At that time, his inferiority and fear were suppressed by Koizumi Katsuko's tender and sweet story about Manet and Monet.
Gu Weijing also felt that, after all, with the system available to add points at any time, perhaps he was just being overly pretentious and affected.
For days, he had been struggling to figure out how to paint wisteria, but to no avail.
Until on the train, when he saw a video of a journalist interviewing Tang Ning.
Gu Weijing suddenly realized another possibility—maybe, the flowers were the same, but the people were different.
Li Bai's prosperity like brocade, Xu Wei's desolate bleakness, and Lady Tang Ning's small bridge and running water, all carried deep meanings.
All were correct.
No painting technique was wrong.
It's just that Gu Weijing couldn't comprehend any of them, nor could he paint them.
