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The Ma family of Beijing's antique industry is a well-known family in this industry, and its founder is Mr. Ma Gengsheng. To read the latest chapters, please stay in for Aishang Novel Network biquge.info Ma Gengsheng was born on July 3, 1925, to a prominent Muslim family in Beijing. His ancestor was the owner of the "Hami Pavilion" in Beijing, an institution similar to the Xinjiang Hui office in Beijing, which was the residence of the Xinjiang Hui people in Beijing from the Qing Dynasty to the Republic of China.

According to a report by the People's Political Consultative Conference Daily on December 30, on the afternoon of November 10, 2010, an old man weighed a bunch of keys in his hand, stared at his son, who had passed his old age, and whispered: "I handed it all over to you!"

-- In the traditional concept of the Chinese, the old man hands over the key to the child, which means to hand over the shift.

This scene happened in the Tianyi Wenyuan Art Museum next to the famous tourist attraction Ningbo Tianyi Pavilion. At that time, it was setting up for the "First Chinese and Foreign Snuff Bottle Celebrity Invitational Exhibition" to be held the next day. The scale of this exhibition is small, but it gathers high-end groups of Chinese and foreign folk snuff bottle collectors, and exhibits many rare and valuable snuff bottle boutiques. Everyone takes great care of their exhibits.

This turnkey old man, named Ma Mingzhong, is the eldest son of Mr. Ma Gengsheng, a well-known connoisseur in Beijing's antique industry; The person who received the key was called Ma Liangyu, who was the new generation of shopkeepers of Bowenzhai in Beijing Antique City, that is, the eldest grandson of Mr. Ma Gengsheng.

The moment they handed over the keys, I was standing on the sidelines.

At that moment, it did make me a little sentimental. Mr. Ma Mingzhong is 64 years old, and his health has not been very good, and he has indeed reached the age of retirement. However, this turnkey move seems to contain the inevitability of historical development, indicating that this antique family, which has experienced nearly a hundred years of vicissitudes, has completed the link of handing over the baton to the third generation.

A generation of antiques has been reborn

The Ma family of Beijing's antique industry is a well-known family in this industry, and its founder is Mr. Ma Gengsheng.

Ma Gengsheng was born on July 3, 1925, in Beijing to a prominent Muslim family. His ancestor was the owner of the "Hami Pavilion" in Beijing, an institution similar to the Xinjiang Hui office in Beijing, which was the residence of the Xinjiang Hui people in Beijing from the Qing Dynasty to the Republic of China.

At the age of 14, Ma Gengsheng began his career in the antique industry, first as an apprentice at the Tianruixiang Jade Shop in Langfang, Beijing, and under the tutelage of Mr. Zhou Qirui, a famous antique dealer in Beiping at that time. At the age of 18, he opened his own business, and in the late 40s of the last century, he ran a Tongyi trading house in Dong'an Market. In the early 50s, he partnered with Zhang Fuchuan, a disciple of the famous Shanghai connoisseur Mr. Wu Qizhou, to run the Tongyi Trading House, and set up branches in Beijing and Hong Kong.

In the generations of the antique shop, Zhang Fuchuan is the same generation as Sun Yingzhou, a porcelain master, and is a generation higher than Ma Gengsheng, and the elders are willing to partner with the younger generations to do business, what is valued is that Ma Gengsheng has a good character, is professional, and is strong. In 1955, Mr. Ma Gengsheng took the initiative to return to Beijing from Hong Kong to participate in the public-private partnership, and joined the Beijing Arts and Crafts Import and Export Company as an expert, responsible for the identification of cultural relics. Since then, his life has begun to write the most commendable and wonderful chapter of his life.

