The content above is very casual, including interesting stories in conversations with friends and daily essays.
There are even seemingly random notes like "Today, the butler fetched a box of vegetarian dishes and four pastries from Zen Master Shen Hui at Jinchang Square."
What truly made Gu Weijing feel like he had found a treasure is that in the main content of this book, there are large sections where this Tang Dynasty predecessor artist Wang Wei writes down techniques and insights on his daily painting practices.
"The beauty of color lies in the five senses. I often say that brush and ink originate from the nature of creation, achieving the power of transformation..."
In his mind, it's as if there's a middle-aged literary man with his hands behind his back, slightly furrowing his brows as he splashes ink on paper, while reciting various insights and understandings.
He silently compares the two rewards given by the system in his heart.
He finds it difficult to judge which reward is better; each has its merits, and every time it exceeds his expectations.
If he really had to choose, he even prefers this "Mojie's Handwriting."
Because the former, like its type [Skill] in the system, is more like martial arts such as the Ripple Step and Six Meridian Divine Sword. The latter, however, is a more fundamental [Heart Method].
His current skill proficiency level is still at the semi-professional level (1/1000), much weaker than the sketch close to lv.4.
Yet, it's as if there is a pair of incredibly wise eyes, transcending hundreds of years of time, looking through his eyes, scrutinizing the drafts and murals before him with the eyes of predecessors evaluating the level of later generations.
Gu Weijing took two steps back, examining the mural in front of him.
Touch leads to understanding.
One understanding leads to many.
Points, lines, surfaces, structure, color... they form the basic elements of the mural.
Every place's mural has its own unique characteristics, yet people's wisdom often connects.
He found that originally when coloring, he could only follow the content arranged in the draft, step by step, and even when confused, he could only keep it in his heart.
But now, he can almost immediately be answered by the insights in the handwriting.
If he had acquired this skill earlier, without waiting for Uncle Sakai, he could have discovered the mystery of the color of flower pistils.
Although his proficiency in specific painting techniques is still far inferior to those old painters who have immersed themselves in meticulous painting for half a lifetime.
But Gu Weijing has already begun to see the problems in the paintings before him.
For instance, if he compares with the knowledge in the handwriting, the ink line at the lotus petal should be thinner, the curve at the flower root is not smooth enough, the ink line at the flower branch should be more slender to display the upright posture of the lotus...
Gu Weijing picked up the brush, ready to strike while the iron is hot, and complete the coloring of other blank spots.
He turned his gaze to another Buddha lotus seat waiting for his coloring. Gu Weijing mixed the paint according to the draft's instructions and was about to start, but paused.
The color here is originally roughly vermilion on the draft.
Here, he should use a pale red mixed from red flowers and azurite as the main ingredient.
Gu Weijing hesitated for a moment, then a line of text suddenly flashed across his mind from the "Mojie's Handwriting".
"Mixed with cinnabar, when used for the lotus platform, its color is both lustrous and vibrant, seemingly coming to life and flying out."
Cinnabar, also known as vermilion, is a dye commonly used in ancient industries like alchemy and architecture, mainly composed of mercury sulfide.
According to the notes in his mind—if cinnabar is added to the mix, when painting the lotus platform, the color appears both lustrous and vibrant, as if it is about to fly out of the painting.