"When Professor Lin Tao talked about flat painting, he said that it is very important to have a spirit of grace. Just a simple flat painting, he asked me to search Zou Yigui, Zhao Songxue, Qian Shunju, Yun Shouping and many other painting masters, observe different styles, and improve my understanding of painting attainments. ”

Gu Weijing held the pen.

With a pen dipped in some ink, a new branch was issued among the tea trees drawn on Gu Tongxiang's rice paper.

"Drawing lines is flat, although it is the most plain and simple way to draw. But plain doesn't mean dull, rigid, and it doesn't mean that there is no change. Professor Lin Tao asked me to read the art theory book "Heavenly Rain". Grandpa, you have been exposed to relatively little formal art training in your life. Although that book is in the eyes of Mr. Lin Tao, it is just an amateur book used to develop and cultivate hobbies. ”

"But the whole is very comprehensive, and there are some interesting stories and famous thoughts. I think it's good that at your level, it's just interesting to read. ”

What's so good at his level, it's interesting to read!

The corners of Gu Tongxiang's eyebrows twitched.

This is clearly mocking your grandfather, I have no culture, right!

Don't think I can't hear this kid.

This is like a primary school English class teacher to find out the learning level of each child, and finally walk in front of your parents, sigh pityingly, and say alas, with your child's level, the normal lecture must not be understood, it is better to start with "A, B, C, D children's songs, fortunately, it should not be difficult to sing." ”

Look down on people less.

Your grandfather, my level of Chinese painting is also good for children! Your grandfather and I also went to school, are you good, and you are considered Kochi in the neighborhood, do you really think we are illiterate?

Besides, he may have less exposure to cutting-edge art trends.

I have been drawing flat lines for a lifetime, how can this basic knowledge theory be lacking?

Gu Tongxiang was hit again, and he was very sad and angry.

But before he could force his mouth back, his eyes were attracted by his grandson's pen and ink.

Branches snake out.

Between words.

The tip of the pen is folded a few times on the snow-white rice paper, as if the magic of several spring hair growth is expressed in his fingertips in just a few breaths.

Gu Weijing re-washed the pen and dipped it in ink again.

This time, he only used the tip of his pen to dot into the inkstone like a dragonfly, and clicked it, only absorbing a very small amount of light ink.

Begin to grooming along the branches of the leaves.

He tickled between the branches.

Thereupon.

In the blink of an eye, the sprouted twig began to grow old again.

Instead of writing time with thicker branches, time writes on branches.

Wrinkles, elegance, and twisted branches appear in turn under Gu Weijing's pen.

Its main vein is obviously still a new branch, but it can no longer only see the brilliance and brightness of spring.

The heat of summer, the bleakness of autumn, and the snow of winter.

The traces of the cycle of life one after another are expressed on one branch, and finally return to the spring when the camellia blooms.

Forming a whole continuous time transition.

Everything in front of me was drawn with a brush and a small dish of ink, and it had not even been colored.

The corners of Gu Tongxiang's eyes stopped twitching again.

He stared at the tip of Gu Weijing's pen for a while, strange, the technique was obviously the most basic technique.

The lines are not very antelope hanging horns, and the freehand lines are mysterious and mysterious.

After all, Gu Weijing was only a big rank higher than his grandfather.

The outlining method is also very basic.

It's still far from the point where Gu Tongxiang can't understand the painting at all.

Contrary.

Gu Tongxiang was shocked by Gu Weijing's momentum just now, and now his heart calmed down.

He put aside the aunts in the park waiting for him to take pictures for the time being, and didn't think about rescuing Ah Wang's tea squat sitting under his buttocks.

Take a serious look at Gu Weijing's works.

Literati talk about painting like martial arts people.

The person who practiced the iron sand palm was slapped to death by the magic palm of Lian Rulai, maybe you didn't experience any perception at all, but I just felt very powerful, Gan, what kind of thing, smack, it will kill you in seconds.

Both those who shoot people and those who are photographed feel bored.

In particular, oriental aesthetics and philosophy have always been relatively abstract.

Ruan Yu, the brother of Ruan in the famous Seven Sages of the Bamboo Forest in history, is a very famous aesthetic theorist, and he looks down on Xie An, the commander of the Battle of Weishui. When his fan brother Xie An was young, he once ran out of Ruan Yu to ask the big guy for guidance and ask for art. Ruan Yu chatted with him casually, then asked the servant to invite him out, and taught him very angrily, "Not only can those who can speak cannot get it, but also those who are asking for understanding people can't get it."

