Almighty painter

Chapter 685: Will Destiny Sell Indulgences? (Part )

"What do you want from me?"

The young man tilted his head.

"sense of security."

“That’s the answer.”

Gu Weijing walked slowly to Chen Shenglin's side, patted his shoulder, and whispered: "Money is no longer important to a dying person."

"What's more, you are a rich man like you. You have enough money to buy a seat of a member of parliament, or even a country. But what's the use of buying a country? From ancient times to the present, there have been hundreds of kings and countless princes and generals in this world. And many of them, when facing death, were no braver or more dignified than a beggar who was frozen to death."

"You have spent so much effort, and you must be hoping to get something bigger, more mysterious, and more ethereal."

Gu Weijing said: "Invisible fear is more terrible than any enemy. And for you, Brother Hao, a sense of security is more important than all the money and wealth. It is better than any bloodline or authority."

"If you can buy anything that can give you a little warmth at a time like this, you don't care how many zeros you write on the check, whether it's a Bentley or $300 million."

He nodded: "If using Franklin's cigarette as a wishing match can bring a little warmth to your heart, I believe that you can throw a mountain of banknotes into the fireplace without frowning, just to feel a moment of peace."

"And I, I am that stove."

Gu Weijing smiled silently.

The sun is rising.

During their conversation, the sun finally rose completely from the mountains and jungles to the east of Xihe Guild Hall and hung high in the sky.

The bright sunshine pierces through the sea of ​​clouds.

It shone on the young man's face, casting a layer of yellow glow on the profile of his face.

It is not the bright and brilliant color of molten gold, nor is it the orange-gold color of burning in high temperature fire.

The sunshine is warm and peaceful, carrying a positive and peaceful heat.

This kind of heat has shone on the earth for ten thousand ten thousand years, and will continue to shine on the earth for another ten thousand ten thousand years.

It shines like this, one after another, for tens of thousands of years.

Eternal light.

Eternal heat.

Eternal temperature.

Until the end of the sun.

The young man stood under the sunlight, the light passed over his shoulders and illuminated the floor of the studio. The sunlight was suspended behind his head, like an eternally burning golden ring, making him look like a diamond, like a bodhisattva...

Like the Buddha on the lotus seat.

Koko looked at Gu Weijing with endless attachment in her eyes.

To her, Gu Weijing was the enthusiastic, kind, quiet, somewhat lukewarm and sticky lover, the young man who baked small ceramic cups with her when she was a child and gave her small bracelets when she grew up.

He is certainly not the Buddha.

But for Brother Hao, it was not surprising even at this moment if he really regarded Gu Weijing as the incarnation of Buddha in the human world.

The eighteen-year-old young man stood in front of Boss Chen. The sunlight stretched his thin figure very long, making him look like a giant.

Perhaps Brother Hao saw his younger self in Gu Weijing's shadow, or perhaps in the swaying figure or in a quick glance, he saw the projection of the grand destiny on the world.

From the day the bald man placed the Bentley car key in front of him, Chen Shenglin was never talking to Gu Weijing, he was always talking to fate.

The person he faced was Gu Weijing.

He is the godfather of the underworld in the city, who is extremely powerful and wealthy. He will hold money in one hand and a gun in the other. If Gu Weijing dares to shake his head, he will pour the frying pan on the old man's face.

Facing his fate, he was just a middle-aged man who was seriously ill, dying and full of fear.

He is so powerful and so rich, but in the face of fate, Chen Shenglin is still the weak one. Even if he gives an order, his younger brothers will rush to kill the whole family one after another. Even if there are tens-digit numbers in his US dollar account and billions of gold coins are clinking.

But how could he kill Destiny's entire family and pour the boiling oil on Destiny's face?
He could only burn incense and make wishes again and again, and patiently explain again and again that there are no good people or bad people in the world. Gangsters kill people, and senators also kill people. Both gangsters and senators kill people, and there is no difference between the two.

The Irina family does evil things and loves art.

He also does evil things and loves art.

