Almighty painter

Chapter 779 Bi Gan is heartbroken
"Although it is often said that—"

Mr. Newzlan looked at Cui Xiaoming in front of the booth, and there was no sign of worry on his face.

"——I don't think it's a big problem."

"Cui Xiaoming has made a lot of preparations for this exhibition. Listen, the mountains of Afghanistan are contained in his brushstrokes? I don't believe that he came up with this idea on the spot. I finally understand that this guy is not a simple person. He definitely came here with great ambitions. I heard that his father took him to visit many judges."

"The other one is not simple either."

There seemed to be something meaningful in Ameda Rikiya's tone.

"You've heard of him before." Newzlan heard something and glanced sideways at the other person.

Gu Weijing is an artistic amateur in the true sense.

Unlike Cui Xiaoming, whose parents are both well-known artists and who had a two-and-a-half-star buyer rating before his debut, even he, the deputy editor-in-chief of Oil Painting, had never heard of the other's name before.

"I've had a little indirect contact. Oh, I've seen his painting, "Good Luck Orphanage in the Sunshine", before. Do you know who showed it to me?" Yu Tian Liye turned sideways to face him.

"Who?"

"Issei Sakai."

"Kazunari Sakai has been holding a teaching position at the Tama Academy of Art, and he and I are colleagues. We once ran into each other in the gym. That day, he brought a painting by a junior to ask for my opinion, which was the painting that Gu Weijing was exhibiting. This is not a rare thing." said the Japanese.

"Issei Sakai? Meeting Issei Sakai in the gym, huh."

Newzlan imagined the big fat meatball rolling around in the gym and decided that Mr. Ameda had said something quite bizarre in every sense of the word.

"I did hear some rumors about Mr. Gu after I arrived in Singapore, both good and bad."

The deputy editor-in-chief felt something and said in a judgmental tone: "At least, it seems that some of the rumors are not false."

"In what sense do you want me to give you some advice? What does Kazunari Sakai mean by that? Does he want you to come over and say hello, or does he really want you to give some advice on his painting?" He asked curiously.

"It probably has some of both meanings."

The Japanese scholar recalled the conversation he had with the fat white man in the gym that day who was so tired that he stuck out his tongue.

Coincidentally.

What he mentioned is similar to what Cui Xiaoming is saying now.

He quoted The Dream of the Red Chamber and The Tale of the Heike.

He said that technique does not exist independently, but is immersed in artistic style, just like the relationship between water plants and water waves.

A pioneering painter should immerse his techniques in his own strong artistic style to achieve harmony from the inside out.

By then, Gu Weijing may very likely become the next sought-after Wu Guanzhong or Zhao Wuji.

Speaking from my heart.

Yutian Li also believes that the work that Gu Weijing has displayed on the exhibition stand has made a great breakthrough in one aspect.

The originally chaotic tone of the picture has been well unified by the painter.

The transitional tones painted with fingers are more like grass leaves and lotus flowers floating freely in the water waves, adding novelty and interest.

"Anyway, his work is a pretty good painting. From the perspective of awards alone, it is actually not worse than Cui Xiaoming's painting," said Yu Tian Liye.

"But Cui Xiaoming is a specially invited painter."

Newzlan looked at the problem from a more comprehensive perspective. He approached the issue from the perspective of a bystander. "I heard that just before the exhibition started, Gu Weijing's works were moved to a corner. I even heard that this was the idea of ​​Sakai Kazumoto himself. It seemed that his daughter was cheated on by Gu Weijing or something... Didn't you see that his daughter didn't attend the dinner yesterday? It was because she was too lazy to pay attention to him."

really.

Artists are a group of people who love gossip.

When gossip is spread later, it is often spread in all kinds of strange and bizarre versions.

"You have to consider that since Cui Xiaoming was specially invited, the organizing committee should give him some face. The special exhibition booth has been given to him--"

Newzland made another powerful point.

