Almighty painter

Chapter 928: The Code of the Heart
The lines gradually showed obvious changes in convergence and divergence at Gu Weijing's fingertips.

Every line has its own direction, posture, and aesthetic spirit.

They stretch out across the ground.

Anna's eyes swept along the sand.

At first, lines are just lines, purely geometric spatial structures formed by points moving horizontally on the ground.

Gradually, these lines began to develop independent meanings.

Light and dark.

depth.

Round and smooth lines, dry and vigorous lines, drifting and agile lines.

The sand was still the same sand, but Gu Weijing's slender fingertips represented the iron plow, grain seeds, rainwater, and the warm ashes of grass and trees.

As his fingers plowed the sand, the seeds of "beauty" contained in it began to sprout.

They begin to grow themselves in the sand.

Some lines are more delicate, just a light and shallow trace, like grass sticking to the ground, with a soft breath.

It seems as if it will be blown away by the sea breeze from the island at any time, just like young buds swaying rhythmically in the wind.

Some lines grow larger and stronger.

They are fresh and upright, with strong and solid vitality, growing tenaciously on the sand, just like the sea trees growing on the seashore.

Some lines are more interesting.

It looks intermittent.

Anna stared at a slight, bow-like sand mark. It was as thick as a thumb, powerful and heavy, with a few strands of sand suddenly becoming extremely thin, as if it had been suddenly broken in the middle, and then connected again.

This kind of intermittent outline lines.

This is often a taboo when drawing line drafts in many cases.

When drawing a bottle, when outlining, the line somewhere in the belly of the bottle is suddenly broken, or the oval between the thin neck and the bottle mouth is a few millimeters away and is not successfully connected.

This will cause the teacher to criticize you for not drawing carefully!

Whether a painting is good or not, whether it resembles something or not is a question of ability.

The lines don't even connect together, it's obviously an attitude problem, it's enough to drive people with obsessive compulsive disorder crazy, you don't even need Miss Elena to whip you, your primary school art teacher will scold you.

The worst thing that Leonardo da Vinci could do was to draw an egg that was not round.

If it’s not round enough, it’s at most an ugly egg.

What's the big deal about a gap?
Bad eggs?

The lines that Gu Weijing had drawn before also had a sense of discontinuity, which made Miss Elena confused. She patted the little painter on the head, said "cute", and turned around to go take a shower.

The current lines did not make Anna, who suffered from aesthetic obsessive-compulsive disorder, feel depressed.

The bow-shaped lines are discontinuous, yet not broken.

An invisible spirit connects it.

It is still full of power, it... can still shoot sharp arrows.

Gu Weijing told himself that he should keep it together, the thread should be broken but the spirit should be connected, the thread should be scattered but the intention should not be scattered.

Anna was not familiar with such aesthetic philosophy.

But she is familiar with the piano.

Painting itself is a language that everyone can read. Gu Weijing used his fingers to speak a language that seemed intermittent and scattered. To Anna, it was like listening to a piano.

The lines are the piano keys.

She pressed a key in the bass range, either the alto Do or the Re, and relaxed her fingers, but kept her toes on the sustain pedal, allowing the sound of the strings to continue along the force of the pedal. Slowly, by adjusting the force between her foot and wrist, she let the felt of the damper and the strings scrape against each other, filtering out all the impurities and overtones of the burrs.

At the moment when the sound was about to completely disappear,
Hit the piano keys hard again.

The sound bursts out like broken waves, creating a sound like rippling water.

Such lines brought Anna a similar feeling. It was a line segment, a letter, a musical note, and a drop of water standing on the sand.

Gu Weijing was not satisfied with just drawing lines.

The lines were woven together by his fingertips.

Letters form words and poems, and notes are connected together to form Bach's rigorous music.

The crystal clear water droplets form a rushing river.

The river first flows on the ground, stretching for hundreds of miles before disappearing.

Instead of drying up, it flows into rivers hidden underground, weaving through geological structures and accumulating strength in the groundwater network.

So it was another hundred miles.

It rushed out with a loud bang.

The lines drawn by Gu Weijing on the sand flowed between the paintings along with the young man's fingers, first taking shape and then forming a skeleton.

Then colors naturally grew on the skeleton.
-
"Dry on the outside but rich on the inside, seemingly plain but actually beautiful."