In the 60s, the Beijing Arts and Crafts Import and Export Company acquired one

Other comments on the topic of related information and financial news forums, please enter the verification code thin neck straight mouth Tianqiu bottle, the pattern is painted gold hook lotus colorful lion, ready to export in exchange for foreign exchange. With his rich professional knowledge and unique connoisseurship, Mr. Ma Gengsheng concluded that this porcelain is a fine product of Kangxi color in the Qing Dynasty, and it is a very precious and important cultural relic, which cannot be lost. However, there was a lot of controversy among the peers at that time, and some experts believed that there was no gold-painted porcelain in Kangxi Cai, so it could be "released". Mr. Ma Gengsheng had a firm attitude, quoted scriptures, and tried his best to resist public opinion, and finally supported Mr. Ma Gengsheng's appraisal opinion after the "consultation" of the older generation of experts, so that this very precious and important cultural relic was preserved. Now, this Qing Dynasty Kangxi thin-necked straight-mouthed Tianqiu vase is treasured by the Palace Museum and displayed in the Palace Museum of Ceramics for Chinese and foreign tourists to enjoy.

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Later, under the guidance of Mr. Ma Gengsheng, the relevant handicraft manufacturers imitated many appreciation bottles, banana bottles and Tianqiu bottles according to this bottle pattern for export and sales, creating valuable economic benefits for the country. Mr. Ma Gengsheng's practice of not only protecting precious cultural relics but also creating wealth for the country became a beautiful talk in the cultural relics circles at that time.

On February 25, 1972, when US President Richard Nixon visited China for the first time, he visited the Treasure Hall of the Forbidden City in Beijing, accompanied by Ye Jian and Marshal Ying. At that time, the Treasure Hall of the Forbidden City was exhibiting the golden jade clothes of Liu Sheng, King Jing of Zhongshan, unearthed from the No. 1 tomb of Mancheng, Hebei. Nixon praised the golden jade clothes and hoped that the golden jade clothes could be exhibited abroad. The matter was later reported to Zhou En, who came to the prime minister.

Premier Zhou instructed that another piece of the golden jade clothes of Liu Sheng, the king of Zhongshan, should be copied for overseas exhibitions -- because according to the regulations, the golden jade clothes like the city are national treasures and are not allowed to go abroad. Therefore, Mr. Shi Shuqing, a well-known researcher at the Chinese History Museum, strongly recommended Mr. Ma Gengsheng. Although Mr. Ma's connoisseurship covers a wide range of professions, including jade, porcelain, bamboo and wood ivory carvings, cigarette bottles, calligraphy and paintings, inkstones, Buddha statues, hardwood furniture, etc., and is almost omnipotent (mainly referring to miscellaneous), he is particularly outstanding in jade identification, and he is famous for a time, and is the leading jade appraiser in the cultural relics industry at that time.

The difficulty of replicating a golden jade robe can be imagined. There are a total of 18 tombs in the Western Han Dynasty that have unearthed jade clothes in China, and there are only 8 tombs of golden jade clothes, the most representative of which is the golden jade clothes of Liu Sheng, King Jing of Zhongshan, unearthed from the No. 1 tomb of Mancheng, Hebei. The whole jade dress is exquisitely designed and meticulously worked, and it is a rare artistic treasure in the world. In 1968, when this gold-threaded jade robe was unearthed, it caused a sensation in the archaeological circles at home and abroad. According to archaeological records: Liu Sheng's jade clothes share 2,498 pieces of jade, and the gold wire weighs 1,100 grams, and the manpower and material resources involved in making it are very amazing. According to the archaeologists, it took hundreds of craftsmen more than two years to complete 2,498 pieces of jade pieces of various sizes with just more than 1,000 grams of gold wire.

However, Mr. Ma Gengsheng did not flinch and bravely undertook this difficult and glorious task. Due to the country's economic difficulties at that time, especially the lack of gold, the relevant units finally decided to replace the gold wire of the golden jade clothes with silver jade clothes, but the difficulty of the process was not reduced. The reproduced specimen is still the golden jade clothes of Liu Sheng, the king of Zhongshan.

