"You can buy it and study it!" Zhang Tianyuan hesitated, and then prepared to leave this painting, he wanted to, but he would never show too strong desire to buy, lest the other party take the opportunity to increase the price, anyway, there are still a lot of things in this vault, and he can finish reading the others first, and then it is not too late to look at this painting.

Thinking of this, he shook his head lightly and walked forward, but he was still a little reluctant to give up the painting in his heart, so he took a second look, but this look made him stunned.

"How is this possible!"

Zhang Tianyuan was shocked, he had seen many Chinese paintings, but he had never seen such a painting, the magic of this painting is definitely not only that an unknown painter painted a level that is not worse than Tang Bohu, but that there are other secrets in this painting.

He knew that the shopkeeper had been staring at him, so he hurriedly put away his surprised expression, calmed down, and simply pretended to look at the painting in front of him, and then used his spare eyes to look at the painting of Tang Sheng.

Li Duanduan in Shanhe Fang, believes that he can do white peony.

Who believes in the state of Jinman City, the price of rouge to the poor acid

This is a poem by Tang Bohu about Li Duanduan, and what shocked Zhang Tianyuan was that he actually saw "Li Duanduantu" in this painting.

Tang Yin's paintings of ladies and figures generally did not exceed the barriers of Vietnamese and Song Dynasty figure paintings. In particular, his painting of fine brushwork, with bright eyes, bright teeth, red face, and pink cheeks...... It is still the legacy of the style of Nanzhu Academy's style painting.

However, this "Li Duanduantu" seems to be a phoenix that has escaped the fence, the characters are exquisitely outlined, and the lines are free and beautiful. But there is a bit of Tang Bohu's landscape painting.

Tang Yin's most and most accomplished paintings are landscape paintings. His footprints are all over the famous rivers and mountains, and his chest is full of thousands of mountains and ravines. This makes his poems and paintings have a majestic atmosphere that Wu Di poetry painters do not have, and turns the rich into chic.

And this painting is a figure painting though. However, with the chic and majestic nature of landscape painting, the characters in the painting seem to be able to fly out at any time, which is amazing.

It's just that this painting looks very strange, because although the painting style is chic, Li Duanduan's expression is a little lonely, which makes people can't help but feel a little sour when they look at it.

What's even more outrageous is that when Zhang Tianyuan tried to go to the front to see the painting, the painting disappeared and became Tang Sheng's landscape painting again. Even that poem is gone!

This is what Zhang Tianyuan is most shocked, there are two pictures in a painting, from different angles, it can be seen that there are two completely different painting styles, as well as two completely different paintings, which is too bizarre.

"My God, I've never heard of this kind of thing, how can this be. Even Leonardo da Vinci or Picasso couldn't paint like that!"

Zhang Tianyuan was shocked in his heart, this painting obviously adopts some special painting technique, so that the painting can undergo some subtle changes according to the changes of light and human gaze. Bringing color and space to the extreme.

Leonardo da Vinci was good at perspective paintings, and you can always feel a very peculiar atmosphere in his paintings, and the famous "Portrait of God". It is also an interesting attempt by Leonardo da Vinci, from a certain angle. You'll see that portrait, if you don't pay attention. I can't see it.

Picasso, on the other hand, was more adept at three-dimensional paintings.

His paintings, at first glance, look like the work of a schoolboy scribbling indiscriminately, but if you look closely, you can always find something special in them.

Zhang Tianyuan tried to find the shadow of Picasso and Leonardo da Vinci from this painting, but he failed, the excellence of this painting made him simply breathtaking, and he even felt that this method of painting surpassed Picasso and Leonardo da Vinci, and was truly a master.

He took a deep breath and found that the shopkeeper might have sat down to rest because he was tired from standing, so he hurried to the front of the painting and opened the trick of character appreciation, he wanted to appreciate the painting in all directions, what was going on.

After the calligraphy was opened, Zhang Tianyuan almost stopped breathing, and every aspect of the painting was deeply embedded in his mind, making him completely forget about his appearance.

It was amazing that he found out that it was not just two paintings at all, but five paintings, no, it should be six, in addition to the fact that the paintings would change significantly from four different angles, and if you look at them from the back of the painting in a special way, you can also see one painting.