He and the glorious European aristocrats both did evil things and loved art. The only difference between them was that the other party became rich hundreds of years earlier than themselves, so... there was no essential difference between them in morality.

years ago.

When Brother Hao was sick, he invited a monk from a famous temple in Thailand to cast a statue of the Four-Faced Buddha with pure gold. He placed it in the shrine in the study, and whenever he had free time, he would burn incense and worship it in the morning and evening.

There are actually two Buddha statues in Xihe Guild Hall.

The one on the shrine is just the smaller one, the bigger one is... Gu Weijing.

This huge hall, worth 2 million US dollars, is his Buddhist shrine and lotus seat.

Brother Hao locked a golden four-faced Buddha in a shrine in the study and another one in a private estate covering hundreds of acres.

All the generous treatment he gave him, the astronomical check, were tributes used by Haoge for sacrifices, coins thrown into the wishing well, and taxes for buying indulgences.

Brother Hao is really a very smart player. He has won countless times at the gambling table of wealth in his life, so he wants to gamble one last time and play a life-and-death game of poker with fate.

He is going to gamble - even if he is the best person in the world, when the stakes you offer are big enough, tempting enough, or when you force him into a corner with no way out, he will take the same path as you, he will compromise with "evil" and become a part of "evil".

He wants to defy fate by playing the role of the god of fate himself.

Gu Weijing is both a gambling tool and an opponent.

Gu Weijing is Chen Shenglin's heating stove.

Gu Weijing is also Hao Ge’s “wishing Buddha”.

"Mr. Chen, I know what you want, and this painting—"

Gu Weijing looked directly into Boss Chen's eyes, which were covered by shadows, and said, "This is my answer to you."

...Chen Shenglin's eyes were fixed on the easel in front of him.

Impressionism is messy but contains order. The brushwork is sharp yet steady and dignified. The paint is tightly attached to the linen canvas. The brushstrokes are intertwined and covered layer by layer, shading and shaping, and the paint is deeply embedded in the deep fibers of the canvas.

This painting is not like an onion or a cabbage that can be peeled off piece by piece and layer by layer.

It is a set of silk and brocade woven with exquisite handicrafts.

Lines, colors, brushstrokes, shapes, structures... everything is the crisscrossing warp and weft on the brocade, and the shuttle that firmly holds them together is the brush in the painter's hand.

In the end, all the elements of the picture were firmly fixed together, becoming a unified whole.

The creator's hard work and passion are splashed on this piece of brocade.

Just like the sunlight blending into the clouds and turning into morning glow, light and clouds, spirit and matter, absorb each other and condense firmly, achieving the ultimate harmony.

What a painting this is!
The overall painting adopts a character structure and color tone treatment that is somewhat similar to that of "The Godfather" on the wall.

Its tone is dark and gloomy, with more than half of its area occupied by gloomy dark colors. It is a dark-toned Impressionist work.

Only a beam of bright light shines from the right side of the picture, illuminating an area of ​​the work and also illuminating the profile of the protagonist of the portrait.

A man sits in the exact center of the canvas.

He wore a blazer with wide lapels, a dark teal flannel jacket with metal buttons, and Scottish plaid khaki pants.

The man sat in the chair with a relaxed body.

His shoulders were stretched out, his legs were lightly crossed, his ankle resting on the other knee, and he was half-turning his body, looking in the direction of the light, as if he was frowning and contemplating the painter who was painting for him, or as if he was staring at the people outside the canvas.

The characteristic of Impressionist painting is the rapid depiction with quick, simple and light brushstrokes.

It looks like a graffiti made casually with a branch on the sand, the falling snow or the water waves.

Impressionism is a painting style that combines Eastern and Western elements. Painters often do not pursue a 100% accurate restoration of details, but put more energy on creating the atmosphere. It is a bit similar to the "using form to depict spirit" in the field of traditional Chinese painting.

In the master's impressionist works, he always uses a blurred brush to capture the subtle interest.

The paintbrush is like a heavy fishing net.

