Almighty painter

Chapter 793 Heavenly Man

In the Xihe Guild Hall, Gu Weijing was so angry and furious for a moment.

He was about to fly far away, he was about to go to college, attend art exhibitions, sign a contract with a big gallery, and perhaps become Cao Xuan's disciple. From the perspective of logic or probability, becoming Cao Xuan's disciple meant smooth sailing and success.

But he was locked in a cage by the damn Brother Hao, with no way to avoid or escape.

When Gu Weijing recalled that time, he realized that the angrier he was, the more terrifying Brother Hao became in his heart.

The more terrifying Brother Hao is, the more helpless he is.

Then I became more angry.

The anger completely confused Haoge's true appearance, making him look like a demon shrouded in flames, who could crush himself to pieces with just a clenched fist.

The ultimate expression of such anger is not to burn the entire world into a sea of ​​fire, but to crush the entire world into a huge nothingness.

He felt that life had no meaning and that living had no meaning.

Gu Weijing imagined himself as a piece of unconscious dust in the universe - watching the stars age and die in the dark night sky, in order to highlight how empty and boring all the love, hatred, and vengeance in the world, noble, dirty, and everything are on a grand time scale. He used such imagination to find peace.

however.

When Gu Weijing came to his senses and began to no longer be overwhelmed by the huge anger, he easily saw through Brother Hao's disguise.

Instead, he realized how fragile and empty his heart was after the seemingly strong middle-aged man showed his ferocious face in the office.

He was angry because he could do nothing about Brother Hao.

Brother Hao was also angry because he could do nothing about him.

Brother Hao can destroy him.

He can also destroy the opponent.

Anger can make people lose their calm, but it can also teach people a lot. Gu Weijing saw Haoge's fragility in his anger.

He also saw the anger in Cui Xiaoming's smile, and he saw the hidden fear in Cui Xiaoming's heart in his anger.

Yes.

The other party made so many preparations, all the little thoughts and all the calculations, but for only one reason: Cui Xiaoming was afraid of Gu Weijing.

He was afraid that he was better than him, stronger than him.

All of Cui Xiaoming's cleverness, all of his smiles, all of his claims that he is a "guest painter", and even the act of imitating his own painting, hide Cui Xiaoming's restless fear.

The reason why chameleons always blend themselves into the environment is that they are extremely vulnerable to their natural enemies.

Gu Weijing was not so angry.

He regarded this as a challenge that he had to go through in his artistic career. He was neither angry nor afraid of the challenge.

Not being angry or furious does not mean not being prepared.

"Well, let's organize the creation records to make them more complete so that they can be used later."

Gu Weijing painted about thirty versions of "Good Luck Orphanage in the Sun".

If I was not satisfied with the paintings, the drafts would be scraped off and redrawn, and photos were taken for archiving.

These things were originally used by Gu Weijing to compare the advantages and disadvantages of the details of each version of the painting. Now they are also excellent materials to be used as evidence to prove the originality of the drawing.

Katsuko Sakai would certainly be willing to endorse her own creative process.

Perhaps some of the original discussion records between him and Mr. Cao about the work on WeChat can also be used as evidence.

Gu Weijing will collect and organize all these contents when he returns. The more materials that can be used as weapons at the right time, the better.

But he was not ready to hand them over to curator Tonks or the organizing committee to review the ethical aspects of the creations just yet.

no point.

What does Gu Weijing want by doing this?

Does he want to prove that Cui Xiaoming is imitating him, or does he want the Biennale organizing committee to expel him from the exhibition?

It is impossible to do both.

To be honest, what Cui Xiaoming did may not be considered decent, but it was not excessive either.

Plagiarism is an absolutely intolerable evil in the art industry.

If you take someone else's work, change the name of it randomly and submit it for an award as your own, you will definitely be condemned by everyone.

But borrowing—borrowing is simply unavoidable.

Painters learn from history, from their predecessors, and from their peers. Learning is everywhere. It is one of the components of artistic creation, and perhaps the most important of all components.

Drawing nourishment with respect from excellent works is an artist's virtue and the source of his or her continuous improvement.

Unless a creator is born out of a stone, they can see the beauty in other people's works and will naturally be influenced by that "beauty". The formation of all new painting schools in human history is based on the reference and transcendence of old artistic creations.

Whether it was Manet or Degas, didn’t they all draw nourishment from Velázquez’s works?
And among the painters who founded Impressionism, who was not influenced by Turner?
Didn’t critics also say that people saw the shadow of Pissarro in the stripes and spots in Van Gogh’s works?
Some literary critics have said with some sadness that since Leo Tolstoy, all the story routines in the world have been written out. If modern creators still hope to write some different stories and make real literary innovations, the plots have been played out by their predecessors, and everyone can only start playing with narrative structures.

Perhaps this is the important reason why many modern literary works are becoming more and more obscure, more and more "weird", and more and more difficult for readers to read.

The art industry has developed for thousands or tens of thousands of years, and it is really difficult to come up with something new in creative themes that others can't think of.