The weight of specially invited artists and artists who take the initiative to participate in the exhibition is different in the eyes of the organizing committee.

Human relations are inevitable everywhere.

For example, during every Grammy Awards live broadcast, the organizing committee specially invites performing arts stars to sing and dance at the ceremony. Most of them can take a trophy home afterwards, otherwise there will be fans who criticize the organizers for not doing their job properly.

"——He should be given a big prize or a small prize. This is his natural advantage over Gu Weijing. And his painting style is also a strong advantage. In my opinion, both of them are excellent artists. I just didn't expect that they would collide with each other in their first official debut. And there can only be one winner."

Newzlan said helplessly, "It's probably Cui Xiaoming. This can only be the evil taste of fate."

"Speaking of this, do you want to hear some more explosive news?"

Yutian Liye lowered his voice even more.

He said in a very low voice: "I told you that I have seen the drafts of Gu Weijing's previous exhibitions. I don't know which of them came first and which came later, and why Gu Weijing's work suddenly changed its composition. But I want to say that Cui Xiaoming's work "New Three Bodies of Buddha" and Gu Weijing's "Good Luck Orphanage in the Sunlight" are very similar in many aspects of the picture elements, composition, and color style."

"You mean?" Newzlan raised an eyebrow nimbly.

"I didn't say anything. I just thought that it was not necessarily a coincidence that these two works by these two young painters would be shown together in the same Biennale. The similarities between the works that Cui Xiaoming and Gu Weijing were originally going to exhibit were slightly beyond the limit of coincidence."

Professor Amada said absentmindedly in Japanese English: "Bad artists copy, good artists steal. This is still very Picasso."

"Wooh."

The deputy editor subconsciously curled his lips and let out a soft "oh".

He somewhat understood the meaning of the Japanese scholar's words, which had touched upon the deeper dark side of the Biennale.

If there really is plagiarism beneath the surface...

No matter who copied whose painting between the two of them, whether Gu Weijing imitated Cui Xiaoming or Cui Xiaoming stole Gu Weijing, it is something worth digging into.

“So, I always feel that this matter is not that simple. It is hard to say what the final result of the Biennale will be.”

The sturdy little scholar sniffed hard, as if trying to smell something unusual in the air.

He stared at Cui Xiaoming's face which was filled with a confident smile.

That smile, in its softness, carried a hint of deep pride—as if he had already firmly held the laurel wreath of victory for the exhibition in his arms.

This smile pierced Yutian Liye's heart.

It's not about hate, nor about like or appreciation.

It's a very strange feeling.

For a moment.

Riki Ameda recalled the day when, in the gym of Tama Art Academy, he and Kazunari Sakai talked about the core of art, and the famous opening poem written in the elegant and gentle style at the beginning of the first volume of The Tale of the Heike:

"The ringing of the bells in the Jetavana Temple tells us that the world is impermanent; the flowers of the Sal tree lose their color, and the prosperous things turn into decline like the vicissitudes of life. Arrogance and luxury cannot last long, like a dream on a spring night; tyranny will be forgotten, like dust before the wind. Zhao Gao of Qin, Wang Mang of Han, Zhu Yi of Liang..."

The prosperity turns to decline like the vicissitudes of life.

Dreamy spring night.

Dust before the wind.

The smile on Cui Xiaoming's face triggered Rikiya Ameda's special sense of mono no aware.

Yesterday, Cui Xiaoming was still holding up his glass towards Gu Weijing, whispering silently, toasting his withering and decline.

But unexpectedly it happened today.

The smile of the mixed-race young man fell into the eyes of Rikiya Ameda, and became something as unique as the flowers growing on the Sal tree.

Who can tell clearly the winners and losers in this world?
Cui Xiaoming comes with ambition and desire as a guest painter. Can he really get the award that is already in his pocket as he wishes?

Probably.

Maybe not.

In the mind of Rikiya Ameda, the debate between the two people was like a prophecy and a sign for the entire Biennale.

