"There are more than a dozen scrolls here, can't they all be like this? Tell me how these paintings came about?"

Zhou Lao pulled out, looked at Zhao Tianming and Gu Jiahua and asked, and the military master and the others also listened attentively, obviously very interested in the origin of these calligraphy and paintings.

"These paintings, all hidden in an unusually tall Guanyin bottle, the Guanyin bottle is a fake, after smashing, I saw these paintings, but I found that Zhao Tianming must have discovered the mystery before. After the things arrived, we went to the underground auction, and we didn't have time to take a closer look. ”

Gu Jiahua also showed great interest in these paintings, in fact, he was a junior in the audience, and it was not easy to grab it from a few old people, so he hadn't taken a good look at it until now.

Zhao Tianming didn't say much, and unfolded the rest of the scrolls one by one.

The first one to show in front of everyone's eyes is the peony picture of Lang Shining, a court painter of the Qing Dynasty, in which various colors of peony are painted in red and purple, the color is bright and saturated, the texture is realistic, the image is full, and it is very rich in three-dimensional sense.

The painter uses flexible lines to express the soft and delicate texture of the petals, stems and leaves, and the breeze blows, and the flowers and leaves roll up, which is extremely vivid.

In addition, the change of color shows the luster and vitality of the sunshine flowers, the full volume of the flower buds and the delicate veins of the leaf petals, all of which show the realistic power of Western light and shadow perspective techniques.

Lang Shining's name, many people have heard, he is an Italian missionary painter, enshrined in the court painting academies of the Kangxi, Yongzheng and Qianlong dynasties, and is one of the top ten painters in the Qing Dynasty.

Lang Shining is good at portraits, flowers, birds, animals, especially horses, among them, he painted "Hundred Horses", the most famous. There are a total of 100 horses in the painting, in different postures, such as standing, running, kneeling, or lying. At the beginning and end of the picture, there are several herders controlling the entire herd, reflecting a harmonious relationship between humans and other creatures in the natural world.

When it comes to Lang Shining's painting skills and influence, the first impression in many people's minds is probably a combination of Chinese and Western. In fact, although his paintings seem to be a combination of Chinese and Western, in fact, the core inside is still Western painting techniques, and the main painting methods are still Western, but according to the aesthetic habits of the Chinese, adjustments have been made on the surface.

For example, Chinese do not like yin and yang faces, Lang Shining makes people's faces receive positive light, and at the same time accentuates the nose, nose, and neck of the characters, so that the facial features appear three-dimensional and clear.

Lang Shining was affirmed and loved by the emperors of the Kangxi, Yongzheng, and Qianlong dynasties, and seemed to be glorious, however, throughout his life, during his fifty years in China, he was confined in the Forbidden City, without personal freedom, and could not carry out missionary activities, let alone return to China, and even wanted to retire, until he died in office at the age of seventy-eight.

Qianlong gave him a very high funeral treatment, but in the "Qing History Manuscript" with a total of more than 500 volumes, the entire description of Lang Shining is only a few short sentences: "Lang Shining, a Westerner." Kangxi is in the middle of the value, and Gaozong is especially rewarding. Famous horses, rare birds, exotic grasses. All of them are lifelike. The color is beautiful, not beyond the reach of Bingzhen and so on. ”

It can be seen that in the emperor's heart, he is not a weighty person, and his love for calligraphy and painting is just a pastime in his spare time.

It can be said that his life is also a tragic figure, and the greatest luck is that he was in the court and escaped the catastrophe under the massacre of foreign missionaries in the third generation of the Qing Dynasty.

Lang Shining's paintings, the value in the market is still very high, especially this one, the painting is exquisite, it can be regarded as a fine work, and it is not a perfunctory work. In the court, he didn't dare to perfunctory anyone, one bad one was the result of the head falling to the ground.

On the inscription of this painting, there is also a collection seal of "Surplus Sanin", and everyone does not care about identifying the authenticity and looks at other paintings.

The second one, which is still a flower picture, is a peony picture by Yun Shouping.

Yun Shouping, a famous calligrapher and painter in the late Ming and early Qing dynasties, created a unique style of painting boneless flowers, and was the founder of the Changzhou School of painting.

He was good at making landscapes at first, but he was humble and powerless to compete with Wang Hui, so he changed to specialize in flowers, and the painting method inherited from Xu Chongsi's boneless method, and participated in his own will, the style was original, and he was the master of flower painting in the Qing Dynasty.

Even Wang Hui said that his paintings have surpassed Chen Chun and Lu Zhi in the Ming Dynasty, which is comparable to the Northern Song Dynasty, and he is highly respected.

Who is Chen Chun? Together with Xu Wei, he is known as Qingteng Baiyang, and he is a generation of flower masters in the Ming Dynasty, which shows that this praise is high.

In the painting, there are various colors of peonies painted with no bone coloring method, and the posture is positive or sideways, and the curve changes. In the bright and bright colors, it exudes a fresh and handsome, elegant and refined temperament, which can be described as strong and elegant, gaudy and vulgar.

The next one, very coincidentally, is actually a peony picture of Chen Chun!

In this regard, everyone has been a little numb, so far, none of these paintings are simple, they are all masterpieces, the truth is not known for the time being, but as long as one or two are true, it is already a bumper harvest, not to mention, everyone knows in their hearts, I am afraid that these works are true!

The two peony pictures are placed together, it can be seen that the styles of the two sides are quite obvious, and the difference is very large.

And Chen Chun's peony picture, although it is also painted, looks light and elegant, full of literati ink rhyme.

Chen Chun, known as Baiyang, also known as Baiyang Shanren, is a representative of the freehand flower painters of the Wu School in the middle of the Ming Dynasty, and in the history of painting, he is called "Qingteng Baiyang" with his wild and unbridled style.

Chen Chun is good at freehand flowers, although his works show a flower and half a leaf, but dripping and sparse, the brushwork is free, rich in sparse and light and healthy style, deeply appreciated by the literati and doctors at that time, is a painter who has made important contributions to the development of ink and wash freehand flower and bird painting after Shen Zhou and Tang Yin.

As a young man, he painted in a primitive way, and was deeply influenced by the freehand style of ink painting. His sketches, with their own sparse and chaotic paintings, can be seen in his existing works in style and brushwork, which can be both let go and contained.

Chen Chun studied under Wen Zhengming and had the highest reputation under his disciples, while Wen Zhengming studied under Shen Zhou, and it can be seen from the style that he was influenced by Shen Zhou's painting method.

In the picture, only one peony is painted, and two flowers bloom, swaying with the breeze, which is very elegant and vivid. The use of the boneless method, the penmanship is lively and steady, quite interesting in writing business.

Unfortunately, time has passed, the circulation time is too long, and the pigment has faded over time, which is also a common problem of ancient color painting. However, this does not detract from its essence, but adds a sense of elegance.

From the inscription, it can be seen that this is his proud work in his later years, which is particularly valuable and valuable.