Starting My Treasure Hunting In England

What appeared in front of Joan of Arc was the largest warehouse of all the warehouses she had seen so far, about the size of a basketball court and a half. What is shocking is that the warehouse is full, with piles of boxes covered with plastic sheets everywhere.

These boxes are lined up so densely that even a slightly fatter person cannot squeeze in through the gaps in the piles of boxes. From this, you can also see how many things are in the warehouse.

"There is a ledger here." Liang En stood at the door of the warehouse and looked around. He quickly found two bound books placed on the box. After opening the book, he immediately realized this. What is it.

"Yes, it is indeed true. The bronze palace we are looking for is indeed here. In addition to the dismantled palace, there are also a series of other cultural relics from China stored in the warehouse."

This book was obviously intended to be left to his heir by the major, so it was written very clearly. In addition to a detailed list of the contents of the warehouse, it also contained the ins and outs of the whole thing.

According to the contents of this record, the major found a batch of Japanese treasures while serving in Korea and Japan, and then used his power to transport those things back to the United States.

Of course, judging from the major's tone, his method of eliciting information from the Japanese was definitely not very humanitarian, but that was what those devils deserved.

According to the records, the major encountered problems after acquiring a large number of treasures. Because most of those treasures were historically important, there was no way to take action.

This is not to say that these European and American countries are so kind and just that they want to return these things to their owners, but that they will directly snatch these things from the major's hands and make them their own.

So in the next few decades, the major hid these things and looked forward to time to smooth it all away. Now it seems that his plan should be very good.

Because as time goes by, most of the cultural relics looted during World War II have been laundered, which means that they can be regenerated into various values.

It was a pity that the major was old and no longer needed the money, so he decided to leave all these things to his nephew who was the heir.

Therefore, he made a series of preparations, such as moving most of the things here a few years in advance and gradually abandoning the base, and finally left the generator and these books for his heirs to receive.

Of course, the landslide marks left by the blasts at the door were also left by the major. He believed that such blasts would prevent some curious adventurers from finding the things he left behind.

"This will explain everything clearly. It's just that what he probably didn't expect was that he died so quickly that he didn't tell his heir the most critical part."

After reading the contents recorded in the notebook, Liang En finally figured out what happened. As he had guessed before, there was indeed a treasure hidden by the American.

In addition to the famous Zongjing Pavilion, there are also a number of works of art made of copper, stone, ceramics or wood, including exquisite statues and stone carvings engraved with text. Most of them are related to religion, but a few are not. .

For example, Liang En found a square epitaph and a very exquisite brick carving painted with gold foil. Although he didn't know the specific condition of these things, he could feel from the words that these things were anything but ordinary. .

This can also be seen that the Japanese plunder is indeed extremely organized, because under normal circumstances, ordinary invaders tend to choose valuable and easy-to-take away things such as banknotes or precious metals when plundering.

"Look, these should be the boxes containing the construction parts of Zongjing Pavilion." Just as Liang En was checking the words on the stone tablet with the light of a flashlight, Jeanne suddenly stood up and waved to him.

Next to her feet was a wooden box that had just been opened. Inside were oil paper packages one after another. One of the oil paper packages was opened and placed on top of other oil packages. Inside was a palm-sized bronze piece. .

After careful inspection, Liang En discovered that this thing was a piece of bronze tile. This copper tile was triangular in shape and had a dragon soaring into the clouds cast inside.

I saw an auspicious bird rising into the sky, surrounded by auspicious clouds and orbs, with a majestic momentum, heroic posture, and extremely strong health. The craftsmanship is exquisite and the details are meticulous.

The dragon scales are clear and the beard and hair needles are visible, which is typical of the craftsmanship of the Qianlong court in the Qing Dynasty. The back is engraved with "Top, back, second from left", which should be the position it was placed during assembly.

The most important thing is that this copper tile is surprisingly similar to the copper tile of Baoyun Pavilion in both decoration and shape. This also allowed Liang En to successfully confirm that this thing is indeed the copper tile of Zongjing Pavilion.

After opening the other boxes one by one, he discovered that the pile of boxes occupying most of the entire warehouse contained various building components made of bronze.

"Good news, it seems we didn't find the wrong place." After feeling the card reminder appear in his mind, Liang En nodded with satisfaction, because this meant that his search work was a great success.

But if we really want to talk about value, the real treasures are contained in the constant temperature and humidity safes at the end of the warehouse: the entire safe is stuffed full of ancient Chinese calligraphy and painting works.

After briefly looking through it, Liang En was sure that all the items contained there were fine works, including works by a series of famous calligraphy and painting masters such as Liang Kai, Li Di, and Huang Tingjian.

The contents of the other box were even more precious, because there were more than a dozen pieces of bronze ware inside, although he was not very familiar with bronze ware due to various reasons.

But based on the overall condition of these bronzes, especially the degree of rust and the exquisiteness of the various patterns on them, he judged that these items should most likely be of truly top quality.

In the appraisal of bronzes, the more exquisite the patterns on the bronzes of the same period, the higher the value, because the more difficult it is to make the more exquisite bronzes, and the requirements for the level of the maker and the energy consumed by the maker are very high.

For example, the ritual vessels used for sacrifices in ancient times were very exquisite, even today they are amazing, but some tools or weapons are obviously much rougher.

As for the degree of rust of bronze ware, it is related to metal smelting. The higher the smelting level, the more scientific the proportion of bronze, the fewer impurities, and the less likely it is to rust. The opposite is true for rough bronze ware.

And now the reason why Liang En judged that the bronzes in front of him were all top quality was based on this theory, because not only were these bronzes exquisitely made, but they also didn't have much rust, so they were obviously truly high-quality products.

From a certain perspective, those Japanese are indeed good students of the Chinese people. For example, the Japanese have the highest appreciation level among the Chinese people for things with very strong national styles.

So if you want to pick up this kind of thing, it is very possible to find it in Europe and the United States, but it is basically impossible to find it in Japan. And this American major was very lucky to catch all the cultural relics that the Japanese plundered from China.