It means, alas, this kid is uneducated, and I don't expect you to discuss art with me, but you don't even have the ability to understand me, so what do you have to talk about, Mingzhu is just secretly casting.

Xie An already belongs to the entire Eastern Jin Dynasty who is super capable of pretending to be a super-powerful and super-famous man, but he has lost an epic face in Ruan Yu, who can be called the king of forcing kings.

On the contrary, the two people are in the same vein, but they are one line higher than you.

You have been stuck in a bottleneck for many years, and this line is like a moat, extremely difficult to break.

It is only with such punches and feet that I feel even more unfathomable and terrifying.

Gu Tongxiang feels like this now.

Every line, every turn, and every change in the tip of the pen in Gu Weijing's pen, Gu Tongxiang can see it clearly, as if he learned it immediately.

Combinable.

Hey?

What do I see? What have you learned? How can this sense of dynamism be drawn in the simplest lines?

Hey?

You are so rude, how can you use magic in front of Muggles!

"Muggle Old Man Gu" sat down on the back of the chair again, and moved forward, his curiosity tormented his heart.

He's been holding a paintbrush for the rest of his life.

Right now.

The temptation to learn skills overcame the temptation of vanity to defend the name of "Teacher Gu" from the aunts.

also defeated the last trace of Gu Tongxiang's heart in front of his grandson and maintained the self-esteem of the "noble and cold" image of the elders.

"Ha, this line is kind of interesting. It's all that book, what's that book called? ”

"Heavenly Rain."

"Taught in a book called "Heavenly Rain"?"

Gu Tongxiang was amazed in his heart.

What a book, it's so awesome, turning two pages is like eating an elixir.

That's it...... It's just an enlightenment reading in Mr. Lin Tao's mouth.

is worthy of being a character who can become Cao's old disciple, this vision is really higher than the sky.

"It's definitely not just about reading, it's about the combination of my knowledge and my own painting experience. Reading can only play an auxiliary role. ”

Gu Weijing knew that the old man might have misunderstood, and said with a smile.

Professor Lin Tao said that the best way for painters to feel the bottleneck and want to break through it is to walk on two legs. To start from the two ways of [pragmatism] and [retreat], pragmatism is the 'technique', that is, to hone one's pen skills, retreat is the 'way', to open up the pattern, to open up the whole person's knowledge structure and aesthetic cultivation, is to read. ”

"Let's take this hook."

"The book says that the most important thing is to be able to have a 'spirit of grace', and how to achieve a spirit of grace, the author quoted the Qing Dynasty Shen Zongqian's point of view in "Mustard Boat Study and Painting" - scholars should seek the way of brush and ink first, and render and embellish things later. The first and most important thing is not to be stereotyped, but to draw its shape with a pen, which can make the pen tortuous and thoughtful, the weight is appropriate, and there is no slight loss, then the form is in the middle of it. ”

"Oh, that's a good point."

Gu Tongxiang thought about it and nodded with a serious face.

I don't understand.

Well, we really don't have culture.

The traditional art theory works of the East and the West have their own difficulties in reading for later generations. The difficulty of foreign books is concentrated in language, and the most serious and orthodox scriptures of hundreds of years ago were all written in Latin, and even the little yellow text was longed to be in Greek. It was the most popular language that was acceptable to the upper class scholars of the Middle Ages.

Not even French.

The status of English literature is not as reasonable as that of Arabic literature.

The world has the impression that the representative English writers of that era, such as Shakespeare, have actually undergone a process of rediscovery in the seventeenth and eighteenth centuries, and they have never been the kind of respected old gentlemen who engaged in serious literary and artistic creation as many people imagined.

According to a violent statement in the literature department, in the era in which Shakespeare lived and in the two hundred years after his death, his personal image was actually very similar to Guo Degang in the Renaissance era, rather than a great writer.

The ancient first-hand literature is a great struggle for Western art historians to read today, and the English version is usually unreliable.

The advantage of oriental literature is that the Chinese cultural context is continuous and continuous.

No need for professional paleolinguists.

Ordinary high school students who have gone through complete compulsory education and are well trained in classical Chinese, let alone hundreds of years, do not have much difficulty in reading the original articles of the Han and Jin dynasties 2,000 years ago.

The downside is that it is difficult to understand.

