Chapter 850 Chinese National Treasures in the Toyokan

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The East Asia Pavilion of the Tokyo National Museum is also called the East Asia Pavilion by the Japanese, but later, considering that the East Asia was mainly the name of the World War II period, the name was not very pleasant, so the Japanese changed the name to the East Asia Pavilion, but in fact The Japanese have always used to call it the Toyokan, in memory of their ‘glorious days’ in the past.

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The Toyokan is the second largest exhibition hall in the Tokyo National Museum after the Toyokan. There are ten exhibition halls in it, mainly displaying cultural relics from Southeast Asia, West Asia, and China and the Korean Peninsula.

Among them, Chinese cultural relics are the most abundant and precious. There are ten exhibition halls in this Oriental Museum, but five exhibition halls display cultural relics from China. This shows the proportion of Chinese cultural relics in this exhibition hall. .

Moreover, several of these Chinese cultural relics are regarded as Japanese national treasures by the Japanese themselves, which shows the importance of these Chinese cultural relics to the Japanese.

When Jin Muchen came to visit before, he focused on those Chinese cultural relics, so this time he entered the exhibition hall and went straight to the following exhibition halls.

The first stop is the exhibition hall that mainly displays paintings. In this exhibition hall, there are hundreds of paintings from various historical periods in China. Although I dare not say that they are all fine, these paintings are also extremely the representative kind.

And among these paintings, four are regarded as national treasures by the Japanese, which shows the importance of these paintings.

Jin Muchen entered this exhibition hall and went straight to the front of the paintings that were regarded as national treasures by the Japanese. The first one he faced was the “Red and White Lotus” by Li Di.

The name of this painting sounds like a painting, but it is actually composed of two paintings, one of which is red hibiscus and one of white hibiscus, which belong to the color painting on silk. The ultimate masterpiece.

This kind of evaluation is not made by the Japanese. We Chinese made it by ourselves. The reason is very simple, because this Li Di is not only a famous painter, but also a famous loyal and good general in the Northern Song Dynasty, so his handed down works are very popular among those literati and poets.

Therefore, he has many handed down works, all of which were collected by the literati and pokers of various eras in his later period. The more people have collected, the more likely they will have a conclusion to evaluate his works. The only accepted conclusion that was drawn later was that this “Red and White Hibiscus” had the highest artistic achievement. During the Qing Dynasty, this “Red and White Hibiscus” was collected by the Yuanmingyuan.

Later, the British and French forces robbed the Yuanmingyuan. Fortunately, this work was not robbed, but was lost outside the palace. It is a pity that after the Beiqing Incident, this masterpiece still failed to escape the clutches of the Japanese. Captured by the Japanese and brought to Japan.

It has been hidden for decades, for fear that the Chinese government will beg the famous painting to return to China. Later, the relationship between the two countries has not been very good in recent years. It was taken to the Tokyo National Museum for display, and it was very shameless to regard this painting as an important national treasure of Japan. In fact, the purpose is nothing more than to stimulate the sensitive nerves of the Chinese people.

Speaking of Li Di, many people may not have heard much about it, but after seeing the painting that day, Jin Muchen went back and checked the background of this person carefully. Only after this investigation did he realize that he was not just one person. painter. Or a very famous loyal and virtuous minister in the Northern Song Dynasty.

Li Di was born in 971 AD in the fourth year of Emperor Taizu’s reign in the Song Dynasty. His family lived in Zhao County for generations, and later moved to Youzhou.

His great-grandfather, Li Zaiqin, moved to Puzhou, which is now Juancheng, Shandong, in order to escape the wars of the Five Dynasties.

Li Di has a profound and stable personality, and is talented and learned. He once brought his own articles to meet Liu Kai. Liu Kai thought he was a prodigy, and said: “It’s a talent of public assistance.”

In the second year of Jingde’s reign of Emperor Zhenzong of the Song Dynasty, in 1005 AD, Li Dizhong was the first scholar in the first class and the first scholar. After winning the championship, Li Di was appointed as a general supervisor, and served as a judge in Xuzhou and Yanzhou.

In the first year of Dazhong Xiangfu in 1008 AD, when Zhenzong carried out Taishan Fengchan, Li Di was appointed as the general judge of Yanzhou, but he was demoted to Haizhou tax supervisor due to the improper dispatch of the scholars to Kaifeng. The governor of Yunzhou was summoned to the court again, and he was ordered to picket the prison case. He was promoted to the housekeeper to appease Jiangzhou and Huaizhou.

At that time, Zhenzong heard that the thieves were rampant in Bozhou, so he asked Li Di to become the prefect of Bozhou.

So he added an official and a nobility, became a doctor of right counseling, a bachelor of Jixian Academy, and was in charge of the Yongxing Army. At that time, there was a side commander Cao Wei, and Shangshu asked for more troops to strengthen the defense. Zhenzong thought this man was very cowardly and wanted to chop his head off.

