Almighty painter

Chapter 797 Love between Two People (Part )
The pain that devours everything may be able to swallow up the existence of love.

But pain is not the meaning of love. Love is the reason why people are willing to endure pain, just like death is the end of life, but death is not the meaning of life. Death exists as a part of life.

Because of love, Gu Tongxiang, who was already old and gray-haired, would force himself to put on a suit, pack up neatly, and go to Xihe Hall to save his granddaughter. Because of love, Koko bravely jumped into the lake. Because of love, many years ago, the melancholy handsome version of Sakai Kazunari, who was not as plump as he is now, would hug his wife and cry bitterly on the rooftop of an unfinished building in Osaka...

It is because of the existence of love that people are willing to change themselves.

Because of love, the little boy visiting the art exhibition reached out his hand toward the display cabinet, and it was also because of love that he was willing to take his hand back.

In the final roulette game between Gu Weijing and Hao Ge, a test of courage.

Anger is fire.

Anger is a bullet.

Both of them were furious, and the pistols they held pointed at each other's heads were loaded with burning bullets.

But in the end, what made Gu Weijing bravely pull the trigger was love, his love, Koko's love, and the love in the world.

Love makes people both fear death and despise death. Gu Weijing has love and Haoge does not, so Gu Weijing has courage and Haoge does not.

Love makes people become less like themselves and more like the one they love.

Everyone lives towards death.

Everyone is born for love.

Pain is part of love, and transformation is part of growth. Without love, people are just beasts roaring in the wilderness. People are just roaring beasts.

"The beauty of a flower lies in the fact that it has withered." - Gu Weijing didn't know that about a century ago, the philosopher Heidegger once said these words.

Cui Xiaoming is scheming and calculating.

He thought of ten thousand different opening lines, recited Heidegger's poems, and quoted stories that Miss Irena might be interested in in the introduction to the work, but he always just stayed on the surface.

Cui Xiaoming looked at Anna as if she were facing a complex, unsolvable maze. Forget about reaching the end. He turned around and around on the spot looking at the map, but couldn't even find the door to the maze.

In the end, all he got was a cold "Enough".

Gu Weijing did nothing.

He rejected the olive branch extended by the woman in the wheelchair, pushed away the check for 300 million euros, stared into those chestnut eyes and said word by word, "Irina's family should all go to hell."

Gu Weijing simply turned his head and said "ah" softly, and he touched the depths of Miss Anna's heart, as easily as plucking open a rose and seeing the golden stamens inside.

And Gu Weijing hasn't even realized this yet.

Most aspects of life are not like fairy tales.

Good people may not necessarily defeat bad people, kindness may not necessarily bring happiness, there is no Alibaba's treasure in the mountains, and there is no little mermaid singing in the sea.

But at very rare times, life can show a very fairy-tale side.

The prince in the palace picked up a pair of crystal shoes after the banquet. The beautiful princesses from other countries with ulterior motives went to great lengths and even used axes to cut off the toes and heels.

And the one the prince was really looking for was Cinderella.

All she had to do was simply stretch her legs and start dancing, and that was enough.

The wizard doesn't choose the wand, the wand chooses the wizard.

It's not that Cinderella becomes Cinderella because she has the pumpkin carriage and crystal shoes, but that the pumpkin carriage and crystal shoes have meaning because of Cinderella.

Only with love does the work have meaning.

Gu Weijing looked at the booths calmly.

Those great artists of the past who were lost and struggling painfully in love, they might have longed for a simple and peaceful happiness, and they might have been aware of the complexity and danger of "love", right?

It's just that love is too magnificent and too unpredictable. The longer you stare at it, the more you want to get closer, closer, and closer. It is said that if you stare at the abyss for a long time on the edge of a cliff, you will have an urge to jump off.

Love is not a cliff, nor is it an abyss.

But a lonely soul who stares at love for too long will always want to embrace love tightly, no matter whether it will put itself in thorns.

Gu Weijing glanced back at the booth.

Then he turned around, a faint smile on his lips, and happily took Awang to the pet hospital to check for fatty liver disease.

The sun was shining brightly in the Binhai District, without a single cloud. The sea was as blue as the sky, and the sky was as blue as a mirror. Under the huge mirror, the young people walked vigorously.

Walking into thorns may cause injuries and make people lose their direction.

And there is no love.

But I immediately lost the courage to go on.

"What a great painting I have created," Gu Weijing told himself.

Both “New Three Bodies of Buddha” and “Bukit Timah” are works that preach “love”.

Love between people, love between people and the environment.

They are all just shells.

The artist wrote the word "love" everywhere on the exhibition board, but he never really believed in the power of love. It's like a door-to-door salesman who keeps telling you how all-encompassing this set of books is and how many benefits you can get from buying this set of books, but he himself has never seriously read the book in his hand.

Whether it is "The Hustle and Bustle of the World" or "The Good Luck Orphanage in the Sunshine".

Gu Weijing did not say those profound words about love.

But if you subtract love from his works, they become completely different works, even expressing completely opposite meanings.

It is precisely because of this simple and straightforward truth that the latter becomes a better work.
-
“Real art should make people cry when they want to but can’t.”

——Wu Guanzhong
-
Miss Elena sat in the yard of the orphanage.

She casually picked off the petals of a rose that Elliot had brought her, and placed them all, along with the paper in her hand, on the weed-covered ground in front of the statue of the Virgin Mary.

When we arrived on the plane to Yangon, the Dassault EX2000 private jet, like a white swan, gracefully flew over the sea at an altitude of 41000 feet.

Anna originally wanted to write a prayer.

If she felt that Carol had really painted the painting that she had hidden at the end of the world in front of the old church, then Anna would leave this prayer there to commemorate the life of Miss Elena 150 years ago and to commemorate her success.

