A treasure-appraisal maniac

The forklift came to the audience, and more than a dozen Yoshida Ohno employees lifted the three boxes onto the treasure-fighting platform.

"Hiss——"

"It looks like the box isn't too heavy!"

"But what exactly is in such a big box?"

Zhang Yanhe was guessing that the employees had already begun to dismantle the packaging boxes.

The three boxes were opened at the same time, and inside were rectangular objects wrapped in layers of high-density foam.

The packaging was dismantled layer by layer, and the curiosity of the audience was aroused.

When the last layer of foam was removed, the audience couldn't help but gasp.

"What's this?"

"So beautiful!!"

The audience didn't understand why, but the veterans and several referees were shocked.

Inside the three boxes were three rectangular objects that were over two meters long and about thirty centimeters high.

The main material is rectangular wooden boards spliced ​​with rosewood aniseed.

The front of the board is inlaid with jade, jade, turquoise, coral, gold, silver, etc. to create a magnificent landscape painting.

The three wooden boards were spliced ​​together skillfully by the staff, and the entire picture was seamlessly connected and perfectly connected.

The overall layout of the scroll is divided into six parts.

The first part begins with a majestic and majestic mountain, a long and epic series.

In the picture, the peaks and ridges are sharp, rounded and thick, and the slowly upward mounds of soil are gradually piled up layer by layer, and then slowly tilt to the left.

Jade skin and silver inlays are intertwined to form a thick texture.

The mountains are white and misty, showing the unique climate characteristics of the humid mountains and rivers in the south of the Yangtze River.

In the second part, the development and changes of the mountains have taken a turn. As the levels of the mountains change, the trees, soil slopes, houses and boats floating in the river in the painting have a bleak feeling surrounded by mountains and mountains.

Across a section of waterway

The second part will also come to an end. The main mountains are on the left, and all the mountains echo on the left, while the nearby pines and cypresses slightly swing to the right, echoing the distant mountains.

The second part also echoes the beginning of the third part, with richer spatial changes.

The river surface inlaid with gold, silver threads and emeralds is calm and full of agility, and extends backwards. The picture changes from dense to comfortable, distant and beautiful.

Various materials are used to inlay the water waves, silk grass, wide water and fine sand in the painting, and the scenery is vivid.

The fourth part, only the mountains and rivers, restores the true nature of nature. The composition spans the fifth part, a piece of water and sand, and the longest blank space, just like the four seasons of the year, time passes and the years rush.

In the middle of the painting, there are dots of mossy trees and soil slopes, and a small bridge on the river bank connects the fifth part.

From the prosperous, lush and majestic first three parts, to the fourth part is like autumn and winter in time, quietly observing all things, the prosperity has faded, and the silence is vast.

From the fifth to the sixth part, there is a wide stretch of white sand, with two small boats traveling side by side in the river.

The fisherman on the boat is just a point of view, his tiny figure and tiny life, just like a speck of dust in the entire blank space.

There is a distant mountain in the distance. The line drawing of the pen and the drag of the ink are intertwined and continue in the large blank space at the back.

The blank space is a large inscription and postscript!

[In the seventh year of Zhengzheng, my servant returned to live in Fuchun Mountain, and Wuyong Shi went with him.

I wrote this volume in Nanlou during my spare time. I was so excited that I didn't realize that Qian Qian had arranged it like this. I filled it out one by one and read it for three or four years. It was not complete because I stayed in the mountains and wandered away.

I'm getting my luggage back today. Sooner or later I'll have some free time, so I'll be writing.

There is no need to worry too much and there are those who are clever and plundering, so that they can know the end of the book first, so that the common people know how difficult it is to achieve success.

In the tenth year, Qinglong was in Gengyin. On the day before the Zhi Festival, the great idiot scholar wrote in the Xia family's Zhizhitang in Yunjian. 】

Seal: Huang's son Jiu Zhu Wen: Yifeng Taoist.

[When Huang Weng, the great idiot, was in the victorious country, he made a sound in the southeast with his mountains and rivers. His erudition was hidden by paintings. People from the three religions who came to him asked questions. If a person is of high character, his paintings will also be high, so the same goes for calligraphy. 】

Inscription: Inscribed by Shen Zhou on Changzhou in the summer of Xinyuan, Hongzhi.

In addition, there are also inscriptions and postscripts by more than a dozen famous artists!

There are as many as a thousand words.

Finally, there is a piece of inscribed regular script text.

"It took eleven years to live up to everyone's expectations and is a great success."

"A warning to future generations, if you don't forget your original intention and have firm determination, anything can be accomplished!"

"In the fourth leap month of the Xinsi year of the lunar calendar, the Liu family in Quanzhou."

boom--

After watching it all, the veterans in the front row were shocked and their scalps were numb, and they were all dumbfounded.

"Isn't the Liu family's most precious treasure in Quanzhou lost?"

"How could it be in the hands of the Yoshida family?"

"what 's wrong?"

"What on earth is going on!!"

Not only were the old guys confused, but even Lu Fei became serious.

When I came to the stage, I stared at the masterpiece in front of me without blinking, and my heart surged with excitement.

This painting will definitely be familiar to anyone who has some knowledge about collecting.

This is China's national treasure, "Dwelling in the Fuchun Mountains" by Huang Gongwang, a master of calligraphy and painting of the Yuan Dynasty.

"Dwelling in the Fuchun Mountains" was painted by Huang Gongwang when he was seventy-nine years old, and it is also one of his masterpieces.

This painting was created for his friend Zen Master Wu Yong. Huang Gongwang spent seven years and painstakingly completed this magnificent masterpiece.

Wu Hongyu, a collector from the Ming Dynasty, was extremely fond of this painting.

He went so far as to ask for his body to be burned before his death.

When he was dying, his nephew Wu Jing'an couldn't bear to see this magnificent masterpiece destroyed, so he rescued the painting from the fire.

However, the scroll has been burned into pieces, and the original size of the scroll is no longer known.

The surviving "Dwelling in the Fuchun Mountains" is divided into two parts and is stored in the Baodao Museum and the Zhejiang Museum.

The masterpiece in front of you, which is carved and inlaid with wood, jade and other materials, is a 1:1 restoration based on "Dwelling in the Fuchun Mountains" collected by the two museums.

All details, including size, inscriptions, seals, images, etc., are almost the same as the original scroll.

The bottom plate is an extremely rare rosewood aniseed material.

The countless jades, gems and gold and silver threads inlaid in it are even more valuable.

Compared with the material, the most precious thing is the ingenious craftsmanship.

What shocked the veterans was that it was not the first time they had seen this work, but they did not understand why this valuable treasure was in the hands of Yoshida Ohno.

This work comes from the Liu family, a famous wood carving family in Quanzhou.

In the early 1990s, Yang Guang, a collector from Guangdong, came to Quanzhou in search of skilled craftsmen with a printed version of "Dwelling in the Fuchun Mountains" and 32 photos.

Finally found the Liu family, Liu Guangyi and Liu Guangtao brothers.

The three discussed for several months and finally decided to collaborate to use wood carving skills to restore "Dwelling in the Fuchun Mountains".

After planning for more than a month and preparing to select materials, Yangcheng art master Hou Yuhai and his wife came to our door.

Hou Yuhai believes that wood carvings alone can only restore the original intention and cannot achieve the three-dimensional sense of layering and artistic conception.

Once completed, it is not difficult for others to copy.

If you want to do it, be a super baby that is unique and unique.

After discussion, it was finally decided to inlay and carve a masterpiece with precious stones, jade, gold and silver and other luxurious treasures.