Mr. Ma Gengsheng led his two big apprentices, Feng Lin and Bo Zhengsheng, to work overtime day and night, and it took about a year and a half for the reproduction of the golden jade clothes to be completed. In June 1973, at the "Exhibition of Unearthed Cultural Relics of the People's Republic of China" held in Japan, Mr. Ma Gengsheng's copy of the silver jade robe caused a sensation and became a good story for a while. When the news came, even a literary and historical researcher like Guo Moruo couldn't hold back his excitement, and put pen to paper for Mr. Ma Gengsheng to copy the silver thread jade clothes, and gave him a seven-word poem: "King Gou of Yue broke Wu Jian, and relied on the wrong words of migrant workers; The silver jade clothes are now again, and the hearts of immortal craftsmen are immortal. ”

It is a pity that we can no longer see this silver jade robe copied by Mr. Ma Gengsheng today. According to Mr. Ma Mingxin, the son of Mr. Ma Gengsheng, "The silver jade dress that my father copied was later collected by a foreign museum when he went to a foreign exhibition, and the price they bought at that time was 700,000 US dollars!"

During the "Cultural Revolution", Mr. Ma Gengsheng, who was upright by nature, was criticized as a "reactionary authority", and was shocked, and unfortunately fell seriously ill in a fit of anger. In 1980, after a slight recovery, he insisted on going to work in his original unit. The task assigned to him by the organization is to sort out the backlog of ancient jade in the warehouse. So, Mr. Ma got up at 6 a.m. every day, took a car for more than an hour with the support of his daughter, and went to the three-room warehouse of the Beijing Arts and Crafts Import and Export Company. This may have been the last important mission of the famous connoisseur of artefacts.

In the three warehouses of the Beijing Arts and Crafts Import and Export Company, there are hundreds of thousands of ancient jade backlogs, and the old people select one by one, repeatedly study, screen the true and false, determine the age, and finally select hundreds of fine ancient jade, and invite Mr. Fu Dadian, a famous cultural relic in our country, to personally expand it and compile it into a teaching material.

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In the 80s of the last century, the State Administration of Cultural Heritage held many industry study classes in order to train the successors of China's cultural relics system, and the jade textbooks used were edited by Mr. Ma Gengsheng. At that time, those cultural relics workers who participated in the study class have now grown into the backbone of China's cultural relics circles. They all respectfully called Ma Gengsheng "sir", referring to their own teacher. These ancient jades identified and sorted out by Mr. Ma Gengsheng in his later years have now been collected in the State Administration of Cultural Heritage.

In his later years, Mr. Ma Gengsheng had a wish, that is, to compile the ancient jade selected by himself and Mr. Fu Dadian into the "Atlas of Ancient Chinese Jade", comment on it, and record his lifelong experience in studying ancient jade and pass it on to future generations. But God is not beautiful, and Mr. Ma returned to the Lord before he had time to realize this wish. On April 10, 1988, Mr. Ma Gengsheng, a famous antiquator, passed away at the age of 63. On April 10, 2008, the 20th anniversary of the death of Mr. Ma Gengsheng, a famous cultural relics connoisseur in China, the Beijing antique community held a "memorial service" to deeply cherish the memory of Mr. Ma Gengsheng, a famous antique connoisseur. More than 100 representatives from the antique community from all over the country participated in the commemorative activities.

The sons and daughters of Ma Gengsheng

Mr. and Mrs. Ma Gengsheng and Hei Shumin have 7 children, four boys and three girls, the boy is arranged with the character "Ming" and the girl is lined with the character "Yan". They are Ma Mingzhong, Ma Yanqiu, Ma Mingdao, Ma Yanru, Ma Mingyuan, Ma Mingxin and Ma Yanmei. Interestingly, the 7 children of the Ma family later all entered the antique shop and started an antique business, or once did an antique business and became a veritable antique family.

Among the seven children of the Ma family, there are two of the most famous in the antique industry, namely the eldest son Ma Mingzhong and the fourth son Ma Mingxin.

Let's talk about Mr. Ma Mingzhong first.

Ma Mingzhong was born in Beijing in 1946. He has loved reading since he was a child, and his grades have always been excellent, so his biggest dream when he was a child was to be able to go to university, pin two pens in the pocket of his jacket, and become an intellectual; Then he pinned three pens and became a university professor (a popular social fashion in the fifties and sixties: a high school student with a pen in his pocket, two college students, and three university professors). But as fate would have it, due to the influence of his family, he was not able to enter the university in the end, and ended up working as a worker in the Beijing Glass Factory. Ma Mingzhong's studious and willing personality helped him become the technical backbone of the glass industry, and then became a technical cadre. In 1980, he was transferred to the 603 factory under the Beijing Glass General Factory as a section chief. In 1986, China's Song Qing, the peace company under the Ling Foundation established a handicraft art company, and because of his family background, Ma Mingzhong served as the manager. In 1991, he left his post and went to sea.

