Chapter 852 National Treasure Comes Home (2)

These four famous Chinese paintings, which were regarded as national treasures by the Japanese, finally returned home.

Jin Muchen can be considered to have completed part of the most important task today, but there are still many good things in this exhibition hall waiting for him to discover and save.

I believe that if our ancestors in China have spirits in the sky, we don’t want their masterpieces to fall into the museum of Japan, a blood-stained enemy with China, for the descendants of these beasts to watch and blaspheme.

In this exhibition hall of ancient Chinese calligraphy and paintings, there are not only these four famous Chinese paintings, but also many works by other well-known painters and calligraphers.

For example, Ma Yuan’s “Dongshan Crossing the Water” in the Southern Song Dynasty, Zhu Duan’s “Lonely Fishing in the Cold River” in the Ming Dynasty, Zhao Zhiqian’s “Flowers” in the Qing Dynasty, Ding Yefu’s “Youxi Listening to the Spring”, Song Huizong’s “Duck” , Li Di’s “Dragonfly and Flower Beaver” and other famous masterpieces.

These paintings are all made by famous Chinese dynasties and recorded names and surnames. The reason why they are not regarded as national treasures by the Japanese is only because there are many masterpieces handed down by these famous masters and they are widely circulated.

These famous paintings collected by the Tokyo National Museum cannot be regarded as the top masterpieces among the handed down works of these famous masters, so they are not rated as Japanese national treasures.

But when it comes to artistic value and collection value, the value of these famous masterpieces is also very high.

In addition, there are many works of Chinese painters who did not leave their names in ancient times. Such paintings are often only marked with the age, but in terms of the author’s name, they can only be marked with anonymous words.

Jin Muchen had seen many such paintings when he sacked the Boston Museum of Art.

Although the authors of these paintings are not well-known, their artistic attainments cannot be ignored. Being able to be collected and exhibited by these top international museums is enough to demonstrate the artistic foundation of these paintings.

Therefore, Jin Muchen did not let go of such paintings, and all of them were included in the bag.

Soon in this painting exhibition hall, all paintings that Jin Muchen liked. Almost everything was in his pocket.

In fact, Jin Muchen wanted to take away all the paintings here.

When I was at the Museum of Fine Arts in Boston last time, I saw so many paintings by famous ancient Chinese artists, and Jin Muchen wanted to take them away. Unfortunately, because there were too many paintings by famous Chinese artists on display at the Museum of Fine Arts in Boston, they only collected two. There are more than 10,000 pieces, and there are more than 2,000 pieces on display.

Although Jin Muchen wanted to take them all away, unfortunately his purple jade space capacity was really limited. So he could only pick out some boutiques to take away, and this time at the Tokyo National Museum, he encountered the same problem again.

The last time he was at the Boston Museum of Fine Arts, although there were some excellent paintings, he couldn’t take them away. Although he felt a little regretful, it was not particularly strong.

After all, he has taken away the most quintessential painting exhibits, but also Americans and Chinese. There is no direct conflict and grudge in history, although the Americans have indirectly grabbed a lot of benefits through the Japanese war of aggression against China.

But after all, they are not like the Japanese. It left too deep damage to the Chinese, so Jin Muchen’s perception of the gang of robbers in the United States is not bad.

As for the Japanese, Jin Muchen had a deep hatred from the beginning to the end. After all, the Japanese **** made too many crimes in China back then. Absolutely indescribable.

And up to now, they are still not admitting their mistakes, and they have taken the lead in blocking China everywhere, and they are doing it now for the Japanese. Jin Muchen doesn’t want to leave too many good things for the Japanese.

It’s a pity that his purple jade space capacity is limited. It is really impossible to take away all the exhibits in this exhibition hall. Jin Muchen had to reluctantly give up some of the paintings. For those sons and daughters of sons and daughters to profanely watch.

Little Japan, you wait for me, I will be back!

Jin Muchen glanced at the painting left by him unwillingly, and then moved on. This is the first time he has ‘visited’ the Tokyo National Museum. Take it all away.

In terms of painting, he has taken away the most essential paintings, and the rest should be calligraphy.

The calligraphy of Chinese historical celebrities collected in the Tokyo National Museum is not rare.

For example, the famous calligrapher in the late Ming Dynasty, Wang translated the “cursive poetry scroll”, the Ming Dynasty Ni Yuanlu’s “cursive five-character rhythm poetry scroll”, the Qing Dynasty Zheng Banqiao’s “Huaisu Self-narrative Post”, the Ming Dynasty Zhu Yunming’s “Before and After the Teachers List”, the Yuan Dynasty Zhao Mengfu “Xuanmiaoguan Reconstruction of Three Gates”, and other famous copybooks.

And the most precious of these is of course the fragment of Wang Xizhi’s “Thirteen Postscripts to the Orchid Pavilion” copied by Zhao Mengfu in the Yuan Dynasty!

This Zhao Mengfu, anyone who has studied Chinese painting and calligraphy, does not know the name, this guy is a famous calligraphy and painting master in the Yuan Dynasty.