It was as if the bell ringing in the magnificent Gion-monastery was a prophecy and omen for the Heike Mingun, who had been a minister for six generations.

Just now.

When Cui Xiaoming quoted classics and talked about his understanding of Wu Guanzhong, and when he interrogated Gu Weijing - "How can you not feel awe when standing in front of Wu Guanzhong's works?"

Lian Yutianli also felt that Cui Xiaoming had won the debate in a decisive manner.

But as the other side began to exert its strength and as Gu Weijing's calm and confident voice echoed in the special exhibition hall, the balance of victory and defeat shook again.

Things...seem to be a little different.

"Well, the tone of this guy's speech is a little bit like that of the new young female manager of our magazine."

Charlie Newzland, deputy editor of the visual arts section of Oil Painting, who was standing next to him, seemed to have suddenly figured out something.

He stroked his chin and commented.

“It’s quite impressive.”
-
“…I believe in the power of art, and I believe in the power of the spirit. Many people don’t have artistic experience, but that doesn’t mean they don’t have life experience.”

Gu Weijing's fingers tapped lightly on the back of his other hand.

“Illiterate people are not blind to beauty. Even if a person has no foundation in aesthetics, as long as he has a foundation in life, he will understand what is beautiful and what is not. Painting should not be a submission letter from a professional painter to another professional painter—”

“——Painting should be a love letter from one heart to another.”

“There are a thousand Hamlets in the eyes of a thousand people, but these thousand Hamlets have similar essences. Every Hamlet is the Danish prince who avenges his father.”

Cui Xiaoming licked the corner of his mouth.

He felt the murmur of the crowd.

[Illiteracy does not mean blindness to beauty, and lack of foundation in art does not mean lack of foundation in life] - Gu Weijing's words did not convince him, but undoubtedly touched some tourists around him, and even... maybe one or two judges who were listening.

Cui Xiaoming kept a warm smile on his face, as if he was also infected by the enthusiasm in Gu Weijing's words.

A fire of rage burned in his chest.

The steam made his throat hoarse and dry.

How dare he, how dare he, lecture him in front of so many people about the essence of Cui Xiaoming's artwork?
What qualifications does he have to give orders here?

Who does Gu Weijing think he is? What does he think he is? Maybe a few senior masters think highly of him and he is very talented, but does he really think of himself as Miss Anna?

Cui Xiaoming felt the gazes of the tourists around him falling on him, as if they were whipping him with some kind of "questioning".

Perhaps, there were indeed a few foolish men and women who were moved by Gu Weijing's words.

Cui Xiaoming knew he couldn't end the topic immediately.

The other party stood firm in the sight of those people. At this moment, he avoided this topic and deliberately did not listen, so his victory was not beautiful enough.

Art debate, art debate.

Cui Xiaoming felt that he won the "art" part, but in the "debate" part, he gave Gu Weijing too many sympathy points.

"Wei Jing, what is the artistic origin of this painting in your mind?"

He spread his hands and gracefully made a gesture of listening attentively, while staring into the other person's eyes.

You might as well listen.

He didn't believe that Gu Weijing could surpass Wu Guanzhong's years of meticulous research on his painting style with just a few words.

Although Cui Xiaoming's conversation was just now spoken to the audience around him, to the art judges in the crowd, and through the camera of a mobile phone, to Ms. Irina who was somewhere unknown.

Cui Xiaoming might have said this to Gu Weijing in order to undermine his self-confidence.

If the grass has no intention, it will not sprout.

If a person has no heart, he will not be successful.

According to legend, Bigan, a famous minister of the Shang Dynasty, possessed the magical power of Kunlun. After his heart was cut out, he could still walk, sit and lie down like a normal person. On the way, he met a peasant woman selling water spinach and asked her, "A hollow vegetable can survive without a heart, so how about a person without a heart?"

If the peasant woman had answered, "A man without a heart can live," Bi Gan would still not have died. But the peasant woman replied, "If a man has no heart, he is dead for sure."

