The Versatile Master Artist

Chapter 397: Chapter 213: Model

Gu Weijing instinctively turned around and looked at Miss Shengzi beside him. Koizumi Katsuko also gazed serenely at the boy she was holding with bright clove-colored eyes.

Their eyes met,

In this moment, without any teacher’s guidance, Gu Weijing instinctively lowered his head slowly, following his instincts to try to kiss the girl beside him.

Koizumi Katsuko sensed Gu Weijing’s movement.

Her pupils contracted, her breathing became rapid, and her chest heaved quickly.

"It’s... not the time yet."

Koizumi Katsuko suddenly lowered her head, resting her forehead against Gu Weijing’s chest, avoiding his attempt to kiss her.

Gu Weijing’s lips caught only the faint plant fragrance of conditioner from Miss Sakai’s dark hair.

"Oh, I’m sorry."

Seeing Koizumi Katsuko’s retreat, Gu Weijing blushed a little and apologized awkwardly.

"No need to apologize. I don’t want to refuse your request, but... I want our first kiss to have more ceremony and be more memorable."

Koizumi Katsuko’s earlobes were red.

She had hesitated for a long time, with a fierce battle raging in her mind, but eventually, she decided to listen to her mother.

"Let’s wait a little longer, okay?"

Koizumi Katsuko nuzzled her head against Gu Weijing’s chest, whispering softly.

Gu Weijing smiled.

He stopped painting as well. The two of them just leaned against each other, hugging for a while, until Koizumi Katsuko suddenly spoke, "Oh, by the way, I also filled out the preliminary submission form for this year’s early autumn Singapore Art Biennale."

Gu Weijing was taken aback, then became somewhat curious.

"So, Shengzi, what theme do you want to paint?"

"I haven’t really decided on the exact content yet. This year’s exhibition theme is [Human World’s Clamor], which is quite broad." Koizumi Katsuko released her embrace, blinked, and said, "You can paint people or architecture, but I’ve already decided on the type of painting technique. Your creative technique has inspired me... but it’s not the kind of fusion between Chinese painting and oil painting that you do."

The entire East Asian art has interconnected aspects.

In Vietnam and Myanmar, there’s traditional silk painting that evolved from Chinese painting, and in Japan, there’s the painting technique known as Yamato-e, derived from Tang painting, also known as Nara-e.

This painting method is closer to Dongxia’s traditional painting and calligraphy than the more commonly heard ukiyo-e.

Koizumi Katsuko has learned the corresponding painting technique.

Her Mandarin ability is limited, but she has learned soft-brush calligraphy.

Japanese brush calligraphy is quite popular, and the Hanzi culture is important among the literati and scholars.

Well-known brush masters such as Inoue Yuichi and Furutani Soun emerged in the 20th century, making significant impacts on the East Asian calligraphy scene.

Koizumi Katsuko’s approach to learning calligraphy was similar to tracing paintings, focusing on form, beauty, and shape, emphasizing the artistic value of calligraphy during copying, rather than the specific meanings of the characters.

If not for this,

She would not have accompanied her father to participate in Myanmar’s international project.

However, despite her deep appreciation for the expressive charm of Gu Weijing’s work, after careful consideration, she decided to abandon taking a similar path.

Miss Sakai cannot conveniently choose the exact same painting style as Gu Weijing.

Firstly, her foundation in brush painting, compared to oil painting, is significantly lacking.

From a long-term perspective, if she were to create her own work, Koizumi Katsuko would still prefer to dedicate all her painting energy to oil painting.

Forcing herself onto this long, arduous path may not be suitable for her.

Secondly, from the perspective of participating in an art exhibition.

She doesn’t want to overshadow Gu Weijing.

If their paintings were too similar, especially in less mainstream categories, with similar skill levels, the selection committee would have to make choices for either inclusion or exhibition.

An easier way to understand this scenario is when four sisters from the same college dorm all apply for the same highly competitive position at the same company.

Instantly, the best friends become adversaries, turning the scene into an Infernal Affairs of sorts, hard to avoid plotting and scheming.

"What is it?" Gu Weijing asked.

"Actually, the story I just told about Manet and Monet is not just a metaphor. Besides this year’s exhibition, I also hope to focus on Manet’s painting style for a long time in the future, while incorporating some of Carol’s approach to dark tones in Impressionism. This is a natural fusion painting!"

Koizumi Katsuko said with a smile.

Gu Weijing nodded.

Indeed, Impressionism itself is a product of the convergence of Asian art and European art. The reason they submitted their paper to the journal named "Asian Art" isn’t just because Carol painted the "Old Church" in Yangon.

Every Impressionist painter was more or less influenced by Eastern art.

However, unlike Lang Shining, who needed to please the scholars to gain the Qing Court’s approval, Impressionist techniques are purely oil painting in nature.

"Manet’s painting technique..." he pondered.

"Manet’s painting style leans towards modernism. He was mainly influenced by two art movements, Japanese ukiyo-e and Spanish traditional painting, boldly using vivid colors and abandoning the middle tones of traditional painting. I believe this should suit me well."

Regarding the painting technique approach, after deciding to try participating in the exhibition, Koizumi Katsuko had already thought it through and could now speak about it clearly.

Manet was French, yet the two painting styles that influenced him the most throughout his life came from Japan and Spain.

His brushwork embodies both the vibrant splendor of the Iberian Peninsula and the two-dimensional flatness characteristic of ukiyo-e.

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