Li Di fought hard for this Cao Wei, saying that he was brave and resourceful, a loyal minister and a good general, and he would surely be able to make a victory at the frontier, and it was fulfilled later.

After Renzong was established as the crown prince, Kou Zhun was framed by the traitor Ding Wei as his prime minister. Zhenzong wanted to use Li Di as his prime minister, but Li Dijian refused. Zhenzong appointed Li Di as the minister of the Ministry of Personnel and the young master of the crown prince.

At that time, Ding Wei had the power to rule out his opponents. Li Di was dismissed as prime minister and became the prefect of Yunzhou, where he was almost persecuted to death.

History says that at this time, “the people in the DPRK are just empty”, and there is even such a legend among the people: “If you want to get peace in the world, you must remove the thorn in your eyes; if you want to get the world well, you must call Kou Lao.”

Later, Ding Wei collapsed, Wang Zeng became the prime minister, and Li Diqifu became the secretary and supervisor, and went to Shuzhou to be the prefect. The Empress Dowager died of illness, and the court re-called Li Di as a Bachelor of Senior Minister, and sentenced Shangshu to the province. Soon after, he went to Pingzhangshi and Jixiandian University scholar under the door of Tongzhong Shumen.

In the middle period of Jingyou, Li Di was framed by Lu Yijian, dismissed as Minister of Punishment, and went to Bozhou to be the prefect. At that time, Yuan Hao attacked Yanzhou, and the Song army suffered heavy losses. Li Di asked himself to guard the border, but Renzong refused, and ordered Li Di to be the Jiedu envoy of the Zhangxin Army, to know the Tianxiong Army, and to transfer the knowledge of Qingzhou.

The following year, stationed in the town, Li Di asked the old man to return to his hometown.

On November 1, 1047, Li Di died of illness at home at the age of seventy-seven. Renzong posthumously awarded Li Di as Sikong and Shizhong, with the posthumous title of “Wen Ding”, and personally inscribed his tombstone as “The Stele of the Legacy”. The township of Denghou, where he was buried, was changed to the “Zhizhi Township”.

This is the life of the famous painter Li Di. According to his life, in fact, he was only a part-time painter. His main job was actually a politician.

But his life can be said to be very successful, not only the ups and downs of the Huanhai Sea, but the ups and downs, but the final result is not bad, and the reputation among the people is also very good, and finally he has a good reputation as a loyal minister.

Such a life has added a lot to his paintings.

In addition, his “Red and White Hibiscus Picture” is really of high quality. He painted one red and white hibiscus each. In terms of line drawing skills, he has the spirit of Huang Quan’s painting style.

In addition, the description of the pictures and images is extremely realistic, which is a very rare style in Chinese history. The brush is also very particular. The strokes are slender and the color layers are subtle, which makes this red and white hibiscus interesting and makes perfect use of the remaining white picture space. , which also makes the works of conquest appear more natural and quiet.

Such vigorous and unique flower and bird paintings are rare in the history of ancient Chinese painting, let alone such fine works?

Coupled with the collection of celebrities of all dynasties, and the collection of Yuanmingyuan, it has improved the net worth of this painting a lot, so the Japanese devils rated this painting as a national treasure of Japan, and they are considered to be discerning.

It’s just that today, this Japanese national treasure is about to go home, to the place where he originally belonged, not to be desecrated by these Japanese devils in this foreign country.

The defense of this painting can be said to be very strict, with a thick glass cover, as well as titanium alloy iron wires, plus a number of various types of detectors, cameras and so on.

However, when the power supply was cut off, Jin Muchen couldn’t help these electronic monitoring devices. He smashed the glass cover and cut off the wire, and soon this famous painting was taken into his pocket.

Jin Muchen didn’t stop too much, but continued to move forward. The next picture is also a famous painting that was rated as a Japanese national treasure by the Japanese.

This painting is Li Sheng’s “Xiaoxiang Reclining Tour Scroll”. The “Xiaoxiang Reclining Tour Scroll” displayed in the Tokyo National Museum is actually only a part of the original painting, which is about 30 centimeters long. Only thirty-three centimeters wide.

The author of this painting was not actually called Li Sheng, but originally a scholar surnamed Li, but because he was not well-known when he painted this painting, no one recorded his real name.

And like those sad Western painters, after this scholar Li created this painting, his works did not immediately attract people’s attention at that time.

It was not until after ~www.readmtl.com~ that he had died for an unknown number of years, his paintings were collected by literati poets of all dynasties, and finally flowed into the court of the Qing Dynasty, which attracted people’s attention.

Many people regard this “Xiaoxiang Lying Tour Picture Scroll” as a masterpiece of a grand masterpiece, and its artistic value is extremely high, but when they want to find out who the author of the painting was, they have no way of verifying it.

And even if I try to find out if there are any other works by Li, it is simply an impossible task.

It is very likely that this scholar from the Li family was full of self-confidence when he originally created this picture scroll.

But then I thought that after the painting was completed, I found that it didn’t attract other people’s attention at all, so I ended up depressed and left no other works. (To be continued.)

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