The Xia Ming sword on the bowed back shines on the frost, and the horse comes out of Xianyang in the autumn wind.

Before the emperor took over the land of Hehuang, he had no intention of looking back at his hometown.

——Linghu Chu's "Four Poems on a Young Man's Journey Part 3"

…

After drinking and eating, Princess Qingluan suddenly remembered something. Taking advantage of the drunkenness, she stared at Bai Fu fiercely and said: "I suddenly realized that you are quite a thief. You took me into trouble with a table of wine and food."

Inside.

Let me ask you, why are you so happy here alone? Do you have a good singer or dancer in Pingkangfang?"

Princess Qingluan's eyebrows were like hooks, and she rolled her eyes again.

Bai Fu thought to himself: "It was obviously you who smelled the aroma of wine and diverted the question yourself." Even so, how could you be serious with a slightly drunk girl?

Bai Fu did not refute and said: "You are right, I have spent almost all of them in Pingkangfang these two days."

"How dare you say it!" Princess Qingluan's face turned red with embarrassment and she became anxious.

Bai Fu smiled and said: "Why come to Pingkangfang? Because in Chang'an, the temples with the most murals painted by Wu Daozi are concentrated in Pingkangfang.

Among them, Bodhi Temple has many murals left by him: on the east wall of the Zhaitang, "Color of Color", a painting of several people, either starting from the arms, or starting from the feet. They are huge and strange, with skin and veins connected, which is more than that of a monk.

In this painting, Wu Daozi also made an exception and wrote an inscription. Wu Daozi's calligraphy is also called a master. His handwriting is as strong as the hair of ghosts and gods.

There is also his "Immortal with Ritual Bones" in the Bodhi Temple. It is a masterpiece of painting. The sky clothes are flying and the belts are fluttering, as if the wind is all over the wall and fluttering in the wind. This is Wu Sheng's special skill - "Wu Dai is in the Wind"

'.

On the east wall of the Buddhist hall is the painting "Vimalakirti". In this painting, there are eight sides to people and business activities. Storms are approaching, and ghosts and gods are as if they are off the wall.

The "Sutra for Eliminating Disasters" is painted on the back wall of the Buddhist hall, and the decorations of trees and rocks are very scattered. It is the technique of "orchid leaf painting" pioneered by Wu.

The mountain-shaped tree shape is formed by the energy of heaven and earth. The traces of ink and brush support the spiritual energy from the heart and wrist to come out. The presence of energy is also the presence of potential. Energy is used to create potential, and potential is used to control the energy. The potential is visible but the energy is invisible, so

If you want to gain power, you must first nourish your Qi.

It can be seen from this that Wu Daozi is not only a painter of his generation, but his illusion skills have reached the pinnacle."

Hearing this, Princess Qingluan burst into laughter, nodded with satisfaction, and drank the wine in the bowl in one gulp.

Bai Fu was angry and funny, and continued: "I have seen Wu Daozi's paintings before, but after fighting with this person, especially when I almost got it in his hands, I gained a lot of insights when I looked at his paintings again:

The reason why Wu Daozi is outstanding and is respected as the "Sage of Painting" is that in terms of technique, he combined the great achievements of the previous generations and was the founder of the school:

He can understand the principles of things and simplify the concave and convex, dynamic and static surfaces, yin and yang surfaces, etc. of people and objects into the most extreme "line", and use "line" to express shape, movement, rhythm and character.

Looking at it from another angle, the 'line' is the sword move, and the outline of the line is the drawing of the sword, and every stroke of the characters in the painting is full of sword intention.

I carefully observed these murals, especially copying Wu Daozi's brushstrokes when painting. The height, side, depth, slant, curl, fold, float, and movement of the characters' clothing patterns are exactly the same as the sword skills passed down to you by Gongsun Auntie.

The twelve techniques are tripping, splitting, entangling, poking, picking, leading, sealing, turning, rolling, folding, floating and lifting.

As far as these murals are concerned, it is hard to say whether Wu Daozi's painting skills influenced Gongsun Auntie, or Gongsun's sword dance influenced Wu Daozi.

