God-level Golden Hand

Chapter 274 Boundary Painting
Xu Jingxing's work on the edge of the inkstone pool was actually very simple. He used the single-yin line technique to carve a small patch of reeds on the edge of the inkstone pool, and carved a wandering boat in the reeds, and even carved caught an egret.

Even if the so-called egret is outlined by a few very fine lines, it can barely be seen with the naked eye, but the effect of setting off is very good, which suddenly makes the originally boring inkstone lively, and also makes the inkstone itself and the carved landscape themes Better blend together.

Regarding this point, it did not exist in the previous design, and it was an idea that he suddenly thought of during the sculpture.However, with just such a few knives, the entire inkstone was revived. The so-called "magic brush" is nothing more than that.

However, the most eye-catching thing on this inkstone is not the flash of creativity, but the carving style.

Generally speaking, the style of stone carving is mainly freehand, less realistic, because the material of stone is not suitable for very realistic carving style.The material of ancient city bricks is relatively finer and harder, but its expressiveness is much lower than that of Shoushan stone, Qingtian stone, chicken blood stone, even Hetian jade and jadeite.

Therefore, even if ordinary sculptors carve some landscape content on the inkstone, they will focus on the freehand style, emphasizing the meaning rather than the shape. However, when Xu Jingxing carved this inkstone, he not only adopted a realistic style, but also emphasized the degree of realism. .

How heavy is the degree of realism? Let's put it this way, it can be as heavy as it needs to be.To give the simplest example, he carved the five wooden towers in, the tallest one was only four centimeters high, but if you look closely, not only can you see clearly on each floor, but even the railings on each floor They are all clear and distinct, even the patterns on the railings are not forgotten.

Not only that, but the cornices and bucket arches on each floor are carved very carefully. If you look closely, you will find that the structure of those bucket arches is exactly the same as the real one, and the lines are so rigid that they seem to be drawn with a ruler.

Not only the wooden towers, but also those wooden arch bridges, the wooden arches spliced ​​into wooden arches have clear roots, a clear structure and are very standard, it looks like a printed explanatory diagram, and the real thing can be reproduced according to this diagram.

This level of realism is almost as good as Cheng Lin's photos these days, but there is no color.

After discovering this, Cheng Lin suddenly covered her mouth in surprise, "This is Jie Hua?"

Xu Jingxing nodded with a smile, "That's right, some of the techniques and principles of boundary painting were used in the carving."

"That's okay?" Cheng Lin took a magnifying glass and looked at it carefully for a moment in amazement, and finally gave a thumbs up, "It's amazing, I can do this, I never thought about it."

"Hey, it's just a little trick. The realistic carvings of some master sculptors are much more delicate than this," Xu Jingxing said modestly.

"Carvings are carvings, but you can't be regarded as pure carvings. I think you use a lot of line carvings, which should be between carving and painting. Apply realistic boundary paintings to line carvings. What do you think? How did you come up with such an admirable five-body projection?" Cheng Lin is indeed a half-expert, and she speaks clearly.

Line carving is a technique of engraving with Yin or Yang lines, but line carving is generally carried out on a plane, so traditional paintings have something in common, and it is an artistic expression between painting and sculpture. Stone is one of the manifestations of thread carving. The stone portraits of the Han Dynasty that Xu Jingxing and An Xin visited in Pengcheng are typical examples.

Boundary paintings are known for their realism and rigor. When some scholars in later generations studied ancient architecture or related cultures, they started with boundary paintings. In a sense, it is not a standard boundary painting, but the realistic style of "counting an inch" and "no loss in conversion" is in the same line as boundary painting.

Xu Jingxing, on the other hand, combined these two incomprehensible artistic expression methods, and used the technique of line carving to make boundary paintings.

Although this is a helpless move due to the limited space on the inkstone and the inability to carry out techniques such as carving and openwork carving, this helpless move exudes the unrestrained creativity of an artist in this restrictive environment. thinking.

There are so many people who carve bricks and inkstones, and they all face the problem of limited space, but almost no one will find a way to solve this problem. Most of them will only complain that the bricks of the ancient city do not care about carving, and a small number of people will create something more suitable for small people. Of the works displayed in the space, only Xu Jingxing took such a difficult problem as a platform to show himself, and creatively used such an artistic form of line carving and boundary painting.

And the effect of doing so is obvious. The helpless method has become the most brilliant method, and the helpless move under the difficult situation has become an amazing stroke of genius.

Another effect is that Xu Jingxing, the creator, has gained infinite admiration, praise, admiration and admiration from his apprentices and girlfriends.Cheng Lin, in particular, admired his craftsmanship. It wasn't that Cheng Lin had low vision, on the contrary, Cheng Lin really understood. In addition, Cheng Lin didn't know much about Xu Jingxing, and only now did she really see how powerful Xu Jingxing is.

But Cheng Lin didn't know that this inkstone was to be given away, so she said with a smile: "This inkstone is stylish when you use it, it's no worse than those expensive famous inkstones, if I don't want to embarrass you, I will definitely buy it Give it to my grandpa, hehe."

Xu Jingxing smiled wryly and said, "This is really a way to give it to your grandfather. This inkstone also has an owner."

"Ah? Already has an owner? Didn't you keep it for yourself?" Cheng Lin asked in surprise, "Who is so lucky?"

"An old man in the ancient construction industry helped me a lot when building these wooden pagodas. At that time, he said to give someone an inkstone. Before that, he had been hesitating about what kind of gift would be better." He compared himself with Qian Qiusui The old man's understanding process was briefly explained.

"Are you and that old man a hero? Hee hee, it's not a waste to send him away, and if you carve the wooden tower that the other party instructed you to build into the inkstone and give it to the other party, the old man should have a sense of accomplishment, right? "Cheng Lin laughed.

"Hey, am I particularly smart?"

"If you're a fool, I won't like it. Hehe, most people can't come up with such a wonderful idea. Taking this as a gift has both face and integrity. The price is not expensive and the sincerity is full. It's absolutely amazing, but I'll just give it to someone Inkstone? Will it be a little thinner? Or, buy some souvenirs and send them along?" Cheng Lin has already started to stand in Xu Jingxing's position to read his heart, and the speed of entering this role is quite fast.

Xu Jingxing shook his head, "Forget about souvenirs, I have other plans."

(End of this chapter)