Regarding the similarity of the painting content elements, Gu Weijing also wants to say something fair for Cui Xiaoming.

Painting churches, sculptures, orphanages, regular triangle compositions, oblique triangle compositions...all of these elements have been painted hundreds or thousands of times by previous artists.

Not to mention that Gu Weijing had modified the composition of the picture before the exhibition, there is no similarity in the composition structure of the two works.

Even though Gu Weijing still exhibited the original version of "Good Luck Orphanage in the Sun".

The two works are placed together like shadows inside and outside a mirror.

The viewer can realize that the two works are very similar.

The judges may look at the works with some amusement, but this level of similarity may still be classified as "reference".

The main coincidence in this incident is that the two people participated in the same exhibition and competed for the same award, not that Cui Xiaoming borrowed from his paintings.

If Gu Weijing had participated in an art exhibition first, and Cui Xiaoming had taken out his "New Three Bodies of Buddha" a few years later, it might have been a very common thing.

but.

As for imitation, it’s okay to imitate senior masters, but Cui Xiaoming probably wouldn’t be happy to have the label of imitating a creator of the same generation or even younger than himself in his work. This is probably the reason why he just declared in public that Cao Xuan once hoped that he would learn his painting style.

Once this matter gets out of hand.

The final result will often turn into a fight between the two sides, a competition to see who has the loudest voice, throwing dirty water on each other, and making a mess. If the controversy is too great and the dispute cannot be resolved, the organizing committee may simply ignore the issue and not award any prizes to either side.

Tonks was willing to give Gu Weijing an extra booth, and he was very grateful, so he didn't bother the other party anymore.

It is almost impossible to speak for Gu Weijing based solely on the evidence in his hands without mentioning the curator.

Even if Tonks was willing to speak, it might not be helpful.

If we want to have an official and convincing conclusion on this matter, I guess it would require at least an authoritative magazine of the magnitude of "Oil Painting" to take action.

From the moment that mysterious person sent Gu Weijing’s exhibition works to Cui Xuanyou’s mobile phone.

It is a conspiracy that no one can escape from.

It was obvious that even if Gu Weijing saw through some things, there was nothing he could do.

Protecting one's own exhibition ideas is one of the things that people who want to win an exhibition should do, and drawing elements and inspiration from other people's works, and then drawing better works than others, is one of Picasso's signature skills that made him famous.

The work was leaked in advance, whether he was not aware of it or he trusted the wrong person, it was all Gu Weijing's own problem.

Like Ms. Sakai, even when she took a photo of Gu Weijing's unfinished draft and posted it on her photo wall, she knew to cover part of the work with her hand.

From beginning to end.

Only a very small number of people have access to his painting "Good Luck Orphanage in the Sunlight". Cui Xiaoming said that Cao Xuan once asked others for help for his work.

Perhaps it was leaked accidentally at that time.

Maybe it's more complicated, someone is deliberately targeting me.

who is it?

Ms. Tangning. "So, that's it?"

Gu Weijing thought with a relaxed mood.

If Tang Ning really did this secretly, after showing off her nearly flawless underhanded tactics, in Gu Weijing's mind, Tang Ning not only did not become stronger, but became weaker instead.

"So, you are afraid of me too."

Gu Weijing once thought that only a "heavenly man" like Tang Ning could be worthy of being Mr. Cao's last disciple.

She is a natural artist, gifted since childhood. Her brushwork and style were already impressive when she was a student. She won the gold medal at the International Biennale when she was around 20 years old. At the age of 40, she has already ranked among the top female painters in Asia.

Tang Ning was more successful at the age of forty than Yayoi Kusama was at the age of forty, and even more successful than Picasso was at the age of forty.

Everyone knows that she has a bright future, but no one knows where her ceiling is.

In the eyes of most people in the art field, people like Tang Ning are like a distant star shining brightly and untouchable.

She is there, right at the horizon, at a height that you are destined to never reach in your lifetime.

Gu Weijing once thought so too.

To him, Tang Ning was a very distant existence, even closer to Gu Weijing's imagination of a "super master" since childhood than Cao Xuan, an old man who had returned to nature, or Uncle Sakai, a gentle and good-tempered meatball-like painter.

It also has that kind of self-centered aura that top artists have.

She's like Dali or Picasso.

Gu Weijing didn't like Tangning at all. He certainly wouldn't like to call her a loser, but deep down in his heart... Gu Weijing still admired Tangning.

Liking or not liking a person and admiring or not liking a person are two different things.

If not.

Gu Weijing would not take Tang Ning's evaluation of him so seriously.

Tang Ning is really a very arrogant person. If he looks down on you, it is obvious that he looks down on you. He is telling you directly that you will never reach my level.

Tang Ning's way of expressing his disdain for Gu Weijing was simple.

She sent a painting of hers that is now worth at least hundreds of thousands of dollars directly to Gu Weijing, and then said to the world - sorry, some people are just mediocre people who want to eat swan meat. The teacher is old and sometimes a little confused, but you don't want to fool me. Look at what I was painting when I was about 20 years old, and then look at yourself.

