Chapter 738 - 337: Rules (2)

He quite likes some graffiti art.

But if it’s a painting that Elder Cao studies for a long time and finds that he doesn’t understand it at all, no matter how much publicity it receives or how many profound philosophies can be interpreted from it, he wouldn’t be interested in touching it.

Perhaps the painting is excellent, but since it doesn’t suit him, he might as well consider himself uncultured.

Ultimately, he won’t buy overseas lost cultural relics because Cao Xuan has a bit of a peculiar mindset about these things.

Don’t misunderstand.

He actually admires those patriotic businessmen overseas who bring back lost relics.

It’s just Elder Cao’s personal feeling.

Robbers storm into a home, bully the original owner, and take away heirlooms. Decades or a century later, after the original owners have struggled and prospered, they pay a hefty sum to buy back what was rightfully theirs, and the robbers’ descendants use that money to live lavishly.

Profiting twice front and back.

The world shouldn’t be like this.

Not just Dongxia’s lost artifacts, but Ancient Egypt’s painted mummy coffins, Ancient Syria’s king steles, such items have always been hot commodities at auctions.

Because of these matters, Egypt’s relic recovery department has argued with the United Kingdom’s foreign office for over thirty years.

Similar things.

No matter how much he likes them, no matter how favorable the price seems, the old gentleman wouldn’t raise his paddle to buy them.

The subsequent rule of "not accepting gifts" is more directed at people like Gu Weijing, whether for flattery or self-gilding, or simply within the circle of painting and calligraphy, those who paint something personally to gift Old Sir Cao Xuan.

Commercialized, contrived, stale in mood, lifeless—these sixteen words basically can exclude all those who want to elevate their painting reputation through Elder Cao, harboring ulterior motives, from the doorstep.

The remaining reason of "not catching his eye" is an excuse.

After all, it’s about returning gifts received.

When Cao Xuan returns the works and refuses them, both parties have an excuse.

Perhaps it’s not because your painting is tacky or bad, maybe it’s just because it didn’t catch his "eye" at all.

However, the idea is good.

The reality is, in today’s Eastern art market, the distinction between hearing that a certain painter did not catch Cao Xuan’s eye and someone saying their work is tacky in the eyes of collectors...

This is beyond Elder Cao’s control.

Back then.

When he set this rule, he offended many; the paintings Elder Cao sidelined weren’t just from juniors seeking fame.

If the old gentleman doesn’t like it, even top-notch great painters are refused just the same.

Because of this.

Many bosses and officials seeking to appear cultured felt embarrassed by Elder Cao, and he even had tense relations with a leading painter ranked high on the Hurun Artist Rich List.

Cao Xuan still adheres to his own path, not changing his principles.

He might muddle through on other matters, but only in the realm of painting and calligraphy is he uncompromising, not tolerating any flaws.

Many years ago, at an art exhibition, he was introduced to Malaysia’s Old Ship King Liu.

At the banquet of the Ship King’s family, art-loving King Liu planned to gift one of his paintings as a souvenir, knowing that recognition from such a wealthy connoisseur is a golden opportunity that famous painters could rarely encounter.

Yet Cao Xuan, like a stubborn Tai Lake rock, refused no matter how others persuaded him.

Old Ship King asked why.

Cao Xuan had to reply, the painting didn’t catch his eye, he didn’t like it.

King Liu’s expression soured, he slammed the table and angrily said, "I just spent enough money that could buy an entire street of shops in the Kuala Lumpur district on your painting, and now you’ve embarrassed me in front of so many guests, not even giving me this bit of face. Truly inconsiderate!"

Cao Lao firmly replied, buying his painting was the Ship King’s appreciation for the moral character and virtue of his work, for which he was grateful.

However, he truly couldn’t appreciate the Ship King’s painting, so he wouldn’t accept it. It was his principle, and if he easily compromised his principles, his painting wouldn’t be worth an entire street in Kuala Lumpur.

The Ship King probably wouldn’t want his investment to shrink so quickly either.

The Ship King himself is an art enthusiast, having learned various painting and calligraphy skills from many masters for over ten years. He had the maid fetch five scrolls from the study, each a work he took pride in.

Yet Elder Cao repeatedly refused all five, facing increasingly darkening expressions from Old Ship King.

In the end.

Cao Xuan no longer even feigned politeness, bluntly saying these paintings were all vulgar, without any value for collection.

At the dining table, painter friends who had come along turned pale, sitting there bewildered.

Old Ship King was not only a renowned tycoon among the millions of Chinese Malaysians but also a distinguished figure with connections in both political and business circles. Publicly shaming Liu the Tycoon like this, truly not afraid of being drowned at sea?

Worried whether they’d safely leave the estate tonight.

King Liu, however, showed no signs of anger, calmly asking, "All these years, I’ve consulted many artist friends, and everyone says my works have a majestic air, orderly in brush and ink, and if not for being too occupied with other matters, I could have already debuted in exhibitions and become famous across East Asia."

He knew there was some truth to that, maybe thirty percent at best.

But the Ship King always believed that if he pursued art seriously, developed in the art circle from a young age, although not daring to claim he’d become a top-notch painter, he would still easily make a living as a professional painter in a local gallery.