Anna told Kara.

At the end of this story, one hundred and fifty years later, the world finally remembered her, and she used her own strength to overcome the constraints brought by the surname Elena.

If she thought it was an elaborate hoax and Carol had not painted her work in front of the old church, Anna would still leave the prayer there to commemorate the life of Miss Elena 150 years ago and to commemorate her failure.

Anna told Kara that unfortunately, despite her efforts, her work still had no news, but she would continue to look for it.

Success is of course always worth commemorating.

Failure can also be a failure that brings her strength. Kara's works do not exist in the material world, but they still exist in her heart in spirit.

Butterflies are sentient.

Anna also knew it.

now.

Four hours later, Anna was sitting in a wheelchair in the Good Luck Orphanage. She believed the story in Gu Weijing's paper and also believed that Carol had indeed painted here.

Anna did not finish writing the prayer.

Miss Elena, who is rare in life, looked at the words she had written, but she still felt unsatisfied. Those praises seemed always a little empty, like a gorgeous and exquisite empty cage.

Grandma Kara never liked gorgeous and exquisite empty cages in her life, so she didn't want to use words that looked like an empty cage to commemorate the other person.

So Anna changed her mind.

After coming out of the office where she interviewed Hao Ge, she asked Secretary Eliot to prepare a copy of "The Biography of Balzac" written by Zweig for her.

Zweig could not be Kara's favorite writer. It was even more impossible for him to know Kara. Kara was born in Vienna in 1881, and Kara died when the writer was still a child. Zweig came from a wealthy family and spent his affluent and carefree student years in Vienna's upper class society. Later, when he was traveling for school, he met another person whose living environment was completely different from his own.

The dark and muddy life is not always dirty and black, and the bright and beautiful world may not be as bright and beautiful as he imagined.

This study tour completely changed Zweig's life.

Anna imagined what would happen if Kara lived another twenty years and if she really became a female painter as she dreamed of.

Two people who both lived in Austria at the end of the century should have a lot in common.

She would probably like Zweig's works and writing style very much.

Balzac was Grandma Kara's favorite writer. At that time, there were quite a few popular literature works that aristocratic ladies could read, but not too many either. Balzac's wit and humor alleviated Kara's inner loneliness to a great extent.

Zweig is also a bit of a buried writer.

His works were a huge success worldwide after his death, but he was almost forgotten in his native German-speaking world. It was not until a hundred years after his death that he was remembered again.

This book, "Balzac", is also Zweig's posthumous work "hidden" in a pile of old papers. He did not publish it during his lifetime, but after his death, his descendants found this completed work in a large collection of manuscripts.

In short.

Everything was very fitting.

The only thing that was not appropriate was that the world could not change according to Anna's will. When Eliot was in Singapore, he promptly sent her the relatively popular collection of Goethe's poems.

This time, the other party searched several nearby bookstores, but indeed couldn't find what Anna wanted.

Anna finally copied a few lines of Zweig's dedication to Balzac from the electronic version, copied them into her notebook, and then tore them off.

"At all stages of my life, my courage has prevailed over my misfortune..."

"Great men not only have money... Even if they don't have money, they have another kind of currency besides the small silver coins that jingle in their purses. They can use "immortality" to pay the bill of fate..."

"When a person dies, spreads those wings that people have no chance to see, and disappears from the world, only solemn thoughts can fill our hearts. No, no, this is not leaving the world."

Anna looked at the statue of the Virgin Mary in front of her and softly recited the description of Balzac's funeral at the end of the article.

"Let me say that again."

Miss Elena opened her hand and let the last rose leaf slip between her fingers.

"This is not night - this is light. This is not nothingness - this is eternity. This is not the end - this is just the beginning. It is such a coffin that proves the meaning of immortality. When Balzac was alive, as a living being, he never heard such praises. But as a dead man, he will start from Père Lachaise Cemetery -"

The woman in the wheelchair looked up.

Anna looked directly into the eyes of the mottled Madonna statue in front of her and spoke firmly in the clear voice of an opera soprano.

"He will start from the Père Lachaise Cemetery. Balzac will, like all the protagonists in his works, conquer the mountains of European literature and art and conquer this entire city!"

The words fell to the ground.

Miss Elena stared at the statue of the Virgin Mary in front of her for a long time in silence.

……

Anna felt a little disappointed.

More than ten days ago, in the VIP lounge of Changi International Airport, she first flipped through the "Asian Art" brought by Assistant Cao Xuan and saw the introduction to Carroll in the cover article and the painting "Old Church in a Thunderstorm".

She was so excited and sad that she cried.

yesterday.

Listening to the young man across the table telling her stories about Van Gogh and Carroll and confiding his "trapped fate" to her, Anna felt strong emotions surging in her heart.

and so.

Miss Elena thought that at this moment, she would also want to cry.

The place where Grandma Kara picked up her brush to paint one hundred and fifty years ago, the old church in Grandma Kara's paintings one hundred and fifty years ago, all of them have unveiled their veils, revealing themselves naked in front of women.

Anna is by no means a crybaby.

At this moment, it seems that only the shedding of a tear at the right moment would be appropriate.

It is part of the sacrificial ritual. Only with a tear can one cross the barrier between the human world and the underworld and communicate the thoughts of the living and the dead.

Only in this tear could she feel the warmth of Grandma Kara's life.

Miss Irina one hundred and fifty years later should shed a tear a century late for Miss Irina one and a half centuries ago.

She would shed this tear for Grandma Kara.

The woman will find the life that Grandma Kara once lost in her crystal tears.

In front of the statue of the Virgin Mary, Anna was ready to cry, but unfortunately, no tears really flowed from her pupils.

Anna felt very uncomfortable.

What I feel more than the pain is the emptiness.

(End of this chapter)