In other words, both of them learned from each other's strengths and captured their essence."

Bai Fu glanced around and said, "There are a lot of people talking here. I'll explain it to you in detail in another place."

After that, Bai Fu asked the waiters to remove the food and wine, pay the bill, and took Princess Qingluan to the teahouse next door, where he asked for a private room on the second floor facing the street.

Just after Bai Fu left, two diners, one fat and one thin, looked at each other a few tables away. The two were not at the same table, but they obviously understood each other. They paid the bill separately, and the thin diner followed Bai Fu.

Afterwards, the fat diner took the horse and ran in another direction.

The maids in the teahouse were pretty and pretty. One of them boiled water and made tea, while the other burned incense and played the musical instrument. After brewing the tea, the two of them walked out quietly and gently closed the door of the teahouse.

After a few cups of sobering tea, Princess Qingluan was relieved of her alcoholism and became energetic.

Seeing this, Bai Fu spread out a long scroll he had copied on the table.

In the painting, eighty-seven gods descended from the sky, stepping on colorful auspicious clouds, marching in the wind in formation, in order and with solemn appearance, as if they were rushing to a peach festival. The whole painting is magnificent and majestic, and the details are meticulous.

The gods in the painting have graceful shapes, different expressions, banners, flags, and crowns, and are vivid and distinct, making the viewer enchanted.

Bai Fudao said: "This painting uses the long-sleeved ribbons, folds of clothes, exquisite rings, flags, tassels and other ink lines of the gods to intersect and rotate to show the movement of walking and convey the different temperaments of the gods, just like chimes, pipa, and piano.

, Xiao and many other musical instruments symphony, melodious in the fairy sky.

This is exactly the same as Gongsun's sword dance. The difference is that Gongsun's sword dance requires instrumental accompaniment, while Wu Daozi's paintings have movement in silence and are full of music."

Bai Fu pointed at one of the immortals and said: "This immortal's brushwork is outlined with smart and long lines. It can be seen that Wu Daozi is confident in writing, and there is no hesitation or hesitation in the brushstrokes, and he rarely makes mistakes."

Moreover, his writing speed is extremely fast, like flowing clouds and flowing water, and it is natural.

Each stroke is too long if added, and too short if subtracted. The expression of the characters, the fluttering clothes, the weight of the ornaments, and the strength of the wind are all perfectly matched.

If painting is compared to making a sword, only top swordsmen can master it so accurately."

Saying this, Bai Fu's sword intent surged up, traveling throughout his body, unstoppable.

Since his right thumb was cut off by Yong Wang Li Lin, Bai Fu has almost never used a sword. Without his thumb to control the sword, many subtle and mysterious changes in the sword's moves cannot be used. Once he encounters an enemy, danger is everywhere.

In the past few days, Bai Fu tried to copy the murals with his left hand. He was very unfamiliar at first, but gradually got better and better. Today, he is able to have the same mind and is as flexible and fluent as his right hand.

Bai Fu borrowed the sword from Princess Qingluan and pondered for a long time, but still did not take action.

Bai Fu took a deep breath and stabbed out with his sword, like a golden snake turning on electricity. The tip of the sword whizzed across the table and lit the incense stick.

Bai Fu flicked his wrist and pulled out seven sword flowers. It was the sword "Seven Out of Emei"!

Bai Fu took out his sword, sometimes it was thunderous, like a whirlpool, roaring, arousing anger; sometimes it was light and agile, like the wind passing through the bamboo forest, wandering among the cinnamon peppers, soaring over the rushing water; sometimes it was as fast as lightning, like the sky curtain

Lightning, punching and moving, shining brightly.

The teahouse is not big, and Bai Fu draws a circle with his footsteps. He moves and dodges within a few feet, which makes Bai Fu's sword skills light, agile and elegant.

Bai Fu suddenly drew back his sword, and the tip of the sword trembled slightly, like a river and sea glowing with moonlight.

Princess Qingluan walked to the burning incense. There was nothing unusual about the burning incense, and the fragrance was lingering. Princess Qingluan blew lightly, and the ashes of the upright burning cigarette were instantly broken into two sections.
Chapter completed!