Of course, this qiē is only because Zhang Tianyuan has a knack for appreciating characters, so he can see six paintings at the same time, and if he changes others, he can either only see one, or he has to change the angle to see it.

From the left side of the painting, it will become Tang Bohu's "Li Duanduantu", and from the right side of the painting, it will become Shen Zhou's "Dongzhuang Interesting Facts".

Dongzhuang, the ancient name of Dongshu, in the Su Prefecture Fengmen, was originally the ancestor of the Wu family, and then because of the war and chaos, the neighbors died or migrated, for a long time, its land was abandoned and no one lived. Wu Kuan's father, Meng Rong, missed the ancestral industry more and more in his later years, and spent money to re-operate and build, digging ponds, planting trees, and building houses, covering an area of more than 60 acres, which is more large-scale than in the past, and is named "Dongzhuang".

The picture of this painting shows a gorgeous and fascinating realm, some of which are high and clear, and some of which are deep and elegant, vividly reflecting the beautiful environment. This work has a rich ink color, round lines, and a combination of thick and thin brushes, which is unique. The painting method is rigorous and precise, with a round and thick brush, and the color is strong, which is made by Shen in middle age, and is the best of his hand-me-down works.

On the one hand, it is the display of calligraphy brushes and their plane composition, the mellow and vigorous brushwork, the broad and majestic layout, and on the other hand, the embodiment of the layered and gradual spatial consciousness.

The whole work is very poetic and interesting. It's just wonderful.

However, this painting is probably integrated with Tang Sheng's paintings, so there is no inscription on it, but there is an engraving of Shen Zhou.

Interestingly, Tang Bohu's "Li Duanduantu" also rarely leaves the date, month and date of painting and his seal, which also has no inscription.

You must know that Tang Yin's paintings rarely indicate the year on the painting. And his style of painting does not change very regularly, so it is difficult to guess when he painted. It is difficult to divide the process of his painting style according to time. However, the painting left time enough to show that he wanted to prove something.

Of course. Zhang Tianyuan didn't know what it was proving, because he was not a detective, and he was more concerned about this painting now.

Looking from the bottom up, it turned out to be Qiu Ying's "Spring Dawn in the Han Palace".

Qiu Ying's "Spring Dawn in the Han Palace" uses the form of a handscroll to describe the daily trivial matters in the palace in the early spring: makeup, watering, breaking branches, arranging flowers, raising, singing, dancing, playing and singing, around the hearth, playing chess, reading, fighting grass, mirroring, watching paintings, images, playing with babies, giving food, waving fans, painting concubines, palace laves, princes, eunuchs, and painters, all of whom are 115 people, all dressed in bright clothes and with different postures, both idle and busy. It shows the painter's excellent observation ability and superb realistic skills. The characters are all dressed and ornamented since the Tang Dynasty, and the name is Han Palace, which is a general reference to the palace at that time. It is known as one of the "Top Ten Famous Paintings in China".

However, according to Zhang Tianyuan's impression, this painting should be hidden in the Treasure Island Palace Museum, and now what you see in this painting should be the same as that one, but it is not the same painting, and it is obviously much more difficult to create a zào.

The costumes of the characters in the painting are typical of the Tang Dynasty, and the furniture is characteristic of the Ming Dynasty. Therefore, the painting is not depicted in the Han court. Rather, it was the Han court.

The whole painting is complex, with a clean and elegant brush, interspersed with forests, strange stones and gorgeous palaces, laying out a magnificent scene like a fairyland. In addition to the group portrait of beautiful women. It is a wonderful work of Qiu Ying's historical story painting.

Palace pavilions, mountain rocks and trees. The eunuchs and palace ladies are in charge of their own affairs. The life of the concubines in the palace is extremely vivid. The painting begins with the exterior of the palace, with willow tops peeking out of the smoke. The willows point out "spring", and the morning smoke points out "dawn".

There is a bay of canal water in the wall, and the mandarin ducks and white pheasants fly and perch. The maid of the first palace led the three children to lean on the fence and look at the flying birds on the water.

