A treasure-appraisal maniac

Seeing this statue of the God of Wealth, Xu Jianye exclaimed: Isn't this the painting that the young man wanted to sell just now? Why did you buy it?

Lu Fei chuckled.

I'm going to change my career recently and open a noodle restaurant on Lingbao Street. It just so happens that I'm short of a God of Wealth, so I invited him back.

Everyone of you gentlemen here, don't forget to go to Lingbao Street to support me!

After Lu Fei said that, he rolled up the scroll and took Chen Xiang with him and prepared to leave.

But how could these old guys, who were even smarter than the Monkey King, let Lu Fei go like this?

The veterans, who usually suffer from sore waists and legs, and confused heads, now have a collective small universe bursting out.

People blocked the door, people grabbed the pictures, and a few old immortals just lay on the ground and hugged Lu Fei's thighs.

You can leave if you want, I give you two options.

First explain the meaning of this painting clearly.

The second step directly on our corpses.

Your fucking grandson is a master who has no treasure and cannot move. If you ask this painting to be put back in the store for worship, whoever believes this nonsense is a fool.

Zhao Qingfeng has said that your son-in-law, Bao Fei, has a criminal record.

A few days ago, I brought back the plum vase from the girl from Northeast China. It is a priceless and unique treasure.

Do you want to leave without explaining clearly?

There is no way!

No matter how Lu Fei explained, it was of no use. The old guys who usually fought against each other were united and united to the outside world, and they absolutely adhered to their principles.

Chen Xiang likes to watch the moment when Lu Fei reveals the secret the most, so her beautiful eyes are filled with brilliance.

Lu Fei was forced by them to have no choice but to turn back.

It's fine if you ask me, but you old guys have to keep your mind at ease.

If anyone gets excited and belches his hair, I, Lu Fei, will not be held responsible.

The veterans, who are thousands of years old in total, are like good babies, nodding their heads to please endlessly.

Lu Fei smiled contemptuously and turned the scroll

Re-expand.

Then in front of everyone, he grabbed a corner of the portrait of the God of Wealth and gently rubbed it.

This action would be absolutely confusing to outsiders.

But except for Chen Xiang, everyone here is an experienced driver in this industry, and everyone immediately realized it.

Painting within painting, or silk?

Damn, this is awesome!

Shut up, everyone. If anyone keeps competing, get out of here.

Lu Fei scolded, and the old guys collectively stopped talking.

After a few rubs, the raw material of the God of Wealth statue slowly opened a corner, and everyone saw the thin and yellowed silk under the drawing paper.

Silk refers to silk fiber cloth, and all the silk and satin mentioned in ancient times belong to silk.

Most of the powerful painters and calligraphers in ancient times chose silk instead of paper when creating their works, because silk is easier to preserve and can be passed down to future generations.

On the contrary, almost all those who could afford silk were famous people or royal families.

So when old people saw the silk book, their palms became sweaty with excitement, and their old hearts beat wildly uncontrollably.

A few old guys even secretly took out the quick-acting Jiuxin Pills and ate them.

Lu Fei pinched the corner of the paper and violently tore it open. Don't worry, the silk is tough enough and will never be harmed.

Lu Fei tore it three times in succession, and two seals of appreciation appeared in the upper left corner.

Note that only the emperor's seal dares to be called Xi.

One of the two seals belongs to Jiaqing, and the other belongs to Qianlong, the madman who stamped it with me.

This seal is the Sanxitang Jianxi most commonly used by Emperor Qianlong.

Seeing these two Fang Jianxi, the veterans began to breathe heavily.

Lu Fei's hands kept tearing at each other without stopping.

, one after another, Jianxi seals appeared one after another.

Jiaqing's, Qianlong's, Kangxi's, each seal represents an era.

Immediately after the Qing Dynasty, there were the Ming Dynasty, Wanli, Xuande, and Yongle. This shows that this work can be traced back to the Yongle period of the Ming Dynasty at least. This makes old people not excited!