As a result, Bigan vomited blood and fell off his horse and died on the spot.

The same is true for art. Painting is not only about techniques, but also about beliefs, which is the so-called "Tao heart".

Cui Xiaoming said that Gu Weijing had taken the wrong path, and if he continued to draw like this, the final result would be counterproductive.

In fact, he was just CPUing the other party.

Is this the wrong path? Cui Xiaoming did not have an answer, but he just firmly believed that he was right and Gu Weijing was wrong.

Yes.

He doesn't know whether it's right or not.

But he firmly believed that his answer was correct.

It sounds a bit contradictory - because whether it is right or wrong may not be that important.

He said that studying techniques is just following the old ways of predecessors and lacks pioneering spirit. He said that trying to use advanced techniques to stick different artistic styles together is just like forcing two broken bowls together, which is fundamentally wrong. The correct approach should be to summarize and unify techniques with artistic styles, and to incorporate those point, line, and surface painting styles into one from the beginning, which is the real start of the kiln.

But then again.

Is it possible that Wu Guanzhong's works do not contain profound painting techniques?
Isn’t Gu Weijing’s work also composed of the most basic points, lines and surfaces?

Maybe Gu Weijing took the wrong path, or maybe Gu Weijing did not take the wrong path.

It does not matter.

What matters is belief.

What is important is what Cui Xiaoming is willing to firmly believe in and what Gu Weijing is willing to firmly believe in.

By the lake outside Yangon Botanical Garden, Katsuko Sakai told Gu Weijing:

The state of mind is like porcelain.

Even if he really took the wrong road, perhaps his skills were so high that he could use his brush like the magic of nature, mixing the water of Venice and the sand of the Loess Plateau to create a road that could be traveled both by land and water.

It's really like facing a pile of debris.

Who says that without those mysterious techniques, you can't play a drama of reconciliation?

But if the painter does not believe in his own painting style when he puts pen to paper, then even if he starts on the most correct and broad path, he will only walk crookedly, go in the opposite direction, and live in pain.

A kiln with good embryos can also turn it into rubble all over the floor.

When he set out, Gu Weijing didn’t believe he could reach the finish line, and he didn’t believe he could become the next Wu Guanzhong.

How far can he go?
If you believe in this way, you will live. Even if you have no heart, you can still live a hundred years.

Believing that the road ahead is death, even if you have the intention, you are still in a dilemma.

The art industry is full of people who have lofty ambitions but fragile lives. They always act domineering, cool and arrogant. Even if they are not good at this or that, they still have a sour face that says "It's not my fault, it's the whole world's fault" all day long.

I am the best in the world.

Except for me, everyone else is a fool. Those who are more successful than him are successful fools, and those who are richer than him are rich fools.

Such people are often the object of ridicule in life. However, in this overall very poor industry, perhaps an unknown little painter should have such a spirit to hold on.

This is the most "artistic" part of their body.

I no longer have the ambition to be higher than the sky, and I no longer have the ambition to become a great artist.

Maybe they really can't go on at all.

The famous saying of Marquis Dali - the happiest thing in the world is to be Dali - is a side reflection of this spirit.

Since Gu Weijing didn't want to run away, and didn't want to escape in disgrace with his tail between his legs, he had to fight him head-on and argue with him.

Then Cui Xiaoming listened to what the other party said.

He firmly believes that his artistic path is stronger than others, and his artistic style is stronger than others. This is part of his belief.

He firmly believed that he could destroy Gu Weijing's belief, which was also part of Cui Xiaoming's belief.

If Gu Weijing began to doubt the artistic concepts he adhered to, then he would undoubtedly lose.

Keep talking.

The crushed "heart of Tao" was shattered.

He may not even be able to be the second Wu Guanzhong. No matter what he does, at most he can be the second Cui Xiaoming.

Why did Cui Xiaoming stop the other party from becoming the second Cui Xiaoming?

The other party wants to die so much.

It was too late for him to be happy.

(End of this chapter)