A treasure-appraisal maniac

Wu Zetian named it "Water Dragon Pearl" by Jinkou, and loved this luminous pearl like a treasure.

But after Wu Zetian's death, the luminous pearl was not taken to Qianling, but fell into the hands of Zhongzong Li Xian.

From generation to generation, it passed into the hands of Xuanzong Li Longji.

During the Anshi Rebellion, Shui Longzhu's whereabouts are unknown since then.

According to folklore, the water dragon ball once appeared in the hands of Li Zicheng, and was later captured by Wu Sangui and given to Dorgon.

However, there is no clear record in official history.

Lu Fei never expected that this legendary luminous pearl would fall into Lu Qinzhai's hands.

It's incredible.

From the individual appearance, patina, style and texture of the Night Pearl, Lu Fei was 100% sure that it was the Water Dragon Pearl.

Unfortunately, there is not enough light now, and there is no condition or time to show the magic of water dragon beads.

Lu Fei's blood boiled with excitement as he put the Water Dragon Balls away in his backpack.

The first brocade box was such a big treasure. The items Lao Lu hid in the safe were indeed extraordinary!

After getting a good start, Lu Fei is even more looking forward to the remaining brocade box.

Climb up again and pick up a rectangular brocade box.

This brocade box is an ordinary brocade box covered with silk and wood during the Republic of China. It is incomparable with the golden nanmu box of Water Dragon Pearl.

But this brocade box is much larger.

It is forty centimeters long, twenty centimeters wide and about eighteen centimeters high.

Even though they looked like rubbish in the brocade box, Lu Fei didn't despise them at all.

It doesn't matter what kind of packaging it is, the important thing is that it is locked in the safe by Lao Lu, so it is definitely a good thing.

At the very least, it is much better than the items in Gu Lina's house.

Facts have proved that Lu Fei is right.

When the lid is opened, the golden light catches the eye.

Inside, placed side by side in the sponge, were a pair of golden bowls.

Lu Fei is not short of golden bowls.

But seeing the pair of golden bowls, Lu Fei

There is a feeling of suffocation.

This pair of golden bowls are five and a half centimeters high, 14 centimeters in diameter, and nearly seven centimeters in diameter.

The walls of the two bowls are beaten to create two layers of lotus petals that bulge outward.

There are ten pieces in each layer, with the upper and lower outlines matching.

Each lotus petal unit is engraved with decorative patterns.

The upper theme is animal print, and the lower layer is a single honeysuckle decorative pattern.

This is a typical style of the prosperous Tang Dynasty.

The golden bowl of the Tang Dynasty is awesome!

In the arrangement of the golden bowl pattern, each of the most conspicuous lotus petals is decorated with an animal theme, such as fox, rabbit, deer, deer, parrot, mandarin duck, etc. The surrounding areas are filled with flowers and plants of different shapes.

The animals either raised their legs and ran wildly, or turned back to look at each other.

Birds spread their wings and fly, or stand and perch.

Whether static or dynamic, each one is lifelike, ready to be heard, and has a strong sense of rhythm, allowing people to feel the passion of life.

The lower lotus petals are all filled with the same honeysuckle, which creates a peaceful and tranquil atmosphere with relative stability, highlighting the vitality of the upper layer of animals.

The animal themes selected are either common in people's hunting, or have auspicious meanings such as harmony, happiness, and fertility.

On the outer bottom of the golden bowl is a mandarin duck looking back and spreading its wings, flying among the flowers.

Mandarin duck patterns were widely used in all aspects of life by the Tang people.

Especially newlyweds like to embroider mandarin ducks on their clothes and bedding when they get married, as a symbol of growing old together and being united forever.

Mandarin ducks and lotus flowers appear together, which not only implies pairing, but also subtly symbolizes the waterside environment where the mandarin ducks live.

The "Tongxinlian" has the same meaning as the mandarin duck's never abandoning and never leaving. The two together represent a kind of good wish for harmony between husband and wife, eternal marriage, and many children and blessings.