Then he tore it apart again, and finally saw a corner of the painting, which was still made of silk with color and cinnabar as background. Now the veterans cheered excitedly, having already forgotten Lu Fei's warning.

Not to mention the old guys, Lu Fei was also very excited at this time.

Lu Fei kept tearing at each other, and the cheers of the veterans waxed and waned.

yeah!

good!

Mom!

A few minutes later, the cheers of the old guys suddenly stopped. They were as motionless as wood carvings and clay sculptures. If it weren't for the sound of Lu Fei tearing, Chen Xiang would have thought the air had solidified.

Chen Xiang, a cultural relic idiot, wouldn't understand. The old guys were already dumbfounded in shock.

Ten minutes later, Lu Fei stopped and stared at the amazing work in front of him without blinking.

There are seventeen seals in total, the latest one is from Jiaqing, and the earliest one is from Emperor Xuanzong of Tang Dynasty Li Longji.

In addition, there are eleven famous seals, occupying more than 70% of the blank space.

The picture is also a portrait of a human being, and the cinnabar color is as bright as blood.

This man has a red face, a curly beard, a leopard head and eyes, and a hideous and terrifying face.

Wearing a No. 1 Scholar crown and a bright red No. 1 Scholar robe, he carries the Demon-Conquering Sword slanted over his shoulder, holding an umbrella in his left hand and a folding fan in his right hand.

The folding fan is opened, and four big characters Tianshi Zhongkui are written on it.

On the right side of the portrait is the inscription Wu Daozi's pen from Chang'an on the ninth day of the seventh lunar month in the year of Guiwei, and there is a seal of Wu Daozi at the bottom.

Look at this painting clearly,

Lu Fei was so excited that he even forgot to smoke the lit cigarette. This painting was too shocking to Lu Fei who had lived in two generations.

It’s not like Wu Daozi had never painted Lu Fei before, but this was his first time painting a giant silk painting.

Wu Daozi's reputation is well known to the world. In modern terms, Wu Daozi is an all-round painter. He can do everything including figures, ghosts and gods, landscapes, pavilions, flowers and trees, birds and animals, and he is master of everything.

Kaiyuan. The Tianbao period was the peak period of Wu Daozi's painting creation.

Wu Daozi's paintings have a unique personality.

His landscape paintings have a transformative effect. The figures he painted have flowing pleats and strong lines. They are known as water shield strips. They have the effect of flying clothes in the sky and blowing in the wind all over the wall. They are known as Wu Dai Dang style.

He also added light colors to the burnt ink lines, which is known as Wu suit in the world.

The painting lines are concise, the brush strokes are only one or two, and the images are already in response, which is known as sparse style. Wu Daozi's paintings had a great influence on later generations. He is respected as the Sage of Painting by us and as the ancestor by folk painters.

Su Shi once praised his art as creating new ideas in the law and embodying good principles beyond the arrogance.

The bearded Su Dongpo said in his article Books about Wu Daozi's Paintings: The poems are due to Du Zimei, the writings are to Han Tuizhi, the writings are to Yan Lugong, and the paintings are to Wu Daozi. But the changes in ancient and modern times have been accomplished by the whole country!

This shows how much influence this experienced genius had on later generations of calligraphy and painting.

In modern times, none of Wu Daozi's authentic works has a figure lower than eight digits.

Even Lu Fei didn't dare to put a price on the Zhong Kui Picture in front of him, because in Lu Fei's eyes, it was a priceless treasure.

Wu Daozi's huge silk-color portrait cannot even be afforded by the National Museum of Art or the National Museum of China.

There is a small-scale portrait of Zhong Kui in Baodao Gubo, but unfortunately that portrait is incomplete. This one can be said to be the most impressive original silk painting by Wu Daozi so far.

This painting will become his second collection after the Tang Ying Cloisonné Enamel Vase, and will never be sold.