Not convinced?
Then why don't you try drawing one? If you can't even copy it, then don't even dream about it.

Tangning's ridicule and disdain were simple and straightforward without any embellishment.

Her words were harsh, hurtful, and arrogant. Gu Weijing could even say that the other party was hateful.

But this is also very... "artistic".

Tangning was like a heavy hammer. She would smash anyone she looked down upon into powder. Anyone who dared to block her way or steal her things would be hammered to death by her.

Not convinced?
can.

Little thing, let's talk with a paintbrush. I just want to teach you a lesson. In front of me, you compete with me in technique, inspiration, talent, achievement...anything, you are nothing. Why should I look up to you? Why should I allow you to take my place?

Gu Weijing once imagined that Tang Ning would be a very kind and benevolent elder like Professor Lin Tao, who would give him art lessons every week, guide him and help him.

Unfortunately.

Tangning was not that kind of person at all. Tangning was not the kind of elder that Gu Weijing had imagined.

Gu Weijing felt lost but also fully understood this. He was not Franklin, so why did he demand that everyone in the world love him and revolve around him?
Isn’t Tang Ning a saint? Is this an unforgivable mistake?
Tang Ning gave Gu Weijing an art lesson in her own way.

Tang Ning is still a great artist.

For a long time, she remained very far away, and the height at which she existed was so high that Gu Weijing could not reach her at all.

But today.

After seeing this painting "New Three Bodies of Buddha", Tang Ning suddenly felt not far away.

Tang Ning is still the same Tang Ning. She is still talented and brilliant. She won the gold medal at the International Biennale at the age of 20. At the age of 40, she became a top female painter who was more successful than Picasso or Yayoi Kusama at the same age.

Tang Ning is no longer the star in the sky.

Strange to say.

A nearly perfect conspiracy actually made Gu Weijing feel that Tang Ning was within his reach.

Tang Ning's artistic level was still so unattainable. He spent tens of thousands of free experience points on a painting, but his technical level was only temporarily raised to the level of Tang Ning's age.

When Gu Weijing faces Tang Ning now, he is still like a frog in a well looking up at the distant sky.

But when Tangning began to secretly use means other than art to deal with him... it was as if some kind of mediocrity was painted on her face.

pity.

Ms. Tang Ning, who looks very artistic, turns out to be just an ordinary person after all.

The glittering golden artistic coat created by "Hundred Flowers Picture" was burned into ashes by the secular fire in an instant, revealing the face of a sophisticated middle-aged woman in her forties.

"Well."

Gu Weijing seemed to have discovered something interesting and kept laughing at Cui Xiaoming's painting "New Three Bodies of Buddha".

He was not laughing at Cui Xiaoming.

He understands the other person's fears and struggles.

If this was exactly as he thought, then Gu Weijing would laugh at Tang Ning.

Gu Weijing uncovered a huge secret - it felt like a race.

There is an athlete running very fast. You are panting and have only run halfway, while the other athlete has already walked to the finish line leisurely, with a relaxed look on his face, not even a drop of sweat. It does not seem like he is running, but rather flying.

You always think he is "God", Superman, the son of Krypton.

You are not the same species at all, and you have completely different blood flowing in your body. Your blood is red, and his blood is noble gold. How can a mortal shake the power of God! If you run a thousand times, you will lose a thousand times. If you run ten thousand times, you will lose ten thousand times.

Until later, you discovered that the other party was secretly bribing the referee to change your score.

That moment.

His appearance changed from Clark Kent, with thick golden blood, to a mediocre cheater.

Yes.

Even if he doesn't modify the results, he can still defeat you easily. If you run a thousand times, you will lose a thousand times. If you run ten thousand times, you will still lose ten thousand times.

But since he is just an ordinary person.

Then maybe you will have the chance to run as fast as him one day, and when you run the 10,001st or 100,001st time, you will have the chance to surpass him.

One day, you too will win.

When Gu Weijing discovered the truth that Tang Ning had to use cheating methods other than art to deal with him.

The image of Tang Ning in his mind collapsed from a top master with an artistic pedigree to an ordinary middle-aged woman with top artistic skills.

Since Tang Ning is an ordinary aunt.

Since someone like Tang Ning could become Cao Xuan's last disciple, Gu Weijing realized... maybe he could also give it a try. He could truly shoulder the responsibilities that were required of Cao Xuan's last disciple, or even do better than that.

Overt conspiracy or something.

Just crush it.

Gu Weijing is no longer afraid of challenges.

It sounded like he was joking when he said he would crush Tangning. He didn't even dare to guarantee that he would be able to beat Cui Xiaoming this time. There were too many uncertainties in the art world.

But there was a kind of fire in his heart.

When someone uses dishonorable means to target you, it means that she is afraid and terrified.

Since she is afraid of you.

Explanation - In at least some ways, you are better than her.

On this day, in front of Cui Xiaoming's "New Three Bodies of Buddha", Gu Weijing was truly ready to become Cao Xuan's last disciple.

(End of this chapter)