Meng Chuan wrote the "Entrance of the World" in thick ink in the center of the whole painting. Monsters are coming out of the entrance of this world densely and spreading in all directions.
He drew slowly, only drawing a rough outline of the phantom.
Then focus on drawing one of the monsters on the edge that spreads in all directions, that is a big mantis monster, that mantis monster was drawn very carefully, because it was the monster that impressed him the most when he was chased and killed by monsters when he was six years old.
…
When Meng Chuan was painting, in the space between the eyebrows, the translucent little figure began to bloom with spiritual light again. After so many years, this is the second time that the semi-transparent figure in the center of the eyebrows has changed since "The Face of All Beings".
…
Meng Chuan was immersed in painting. He mainly painted the mantis monster and the family of three that the mantis monster chased and killed.
The father is running with the child on his back, while the mother is holding a sword but rushing towards the mantid monster.
For this picture alone, Meng Chuan worked very seriously for more than two hours. This is only a corner of this huge painting.
When he stopped writing, Meng Chuan noticed the change in the space between his brows.
"The villain in the space between my eyebrows actually glows slightly?" Meng Chuan was surprised, but gradually the spiritual light was weakening.
"The appearance of the space between the eyebrows is actually related to my painting." Meng Chuan was surprised. When he was sixteen years old, he drew the painting "Phase of All Beings", which is also his peak painting in many years. In one night, he discovered the space between the eyebrows and possessed the power of mind and soul. But at that time, he was not sure that it had anything to do with painting.
I'm afraid it's just a coincidence.
But this painting, the strong emotion is no less than the scene of the villain in the space between the eyebrows blooming light when painting "Phase of All Beings", which made him completely sure.
It's about painting!
"I've never heard that painting can produce mysterious power of mind and soul?" Meng Chuan thought for a long time in doubt, but he didn't want to understand. "Forget it, when you enter Yuanchu Mountain, you must find out."
At least for now, it seems that the power of the heart and soul has helped him a lot.
*****
From this day on, Meng Chuan fully integrated the strong emotions in his heart into the painting. This painting also took a long time, ranging from one hour to two or three hours a day.
After spending more than six months, Meng Chuan finally finished the painting.
This is a set of paintings, divided into three paintings.
The first one is one foot and six feet long.
In the center of the picture scroll, there are dense monsters coming out from the entrance of the world, spreading in all directions.
Monsters hunted everywhere.
There are scenes where parents want to protect their children, but they are all pierced by the sharp tails of monsters.
There are scenes full of dead bodies.
There are children standing there crying, and the old man confronts the monster scene.
There are also scenes where the father runs with the child on his back, and the mother holds the sword against the monster...
Meng Chuan drew a total of thirty-eight scenes, and each scene clearly drew the appearance of monsters and people. They were all scenes he had personally experienced or seen with his own eyes. Every painting... makes the 'flame' in his heart more and more hot.
…
Then the periphery.
A little farther away from the monsters, the Taoist disciples on the road, street vendors, and ordinary pedestrians all panicked.
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the outermost.
There is Yuyang Palace, where three gods and demons are waiting in formation.
There are other places everywhere.
In the Taoist monastery, all the weak disciples entered the tunnel, while the stronger disciples looked at the monsters in the distance one by one, either resolutely or apprehensively. Under the leadership of the dean Jiaoyu and others, these teenagers are preparing for the battle together under the leadership of some retired adults.
Ordinary dwellings, restaurants and other prosperous places, families of gods and demons... without exception, women, children, the elderly and the weak are all queuing up to enter the tunnel.
And all the powerful ones, regardless of gender, old or young, all fought side by side.
…
The sun in the picture scroll has just emerged from the edge, obviously indicating that the monster race invaded in the early morning.
This is just the first painting.
The second painting is one foot and eight feet long.
It's more brutal and bloody.
The core area in the center of the screen that was invaded by monsters is a pile of corpses, including men, women, and children, and some teenagers in monastery robes.
But in all directions, there are battles everywhere.
A human warrior held a shield against the monster, and another human warrior shot an arrow in the distance.
A human was pierced in the abdomen, but he still hugged the monster tightly. Another companion chopped off the monster's head with a single knife.
Some people set traps and successfully killed monsters. There are other monsters rushing nearby.
A father and son teamed up to deal with monsters.
Veterans with disabilities take on monsters.
…
All kinds of tragic scenes were seen by Meng Chuan with his own eyes, and it is very common for Dongning Mansion to be invaded by monster clans. He just drew them one by one from memory. The determination in the eyes of those who died with the monsters, the companions are suffering but still continue to fight...
"What are they working so hard for?" Meng Chuan was once confused.
But in the process of his painting.
When he drew a living person, he understood.
They are for hope.
For the loved ones who are most concerned in my heart, there is still hope. Also see the sun rise.
They need to fight to find a way out for their families.
…
The monastery was also fighting, the monster clan entered Lieyang Castle, and veterans, soldiers and young boys frantically resisted. A wall was built with life to protect those weaker juniors and juniors hiding in the tunnel.
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The family of gods and demons is also fighting. The elders rush to the front to resist the monsters, and the younger generations and teenagers are also fighting. A bald old man rushed to the front, but his chest had already been pierced by tentacles, but he still killed a monster with one blow.
…
Yuyang Palace is also fighting, one god and demon has fallen, one female god and demon is struggling to support, and only one male god and demon is still fighting against the four demon kings.
They only have one god and demon left and they still have enough combat power, but they are still fighting.
Also for hope.
…
In this painting, the sun rises again, higher.
There are battles everywhere in the whole painting, and Meng Chuan has been painting this painting for three months.
*****
The third painting is one foot and six feet long.
The situation on the entire battlefield was reversed, people from all directions began to attack the monsters, and the monsters began to flee in a panic.
All monsters are on the run.
They will also be afraid, embarrassed, and beheaded one by one.
They frantically rushed towards the central 'world entrance', that is where they came from, and now it is also the place where they escaped.
And the periphery.
In Yuyang Palace, a sword light descended from the sky to kill the demon king, and the other demon kings also fled in embarrassment.
In the monastery, everyone is treating those seriously injured companions, including adults and teenagers.
At the same time, there are people who died in battle, men, women and children, young, beautiful, or very old. Many people were crying and mourning beside the people who died in battle.
Everywhere.
Ordinary houses, restaurants and teahouses, families of gods and demons, etc., all began to treat the wounded and restrain the corpses of the war dead.
And there are still many monster corpses scattered everywhere, but people don't bother to take a look. They are more concerned with taking care of the wounded and grieving for the war dead.
Although he won, the whole painting does not feel joy, but a 'fighting spirit', a stronger fighting spirit! Heroes die, but those who live go on, and fight on, never stop.
In the east of the city, the sun rose even higher.
This painting is also the brightest of the three.
…
After Meng Chuan finished painting, he was silent for a long time before he wrote four words on the last painting - 'Towards the Chaoyang'. He did not write his name on either the first painting or the second painting.