During his work in the glass factory, Ma Mingzhong learned and mastered the knowledge and skills of glass production, which laid a solid foundation for him to engage in antique business in the future, especially for appreciating ancient materials and crafts. In 1995, Pan Jiayuan built the Beijing Antique City Building, in which he owned an antique shop, named "Bowenzhai". He is a well-known connoisseur of the industry.

The so-called feeder is the glass craft products of ancient times. When the Antique Chamber of Commerce of the All-China Federation of Industry and Commerce established the China Snuff Bottle Research Association, the highly respected Ma Mingzhong served as the assistant to the president, in fact, he was the secretary general and one of the important founders of the China Snuff Bottle Research Association.

Ma Mingzhong is a man and does things, steadily and steadily, and does not take risks. His "Bowenzhai" is mainly engaged in the antique business, and there is a rule, that is, only do heirlooms, not "raw pits". The so-called "life pit" is the unearthed burial goods. He said, "Not only do I not do 'raw pits,' but I also don't allow my children to do it." I think that digging up graves is not only not allowed by law, but also too morally deficient! ”

Ma Mingzhong has always been interested in cultivating his children Ma Liangyu and Ma Qingyu brothers to run the antique industry, and in the Chinese antique market ushered in a period of passionate development, he has been over sixty years old, began to love insects and birds, and gradually retreated to the second line of the antique market.

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"Old age is a natural law, and the industry always depends on the children to continue," he said. ”

Let's talk about Mr. Ma Mingxin, the fourth son of Ma Gengsheng. He is the most famous of Ma Gengsheng's children, and once served as a member of the fifth, sixth and seventh provincial CPPCC of Liaoning Province.

Born in Beijing in 1958, Ma Mingxin did not go to university, and at a very young age, he stayed with his father, Mr. Ma Gengsheng, to learn antique appreciation. He is the earliest child in the family to "mix" antiques. Ma Mingxin himself once said: "My enlightenment period was the summer vacation of 1973, and the teacher who taught me jade carving was called Yang Zichen, who was a very famous jade carver in the Republic of China era. I stayed at the master's house all day long, and he would show me some small teapots of the Republic of China, small jade rings, small snuff bottles and other gadgets from time to time. Before leaving, I gave all the money from my part-time job to the master, and took away all the twenty or thirty pieces of those gadgets. When my father asked when I got home, I tore over my bag, and my father was happy. From that time on, my father began to guide me, taking me to visit his old friends, such as Fu Dadian, Cheng Changxin, and Wang Lu, listening to them tell me stories, talk about things, and sometimes take a piece of porcelain, which deeply attracted me. There's so much to learn in it. In 1981, the Capital Museum carried out an activity of "saving national treasures in the waste heap", and Ma Mingxin followed his master Cheng Changxin to buy about 10 tons of bronzes in four years, many of which were carried back by Ma Mingxin himself. Now these 10 tons of bronzes are all in the collection of the Capital Museum.

Ma Mingxin immigrated to Hong Kong in the 80s of the last century, and later immigrated to Canada. At the beginning, his father, Mr. Ma Gengsheng, didn't want him to do antiques, because of the depth of the industry, he was afraid that it would be difficult for him to live in Hong Kong, but Ma Mingxin had fallen in love with this industry. He promised his father that he would earn 120,000 Hong Kong dollars in a year, that is, 10,000 Hong Kong dollars a month, to prove his business ability and comfort his father - in the 80s of the last century, 120,000 Hong Kong dollars was a considerable amount of money for mainlanders! As a result, it took him 3 months to earn 120,000 Hong Kong dollars.

Ma Mingxin has his own way of doing antiques business, and the story of him and the manager of a cultural relics store is very illustrative.

