A treasure-appraisal maniac

The first box was Shen Zifan's tapestry "Magpie Trampling Plum Blossoms", and Lu Fei was extremely excited.

After the surprise, move on to the second box immediately.

This box follows the same pattern as the previous one, with big boxes inside small boxes.

But it's one level less than the first box.

The last layer opens, revealing a bronze object wrapped in triple high-density foam.

This is also an amazing big treasure.

This is a gold, silver, four dragons and four phoenixes copper plan. Seeing this object, Lu Fei's mood that had just calmed down became unstable again.

This bronze design with four dragons and four phoenixes mixed with gold and silver is 38 centimeters high and half a meter long and wide. It is a rare and heavy bronze artifact.

This case is decorated with gold and silver patterns all over.

In the lower part, there are four sika deers, two males, two females, lying on their sides, with their limbs curled up, carrying a circular base.

In the middle part, on the arc surface of the ring base, there are four dragons standing in all directions.

The four dragons have one head and two tails, with their heads held high and their chests held high, their forelimbs standing upright, their wings gathered in the middle to form a hemisphere, and their bodies curled up to both sides and their horns hooked back.

There is a phoenix on each side between the entangled dragon body and the coiled ring. It draws its neck and sings, spreading its wings to fly.

The upper part of the dragon roof supports a square frame, and the brackets and the frame are decorated with hooked cloud patterns.

The case surface of this plan was originally a lacquer board, which has decayed and only the copper desk base remains.

Its shape is retracted inward but open outward, combining movement and stillness, with appropriate spacing and density. A picture of a flying dragon and a dancing phoenix jumps out before your eyes. It breaks through the traditional technique of mainly relief or round sculpture in bronze animal shapes since the Shang and Zhou Dynasties.

In addition, each of the four dragons has a bracket, which for the first time vividly reproduces the shape of the bracket during the Warring States Period.

This project breaks the traditional dynamic scene of "dragons flying and phoenixes dancing".

With tranquility as the keynote, a circle is supported at the bottom by four sika deers with gentle expressions.

The four dragons and four phoenixes are intertwined with each other, with their wings and tails connected, forming an inward-in yet open-out bracket, covering several tables, stable and stretched, presenting a

A kind of static beauty.

Because the ancients sat on the ground according to the number, so the plan can also be called the number.

This vessel has a square frame, and the surface was originally a lacquer board, and now you can still vaguely see the mottled paint leather.

The whole body of the plan is decorated with gold and silver, which is a craft of gold and silver inlay.

Each part is cast separately and then riveted and welded. Some places have large curvatures and are cast by splicing or lost wax methods.

The overall structure of this vessel is complex and proportional, the casting process is exquisite, the animal shape is graceful, vivid and delicate, and it can be called a rare treasure.

The entire pattern of the utensil was cast into parts from pottery molds. A total of 186 pottery molds were used, which were cast and welded many times to create a finished product with such a complex structure.

The entire solution was kept neatly, and several welding joints were broken, which was not a big problem for Lu Fei.

Such a large bronze plan is rare among all museums in China.

However, its value goes beyond its beautiful shape and size.

There are also twelve inscriptions engraved on one side of the plan frame: "Fourteenth Sacrifice, Right Car, Coward Guo, Worker Scabies".

This is a description of the caster of the artifacts, the level of the tombs of the tomb owners, and the vast tomb scenes.

The general idea is "In the 14th year of King Cuo of Zhongshan, the craftsman Guo made the right car, and the supervisor was scabies."

After carefully appreciating this plan several times, Lu Fei couldn't help but sigh with excitement.

These are all treasures of China, and even the China Museum is rare to see them.

If Fatty Guan Haishan King and the others see this, they will have to enshrine it as an ancestor.

If it is exhibited, a separate exhibition hall must be dedicated to this project.

Because these are all national treasures

Cultural relics deserve such treatment.

But in the eyes of wealthy families like Boss Long Yun or the Robert family, these are just items for trade, or even gifts to connect people.

For the baby, this is the greatest humiliation.

For Chinese collectors and the archaeological community, this is even more shameful and helpless.

Damn it!

If I have the chance in the future, I will definitely get their good things back.

Give babies the courtesy they deserve and let the national treasures return to their roots.

The plan was packed and repacked, and Lu Fei pried open the last box.

When prying the box, Lu Fei struck hard without any scruples.

Because Lu Fei concluded that this box was the same as the previous two.

At the very least, the outer layer must be protective solid foam.

Facts have proved that Lu Fei's guess was absolutely correct.

After opening the two layers of protective boxes in succession, there was still a bronze item inside.

This bronze is much more beautiful than the copper scheme with four dragons and four phoenixes mixed with gold and silver.

This is a piece of furniture from the Warring States Period, with a gold and silver tiger-eating deer screen base.

The screen base is 23 centimeters high and 52 centimeters long.

The main body of the vessel is a tiger. The tiger's eyes are wide open, its ears are erect, and it is devouring a weak deer.

The fawn struggled desperately in the tiger's mouth, raising its short tail vigorously, but could not escape.

The tiger's hind limbs push hard on the ground, its forequarters squat down, and its entire body is curved. The tiger's right front paw is suspended in the air for grabbing the deer, and the balance of its body is supported by the deer's legs.

The entire shape of the vessel is ingenious and natural.

The fur patterns of tigers and deers are inlaid with gold and silver, making them vivid and lifelike.

The tiger's neck and buttocks each have a rectangular shank.

Both sides of the chariot are decorated with goat heads, and the goat's mouth is the chariot mouth.

The straight lines along the two openings intersect at almost a right angle, and a screen fan is installed to form a straight ruler shape.

The whole object shows the dynamics and body structure of tigers and deers, which increases the artistic effect of the object.

This object is ingeniously conceived and cast with exquisite workmanship, which is rare in the world.

There is an inscription under the tiger's belly that reads vertically: "Fourteen sacrifices, bed and fur, stingy husband Xu Jian, making provincial utensils" twelve characters.

In ancient times, because many palaces had open fronts and the buildings were not very tight, screens had to be set up in the rooms to block the wind.

At the same time, a building often has multiple functions, and screens need to be used to divide the indoor space at any time. Therefore, screens are widely used.

However, bronze was extremely rare at the time.

When a house is renovated, changes owner, or changes in dynasty, most of these bronze components will be melted down and reprocessed.

Usually used to make weapons.

Therefore, there are almost no screen holders handed down.

The bronze screen seats in several major domestic museums are all unearthed objects.

Even so it is rare.

The gold and silver tiger-eating deer bronze screen holder in front of me is definitely a national treasure.

In more than two months, my own museum will be completed.

Instead, I put this thing in the bronze exhibition hall and invited Guan Haishan and others to appreciate it. I guess those old guys must have a heart attack.

Looking at the three treasures, they are of amazing value and are of extraordinary significance.

Boss Long Yun is indeed generous.

After packing up the three treasures, Lu Fei left the No. 3 vault and came to No. 2 again.

Inside, more than a dozen pieces of jewelry were carefully selected and packed individually.

When the Hong Kong Island auction house is completed, these jewelry will be the first items to be auctioned.

There are so many of these things that I sadly don’t like, but if they were put up for auction, they would definitely make those rich women and famous ladies go crazy for them.