The Versatile Master Artist

Why set the background in Southeast Asia?

Eastern Chinese painting has been categorized into three grades: divine, marvelous, and capable, since ancient times. The concept of ”Yi Grade” was introduced in the Tang Dynasty by the famed painter Zhu Jingxuan in ”Tang Dynasty Famous Painting Record,” thus forming four grades: extraordinary, divine, marvelous, and capable.

What makes one piece of work ”better” than another?

It requires an artist’s skills, talent, cultivation, and character.

Painting encompasses not only technique but also spirit; thus, in times of great cultural collision, the character of outstanding artists is most evident.

The Wei and Jin Dynasties, the late Ming and early Qing periods, the time of the War of Resistance.

The main storyline of the first volume is a story about the protagonist remaining unwavering and true to his heart in the face of malevolent forces.

What are these malevolent forces?

In a calm and stable domestic environment, there’s certainly no blood-and-fire furnace-like setting. It’s inappropriate to set the story about the development of Chinese painting in Baghdad or Syria.

Vietnam had a war with our country, and friends from Cambodia and Laos might not be very familiar with it.

So, for readers, the most familiar chaotic environment offers no better choice.

A gentle and harmonious environment would indeed be ideal, where artists have their distinct charm and character.

Only for the author’s capability.

Only through tests of life and death can the artist’s true heart, that of Gu Weijing, be better reflected.

——

Additionally, perhaps the most important point.

Without a doubt.

I wrote this work with reverence, just as Mr. Cao Xuan stated in his first appearance, when a person looks at works that embody the tumultuous emotions in their heart and the crystallized thoughts in their mind, whether it’s Chinese painting, oil painting, watercolor, Southeast Asian painting, Myanmar painting, Vietnamese painting, or those creations that cannot be precisely categorized, there’s always a sense of respect.

Though he is nearing a hundred, he is still a student.

When I was conceptualizing this book, I was still in university, certainly, an even more devoted student.

So, with utmost respect.

This is true for any painting genre, however, because there are indeed many things I don’t understand.

In the vast sea of physics, Lord Niu said he was merely a child playing with shells on the beach.

Me?

How am I qualified to say such words?

I’m not a child; I’m not a shell. In the grand, illustrious history of human art, what I know and understand may only be a grain of sand on the beach.

Even if it’s the only grain of sand in my hand, it’s difficult to completely present it well while taking care of the writing structure.

Some readers say this is an issue with the fast pace of online literature.

No, no, no.

Many online writers can write better; it’s certainly not an issue with online literature; they shouldn’t bear this blame. This is purely an issue of the writer’s capability.

This is entirely my problem.

In this novel, perhaps, no, certainly, there will appear some unavoidable factual errors.

With limited skills, I ask for your understanding.

If there’s anything in this novel I truly want to convey to the readers, something barely capable of being referred to as a life philosophy, it would be the spirit of Hemingway; that is the heroism of life.

If there’s something barely capable of being referred to as an art philosophy.

That would be reverence, understanding, and respect.

As a student, showing reverence, understanding, and respect for art history.

As a junior, showing reverence, understanding, and respect for the crystallized wisdom of the working people worldwide.

No matter where one comes from, one’s nationality, or ethnicity.

Whether they have yellow skin, black skin, or white skin.

Long ago, when I was studying, I read an unverified news piece, concerning Benjamin, that he allegedly heard a record from a Guangzhou Theater fire, which perhaps circulated in European society with a sense of curiosity.

Benjamin commented on the play at the theater, saying: ”It seems like chaotic noise... only when a European stands in front of such architecture can they understand what harsh noise is.”

It’s truly heartbreaking.

Disappointment, sorrow.

Even anger.

I personally am a Peking Opera enthusiast; I wouldn’t say Peking Opera is the most exquisite musical form in the world; there are many different evaluation standards for the word ”most.”

I can only say—

Peking Opera is an extremely exquisite musical form.

I am sure, most definitely and certainly.

A musical form with such vitality and moving power could never be the ”lacking” music Benjamin described.

I can further say.

In my heart.

I am sure, most definitely and certainly, that many arias in Peking Opera surpass ”Turandot,” surpass the renowned ”Tonight, No One Sleeps,” and are closer to the true Eastern melody than the East imagined by Europeans.

Of course.

The performances in Guangzhou Theater might not necessarily be Peking Opera; they could be Kunqu Opera or Beijing Tanci.

No matter what it was, it was likely a play featuring ”yayaya” style of drama.

Similarly.

No matter what it was, I believe that, in that story, the comments Benjamin made were not particularly fair.

Hence.

You are a renowned philosopher, yet on this issue, you did make a serious mistake.

Didn’t you?

I bring up this matter not because I want to express my dislike for ”Turandot.”

