234 Chapter 233 of “The Quick-Traveling Girl Is Poised to Pounce the Male Protagonist”

The Design Director I Can’t Fall In Love With (17)

Chu Jie was even more inexplicably embarrassed.

But when he turned to look at Zhou Min who obviously didn’t understand and was confused, Chu Jie couldn’t help but smile and discovered another side of her. It seemed that she was a book that was easy to see through but sometimes extremely mysterious. Every time he thought he understood, he discovered another face of Zhou Min.

Mrs. Chu looked into Chu Jie’s eyes and smiled knowingly.

“Xiao Min, how did you know that the painting I drew randomly had such a meaning?!” Master Chu changed Zhou Min’s position in his heart, and he couldn’t help but change his title to his wife.

“Because Master Chu’s brushstrokes and composition in that painting are different from the previous ones. Moreover, I once got to know Master Chu in order to understand Master Chu’s paintings. The most important thing is that Mother Ye would take me to see Master Chu’s paintings since I was a child.” Zhou Min said seriously and modestly.

“Oh?! Did you know about me? From a magazine or from Baidu?!” Master Chu asked with a smile, without any blame.

“There are all of them, but more of them are based on reports in all magazines combined with Master Chu’s paintings from his youth to the present, as well as Master Chu’s learning experience as a child…”

“Then, what did Xiao Min learn?” Master Chu raised his eyebrows in surprise, and asked with a tolerant and loving expression. However, as he spoke, he had already sat on the sofa beside him with his wife, Zhou Min, and Chu Jie.

“Master Chu once said in a magazine that your first teacher was your father, but your father was not a master of Chinese painting but a master of impression painting…” Zhou Min said at this time, looking at Master Chu who was slightly stiff, and seeing that he had no bad mood, he continued, “The master’s later works are mainly Chinese painting, and the techniques of Chinese painting are different from impression painting, but Master Chu’s starting teacher is his father who loves impression painting, so inIn the early days, the master’s paintings when he was a teenager were biased towards the style and brushwork of Western paintings. It was not until the master went to junior high school that he met his real teacher and understood that the artistic conception and brushstrokes of traditional Chinese painting were all drawn from Chinese calligraphy. When he pursued the formal meaning and personality of painting and understood what “the same origin of calligraphy and painting” means, the master’s paintings began to undergo small but important changes. This in itself is also an indispensable reason why the master began to learn Yan style calligraphy.”

Zhou Min said that at this time, Master Chu’s expression began to become more and more excited, and the eyes of Chu Jie and Mrs. Chu looking at Zhou Min also changed, especially Chu Jie, who seemed to look at Zhou Min with more and more fiery eyes.

After Zhou Min paused for a moment, he continued, “Traditional Chinese painting and calligraphy have been closely linked and inseparable since the beginning. Although brush and ink are only part of the artistic expression of Chinese painting, not the whole area, brush and ink, as a key part of Chinese painting, are in every stroke and every stroke.It is immersed in all the characteristics of Chinese painting.For example, the pursuit of lines in Chinese painting, such as conical drawings of sand, roof leakage marks, etc., is actually the same as the pursuit of calligraphy brushes, hardness, softness, strength, roundness and thickness, speed, slowness, weight, and strokes. Therefore, the master’s paintings are dry, wet, thick, and light when using ink., heavy, burnt, dry, and moist; while pursuing the natural and complex changes and unexpected tastes of pen, ink, and color on rice paper, we must grasp the perfection. And a good Chinese painting, whether you appreciate it from the whole or part of it, pay attention to the intention of the pen first, and the pen after the intention of each line.The abstract beauty of every piece of ink or even every moss can reflect the skill of a painter, and will bring indescribable emotion and enjoyment to the viewer.It is precisely because of Master Chu’s pursuit of the artistic conception of traditional Chinese painting, that spacious and flowing artistic conception, that the master’s paintings are hard to find.”

Master Chu smiled extremely happily, “But that doesn’t explain it. How did you know that the painting of ‘tree’ had another name!?”

“‘It’s interesting in the mind, but interesting in the outside’ is what I feel when I see every painting of Master Chu. However, when the master has achieved certain achievements in Chinese painting, the master’s requirement of three Chinese paintings per year suddenly, at the age of 35, seems to have inadvertently included another…A “tree” that looks ordinary but is actually the most emotional!This painting allows those who appreciate the painting to see that Master Chu has reached another peak of artistic conception. However, in my opinion, more than the skill of the artist, the emotion it represents touches me deeply.”

“The only giant tree on the entire blank rice paper is the tree trunk, which is outlined and dyed using the light crimson landscape painting method. The tree crown is painted using the green mountains and green water method commonly used by Master Chu. It is more outlined and less stained. It is painted with lines and scattered perspective. Although they are two very similar traditional Chinese painting techniques, they represent two kinds of emotions.”

Zhou Min’s detailed analysis surprised Master Chu. Just when he was about to say something, Zhou Min suddenly looked at Master Chu, “The world only knows that Master Chu’s father is a representative of impression painting, but they don’t know that in fact, Master Chu’s father also painted Chinese paintings when he was young, but his reputation was not well known. In the end, Master Chu’s father combined Chinese painting and Western painting, and the master’s father began to become a blockbuster! Because,Master Chu’s father was the first person to paint in post-modern impressionism. The master’s father’s early habit of painting Chinese paintings was the brushstrokes of light crimson landscapes. Although in his childhood, Master Chu was more exposed to the teachings of his father’s post-impressionism paintings, the real reason why the master became obsessed with Chinese painting was because of your father’s few random graffiti, which were not well-known and did not convey the artistic conception.”

“So, you made that big tree based on your father’s brushstrokes and your painting habits. The trunk is your father’s Chinese painting habit of light crimson landscapes, and the crown is your painting brushstrokes. It means that your father supported your carefree childhood, and the image of the master’s father is this giant tree, standing upright and unmoving, allowing you to choose everything you like without worries from childhood to adulthood.”

As soon as Zhou Min finished speaking, not only Mrs. Chu was surprised, she was also shocked to see Chu Jie, not to mention Master Chu himself, who was so shocked that he didn’t know what to say.

Chu Jie didn’t know. After all, he was not born when his grandfather died. When his father painted this painting, his grandfather had been dead for a long time.

But Mrs. Chu knows it!Especially the painting called “Tree”, it is Master Chu’s most precious thing, and it is also the only painting that represents his father so far.

“You, how do you know, I, father, you…” Master Chu no longer knew what he was talking about, but Zhou Min understood what Master Chu meant and smiled.

“In the past few years, I have found that whenever someone shows the painting style of Qianjiang landscape, Master Chu will definitely go to see it no matter where he is. And several times, when the master looks at the Chinese paintings of Qianjiang landscape, he will show the same look as when you look at your father’s post-modern impression paintings. It is a kind of reminiscence, nostalgia and beauty. It seems that he is looking for familiar taste or brushwork in these paintings.”

Zhou Min said that the topic changed at this time, “So, I think Master Chu must understand the desire of the head of the Ye family, Ye Ziyan, to fulfill his late mother’s last wish, because you are a bit similar to our president.”