Although gold has a strong visual impact, Xiao Yao prefers these antique artworks in the treasure.

After the divine sense probed, Xiao Yao already had a general understanding of the collections in these wooden boxes. Those ordinary antique relics are not very attractive to Xiao Yao, and only those rare national treasure-level antique artworks can make him interested.

Next, he no longer opened all the wooden boxes, he just wanted to personally appreciate those treasures and antiques, for those more ordinary antique artworks, he was not ready to sort them out one by one, space is the best place to store, when there will be time in the future, when it is not too late to slowly tidy up.

He then opened three wooden boxes in succession, each of which contained a separate item.

These three items are all jade carved Buddha statues, one black jade Buddha statue, one white jade Buddha statue, and one topaz Buddha statue.

In his wandering exploration, these three Buddha statues should be one of the most valuable individual items in this batch of treasures.

The first black jade Buddha statue, about one meter high, is carved from black jade.

This is a Buddha statue of a burning lamp, the Buddha statue is tall, the headdress is ornamented with snails, the arrangement is regular, the flesh bun is round and high and convex, the top is decorated with Mani beads, the forehead is flat, the cheeks are plump, the nose is short and the front is triangular pyramidal.

This jade Buddha statue, the lines are concise and clear, the facial features are clearly depicted, the hands are applied to the chest, the legs are knotted and sitting, the depiction of the limbs is soft and delicate, the shape is dignified and generous, and the proportion structure is accurate.

This lamp-burning Buddha shows a strong style of Western * statues, and its temperament changes the sense of auspiciousness and elegance in the Han statues, and injects a strong and heroic atmosphere into the image of the Buddha, which is a typical example of the Qianlong court.

Judging from the style, this should be a jade Buddha statue in the Qianlong court.

Among the jade carved Buddha statues in the Qianlong court, the statues of the Buddha in the past were very rare.

The "Buddha of the past" is the Buddha who burned the lamp, the Buddha before Shakyamuni, and there are many legends about the Buddha who burned the lamp. In the Buddhist scriptures, it is recorded that when the Buddha was born, everything around him was as bright as a lamp, so it was called the Buddha of the Lamp.

In the Buddhist scriptures, a universe from birth to extinction is called a "great tribulation", the present life where Shakyamuni is located, that is, the present calamity, is called the "virtuous tribulation", and the burning lamp Buddha is the Buddha of the "solemn tribulation" before the virtuous tribulation.

The Buddha of the Burning Lamp once predicted that the predecessor of Shakyamuni would become a Buddha in the virtuous tribulation and gave him a memory, so the Buddha of the Burning Lamp is also known as the "Buddha of the past".

The craftsmanship of this Buddha statue is exquisite, and it is definitely the work of a top master. The artistic achievements of this Buddha statue are high, but for this jade Buddha, such top-notch carving skills are only the icing on the cake.

The reason why I say this is because the value of the material of this Buddha statue itself is already invaluable, and it is a rare treasure even if it is not carved.

Like this top-grade Hetian ink jade, even if it is a fist-sized piece, it is a rare treasure, and the top-grade Hetian ink jade with a height of one meter is simply incalculable.

Even if it is conservatively estimated, the value of this black jade Buddha statue will not be less than 1 billion yuan.

The second white jade Buddha statue is similar in size to the previous black jade lamp Buddha statue, and the whole body is carved with high-quality Hetian white jade.

This statue of Venerable Vajaravodoro is dressed in a broad-necked monk's robe, with his legs crossed and seated on a lotus, holding floating dust, his neck is adorned with a beautiful face, his eyes are lowered, and he looks demure and elegant, compassionate and tolerant.

Vajraputra, the eighteen arhats ranked fifth, is the transliteration of the Sanskrit word Vajraputra, and the 1,100 arhats of his dependents guard the Dharma, which is the fruit of the immortal and incorruptible Vajra.

His Holiness Vajaravofdora meditates all day long, immovable, erudite and memorized, well-versed in scriptures, and hears and meditates, and his great mana is highly regarded by the devotees.

In addition to the softness of the fabric and the agility of the beads, the depiction of the face and hands is realistic, reflecting the craftsman's superb jade carving skills.

Analyzing its artistic style, Xiao Yao can conclude that this graceful and gorgeous jade carved Buddha statue is a typical work of the Yuan Dynasty court "Sanskrit Statue Lifting Division".

In the twelfth year of the Yuan Dynasty, the Ministry of Industry of the Yuan Dynasty began to set up the "General Administration of Craftsmen of All Colors", and the "Fanxiang Bureau" and other eighteen bureaus, and was managed by the Nepalese artist Anigo, who was in charge of the palace for the production of statues.

