A Girl Named Wen Na -- Part 3

Chinese script and English translation:  (time: 5:51  to   8:44 )

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（时间 5：51 到 8:44)
因为我画每一个壁画，它都必须只能存在于这个位置。你可以复制它到另外一个空间去，但是你不知道它背后的故事是什么。
Each fresco can only exist at a certain location. You may duplicate it to another place, but you will lose the story that sits behind it.

像这幅画叫作《福窑图》，是我最后给三宝画的一个整体的壁画，它介绍的是整个三宝这个村庄 ，整个窑址和制造陶瓷的过程。《福窑图》就是有福的窑址，它也有扶摇直上的意思，而上面那个“束海”，就是刚才讲的，制作泥坯的过程的神仙。
As for this one, Fu Yao (literally means a blessed kiln), which is the last complete fresco I painted for Sanbao village. It introduces this village, the kiln site and the process of how to make the ceramics. Fu Yao means a lucky kiln site, it also has the meaning like to skyrocket (here it implies a thriving and prosperous business or trade). While Shuhai, the god who controls the process of preparing clay, as I just mentioned a little ago, is sitting at the top.

这个“披石”讲的就是调釉的神仙，因为釉的原料，做釉的原料是山上的石头，把这个石头压碎磨成粉，再加上一些水，然后就会变成披在陶瓷外表的那一层，烧完以后的那一层釉，就好像你把坚硬的石头披在了身上，变成了彩色的外衣一样。
As for Pishi, he is the god who is in charge of enameling. The material for enamel comes from the rocks in the mountain. We grind the rocks and mix water with the powder. Later it is applied to the outer layer of the ceramics. After the ceramics go through the kiln, the enamel becomes a colorful coat which is actually a lay of powder of rocks.

所以这里面《福窑图》我写的是束海于泥，披石为彩，聚瓦集柴。有聚瓦的神仙和捡柴的神仙，然后煮雾调云。这个“花焰”就是掌管花的神仙，“调云”就是掌管烟和整个氛围的神仙。
In this fresco, Fu Yao, I wrote Shuhai who is in charge of the clay, Pishi who is in charge of enamel, Juwa (literally means to collect roof tile) and Jichai (literally means to gather firewood) coming to help also. All those gods are getting together and making things happen. This god Huayan is managing the flower, while Tiaoyun is in charge of smoke and atmosphere.


我把整个做陶瓷的所有过程，每一个步骤，都画成了一个小神仙在这上面戏耍。
When I designed the fresco to portrait the whole process of making ceramic, I imagined that in each step there is a little spirit who was in charge and playing.

然后后面鼓灶击香，这个“击香”是我非常喜欢的一个神仙，它讲的是一种非常快乐非常热烈的状态，其实他讲的是，就是给我们做饭的神仙啦，也是灶神，但这个时候我已经不再用灶神这个名字了，我用的是“击香”。“击香”就好像打鼓一样，用力的一下一下把香气击打出来。同时，它也是吉祥的意思，我认为这种状态的神仙对我来说，我更喜欢它是一个新鲜的，属于我自己的神仙。
The god who is controlling the cooking is Jixiang. He is always in such a happy mood. We used to call him Zaoshen (god of the oven, kitchen). Here I didn't use that name. I called him Jixiang, which literally means to punch something very hard to push the flavor out. It also rthym with another Chinese word  吉祥 (ji xiang, which means auspicious, propitious) . I love the fresh feeling of this god, and it is my own god.


所以当我带着这种壁画定制的心态开始到全世界各地画壁画的时候，一切就变得特别有意思。然后这个是我第一次，李老师带着我去意大利交流的时候，我在意大利米兰附近的一个小镇上画的壁画。
It became more and more interesting when I started to paint commissioned frescos around the world. Next, I will tell you a story happened when Teacher Li and I went to Italy for an event. I was supposed to paint a fresco in a little town nearby Milan.

当时我因为时差的原因，所以感到很不舒服，所以前三天我完全没有动。但是当地的外国人就非常生气，然后就用英语跟李老师吵起来了。就是我听不懂英语，但是我知道他们很激动。
Three days after I arrived, because of jetlag, I felt very sick and didn't do anything. Our clients felt angry and quarreled with Teacher Li. I didn't understand English, but I could see that they were very emotional at that time.

所以我知道第四天我无论如何也要开始画画了，但第四天我其实还在发烧，但这个时候外国人就来了大概二十多个人就在那看着我，就盯着我画画。
Well, I knew I had to start painting on the fourth day. With the companion of about twenty foreigners watching me, I began to paint even under the influence of fever from which I was still suffering.

当时我不仅没有草稿，连腹稿都没有，但是我必须得开始画，所以我当时就画出了这张画。其实当第一笔上去的时候，我通过眼睛就可以了解他的头在哪儿，画完了头我就知道他的肩在哪儿，画完了肩我就能够找手肘找腰的位置，同时我就可以开始穿插云啊、海啊、浪啊和其他的神仙，整个的构图。在这之后我画壁画就真的是连腹稿都不用打。 （截至 8：44）
At that time, I didn't have any draft, even I didn't have any idea in my mind. But I had to pick up my brush, and I painted this one. Right after I put on my first stroke, my eyes could vision where his head should be, then his shoulder, elbow, waist. And the same time, I already knew where to add in the clouds, sea, waves, and other gods. The whole design just revealed itself in my mind. From then on I can start painting without any preparation beforehand.  ( Until 8:44)