Wu Dalang was already immersed in painting, and he didn't notice that the few onlookers around him were already dumbfounded.

What he paints now is a white portrait painting of Gongbi, but it is not the hyperrealist style that he specialized in in later life, but the realism he mastered in his two lives and the "Wu family style" (Wu Zongyuan's painting style and brushwork are all learned from Wu Daozi) are almost perfectly combined.

In the realism, there is a bit of shedding its mundane artistic conception, but the drunken arhat in the painting is vivid and charming. This style of painting with seven points of realism and three points of freehand is quite in line with his current half-drunk and half-awake and these days as if he was in a dream but really in his state of mind. Involuntarily, I completely integrated myself into the painting.

In his previous life, more than ten years of systematic and scientific painting training and some talents, although he failed to make Wu Haogu become everyone, but he was still very good at mastering painting skills. If you add the skills of Gongbi Danqing who has been practicing hard work for more than ten years in this life, Wu Dalang can be said to have surpassed the painting saint Wu Daozi in mastering the skills of realistic painting.

After all, Wu Daozi, who lived in the Tang Dynasty, did not study the "structural human body", nor did he study "painting perspective", "painting composition", and "painting color", and of course he was inferior to the professional painters more than a thousand years later in terms of realistic painting skills.

However, in terms of the artistic conception of painting, Wu Dalang is far inferior to those famous artists of the Tang and Song dynasties, and he cannot reach the realm of painting the saint Wu Daozi, "the pen is better than the image, the backbone is self-exalted, the tree does not speak the picture, and the hatred has no ink".

To put it simply, his painting style is too detail-oriented. Especially when creating oil paintings, I am careful to transfer the picture I see to the canvas without any mistakes. The people or objects in the paintings seem to have been moved from photographs, but they are a little less interesting.

After the soul penetrated to the Song Dynasty, he moved this style of painting to Gongbi, and created the "ultra-realistic Gongbi painting" nine hundred years in advance, which can be regarded as a generation of grandmasters, but it is missing the elegant and chic artistic conception of Chinese painting.

But now, the half-drunk and half-awake Wu Dalang has suddenly reached a state that he has never touched before.

With a bit of alcohol, he seems to have forgotten the various techniques and tricks of realistic painting that he had learned in his previous life, and no longer deliberately pursued the right score. However, the painting skills of later generations that came from more than ten years of penance have already become a habit of painting, and they naturally integrate into the "Wu family style" of his life, forming a style of painting that comes from Wu and is better than Wu.

One stroke and one stroke, all of them are natural, like divine help!

Guo Jing, Liu Wuji and Monk Fu, who were watching from the sidelines, were completely attracted by Wu Haogu, who was concentrating on the pen.

He originally thought that there was a big gap between "martial realism" (this is Zhang Zeduan's summary of Wuhao's ancient painting style) and "Wu family style", and it was difficult to integrate. But I didn't expect that Wu Haogu, who was half-drunk, could bring the "Wu family style" to the extreme, and also integrated it with "martial arts realism".

When Wu Haogu used a fine pen (at this time, the pen did not have the subdivision of later generations) to sweep the draft made out of charcoal, like a whirlwind on the cooked rice paper to outline a lifelike "drunken Arhat". Guo Jing, Liu Wuji, and Monk Fu's eyes couldn't help but narrow into a slit.

In this painting, the naked upper body and face of "Luohan" are very three-dimensional and realistic, and the details such as muscles, skin, hair, facial features, limbs, head, chest and abdomen, and even the palms and fingers are perfectly displayed on the drawing paper, just like a living "Luohan" is printed on the painting!

The lower body of "Luohan" is still wearing clothes, but Wu Dalang did not use a completely realistic painting style to depict it, but used the "Orchid Leaf Drawing" pioneered by Wu Daozi to express the folds of clothes, and painted the trend of "Wu Belt Wind" with ups and downs and staggered falls.

If this painting is not made on familiar Xuan, but on an old silk, and then uses Yi Shui Songyan ink from the Tang Dynasty, who dares to say that it is not the true work of the painting saint?

Even if it is not from the painting saint, it must have been painted by a powerful disciple of the old man who painted the saint, and to be able to paint such a painting is enough to be called a painting saint!

Looking at Wu Haogu, who had already put down his brush and was stunned in front of the painting he had just completed, Guo Jing and the others suddenly had a strange feeling.

Is he really still the Wu Haogu who sells calligraphy and paintings on Panlou Street?

Isn't it because he was possessed by the painting saint......

……

The sun is shining, shining on the body, quite comfortable.

The climate of the third year of Yuanfu is relatively cold, although it is spring and summer, but the weather is not hot.

In the ears of Wu Dalang, who was lying high in a monk's room, there was a faint bustling voice.