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This fusion of beautiful meanings and national aesthetic tastes gave the decorative art of gold and silverware in the Tang Dynasty a special charm.

This pair is fat and plump in shape, solemn and elegant, with complex and magnificent decorations, graceful and elegant, exquisite craftsmanship and extraordinary magnanimity.

It can be said to be a microcosm of the prosperous age of the Tang Dynasty.

The decorations on this pair of gold bowls with mandarin ducks and lotus petals are all carved bit by bit by hand.

When craftsmen designed the layout, they carved a rose-shaped flower on the inner bottom of the golden bowl as the center point.

Two layers of relief-style lotus petals are carved on the outer abdomen, with ten petals on each layer. By decorating small units one by one, the entire object can be beautified.

This pair of golden bowls has a very fine circle of small gold beads arranged around the circumference. This was made by craftsmen in the Tang Dynasty using a process called fried beads.

The so-called fried beads, in layman's terms, mean that there is a certain temperature difference between gold liquid and water, and splashing will occur when the two meet.

Craftsmen at that time dropped gold solution into warm water, exploded tiny gold beads, and then selected those with a relatively uniform texture and welded them to the surface of the utensil. .??.

This ancient technique was extremely popular in the early Tang Dynasty, that is, during the reign of Zhenguan.

By the mid-Tang Dynasty, it had been lost.

Moreover, these pair of golden bowls are obviously royal objects, which makes them even more valuable.

The few golden bowls in his warehouse are completely incomparable to this pair, and it is even the greatest insult to this pair of golden bowls.

If these bowls were released, each one would be worth no less than nine figures.

When these two brocade boxes were taken out, there were only two big guys left inside.

Both boxes were over half a meter in length, and Lu Fei picked up the smaller one.

This brocade box was extremely valuable, and Lu Fei was even more excited.

Take the box out and go down to the ground, sit on the trolley suitcase and open it carefully.

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Lu Fei couldn't help laughing when he saw what was inside.

"Hey!"

"Yuan Qinghua!"

This is a Yuan blue and white eight-sided jar with pine, bamboo and plum patterns and animal ears.

The height is nearly forty centimeters, the diameter is fifteen centimeters, and the bottom diameter is eighteen centimeters.

The overall shape of this Yuan blue and white piece is octagonal, with white glaze blue and white, divided into five layers of decoration.

This vessel has round lips, a straight mouth, a high collar, sloping straight shoulders, and a bulging belly that tapers slightly at the bottom.

The overall shape of the utensil is grand, with a large shape, a thick body, and a green and white glaze all over.

The sand sole is unglazed and the pedicure is very regular.

The overall painting strokes are delicate and the lines are smooth and smooth.

The lower part of the neck is bounded by eight edges and decorated with broken branches of flowers.

The shoulders are decorated with folded chrysanthemums, gardenias, lotus flowers, lotus flowers and peonies.

The main decoration on the abdomen is curly grass with consecrated interior paintings of pine, bamboo, plum and Manchijiao.

The bottom is a circle of painted variations of lotus petal patterns, each of which is not connected. The lotus petals are painted with miscellaneous treasure patterns.

The belly is painted with the picture of "Three Friends of Winter", including pine, bamboo and plum.

"Three Friends in Winter" is a commonly used painting theme among literati. The pine tree embodies the calm state of a gentleman, the bamboo symbolizes humility and straightforwardness, and the plum blossom expresses strong and unyielding character.

The whole picture is dense and dense, the composition is plump, the brushwork is smooth, the colors are elegant, and it is beautiful.

Lu Fei has several pieces of Yuanqinghua, but none of the large eight-sided jars.

There is a saying in the porcelain collecting world that one square is worth ten circles.

This means that square utensils are much more difficult to make than round utensils, so they are more precious.

But the octagonal one is much more difficult to make than the square one, and the price is even different.

If this large eight-sided jar were released, it would definitely shock the world.

It is precisely because of its importance that the foresighted Lao Lutou hid it here.