——Su Shi (Song Dynasty) "Dongpo's Postscript: Comments on Han Yu and Liu Zongyuan's Poems"
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After Gu Weijing fiddled with so many different kinds of lines.

At last.

What is presented to the woman is an extremely simple work of art.

Painting on sand is painting on sand after all, and the legendary finger painting method only gave Gu Weijing the ability to skillfully use his fingers to convey the brushstrokes in his mind.

Anna was gone for quite some time.

It would be really too much for Gu Weijing to paint a "Along the River During the Qingming Festival" on the sand during this period.

Otherwise.

Leaving blank space is the strong point of Chinese painting.

Chinese paintings rarely fill the picture with brushstrokes and colors like oil paintings.

Gu Weijing only chose a very small scene of palm trees in the forest, and used sand marks to outline a few intertwined branches and several broad palm leaves on the sand in front of him.

just now.

He was kneeling on the ground, tapping the water drops on the palm leaves with his fingertips.

Gu Weijing is painting and sculpting in the sand.

He incorporated a little bit of the essence of Zigang's carving method, with his fingers acting as both the brush tip and the jade carving knife.

The young man wanted to use the "ink dipping method" to try to restore the three-dimensional effect of water droplets rolling down the palm leaves.

This painting is in Anna's eyes.

It's full of color.

"Records of Famous Paintings of All Ages" says: "Use ink to create all five colors."

The meanings of colors include red, orange, yellow, green, cyan, blue, and purple, and also encompass rich changes in colors.

It is a color, but also a texture.

The orange-yellow color of the flame not only implies its heat, but also its surging posture. Capturing its heat and posture also captures the flame.

Similar to the black and white film cameras that many famous photographers like to use.

Only black and white colors are needed.

If the photographer can record the texture of the world clearly in front of the lens and the granularity is fine enough, then thousands of different colors will be born in it.

The lines that Gu Weijing had left on the sand were his own painting experiments. In Miss Elena's mind, they were also wonderful teaching aids for appreciating lines.

Anna stared at Gu Weijing painting, while also following the lines and moving forward.

First a note was heard.

Another musical phrase.

Finally, this is the entire piece of music at this moment.

The showy display and splendor of Gu Weijing's practice in drawing lines gradually disappeared in this painting.

It became flat. Clear.

Clear and sincere.

natural.

A few branches and leaves occupy a corner of the picture... well, it can't be called a corner, the beach is an infinitely vast canvas.

Because there are no defined boundaries, there is no composition.

Composition only exists in the minds of the painter and the viewer. Miss Elena believes that the branches extend from the right corner of the picture.

She imagined in her mind how it would grow, how it would turn over, and how it would grow branches and leaves.

They grow together in a dense and sparse manner, swept away by the natural force, determined to break free from the sand!
After the rain, the trees were brown and yellow with a fresh scent, and following this scent and momentum, they covered the branches in the sand.

Then come the broad, tender green branches and leaves.

Gu Weijing used his fingertips to brush the hair-like texture between the leaves, which were its veins.

It is also green, a dark shade, probably a little darker than the green of the leaves, and a little tougher.

……

The whole painting is a piece of music.

The lines Gu Weijing drew on the sand are a series of notes in this piece of music.

Miss Elena has a musician friend. Every time she goes to a concert, she must bring a music score and a low-intensity flashlight to read the score. Sometimes she even insists on sitting in the first row.

This is just as annoying as when a primary school teacher is lecturing and there is a top student in the class sitting in the first row of the classroom all day, staring at the teacher... Listening carefully is of course a good thing, but you are holding a teacher's guide, nodding, shaking your head and sighing, and secretly giving the teacher grades, what the hell is this!

I already know it and don't want to listen. Uncle, just go to sleep or do your homework for other classes.

You are causing trouble by doing this!
Musician friends and Anna told me that notes are the skeleton and music is the flesh and blood that grows from the music.

He would look at the score every time, thinking about how one note should extend to the next note, and then verify it with the performance of the performers on stage.

This is a collision of minds.

The dense leaves hide the singing birds.

The fragrant wind keeps the beauty.

Miss Elena paced around and observed Gu Weijing's works.

What she saw before her eyes was undoubtedly a painting about noon and sunshine.

