Chapter 239: Chapter 145: Souvenirs and Little Cakes

"I kind of want to go."

Koizumi Katsuko’s eyes brightened for a moment, then she said somewhat disappointedly, "It’s a shame I can’t go."

"In the afternoon, I have to attend the advanced class my mom runs, both Senior Xiaosong and I are assistant instructors in the class, so I can’t leave... As soon as school ends, I have to go back to the Aman Hotel with my mom."

Shengzi looked at Gu Weijing, "My mom won’t let me wander around Myanmar. She also doesn’t let me go out at night with any males except Senior Xiaosong."

The security situation in Myanmar is indeed not good. Although Yangon is the most stable place, for a pretty young girl, not running around at night is still a good suggestion.

Of course, the evening ban issued by Mrs. Sakai about not going out with other boys, the target is quite obvious.

Gu Weijing is clearly on Mrs. Sakai’s blacklist, considered an unstable factor that could whisk away their precious little cabbage anytime.

"Oh, I just remembered something. I went to the Great Golden Pagoda over the weekend, and I haven’t given this to you yet."

As she said this, Koizumi Katsuko’s tone became cheerful again.

She pulled a gift box out of her bag and handed it to Gu Weijing.

"It’s a souvenir from Yangon Tourism Bureau officials, each artist involved in the Great Golden Pagoda restoration project gets one. I helped claim yours along the way."

The state cultural relic protection project led by grandmaster Elder Cao is highly valued by the officials.

This should be a commemorative gift box issued to the artists after the first phase of restoration was completely finished.

Young people like Gu Weijing got to enjoy the perks and managed to snag a piece.

Sure enough, he saw a note pinned to the gift box, with the words "To Mr. Gu Weijing" written on it, and it bore the official seal of the Myanmar Ministry of Culture.

"Open it, there’s a surprise," Koizumi Katsuko said with a smile.

Gu Weijing opened the big envelope, and the first thing he saw was a letter of thanks.

[On behalf of the Great Golden Pagoda Management Committee, Yangon Culture and Tourism Bureau, and the Myanmar National Government, we would like to thank artist Mr. Gu Weijing for his outstanding contribution to the Great Golden Pagoda’s cultural heritage project...]

The English thank-you note was machine-typed, and the language was relatively formal.

The highlight was, to show respect and importance to the artists, the signature was the handwritten signature of a very high-ranking official from the Myanmar Ministry of Culture.

Gu Weijing’s gaze lingered on the signature for two seconds.

He guessed that the surprise Miss Sakai mentioned probably wasn’t referring to this.

Such a thank-you letter, signed by a national leader, would be immensely valuable to a local small-time artist, they would want to frame it, stick it on the wall, and boast about it every day.

In Southeast Asian societies, a handwritten thank-you letter from a high official is the ultimate expression of an artist’s social status.

Not only do local artists look up to you, even gang members might steer clear of you.

If hung on the wall, foreigners won’t be intimidated; it might even improve the business of the shop significantly.

However, Koizumi Katsuko’s personality probably doesn’t care much for this.

Moreover, Miss Sakai comes from a prestigious artist family, a classic example of someone who has seen the world.

Uncle Sakai once painted a set of ukiyo-e for the Tokyo Olympic Games and held positions in government cultural projects.

Based on Instagram, during the years of the East Olympia bidding, Sheng Ziguang might have met heads of states and high officials from major countries through her father, possibly reaching double digits.

This kind of thank-you letter is probably something she’s used to.

Gu Weijing set the thank-you letter aside. In the gift box was a set of illustrated calendars, each page adorned with illustrations fully derived from the murals they created during the Great Golden Pagoda restoration project.

He turned to Mural No. 17.

Even through the photographer’s photo, Mr. Cao Xuan’s "Buddha Worship and Protection Painting" remained as stunning as ever.

The bottom of the calendar insert featured the elegant script letters—[Collaborative Restoration Artists: Cao Xuan, Gu Weijing].

Old Sir Cao Xuan didn’t want to take away the glory of the young, adding Gu Weijing’s name to this most important mural registration page.

Theoretically,

From now on, as long as he’s shameless enough, he can completely claim to have formally collaborated in artistic creation with Cao Xuan.

Moreover... it’s not even a matter of thick-skinned or not.

The majority of young artists in this situation would wish to cut the photo from the calendar and stick it on their foreheads, bragging wherever they go.

Having a painting grandmaster willing to co-sign with you as a young artist, although there might be reasons of a senior wanting to support the young, it’s also a great affirmation of your skills.

Not to mention,

If Gu Tongxiang wasn’t his grandfather, and his age wasn’t so young, just with this co-signature resume with Elder Cao alone.

Gu Weijing’s name might very well rank ahead of his grandfather’s in some local calligraphy and painting associations.

It’s like in physics, if you’ve co-authored a paper with Einstein, even if it’s just a popular science article, due to the high status of the big shot, your academic status rises significantly as well.

The front cover of the calendar featured a photo of a dark-colored gold-embossed monument.

This monument was just recently completed on the tourism square outside the Great Golden Pagoda, engraved with the names of all 47 invited artists who participated in the project.

The first thirty-something names were all veteran artists.

It’s no surprise that the first name is Elder Cao, followed by Yakai Ichiro and Professor Lin Tao.

His grandfather, Gu Tongxiang, ranked thirty-fifth, respectfully accompanying the ranks of famous painters.

To Gu Weijing’s surprise, he ranked the highest among the artists’ children, nephews, and students who came to "gild themselves."