Especially in the field of fine arts, it is very important to test the wisdom and understanding of the school, and has entered the field of metaphysics.

Feudal era.

How many ordinary people can read and write?

Talking about calligraphy and painting is a privilege reserved only by the top literati.

These scholarly works were written by the masters, and they were also written for future generations of masters.

They are not only works of art and philosophy, but also a kind of word quiz game among literati that transcends the ages.

Even deliberately written very empty and mysterious.

Between the lines, there are all kinds of mysterious "secret words" and the hazy feeling of layers of silk veils covering the face.

This is the threshold that is deliberately set.

If you understand it, you are one of my generation.

Can't read it?

A mundane thing is no different from a worm and a beast. In the past, the masters didn't care whether you lived or died, and people thought you had insulted his books.

Gu Tongxiang can understand, this is probably saying that the most important thing for people who learn painting is not in advanced skills such as blending, but in the basic brush and ink lines, and the important thing in pen and ink lines is not in the rules, but in the form of God.

As for the more critical ones.

How to combine this truth, which seems to be the same as nonsense, with the pen and ink when Gu Weijing put down his pen.

Gu Tongxiang really didn't understand.

The twists and turns are thoughtful, the weight is appropriate, and there is no slight loss.

It was simply a dozen or so words, placed in front of Gu Tongxiang, but it seemed like an unsolvable puzzle.

How to set the twists and turns, how to set the weight, how to make no mistakes.

He was vaguely aware of the great truth contained in it, and the university asked.

But he could only look at the door of knowledge and sigh, and he couldn't jump the threshold even if his old legs were about to break.

Maybe the grandmother who used to hold the first-class painter's waist card and enjoy the seven tastes of food can figure out some ways to say something about this here.

But Gu Tongxiang is not deep enough in the philosophy of Chinese painting after all.

He is in a mood now, quite a favorite Hong Kong martial arts, Mei Chaofeng stole the teacher's "Nine Yin True Scripture" and slipped out of Peach Blossom Island, only to find that she knew every word on the cheats, but this kind of internal classics all over the Xuanmen terminology are combined to understand a single word of the strange mood.

What is called "five hearts to the sky", what is called "Qi Knot Danding".

What stands out is the beauty of an uncultured body.

"Tell me about it, tell Grandpa Duo. Check what you read, it's as different as grandpa's experience. ”

Gu Tongxiang leaned forward twice, and his face was about to reach into the drawing paper.

The bad news is that he didn't get it.

The good news is that his grandson seems to understand very well, and he doesn't need to catch Guo Jing to explain the scriptures like Mei Chaofeng.

"What does it mean to break the stereotype, without the slightest mistake? I think it's important to have two points. The first point is not to be corrupted and delicate. It is not rotten, but almost ancient; Not delicate, but close to elegant. After doing these two things well, the painted branches, leaves, flowers and plants are naturally peaceful and powerful, almost quaint. For example, have you noticed a problem that almost all the flat lines in your works use the double hook technique? ”

The hooking technique of Chinese painting is divided into single hook and double hook.

As the name suggests.

The single hook is to use the brush and ink line to draw the shape of the branches, leaves, and bamboo joints with one stroke.

The double hook uses lines to outline the outline of the scene from both sides, and then fills in the color from the middle.

"The double hook technique is often used for fine brushwork, and the single hook technique is often used for thick brushstrokes (i.e., freehand), and the reason is this, but it should be treated differently according to each painting, and it should not be too old-fashioned."

"You see, in the camellia cloud bird painted in your painting, the technique of double hook and single hook is clearly distinguished. The branches and leaves are divided into pieces. ”

"That's the rule! People think you have rules. Gu Tongxiang took a sip of tea.

"This is the rule of selling paintings, not the rules of creation. The only rule of creation is nature. Chinese painting is scattered perspective, not without perspective. ”

Gu Weijing carefully pointed to the branches he had drawn and explained.

"When the branches come out of the branches, they are the thickest, and all are double-hooked, and the middle is colored. Yue went out, the farther he went, the thinner it became, and from a distance it looked like it had been compressed into a thin line, so I only kept one ink line here, and here, to the place where there was a knot—"

Gu Weijing spoke.

Suddenly, I heard a beep from the system panel.

[Chinese Painting Technique +131!] 】

[Chinese Painting Technique +29!] 】

[Chinese Painting Technique +34!] 】

(End of chapter)