The low-hanging wicker swayed in the wind, and the warmth of Meng Chun's sun sprinkled on his body, and the wind blew through, blowing the edge of the bamboo curtain to move. It was noon, it was the most lively time at the intersection of Panlou Street and Mahang Street, looking out of the window from the small building where Wu Haogu was located, there were dense food shops on both sides of the street, one by one, wafting with attractive aromas, and all kinds of selling sounds mixed together.

The door of the samurai painting house was closed tightly at this time, only the windows along the street on the second floor were pushed outward, and the bamboo curtains were also pulled up more than half.

If you look inside from the window, you can see Wu Haogu sitting upright behind a large wooden board erected on a wooden frame, facing the window, holding a brush in his hand, and gently sketching on the other side of the board from time to time.

On the other side of the board is a three-foot fully open cooked silk, and under the cooked silk there is a piece of raw rice paper of the same size (that is, rice paper that has not been brushed with glue alum water) as a lining. The liner is glued to the wooden board with paste, and the sides of the cooked silk are also coated with paste and pasted on top of the lining.

The familiar silk depicts the building of the Sangjia tile not far from the samurai painting house, and the perspective method of later generations is also used. The so-called perspective method is to apply the knowledge of geometry and optics to painting, including longitudinal perspective, oblique perspective, overlapping method, near large and far small method, near shrinkage method, air perspective method, color perspective method and so on.

In fact, there are similar methods in traditional Chinese painting techniques, such as the Gaoyuan method, the Pingyuan method and the far-reaching method - the Sanyuan method was proposed by the Northern Song Dynasty painter Guo Xi (died in 1090) in his famous treatise on landscape painting, "The Elegance of Forests and Springs". However, the three-distance method is mainly used in landscape painting as a special perspective method, not a realistic painting technique.

In addition to the use of perspective techniques, the architectural painting that Wu Haogu is creating also uses a super realist painting style. Hyperrealism, also known as photorealism, is in which painters usually do not sketch directly, but first take the desired image with a camera, and then copy the image onto the canvas step by step against the photograph, in pursuit of a precise picture in every detail. If it can be summed up in one word, it is: like!

Now, of course, Wu Haogu has no cameras available, and he doesn't even have the tools and pigments to create oil paintings. However, he can still integrate the gongbi skills mastered in this life with some realistic gongbi skills in later generations (Wu Haogu's previous life also learned gongbi, but it is not profound), such as spraying, powdering, etc., as well as the painting techniques of hyperrealism, so as to achieve the slightest degree of completeness and refinement.

This hyper-realistic painting named "Mulberry Wazi Tu" by Wu Haogu was drafted two days ago, that is, the day after Wu Haogu was extorted 7,200 yuan by Zhao Tieniu before his own painting. Because I drew it too carefully, I haven't finished it yet.

In order to concentrate on painting, Wu Haogu didn't even open a painting fast in the past two days, except for eating, drinking, and Lazar, he was painting behind closed doors.

The reason why he paints so seriously is that he has developed a habit in his past and present lives - he was not a great painter in either life (at least not so far), but he has always done his best, and none of his paintings are so-so.

The second is to brighten the eyes of "Gao Taiwei" and "Wang Concubine"! Now Wu Haogu can only rely on his own painting skills, not only to rely on painting skills to make money, but also to rely on his skills to frighten Liang.

Only when the skills are shocking and reaching the height of the "Song Four Families", Wu Haogu does not have to worry about those "big villains" hiding in the shadows to continue to toss themselves for the famous paintings that "do not exist".

Of course, becoming a great painter like the "Four Song Families" is also the dream of his two lives.

There was a gentle sound of stairs, and then a somewhat shrill voice: "Da Lang, did you send me painting aids, paper and ink?" Guo Sange and Liu Xiaoyi, he said that you are going to move to Daxiangguo Temple to live......"

The voice was halfway through the sentence, and suddenly it stopped, and the footsteps were gone. Wu Dalang gently put down the brush in his hand, and saw Guo Jing, Liu Wuji and a young monk with a little aura in his eyebrows and eyes, and a little short stature standing side by side behind him, all three of them opened their mouths wide, looking dumbfounded, staring at Wu Haogu's easel in a daze.

"Third brother, Xiao Yi, monk, why are you here?"

Wu Dalang hurriedly stood up, moved three folding chairs from the room, and invited the three of them to sit down.

"Da Lang, your boundary painting is simply amazing, how did you draw it?"

"Yes, Da Lang, you have made a mess in the prison of Kaifeng Mansion, and your painting skills have improved by leaps and bounds!"

"Amitabha, Dalang, aren't you painting an immortal bodhisattva?"