The two palace women in the palace are holding palace fans, as if they are waiting to participate in the honor guard. A palace maid looked out the window at the peacock. Two palace maids in casual clothes, one feeds the peacocks, and the other snuggles behind the door. Outdoors, one person carries a pot down the steps, three people hold the brocade miscellaneous utensils and stand up, a queen concubine holds her hands and stands dangerously, watching the palace maid irrigate the peony, a woman on the left side of the peony is accompanied by two mustaches, one is watering the flowers, one is holding a fan, and the top is filled with the house steps.

There is a tree that looks like a pear with white flowers, and some people pick flowers under the tree to bear the golden pot, some people pick flowers and insert temples, and some people come with fans. Then the left Ping Xuan is prominent, and there is a group of female musicians in the Xuan, there are dancers, there are people who clap hands and make harmony, there are people who drum and play musical instruments, and there are people who hold the sheng to ascend the ranks. The two of them in the back room are getting dressed. The six finalists were shortlisted to watch a stall of flowers and plants underground, and they were fighting grass together, and the other two were hurrying over. The two of them in the upper door were lying on the piano and reading the music. A large group of people in the main house, playing chess, ironing, embroidery, and messing, each with their own affairs.

Six people under the stairs chatted with pots and utensils. The two people in the left compartment had fun. Then a person in the left room looks like a concubine, a portrayal of the painter. There are more than ten other guards and attendants. In the end, the palace maid fluttered butterflies on the willow tops. Liuwai palace wall, four male guards, stand inside and outside the palace wall. The whole volume is divided into two volumes in a group of female musicians, which are combined into one volume, with fine painting and elegant colors.

Qiu Ying's paintings, Zhang Tianyuan has always liked them, but it's a pity that he only has one there.

Tang Yin, Shen Zhou, Qiu Ying? Could this fourth person be Wen Zhengming?

You must know that the four Ming families are these four people, and since the other three have appeared, the fourth person must probably also appear.

Sure enough, when viewed from above, this painting is a different scene.

This is Wen Zhengming's "Xiangjun Xiang Lady Picture"!

Xiangjun and Mrs. Xiang are the gods of Xiangshui, and some history books say that they are Yao's two daughters. The author claims that this picture is an imitation of Zhao Meng and Qian Xuan, but in fact, what he imitates is not a copy of the physical traces, but a spiritual pursuit. The characters in this painting seem to come from Gu Kaizhi's "Female History Portrait" and "Luo Shen Futu": the characters in the picture are dressed in Tang makeup, with high buns and long skirts, fluttering silks, dancing skirts, and delicate images, with fluttering and wind-resisting postures. In the picture, Xiang Jun and Mrs. Xiang are in front of each other, the former holding a feather fan, looking sideways, as if answering the latter, with a vivid expression.

There is no background in the picture, and the author uses the blank space of the picture to set off the dynamics of the characters, and the style is ancient and faint. The color of the characters is based on vermilion and white powder, which is elegant and delicate, Seiko is elegant, and the lines are drawn in ancient gossamer, which is fine and smooth, and has a very classical beauty.

But what does Tang Sheng have to do with these four Ming families? It is really strange that he can squeeze into these four people, and the level of his paintings is not lower than these four people at all.

Zhang Tianyuan thought that there were different scenery behind the painting, but at this time, the shopkeeper came over, and he couldn't take a closer look.

But there was one question mark that kept haunting him.

It is too difficult to get the four Ming families to paint together on one painting, if it is Tang Bohu, Wen Zhengming, and Qiu Ying, then it may still be possible.

But Shen Zhou died in 1509, and Qiu Ying was born in 1498, which is only about eleven years apart, even if Qiu Ying has a talent for painting, he can create "Spring Dawn in the Han Palace" when he is a teenager, or even a few years old?

Could it be a forgery?

Zhang Tianyuan was even more shocked when he thought of this, because no matter how you look at this painting, it should be a work of the Ming Dynasty, and the era is almost the same time period as the Ming Dynasty.

Could it be that someone can copy the paintings of these four people to such a superb Cheng dù? Is this the ancient King of Concealment? Or is it the ancient Zhang Tianyuan?

At this time, Zhang Tianyuan's brain was a mess. (To be continued......)