In 1992, when Portman held a national cultural relics exhibition in Shanghai, Ma Mingxin, who had returned to China to collect goods, came to the counter of the cultural relics store and took a fancy to the ten agate snuff bottles among the cultural relics on display. He said to the manager of the antiquities store, "These ten cigarette bottles are good, I want them all!" "The cultural relics store belongs to the state, and the manager gave him a ruthless price, 16,000 each, and 10 pieces are exactly 160,000 yuan. Ma Mingxin later said to me, "The price the manager gave me was too ruthless, because the price of the cigarette bottle at that time was only two or three thousand yuan a piece, and I regretted that my intestines were green." But there is no way, we can be regarded as returning overseas Chinese, the cultural relics store belongs to the country, and we should make some contributions to the country, so I pay according to the order. ”

What happens after that? The antique dealers of the snuff bottle business all over the country came to him, delivered him and asked him to pick up the goods, because he offered the highest prices in the country. As a result, he pocketed all the best snuff bottles in his pocket. Among them, there are Su made, there are enamel colors, imperial poems, and so on, there are many fine products. Today, a high-end enamel snuff bottle has sold for tens of millions of dollars in the auction market, and these treasures are still sleeping in the bottom of his box.

People who are engaged in collecting know that Ma Mingxin is now the largest collector of snuff bottles in China!

After 1993, when the domestic art market picked up, Ma Mingxin returned to China and continued to do his antique business. Today, he has his own cultural relics company in Beijing Antique City, and he is already a senior boss in the antique city.

The third generation of the Ma family

After entering the 21st century, the third generation of Mr. Ma Gengsheng, a generation of antique masters, has become an adult, and has entered the antique shop or entered the related industry.

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The people of the Ma family have deeply understood the meaning of the old saying "antiques raise people". Today, young people are so difficult to find employment and face the pressure of fierce competition, but the third generation of the Ma family has entered the antique shop one after another, and they all have their own careers, and they are all doing well. For example, Ma Gengsheng's eldest son, Ma Mingzhong's two sons, Ma Liangyu and Ma Qingyu, have taken over from their father and continued to trade antiques in "Bowenzhai"; Ma Keying, the daughter of the eldest daughter Ma Yanqiu, opened the "Mugutang"; There are also such as Ma Liangju, Ma Liangchen, Ma Lianghan, etc., who are also active in the antique market.

Of particular concern is Mr. Ma Gengsheng's granddaughter, Ma Keying, who is not only a beauty, but also the most educated person in this antique family.

After graduating from Beijing University of Technology, Ma Keying went to the University of Leicester in the United Kingdom to study for a master's degree in media studies, and later obtained a master's degree in arts management from the Central Academy of Fine Arts. That is, she holds 2 master's degrees and a bachelor's degree title. After 2004, she successively worked in Nokia, Samsung and other large international companies, earning a considerable income, becoming a white-collar worker who was very envied by her peers. However, in 2009, she resigned and joined the family's traditional antiques business. She founded a company called "Haike Zhihao" to carry out antique and art-related education and training, and also opened "Mu Gutang" in Beijing Tianya Antique City, starting a calligraphy, painting and antique business. Ma Keying said, "Because I was born in such an antique family, I always have an inseparable complex for antiques, which is the main reason why I return to the traditional industry of my family." ”

In my opinion, the third generation of the Ma family is also distinctly different from their predecessors in terms of the concept of antique business. The older generations seem to be more concerned with microscopic research and collecting, so they can become experts in the appreciation of certain types of antiques in the industry, while the young people of the third generation of the Ma family seem to be more concerned about changes and research in the market, that is, they are very enthusiastic about the trends of the macro market. This characteristic also reflects the development status of the antique industry under the new form of shì.

The wind and water rise, and the white horse passes through the gap. The bumpy road that this famous antique family in Beijing has walked in the vicissitudes of nearly a hundred years is actually a part of the history and development of our society and country, and has also witnessed every footprint of China's art and collection market.

Whether it's ups and downs, prosperity or prosperity, it's all because of this.

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