After dinner, in the courtyard, in the pavilion.

In the pavilion, Pu Xin She's buckets were spread out on the tables, and a circle of people gathered around, pointing and pointing.

Not only were the three gray-headed old men, Xiao Long and Chang Xian, but also two painters from the Jinmen Painting Academy also came over to observe, these two were disciples of Mr. Xiao and Sun.

"Speaking of Mr. Xinshe's paintings, of course they are of high quality, but we cannot say how deep his skill is. I can only say that it is God's blessing. The extremely high painting attainments are really the result of talent, or it can be said that talent is far superior to skill. On top of that, it can even be said that he didn’t put in much hard work on his painting skills.”

Xiao Lang was very interested and said:

"Of course, then again, any academic or art, no matter ancient or modern, Chinese or foreign, no accomplished person can master it out of thin air, do it without learning, or write or draw something he has never seen before. It’s just that some people hear one to know one, and some people hear one to know two.”

"And Mr. Xinshe, I'm afraid you should hear one to know ten."

"It is said that Mr. Xinshe's talent is greater than his skill in painting. This is a comparison between the two. It does not mean that you can draw masterpieces that are different from those of the past and those of today without seeing anything."

"I have seen two paintings of "Drinking at Night in Shangyuan". One is the original work of Luo Pin, one of the "Eight Eccentrics of Yangzhou", and the other is a copy of Mr. Xinshe. The writing style of the copy is straight and straight, and the charm is quaint. Compared with the two , It’s not like Pu Linluo’s version, it’s definitely like Luo Linpu’s version. Things like that are like turning iron into gold.”

"It can be seen that Mr. Xinshe is definitely not a dead learner of "seeking practice and ink" or "following the mold and then quitting". Instead, he has gone in and come out again, and has mastered everything."

Sun Qifeng nodded and taught on the spot: "The Zen masters used a metaphor to describe the realization of a genius: He who enters from the door is not the treasure of the family."

"Therefore, no matter in the south or in the north, there are countless painters who have learned Mr. Xinshe's painting methods. Of course, there are some who have followed Mr. Xinshe's steps to a higher and broader realm; there are also those who concentrate on imitating or even imitating Mr. Xinshe's original works, but those imitations It’s hard to get to the bottom of it.”

"Why? Because those with fixed methods are easy to imitate, while those without fixed methods are difficult to figure out. Works like Mr. Xinshe's, which are extremely powerful and can move freely, are really like playing hide and seek with the imitators, making it impossible for them to find them."

Xiao Lang suddenly laughed and said: "Not to mention Mr. Xinshe, there are many people imitating me nowadays. If the painting level of the forger could reach 60% of mine, I would be very happy, but no."

"In the final analysis, I just want to take advantage of opportunities and refuse to make stupid efforts!" Nan Jinyu's voice was cold.

…

Several of them are today's great masters, with rich treasures in their chests. Especially Xiao Lang, who is originally from the capital, has close contacts with the old gentlemen, and his eloquence is very eye-opening.

There are many interesting things about Pu Xinshe, the grandson of the old king.

Talent, like rights, is unreasonable.

As Xiao Lang said, Pu Xinshe is not known for his skill in painting, but for his extraordinary talent that dominates the entire generation.

When Pu Xinshe painted mountains, rocks and trees, he never used the chaffing method, dotting method and some traditional methods of various schools as described in the "Mustard Seed Garden Painting Manual" and other painting manuals.

Moreover, he was unique in his ingenuity. Sometimes he drew outlines and erased them horizontally or vertically, but they were all just right.

However, this innocent and unrestrained character is not suitable for painting on some of the thicker rice paper produced in modern times. Due to the unsuitability of this condition, there was another incident caused by misunderstanding.

Once someone asked a painting shop to paint a large nave on his behalf, and what he received was a piece of Xinsheng rice paper.

As usual, Pu Xinshe started painting and even wiped it nonchalantly. As a result, when the pen reached three points, the ink soaked in and expanded to five or six points. It is obvious that the appearance of Pu Xinshe's ordinary works is naturally very different. .

Of course, the fake connoisseur who brought out the raw rice paper would not be willing to accept it. In the end, this raw paper work became a rare item in the art shop. Because of its special artistic effect, it was bought by a collector at a high price.

There is another popular story about Pu Xinshe, which is often treated as a laughing stock by those who talk about it.

Once, a person requesting a painting asked Pu Xinshe if the painting he requested was completed.

Pu Xinshe pointed to another house and said, "Then let's ask them if they can draw?

If this sentence sounds in isolation, it sounds like there are many ghostwriters and forgeries in Pu Xinshe's family.

But in fact, it is taken out of context, the common saying is untrue, and it is misrepresented as a painting.

You must know that Pu Xinshe's calligraphy and painting, just the upright strength and special style, are no longer completely similar to anyone. The so-called paintings they made are only processed and patched parts, let alone Mr. All the works are from their hands.

…

Let’s go back to the semi-finished paintings obtained by Chang Xian.

It was actually not uncommon for ancient people to fail to finish their paintings.

Because the ancients were both elegant and shameless, "grabbing paintings" often happened.

Mi Fu, one of the "Four Families of the Song Dynasty", was a leader among them and had done such shameless things countless times.

Mi Fu was bohemian by nature, pretending to be crazy and acting stupid. He often called Shi "brother" when he met him, and worshiped him endlessly. People called him "Mi Fu".

He was good at poetry and prose, good at calligraphy and painting, and distinguished himself in calligraphy and painting. He founded the "Midian Landscape".

"Qingbo Magazine" written by Zhou Hui in the Song Dynasty is a famous Song Dynasty notebook. According to his records, Mi Fu liked to collect ancient precious paintings and calligraphy, even to the point of being obsessed with it. However, his collection methods were unscrupulous and unscrupulous. Disdainful.

If he hears that someone has an ancient painting, he will try his best to borrow it in the name of appreciation. It is said that it is appreciation, but in fact it is copying.

Mi Fu's calligraphy and painting skills are very high, especially his copying skills. According to research, some of the calligraphy works of the "Two Kings" we see today, such as Wang Xianzhi's "Mid-Autumn Tie", are not authentic, but Mi Fu's copywriting. Book.

Then he actually returned the copy to others and took the original as his own. Sometimes, he would give both the original and the copy to others to choose from, and the original owner would often be fooled and mistakenly select his copy.
Chapter completed!