Chapter 154: A Masterpiece?

After drinking tea for a while, they began discussing painting with the old gentleman. As soon as the subject was broached, the old man’s interest was instantly piqued. He and He Zhixing delved into brushwork techniques and the representative styles of various masters, ranging from Dong Qichang, Dong Yuan, Juran, Li Cheng, Fan Kuan, Han Gan, Ma Yuan, Tang Yin, Xu Wei, Li Sixun, Zhan Ziqian, Wang Wei, Zheng Qian, Guan Tong, and Ma Hezhi, to Wu Daozi, Han Yu, Wang Wei, Liu Songnian, Zhao Mengfu, Wang Meng, Huang Gongwang, Ni Yunlin, Shen Zhou, Su Shi, Zheng Banqiao, Qiu Ying, Mi Fu, Shen Kuo, Qi Baishi, the monk Huaisu, and Emperor Huizong of Song.

The two engaged in a spirited and exhilarating conversation, covering everything from the ink-wash expressions of Dong Yuan’s landscapes and the ingenious, masterful techniques of the monk Juran, to Fan Kuan’s *Travelers Among Mountains and Streams*, Han Gan’s paintings of herding, the landscape style of Tang Yin, the celestial scrolls of Wu Daozi, the distinct schools of Wang Wei, Zhao Mengfu, and Liu Songnian, and the unique, heaven-sent brilliance found in the works of Qiu Ying, Mi Fu, Emperor Huizong, and the monk Huaisu.

As they talked, the old man’s granddaughter, Gan Ling, occasionally chimed in, and they all enjoyed the conversation immensely. By noon, Gan Ling’s parents had returned. After lunch, Elder Gan personally took He Zhixing up to the attic observatory and his private gallery and treasure room. Upon entering the gallery, He Zhixing was astonished to see it filled with countless paintings, both new and old. Landscapes were the most prominent, and Elder Gan had also collected many works by modern landscape painters.

He Zhixing marveled at the sight: an authentic Ming Dynasty antique brush washer, old ink sticks from the Qing Dynasty alongside several century-old ink blocks, intricate micro-carvings by Lu Zigang, authentic snuff bottles, and various fine works painted by the old man and his granddaughter. There was a landscape by Dong Qichang, a landscape by Tang Yin, a piece by Su Shi, a bamboo painting by Zheng Banqiao, and Qi Baishi’s *Shrimp and Play*.

He Zhixing found himself overwhelmed by the sheer volume of treasures; he never imagined that such a modest residence in Nanchang could house such a collection. Just then, he noticed a notebook resting on an antique wooden desk. Opening it, he saw detailed records of incoming and outgoing paintings. He asked, "Elder Gan, do you run a gallery as well? I see records here of paintings being sent to and received from a gallery."

Gan Ling replied, "Yes, my grandfather owns a substantial gallery in Nanchang. There are many more paintings there. He also takes on apprentices who help out at the gallery. Whenever he has time, he goes there to mentor them. When he is away, they handle the sales and acquisitions. If they encounter a painting whose authenticity they cannot determine, they call my grandfather to take a look..."

"Oh, I see. No wonder you have such an extensive collection, Elder Gan," He Zhixing remarked.

Before departing, He Zhixing painted a picture of a nun in the valley to gift to Elder Gan. The painting depicted scenery and figures from the Jiangxi region. The landscape featured the scenery of the Hundred Flower Valley, with a small bridge beside ancient Hui-style buildings nestled in the valley. On the railing of the small stone arch bridge, a beautiful nun in plain white robes stood, smiling gracefully as she picked a flower, gazing out at the winding stream. Beside her was a field of wildflowers. The nun’s posture was serene and natural.

The mountains, the traditional architecture, the bridge, the flowing water, the wildflower field, and the nun’s effortless, graceful stance made the entire scene feel both quiet and imbued with a hidden, miraculous vitality. The painting seemed to come alive, striking the viewer with a sense of sudden clarity. The composition was so perfect that it allowed the viewer to temporarily shed their troubles; it felt as though a cool breeze had swept in, bringing a sense of lightness, transcendence, and ethereal enlightenment.

Elder Gan and Gan Ling were struck with wonder and praise, finding it incredible that He Zhixing’s work could be so mature. What impressed them most was the painting’s ability to naturally draw the viewer into a state of purity, lightness, and complete, awakened relaxation—a feat few master painters could achieve. The three of them stared at He Zhixing as if he were a marvel.