It is too clear. When the fishing net is lifted into the air and the water droplets are drained, people's attention will be attracted by the fish, crabs and shrimps in the mesh of the net, losing the hazy beauty.

And if it sinks below the river surface, half-hidden, half-visible and half-exposed, then every vibration of the fishing net line, every surge of the water, and even the moment when the net bag is about to be lifted out of the water, the glimpse of a bright red carp's tail in the net, can infinitely inspire people's imagination.

The so-called Eastern aesthetic philosophy of "holding the pipa half-covered" comes from this, using limited words to create a more grand philosophy.

Many classic Impressionist figure paintings show the girl looking back from the side, wearing a hat or a veil covering her face.

The same is true of this painting.

The protagonist of the picture is not wearing a hat or a veil, but he is exactly at the boundary between light and dark in the picture.

It seemed like at this moment, the first bright ray of morning sun shone through the gap in the curtains beside the window and hit the man's face directly.

Extremely dark tones transform into brilliant bright tones with almost no transition.

From white to black.

From dark to light.

The strong color contrast makes the audience's eyes shrink and adjust the focus involuntarily. The face of the protagonist in the picture is hidden in the inky night and the translucent light of gold powder... as if covered by a veil made of light and fog.

"Mona Lisa" is the painting with the most and most complicated urban legends in the art field. People discuss this treasure of the Louvre day after day and year after year.

Discussing her identity, her smile, her mystery.

There are a thousand Hamlets in the hearts of a thousand readers, and there are a thousand different Mona Lisas in the eyes of a thousand tourists.

People always say that different people standing at different angles in the Louvre exhibition hall can see that Mona Lisa is staring at you and smiling at you with her eyes.

This painting also carries a similar sense of mystery.

The creator used the brush to very delicately express the overall posture of the character's body, but hid his facial features in the intersection of light and dark. Through the fog at the intersection of light and dark, one can only see a few subtle profile lines that the painter deliberately left behind.

Is the angle of the eyebrow slightly raised or frowning?

Is he thinking, surprised, or deep in thought because he has discovered something?
His lips are a little thin, and the edges of his mouth are slightly white. Is this because of the angle of the light, or is the person in the painting pursing his lips?
Is he nervous?

Why was he feeling nervous?

The creator obviously has a very high level of understanding of the human body's muscular anatomy. The originally stretched and natural body posture, combined with different guesses and speculations about the man's facial expressions, seems to be able to interpret a variety of body languages.

Is he relaxing and waiting for visitors to arrive, or is he quietly thinking about life?
If it's the latter.

Is his feeling of tranquility a kind of leisurely tranquility, or a calmness of doing one's best and leaving the rest to fate, or is it just numbness after depression and pain?

Even the age of the people in the picture cannot be determined by the audience for a moment.

His hair also became black and white due to the sunlight. For a moment, people would feel that he was already a tired old man sitting there. He would just sigh softly, rest his head on the back of the armchair, and fall asleep, never to wake up.

But the next moment, you feel that the person sitting on the chair is just a child, a child who possesses the calmness and tranquility of an old man, with a halo on his eyebrows and eyes, and his ink-black hair is ironed on his forehead. He is looking at you gently, and will maintain this posture and sit there forever.

Looking at the protagonist of the whole painting is like looking at an old-fashioned kaleidoscope.

Look through the light, through a few polished transparent crystal pieces to see the confetti deep inside. If you turn it gently, the confetti will emit different glares.

and so.

You'll never catch him.

Not only the protagonist of the picture, but also the distant view of the whole work is arranged very exquisitely. The protagonist of the picture seems to be sitting in a studio similar to this one, and there are oil paintings of different styles hanging on the walls of the picture.

A painting within a painting.

The painting within the painting is similar to a mirror, water surface, and light, and is a major difficulty in oil painting.

The latter considers a creator's ability to fold and profile the internal space of the picture through the smooth small planes in the work, while the painting within the painting considers the creator's ability to fold and profile complex emotions through the complex small planes in the work.

(End of this chapter)