Compared with Xiao Yao's identity as a world-class artist, although his identity as the chairman of Tiansheng Pharmaceutical is also very tricky, Niu Gongzi thinks that this is a good thing.

If Xiao Yao only has the identity of the world's top artist, then he really doesn't dare to act rashly.

The identity of an ordinary artist is not worth mentioning to him, but the identity of the world's top artist is Xiao Yao's best talisman, although such an identity is not powerful, but the influence is too great, his world-class influence in art, even the identity of Niu Gongzi has to be scrupulous.

Xiao Yao Tiansheng Pharmaceutical's identity as the chairman, although his social status is very high, is also his weakness.

As the chairman of a large pharmaceutical company, there are many things that need to be considered first, not to mention whether there are any violations of law and discipline. The bigger the company, the bigger the involvement, and it's not as wantless as the world's top artists.

After learning about the medicinal effect of the Rejuvenation Pill, in the face of such huge benefits, Niu Gongzi inevitably gave birth to greed, and now he not only wants to cure his mother's cancer, but also wants to get the prescription of the Rejuvenation Pill.

But he knew that speed is not enough, and his first step was to get three pills of rejuvenation pills, first cure his mother's illness, and then think about what to do next.

He didn't think about forcibly asking Xiao Yao, he still had a plan for the future, first of all, he had to leave a good impression on Xiao Yao, so that he could have further cooperation.

He hasn't thought about what kind of price he will pay yet, and he will have to wait until he meets Xiao Yao to make a decision. The price he can give can be money or something else, it depends on what Xiao Yao needs.

Although Niu Gongzi's investigation of Xiao Yao was not very detailed because of the short preparation time, after reading these materials, Niu Gongzi felt that he knew enough about Xiao Yao.

Since Xiao Yao had a housekeeper on the investigation data, Niu Gongzi did not contact Xiao Yao directly, but asked people to contact Xiao Yao's housekeeper directly, expressing his intention to visit and explaining his identity.

If it was an ordinary identity, Steward Lu would have directly refused, but the identity of this Niu Gongzi was indeed very prominent, so he did not refuse directly on his own, and was ready to make a decision after consulting the young master.

After listening to Steward Lu's report, Xiao Yao thought about it and decided to agree to the cowboy's request to visit.

Although the identity of this Niu Gongzi is not as good as Tang Tianhao, it can be regarded as extremely prominent, and it is still necessary to meet him.

As for the intention of this cow boy's visit, he will naturally know after meeting.

On the morning of the second day, Niu Gongzi came to Xiao Yao's courtyard from the ground.

Under the leadership of Steward Lu, he walked through the courtyard and admired the buildings and scenery in the courtyard at will, and Niu Gongzi couldn't help but admire it again and again.

Such a large courtyard house with a large area and a unique design, even with the knowledge of Niu Gongzi, there are few courtyards in the huge Kyoto Castle that can be compared with this courtyard.

Before they met, Niu Gongzi's perception of Xiao Yao was raised again.

Walking into the small living room and seeing the handsome young man sitting upright on the main seat, Niu Gongzi hurriedly stepped forward and greeted: "Hello Professor Xiao, please forgive me for coming presumptuously." ”

Then he pointed to the gift bag in Steward Lu's hand that seemed to be very large and said, "When we meet for the first time, I don't know if it fits Professor Xiao's mind?"

Steward Lu hurriedly took out the gift in the gift bag, and it turned out to be a large long box, and after the box was opened, there was a scroll.

Niu Gongzi continued: "I was fortunate to get a painting of Mr. Wu Guanzhong's "Lotus Pond", and it happened that Professor Xiao also had a famous "Lotus Pond Frog". ”

Xiao Yao and Niu Gongzi met for the first time, of course, they couldn't accept such a valuable gift from him, and politely refused: "Like is not necessarily possessive, Mr. Niu's gift is too valuable, I can't accept it, today I am very happy to be fortunate to appreciate Mr. Guanzhong's true handwriting." ”

Then he said to Steward Lu: "Since Mr. Niu has already brought this authentic painting, then we must not miss this opportunity, let's hang it up first, just take this opportunity to enjoy it." ”

Steward Lu hung up the painting with his hands and feet.

The size of this painting is very large, and there is a large residual lotus on the picture, the dead branches on the water surface are intertwined, and the residual leaves and lotus canopies are curled up to make it difficult to distinguish the shapes, all of which seem to unintentionally spill black blocks and black lines. These lines and blocks appear to be particularly moving, the picture with the help of the reflection in the water, because of the reflection, repeatedly repeated and overlapped the blocks and lines, virtual and real, not easy to see at a glance, as if using the water sleeve to emphasize the rhythm of the dance in general, the aftertaste is long, very artistic.

As a painter, Xiao Yao was very happy to see Mr. Wu Guanzhong's masterpieces in his later years, and looked very carefully.

This work was created by Mr. Wu Guanzhong in his later years, and can be regarded as one of his masterpieces.

Wu Guanzhong achieved the most important breakthrough of his artistic career in the 90s, and his past questions about abstraction have now been answered crucially, and he is able to "express his mind willfully" and "express his sincere heart".

His deconstruction and innovation of form and color are fully reflected in this painting "Lotus Pond" created in 1997. Although this painting seems to be a figurative subject, Wu Guanzhong uses different combinations of color and ink dots, smart flowing lines, and dense and dense colors to comprehensively control the overall picture, creating rhythmic rhythm, life dynamics and visual tension in the space.

Wu Guanzhong not only gives a new meaning to the traditional ink lines and color dots, but also proves that he has broken through himself in his creative career spanning 50 years.

Before the 1990s, although he continued to explore images and extract formal elements, he used figurative depictions to strengthen the contrast and connection with objective reality. After the interaction between oil and ink from 1970 to 1980, the works of the late 1990s paid more attention to the expressiveness and tension of abstract language.

The large scale of "Lotus Pond" fully demonstrates Wu Guanzhong's self-confidence and innovative spirit in art, and he broke through himself and expressed his mind directly in his old age, and greatly refined and simplified his artistic vocabulary, finding a new outlet and direction between Western modernism and the nationalization of oil painting.

Whether in ink or oil paint, Wu Guan's most promising experiments are close to abstraction. Phenologically, the choice of "kite thread" seems to be an obstacle to abstraction, but in essence, it is a crucial choice, and he thus establishes the individual law of natural abstraction, which is in line with Chinese culture that reveres nature.