Guo Jing, Liu Wuji, and Monk Fu sat down on the cross-pistle, but their eyes were looking at Wu Dalang's painting intently. They know that the ancient Huang family is rich and well-known on Panlou Street, and the Wu family's ability to paint is even more ancestral (Wu Zongyuan is a master of white drawing in the Northern Song Dynasty), and he already has at least fifty percent of Wu Zongyuan's skills, but he can't say that he has a bright future.

This is because Wu Haogu's paintings are still in the stage of "pro" and "imitation", and the white drawings of Huang Jiafugui and Wu Zongyuan can be real, but the works of "imitation" (imitation is no copy, play by yourself) can not erase the deliberate ingredients, and the craftsmanship is too much, and the artistic conception is insufficient.

Therefore, Wu Chengzhi is not very optimistic about the future of Wu Haogu's painting, thinking that he is just a calligraphy and painting official's future, the same as himself. And Guo Jing and Liu Wuji, as little private teeth running errands for the martial arts, naturally knew Wu Chengzhi's evaluation.

But now the "boundary painting platform" in front of them is clearly everyone, no, it should be the masterpiece of a generation of grandmasters!

Although this painting does not have any artistic conception, it takes the realism of gongbi to the extreme, as if the real scene has been reduced and moved to the cooked silk cloth.

Guo Jing and Liu Wuji are also regarded as private teeth that have been crawling on Panlou Street for many years, and Monk Fu is also well-informed in Daxiangguo Temple, and has seen a lot of good "boundary paintings", among which there are many famous works (including the original and facsimile), but none of them can be compared.

In addition, Guo Jing and Liu Wuji, who know a lot of painting brushwork (after all, they are calligraphy and painting private teeth, although they can't paint, but they still have a little eyesight), and they can also see that Wu Haogu's painting has used some skills that he does not master.

For example, the "near and far small" of the building and the "virtual and real, deep and shallow, complex and simple changes" of the distant background are all handled just right—one more point, one less point, will not have such an effect.

This hand alone can already make Wu Dalang a first-class painter in the world!

Moreover, Wu Dalang's handling of the details and colors of the pictures is also extremely clever, so the paintings drawn are exactly the same as the real thing.

This kind of realistic painting technique, as far as Guo Jing and others know, is not created by any master in the past...... It is likely to be the technique pioneered by Wu Haogu!

And the painter who can create a kind of brilliant painting skills is undoubtedly a generation of grandmasters!

"Da Lang, your painting is taken to the Daxiangguo Temple Market, and hundreds of it can be sold!"

The young monk who arrived with Guo Jing and Liu Wuji immediately estimated the price of the unfinished painting, and he was the monk Fu who had become a monk in Daxiangguo Temple. Although this monk is a monk, he has not seen through the red dust, and he is still the same as when he was messing around on Panlou Street, part-time as a calligrapher, painter and writer, but the location of the activity has been changed from Panlou Street to Daxiangguo Temple.

The day before yesterday, when Guo Jing and Liu Wuji and Liu Daoshi went to Daxiangguo Temple to look for him, they told him that Wu Dalang was going to let go of his hands and do a big job, so today he Guo Jing and Liu Wuji came to paint together.

Monk Fu paused and said, "You have such skills, why bother with other people's paintings?" ”

"Yes," Guo Jing echoed, "Even if the painting saint is alive, I'm afraid I can't paint such a painting, right?" ”

Liu Wuji also said: "At least today, Dalang's boundary paintings can be called a must. ”

When Wu Haogu heard this, he smiled slightly: "Third brother, Xiaoyi, monk, you are all about to praise me to the sky." It's a pity that they (referring to the people who do the game to deal with the martial arts) want the treasure of the painting saint and the book saint, not my Wu Dalang's painting. ”

"And for whom?" Monk Fu asked.

"It was painted for Gao Yu on the Wang's Horse Mansion." Wu Haogu smiled, "I wonder if I can enter the eyes of Wang Yuma?" ”

"Naturally," Guo Jing said with certainty, "when Wang Juma sees your paintings, maybe he will protect your family." ”

"I'm afraid it's not enough just to look at it," Wu Haogu shook his head slightly, "I won't know until he can't come out of my painting." ”

"What? Will the king and the horse come out? Monk Fu was stunned, "He's a master of gongbi." ”

Wang Xu's status in the painting world is much higher than his in the officialdom, and his reputation for copying the works of famous artists is also well-known in the Kaifeng calligraphy and painting industry.

Wu Haogu shook his head: "He can't come out...... Only g! ”

Pro, is to write or draw according to the original; G is to write or draw on thin paper (silk) on the original work.

Therefore, it is easy to imitate in the face of difficulties!

Without mastering the perspective of later generations, it is almost impossible to quickly come out of this painting of Wu Haogu.

So after Wang Shu got this painting, he would definitely not think about tea and food...... And this is what Wu Haogu wants to achieve.

Because Wu Haogu knew that the horse king had a year-old friend in calligraphy and painting, named Zhao Ji!