Therefore, this jade carving combines a variety of style elements of Nun, Tibetan and Han dynasties, which is unique and has also had a profound impact on the court statues of the Ming Dynasty.

Combined with this work, the facial shape and clothing reflect a distinct Han Central Plains style, while the shape of the rosette, especially the beaded ornament with a prominent edge, is clearly an artistic feature from the Himalayan region.

To prove this, a jade statue of Manjushri in the old collection of the Qing Palace can be used as evidence. The back cover is engraved with an inscription: "Worship the Buddha Gao Quanxin family, sacrifice wealth to build a statue of Manjushri, repay the kindness of parents, and all sentient beings will become Buddhas together." The diary of the fifteenth day of the ninth year of Dade".

This work, which is widely regarded as the standard of jade statues in Yuan Dadu, has a high degree of consistency with this statue in terms of overall style, casting process and materials.

Comparing with another jade statue of Shakyamuni in the Capital Museum, which is also considered to be a work of the Yuan court, it can be found that the facial shape of this statue and this statue show obvious "sinicization" characteristics, and the style of the rosette is derived from the statue art of the Himalayan region.

In addition, the vajra placed horizontally in front of the statue of Shakya also proves its esoteric attributes. This hybrid art style is also the biggest charm of the statue of the "Brahma Statue Lifting Division".

The jade quality of this white jade statue is slightly better than that of the previous black jade statue, and it is an extremely rare inheritance jade carving in the Yuan Dynasty, and the overall value is much higher than that of the previous black jade statue.

Xiao Yao's valuation of this white jade statue is at least 1.3 billion yuan, and this white jade statue can definitely be regarded as a heavy treasure.

The third jade carving of Green Tara is carved from Hetian topaz as a whole, and the shape is slightly smaller than the previous two, but the jade quality is the best of the three Buddha statues.

Green Tara is one of the 21 Kalmuddha Mothers, named after her color, and is revered as a rescuer who can miraculously save suffering beings, and is also the most common and active of the manifested Tara.

The scriptures say that the twenty-one tarmas are all manifested by the tears of Guanyin Bodhisattva to help the Bodhisattva relieve all kinds of suffering. In the "Origin of Tara", it is said that Green Tara can save eight kinds of suffering, such as lion difficulty, elephant difficulty, snake disaster, water disaster, fire disaster, prison disaster and non-human suffering, so it is also called the mother of eight difficulties.

This Qing Yongzheng Hetian topaz green tara statue is a typical Duolunoer statue style. Green Tara's precise proportions and rounded face are typical of Mongolia's unique character figures, and the aesthetic taste of Tibet and the Central Plains is combined to create this beautiful statue of Green Tara like a young woman.

Its lotus base is wide and heavy, the lotus petals are three-layered, slender and straight, full and powerful, the edge of the lotus platform is also decorated with three layers of uniform beads, the carving process is extremely exquisite, similar statues can refer to a Tibetan 17th-century green tara jade statue now in the Andalio Museum in Canada.

Ordinary people may not have heard of the name Green Tara, but the belief in Green Tara is very popular in Tibetan Buddhism, and the statue of this theme is the most beautiful type of Tibetan Buddhist statue.

Because of its flexible posture of sitting or standing, Green Tara is the most likely to vividly reflect the graceful and graceful posture of the female figure, and this jade carving is vividly displayed in this point, which can be described as a typical example.

Similar jade carvings are rare in the world, and such a large Tara jade carving is the only one.

Taking into account various factors, Xiao Yao's estimate of this jade sculpture is 1.2 billion yuan, slightly lower than the previous white jade statue.

These three jade carvings alone are already rare treasures, because the size of the vessel is close, and they are carved from Hetian white jade, Hetian topaz and Hetian ink jade, and the three jade carvings appear in the sight at the same time, which is more shocking.

After appreciating it repeatedly for a long time, Xiao Yao opened the next wooden box again.

In the next wooden box is still a Buddha statue, but it is a Buddha statue made of pure gold.

This Buddha statue is very large, one meter tall, and its body shape looks like a real person.

Shakyamuni Buddha is the most frequently represented subject in Buddhist art, and Shakyamuni Buddha is the most popular Buddha form in East India, Nepal and central Tibet.

No matter how much history has changed, no matter how many times it has been rebuilt and reinstalled, this image is one of the most sacred images of the Buddha.

This is because Bodhgaya in Bihar, East India, is the place where Shakyamuni Buddha attained enlightenment, and the stone pedestal, the Bodhi tree and the large Bodhi pagoda built during the Gupta period are the objects of worship by Buddhists all over the world, and the statue of Shakyamuni Buddha is enshrined in the pagoda.