He opened his eyes and felt the sunlight shining through an open window.

Wu Haogu stretched, then stood up and moved his muscles. He looked at the sun hanging high in the sky outside the window, and estimated the time, it was almost noon. This night, I overslept a little. Just as he was about to wash up, he heard the sound of hurried footsteps. Immediately after, the door of the monk's room was pushed open, and Liu Wuji walked in with a painting scroll.

"Da Lang, are you awake?"

When Liu Wuji saw Wu Haogu, he rushed to him, and then unfolded the scroll in his hand, "I just framed it, but unfortunately it wasn't painted on Chen Juan, otherwise it would be taken to East Cross Street tomorrow." ”

It turns out that this Daoist Liu is a bit versatile, and I don't know who has learned some pasting skills from anyone, but he is not very proficient.

Wu Dalang glanced at it, and was immediately stunned by the living drunken arhat on the picture scroll.

"This ......," he remembered, but wasn't quite sure, "I drew this?" ”

"Not you or who?" Liu Wuji put away the scroll and handed it to Wu Haogu, "Just this paper Arhat statue, if you use pine smoke ink to copy it on the old silk and dye it again, you can personally put it on the old frame and take it to the ghost market on East Cross Street, there will always be 10,000 yuan." ”

The samurai has been engaged in calligraphy and painting for many years, and he is very proficient in all kinds of old and counterfeiting methods, and he also has tools and raw materials.

The most commonly used method of old-fashioned calligraphy and painting is dyeing, which is divided into several categories, such as direct dyeing, dip dyeing, pull dyeing and fumigation dyeing.

Among them, direct dyeing, dip dyeing and pull dyeing are all used to repeatedly dye rice paper, silk cloth or mounted pieces with garcinia cambogia, cyan, ochre, rouge, three green and other pigments, and can also be dyed with strong tea or diluted vinegar, so that the color of the paper silk mount becomes yellow and slightly gray, which is very vicissitudes.

The difference between the three dyeing methods is that the objects are different, and direct dyeing is used for rice paper aging; Dip dyeing is used for silk silk aging; Pull dyeing is used for mounting and distressing.

The fumigation and dyeing is to hang the calligraphy and painting in a relatively closed room after it is done, and smoke it with incense. After many days of smoking, the paper and silk cloth will take on a light brown color.

Another method is to dye the back during the painting process, and then use garcinia cambogia and ochre to dye the old color.

In addition, you can also put the finished calligraphy and painting in the rice jar or noodle bag with insects, and deliberately let the insects leave traces of moths on it, so as to increase the sense of age of the fake painting.

However, Wu Haogu has an old collection of paintings and old ink (all used for counterfeiting) and old mounting paper (silk) at home, so Wu Haogu can be more sophisticated in terms of olding, first use old silk and old ink to paint, and then process and make old, even if it is difficult for experts to see through.

However, Wu Haogu was too hasty to make this painting, and he did not prepare the payment, stamping and inscription, so there are still shortcomings, and it is not very "true".

Therefore, Liu Wuji estimated the price of 10,000 yuan.

Wu Haogu gently stroked the painting he made, revealing a little affection. This painting almost perfectly integrates the realistic techniques of later generations with the traditional brushwork of the Wu family. In the Northern Song Dynasty, it is definitely a work that can make painting and calligraphy connoisseurs crazy!

What drove them crazy was not only that this painting might be the authentic work of Wu Daozi, but also the brushwork used to depict the human body of the "Arhat". This method is not only clever, but also unknown to them.

If they wanted to learn this unknown brushwork, they had to buy the drawings and copy them. There are still a lot of calligraphy and paintings that can afford to produce thousands of paintings and calligraphy in Kaifeng Mansion......

But 10,000 yuan can't solve the dilemma faced by the martial family!

Moreover, Wu Haogu is now the leader of the counterfeiting gang, not alone. Therefore, the benefits obtained by counterfeiting cannot be monopolized! Of this 10,000 yuan, Wu Haogu can divide half of it at most, that is, 5,000 yuan. Although it is a huge amount of money, it is still not enough for the samurai.

"You can't sell it like this...... Wu Haogu thought about it for a long time, but he still shook his head, "This painting has to be sold for at least 40,000 yuan!" ”

"Forty thousand?"

Liu Wuji was taken aback when he heard this, "How can it be so much?" It's just a painting of the holy relics, but that's it, right? ”

"Where there is a way, there must be a way." Wu Haogu smiled at Liu Wuji and said, "The calligraphy and painting shop is not afraid that there will be no good things, but I am afraid that there will be no good things." Now that there are good things, as long as you find more good things, you will definitely be able to sell them for a sky-high price. ”