Oh, certainly not.

I’m not a hardcore opera enthusiast.

From a purely musical appreciation standpoint, ”Turandot” is an incredibly classic opera, and ”Tonight, No One Sleeps” is also a very captivating melody. I believe it has kept countless opera lovers awake at night.

Gu Weijing and Miss Elina have both quoted passages from ”Tonight, No One Sleeps” in conversation.

Nor is it to express how much I dislike Benjamin.

No.

Quite the contrary, Benjamin is a uniquely distinctive thinker. His perspectives, his life... all of it.

Gazing at the ruins, rescuing forgotten suffering.

Undoubtedly.

Benjamin has played a significant role in the history of philosophy and art criticism. Such a philosopher is certainly beyond my judgment.

I believe Benjamin’s thoughts on art, society, and theater are far deeper than mine. Even without considering his many works, his relationship with playwright Brecht, their famous collaborations, undoubtedly prove this point.

This is not contradictory to my firm belief that Peking opera is by no means mere noisy clamor.

This story taught me a lesson.

Even someone like Benjamin, renowned worldwide for his thoughts, such a celebrated thinker in the history of literature and art, might make mistakes in his most proficient field.

He might even offend people.

Causing disappointment, sadness, even anger.

So I need to have a humble heart. I must avoid such mistakes appearing in this novel, especially when I don’t even trust myself to touch the word critic.

No.

Far from it.

But can I really completely avoid them?

I can’t help but deeply doubt it.

Therefore, I poke fun at the protagonist Gu Weijing in the text, having Benjamin-like sensitivity and melancholy, which is a joke (laugh), both describing the traits of the protagonist and reminding me to avoid making ”Guangzhou Theater” type of judgment errors, or the reverse kind of errors.

I must remind myself.

Yet, I am well aware I still can’t do it very well.

Especially intense plot conflicts often come with various comparisons, and my writing skills are quite limited.

The text adopts a system-flow model.

The five major aspects of an artist, each having LV.1, LV.2, LV.3... Whether oil painting or Chinese painting, they are treated with complete equality. This, of course, is not an appropriate evaluation standard. What is Lv.1 in Chinese painting and what is Lv.1 in oil painting? How can they be compared like Guan Gong vs. Qin Qiong?

But I might not be able to handle a more detailed division, which has noticeable distinctions.

Similarly.

The art world has too many art forms that can’t be accurately summarized by categories like oil painting, Chinese painting, watercolor, and sketch.

The mud-cloth paintings of Mali, the rock paintings of the Maasai, the traditional murals of Northern European people, the colorful masks of the Dogon people, Vietnam’s famous silk paintings, Thailand’s unique Buddhist paintings, Cambodia’s reliefs, Myanmar’s Bagan thousand Buddha paintings, and various painting methods, painting knife, printing, finger smearing... and so on and so forth.

They are all very, very good art.

All are the crystallization of each country’s culture.

I am genuinely very afraid of conveying an idea that today’s pop art masters like Andy Warhol, whose one artwork can sell for over one billion dollars, yet a traditional piece from a third world country might max out at 10,000 US Dollars.

There’s a 10,000-fold price difference in between.

Does that mean pop or oil painting is a more superior genre, or even a more ”correct” genre?

No, no, no,

This is far too terrifying and far too unfair. Many factors determine the price that drops the hammer at the auction market, but financial market prices absolutely cannot represent the art itself.

If there’s anything this book dislikes, it’s the protagonist’s constant mockery of the past Eurocentrism in the art world.

Good art is a common treasure of humanity.

In the text, I categorized many painting methods in the miscellaneous category, the only reason being that within the framework of system flow, I couldn’t pull out a system of a thousand lines, rather than because they are ”irrelevant people,” not mixed with any moral judgment.

The only moral judgment in this book is—don’t surrender to life.

I feel it’s necessary to make an accurate explanation.

Even so.

If there are areas still not done well enough.

Sorry, that’s my problem, and I hope readers can understand.

Thank you.

This is also the origin of the book’s title, that somewhat rustic name, ”All-Purpose Great Painter,” which I think can represent Gu Weijing’s love for the art industry.

Finally, finally.

Is there no high and low in this kind of love?

It’s hard for there not to be, but it’s a love for the artwork, not out of disdain or contempt.

Just like Elder Cao said to Miss Ilina in an interview—I believe all my life that Chinese painting is the most beautiful art form in the world. This belief stems from the lifetime I dedicated to such art rather than any sense of superiority looking down on others.

They are all very good art forms.

I think such stubbornness of the old gentleman can be understood.

I am fine.

If you’re fine too.

Everyone is fine.

That truly couldn’t be better.

A grain of sand.

But in a grain of sand, a world.