This pure gold Buddha statue is wearing a robe, exposing the right shoulder, and the upper and lower layers of the robe are stacked and wrinkled. The placket of the robe is decorated with two rows of silver welding beads, with a yin carved pattern between them.

The Buddha sat on his knees, his right hand hanging down to touch the ground, and his left hand performing meditation seals.

His eyes were downcast, his eyebrows were inlaid with turquoise, his lips were slightly smiling, and his expression was solemn and kind. The bun is crowned with gilt copper orbs. The storage plate was unopened, and the lotus pattern was engraved on it.

This is one of the most sacred images of the Buddha and the best choice for devotees to ask for holy relics.

As a long tradition, pilgrimage began to take shape after Shakyamuni's Nirvana, and the content of pilgrimage mainly includes prostrations and respectful relics.

Due to the proximity of Bihar to Nir and central Tibet, Shakyamuni Buddha Shakyamuni became the best choice for Buddha statues in this region.

Gilt Buddha statues are more common in Ni*r statues, and pure gold Buddha statues are difficult to see, and pure gold Buddha statues like this life-size Buddha statue are even more rare.

This pure gold statue of Shakyamuni Buddha is very different from the thin and bright gilt effect of the Ni*r statue.

The Buddha has a wide forehead, in the shape of an arc, and the white is represented by inlaid turquoise.

The eyebrows are lightly raised, the eyes are lowered, in a state of meditation, the bridge of the nose is straight, the lips are slightly pursed and smiling, the middle part of the chin has a significant bulge, the earlobes are obviously elongated and drooping, and there are three auspicious lines on the neck, all of which are one of the characteristics of the Buddha.

The Buddha's hair bun is a high snail hair, densely arranged, painted blue, mostly made of lapis lazuli mixed with animal glue, in line with the characteristics of the Buddha's blue snail hair described in the Buddhist scriptures.

There are gilded buns on the bun, which are embellished on the bun, which is very eye-catching.

The Nepalese features of this statue are most prominent on the face: for example, the forehead is wide and the chin is narrow, the eyes are pod-shaped, the eyebrows are lightly raised, the expression is soft, and the demeanor is natural and elegant, like the image of a young nobleman.

However, its white hair is made of turquoise, and the protruding part in the middle of the chin is more abrupt, which shows the aesthetic characteristics of the West.

The Buddha's broad shoulders and thick back and protruding pectoral muscles are new characteristics of Nepalese art after the influence of the West.

This feature is quite similar to the Thangka of the Phags-pa statue preserved in the Xi* Museum and the five-sided Buddha statue in the mural painting of the rhinoceros leather hall of the Shalu Temple.

Both are dated to the first half of the 14th century, which is the main basis for dating the statue.

As we all know, the Buddha wears Futian clothes, also known as Baiqu clothes, which is the Buddhist tradition of the Han region.

Buddha through the shoulder type Futian robe, the placket and the cloth between the performance of the stitching is expressed with beads, obviously highlighting the surface of the Buddha, which is very unique, should be a manifestation of the craftsman's obvious change and innovation, both the front of the body and the back are completely made of Seiko, which is the characteristics of the Tibetan statue, and the Ni * statue does not pay much attention to the processing behind the situation is obviously different.

After the Han Dynasty invented this kind of robe, it spread westward with the Song and Yuan dynasties, affecting Tibet. Although the Tibetan monks also do not wear Futian clothes, they appear from time to time in Buddhist statues in the late Yuan Dynasty and early Ming Dynasty. This image is one of the most important examples.

The Buddha statue was originally cast separately from the statue base, and it was also to reduce the difficulty of casting, and it was easy to separate in the process of circulation, which is the case with this statue.

In short, this is a pure gold statue with a strong Nepali-Tibetan style, which is in complete condition, the casting level is quite mature, and the workmanship is exquisite.

Xiao Yao can conclude from this that this golden statue is an important representative work of the early 14th century in the Middle Ages.

Compared with the three jade carved Buddha statues in front, this huge pure gold Buddha statue is obviously of higher value.

Xiao Yao's estimate of this pure gold Buddha statue is as low as 1.5 billion yuan.

Such a pure gold Buddha statue with deep divinity is definitely the holy object that the majority of believers are most eager to get, as long as the funds allow, the true believers will definitely invite this Buddha statue home at no cost.

In addition to these four Buddha statues, there is one item that Xiao Yao is most concerned about.

The next wooden box opened, and in front of him was a guqin.

Xiao Yao's divine sense had already roughly seen this guqin, and this guqin was the most popular item among the entire treasure.

Now that he finally has time to appreciate it, Xiao Yao went to the guqin to play carefully.