There are no large areas of fiery paint in Gu Weijing's paintings. He does not have paint. He illustrates this point through the dynamics of the lively, fresh and bright pictures.

The painter used dense leaves to hide the singing oriole, and used the fragrance of May roses, ylang-ylang, and Grasse jasmine to catch the sleeves of the French beauty who was passing by hurriedly.

Gu Weijing carries the reflection of good times in his lines.

Anna walked slowly around Gu Weijing's works, her eyes tracing the simple extensions of the thin branches drawn by Gu Weijing, imagining that in the blank space, in the places not drawn, there was a whole field of bright and fresh tree shadows at noon after the rain.

Miss Elena saw that Gu Weijing's finger just moved and clicked.

then.

All the fresh images are condensed into a small drop of dew and drip into the sand.

Gu Weijing raised his head and stared at Miss Elena.

Anna also stared at Gu Weijing.

"Picasso always believed that lines are similar to music and are the ultimate refinement of the abstract world. The essence of painting is a direct dialogue between the hand and the mind. The brush is not important. It is just a tool to achieve this process."

The woman squatted down.

Sitting next to Gu Weijing.

“Today I saw a vivid demonstration of this process.”

Anna said.

"Go and wipe your body, I'll wait for you to come back..."

"I have some suggestions for you regarding your exhibition."

She smiled.
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"The first major solo exhibition in Cézanne's life was closely related to his agent Wolfe. It was from November to December 1895, and Wolfe connected him with a small gallery on Lafitte Street in Paris. It was the Belle Époque in Europe before the war, and the art market was rising steadily. Cézanne was 11 years old that year. He went to participate in the Paris Salon, but the Paris Salon did not want him. He went to participate in the Impressionists, but was also marginalized in the Impressionists."

"He's a banker's son. He has no worries about food and clothing, but he has never achieved anything in the art world."

“He will die within ten years—but before that, he will stand at the pinnacle of European art and put an end to the entire glorious history of European art in the 19th century.”

into the night.

Gu Weijing lay flat on one side of the fire with a branch under his head.

Anna sat cross-legged on the other side of the fire, her hands resting on her legs.

The two of them, looking at the sea and sky in the distance, were like two cats sitting on the sofa, lying down or watching TV together in strange postures.

After last night's rain.

There was not a cloud in the sky that night.

The stars are shining.

There was still silence around them, except for the gentle crackling of burning wood and the lingering sounds of the two people's conversation.

Anna was in a good mood.

They spent the whole day chatting like this, watching the red sun sink into the sea and the night paint the entire sky.

It was usually Anna who did the talking.

Gu Weijing was listening.

Miss Elena and Gu Weijing discussed the role and function of lines in artworks.

Gu Weijing and Anna talked about the exploration of ink color in Chinese painting. Anna had an amazing ability of association and told Gu Weijing about the construction of line structure by Mondrian and Picasso under their brushes.

They talked about how lines can cut out multi-dimensional visual space in a two-dimensional plane.

Ms. Elena also mentioned that if the lines themselves are too abstract and completely subject to some kind of experiment on form, would the work itself become obscure and difficult to understand.

Anna mentioned Mondrian’s famous case.

His "grid painting" "New York City", composed of vertical and horizontal lines, has been hanging in a famous art museum for 75 years and has been studied over and over again.

It was finally pointed out by a curator——

Sorry, your museum hung the painting upside down.

This incident itself is full of humor.

Gu Weijing said she didn't know.

Miss Elena smiled and said it didn't matter.

They switched the topic back to Gu Weijing's own art exhibition, and Anna was now telling Gu Weijing the story about Cézanne.

All the entanglement, struggle and fear that she had before disappeared.

Maybe.

When Anna saw the painting, she made a choice.

Maybe.

When Anna saw the painting, she suddenly understood this truth——

“The beauty of a flower lies in its withering.”

This is Heidegger's words. In the past, Miss Elena used it to criticize others and she enjoyed it very much.

just now.

Gu Weijing used a painting to convey this truth to Anna.

A flower will wither.

It has withered in the past, and it will wither in the future.

Spring will be condensed in a drop of dew and pass away. This event, this painting, has never been a work about fear of the future, but a work that proves why this moment is worth cherishing doubly.

(End of this chapter)