Zhao Mengfu, courtesy name Ziang, number Songxue, and Taoist Songxue, was born in Wuxing, which is today’s Huzhou, Zhejiang.

Moreover, his identity is far more than just painting and calligraphy. He is also the 11th descendant of Song Taizu Zhao Kuangyin and the direct descendant of Qin Wang Zhao Defang.

His life was also quite tragic. He went through the last years of the Southern Song Dynasty, and then the Yuan Dynasty. Later, he once entered the Yuan Dynasty as an official. This shows the **** nature of Chinese Confucian scholars.

To be honest, Jin Muchen thinks that his artistic achievements in calligraphy and painting are absolutely irrefutable, but in terms of his personality, Jin Muchen thinks it is really debatable.

Although Confucian scholars in ancient China were always known for their lack of discipline, they had no limit to kneel and lick the rulers of the previous dynasties. Even if it is the favor of aliens, and then share the world with these alien rulers, they have no psychological barriers.

This was especially evident after the Tang Dynasty, especially after the Song Dynasty promoted literature and suppressed martial arts and castrated the Chinese nation’s martial arts.

The later Ming Dynasty was actually killed by these shameless Confucian scholars.

And those other Confucian scholars can kneel and lick the rulers of Mengyuan, which is understandable. After all, their attributes are always unscrupulous and have no lower limit.

However, as the great-grandson of Song Taizu Zhao Kuangyin, you Zhao Mengfu also shamelessly entered Mengyuan’s court as an official in the end, which makes people feel a bit unreasonable.

You must know that Meng Yuan has killed several generations of your family’s ancestors, and has a hatred of killing your father and taking your wife with your family, but it is not false at all.

They not only robbed your wife, but even your country, but you can still enter the Mongolian Yuan and become an official with peace of mind. This limit can definitely be said to have broken through the sky…

Therefore, Jin Muchen will not comment too much on Zhao Mengfu’s character, anyway, he thinks this person is very spineless.

But aside from his character, his achievements in calligraphy and painting are still quite high, not to mention paintings, he is original, and in terms of calligraphy, he is also one of the most famous people in Chinese history.

Today, the “Thirteen Postscripts to Lanting Pavilion”, which he copied Wang Xizhi, is one of his most outstanding works.

This copybook turned out to be the thirteen paragraphs of postscript written by Zhao Mengfu himself after playing with the original stone rubbing of “Dingwu Lanting”, plus the full text of the “Orchid Pavilion” that he copied.

After he created it, this work became a sensation and was once collected by many literati and poets.

In the Ming Dynasty, it even flowed into the palace for a time, and was collected by the emperor of the Ming Dynasty as the imperial collection of the palace, but unfortunately, it flowed into the people during the war and chaos in the late Ming Dynasty.

Later, in the Qing Dynasty, it was always collected by the literati and poets of the Qing Dynasty. When the emperor Qianlong, who was a mad collector of antiques, Qianlong sent people to the people to look for this work many times, but he never found it.

Later, I finally got a clue. It turned out that this work was actually collected by the famous Confucian Tan Zushou at the time, so those court eagles came to the door and forced him to hand over this treasure.

But this Tan Zushou can be regarded as a Confucian scholar with backbone. This work has been collected by their family for several generations at that time. He cherishes this copybook very much. Although the emperor wants it now, he doesn’t want to take it easy. handed over.

But the imperial court’s eagle grasped too tightly, and in the end, he was in a dilemma, so he could only choose to commit suicide, lest he saw himself hand this copybook to the emperor of Mantar with his own eyes.

But his descendants~www.readmtl.com~ are also very strong-headed. Seeing that the old man was caught by the imperial court’s eagle and forced to death, he turned his head and burned the copybook, and then the imperial court’s eagle caught him. When you come, tell them that unfortunately, the copybook was badly damaged by a natural disaster. After being struck by lightning, it caught fire. Now there are only a few fragments left. You can take it if you want.

Those eagles caught a glimpse of those fragments, and they lost interest immediately, and could only leave in disappointment, and Qianlong also felt extremely regretful about losing such an opportunity to collect Zhao Mengfu’s masterpiece.

You must know that since Wang Xizhi, countless famous calligraphers have copied his “Orchid Pavilion Preface”, but it has never been able to reach the height of Zhao Mengfu.

Although Qianlong lost interest in these fragments, another person still attached great importance to these fragments. This person was Weng Fanggang, a famous calligrapher in the Qing Dynasty.

This Weng Fanggang was a well-known scholar in the imperial court at that time. He used to be a school administrator in eastern Guangdong, Gan province, and Lu province. He was equivalent to the director of the education department of a certain province today, and he belonged to a deputy ministerial cadre.

He was also very sorry after learning that Zhao Mengfu’s “Thirteen Postscripts to Lanting” had been destroyed by natural disasters, but he still insisted that the Tan family accepted these fragments. (To be continued.)