painter: 3rd Order]

[Mood: Simple work]

When Cao Lao asked him to study and study the style of Lang Shining's works, Gu Weijing had seen a lot of the other party's works, and he had already used calligraphy and painting appraisal to appreciate this "Douhua Picture".

The results were actually quite surprising.

The mood is only the evaluation of a simple work, but there is really nothing.

Similar to this kind of Kangxi Emperor assigned to the Qing Palace Painting Academy, asking for the painting to praise Ruixiang's political work, the painter's painting is completely understandable.

It's just this painting technique......

I can't say how bad Lang Shining's painting is,

The master's painting skills are not bad at all, and they already belong to the small group of people at the top of the pyramid.

But compared to Lang Shining's fame and historical status. Especially because this painting brings Gu Weijing that refreshing and outstanding look, and the strong expectations generated.

In the analysis of the system, the artist's technique is very mediocre.

He is a seal maniac, a lover of the collection of cultural relics, and I don't know how many famous paintings Emperor Qianlong has seen, and he is excited to write a poem in person and say "Photo Shining is good at it, and I was a great painter when I was young" to praise.

A master of the first order, a profession of the third order, is indeed not high.

Take the works that Gu Weijing has admired,

The oil painting is not as good as the female painter Carol.

Not to mention that Chinese painting is much inferior to Cao Lao, even Mr. Cao Xuan's youngest disciple, Tang Ning, when he was in his twenties.

If you think about it, this result is unexpected, but it is also reasonable.

Lang Shining has never been one of the best painters in oil painting.

Not to mention Europe at that time, among the missionaries who came to Beijing, there were still two or three people who could have a similar level of painting skills as Lang Shining.

When it comes to Chinese painting, which pays more attention to talent and rhyme, Lang Shining has been involved in the local painters and scholars of Eastern Xia.

Whether it can be ranked in the top 100 in the same period is actually a bit suspenseful.

Some painting methods can inherently give birth to the charm of 1+1 greater than 2.

Lang Shining's oil paintings are not top-notch, and Chinese paintings are even less outstanding.

However, relying on the ingenious fusion of painting style, he was favored by three generations of emperors, and was selected as the first of the ten greatest painters in the history of the Qing Dynasty for 268 years, and became a high-ranking official and dignitary who was awarded the official and the third grade.

Gu Weijing prepared a pen, ink and paper research, staring at this "Douhua Picture".

Some of the surviving works of Lang Shining include the Oriental style using brushes and rice paper, as well as works using linen canvas and Western painting tools.

New style painting is a kind of painting ideas and concepts, not limited to painting tools.

The book in his mind, "Summary of the Essence of New Body Painting", is divided into two chapters.

They are the "Western Law Heavy Color", which focuses on painting the natural scenery of flowers and plants, paying attention to the composition skeleton of the East and the light and shadow colors of the West, and the "Line Drawing", which focuses on painting buildings and figures, and combines the perspective focus of Western line structure with the oriental connotation and style.

Compared with the Western French heavy color article, the line drawing article has more of the integration of sketch lines.

Gu Weijing prepares to start with the simpler aspects.

This "Douhua Picture" is a typical work of "Western Law Heavy Color", and the fields involved are only [Chinese painting techniques] and [oil painting techniques].

The moment he picked up the brush, the "Summary of the Essence of New Style Painting" in his mind began to give a large number of detailed elements of painting.

"Western France is heavy on color, focusing on oil painting, supplemented by Chinese and French. Flowers and birds are frontally selected to take the light, dilute or discard the projection effect, the object is soft, fresh and vibrant, and the color is beautiful......"

The so-called West French heavy lottery,

It can be simply understood as the transformation of Western oil painting in the way of Chinese painting.

The flowers and birds are retaining the light and dark effects of oil painting, giving up the gray tone of large-area projection, so that the whole picture looks soft in color and in a small and fresh style.

In some cases, it is even possible to boldly use some non-water-soluble mineral pigments for color adhesion.

Of course, this is just a theoretical method of "Western Law Heavy Color".

Many later generations of scholars have long summarized it, but it is not the same thing when it is drawn. Just like the theory of relativity is there, whether or not an atomic bomb can be built is still a distance between the five constants.

Gu Weijing's previous understanding of these theories was also very shallow.

The paintings he painted were neither east nor western, neither Chinese nor foreign, and they were completely different from each other, and they looked very bad.

But now, "Summary of the Essence of New Style Painting" provides not only theory, but also specific operational details.

"To draw bean flowers, first point the leaves, then jacquard, and finally write the branches. Western oil paintings are proportionate, so the branches and leaves cannot be connected to the flower heads in a straight line, and they are filled with jade curves. The light and dark shadows change, filled with the center and reverse stroke, and the leaf veins and leaves are integrated. ”

Gu Weijing thought for a moment.

According to the instructions above, when drawing the bean curd, you should first point out the leaves, then draw the petals, and finally draw the branches with emerald green curves to fill the gaps between them.

In order to express the changes in light and shade, it is necessary to use the center of the brush to trace the veins and leaves upside down.

(End of chapter)