After sweeping the exhibition room full of all kinds of treasure knives, Jin Muchen was also complacent, and he felt that he was not allowed to make this trip.

Just these Japanese swords harvested this time made Jin Muchen feel very satisfied, you must know that Japan's five famous swords, now he has two in his pocket, this is definitely a very remarkable achievement in the collection world.

If you add the Kikuichi Script Sect that you harvested before, as well as the pear snail gold decorative sword, you can say that you have already won half of Japan's famous sword.

Such a 'collection' achievement, even the emperor of Japan would not dare to compare with himself.

What's more, these are the treasures of the Japanese, and in the future, even if the Japanese want to see them, they will not be able to see them, and after more than 20 years, they will live a few more times in the Netherlands, and then take them to the United States and put them on display in a private museum.

At that time, even the Japanese can only stare dryly, even if they know that the origin of these treasures is strange, what can they do?

Anyway, such a dirty and dirty thing, they themselves are the same, if they dare to accuse themselves, then let them clean their butts first.

At that time, if they want to see the national treasure of their country, they must spend a plane ticket to fly thousands of miles to the United States, and then spend a high ticket price to enter the museum and see the treasures created by their ancestors.

Having collected these Japanese knives, Jin Muchen didn't have much time to stink. Because there are more treasures here. I'm waiting for him.

You have to know this main building. However, there is much more to the display of Japan's national treasures, and the national treasures of the Japanese people are far more than these Japanese swords.

For example, their lacquerware is also a treasure that the Japanese are proud of.

In the No. 6 exhibition next to the Armory Hall, there are many lacquerware that the Japanese are proud of.

Lacquerware originated in China, and according to the research of cultural relics unearthed so far, China can be said to be the first country in the world to use lacquerware, because the earliest lacquerware found in China. It has a history of more than 7,000 years.

Of course, the so-called lacquerware is just a fragment of faience pottery, which is still very different from the lacquerware we use now.

The lacquerware that has really been molded with the temperament of the originator of modern style lacquerware is from the vermilion lacquer pottery more than 3400-3600 years ago, which was also unearthed in Liao@Ning, China.

Later lacquerware has appeared in the history of various Chinese dynasties, and it has also ranged from ordinary to noble types.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, China's lacquerware finally reached a peak of development. The production was extremely exquisite, and it was also very popular with the dignitaries of the time.

But later. Because of the widespread use of containers made of other materials, lacquerware has gradually declined in the history of Chinese cultural toys.

Of course, this technique of making lacquerware was also transmitted to Japan, and was even carried forward by Japanese craftsmen.

So much so that later, Japanese lacquerware actually came from behind, enjoying great fame in the world, and even more popular with European and American countries than Chinese lacquerware.

Today, lacquerware is not very popular in our country, but it is still popular in Japan, and the custom of using lacquerware, and in the world, those European and American countries also know most of the Japanese lacquerware, but the Chinese lacquerware is already poorly understood.

This cannot but be said to be a sad sadness that we have not protected our own ancestral culture.

Jin Muchen entered the No. 6 exhibition hall, and did not go anywhere else, although this exhibition hall has a lot of Japanese lacquerware, but there are many lacquerware, Jin Muchen is not eye-catching.

He went straight to the middle of the exhibition hall for the display cases, because the national treasure lacquerware that the Japanese are proud of is on display, and when he came here before, he had already seen it, so he didn't waste any time.

As soon as the hammer went down, the glass cover of the display cabinet in the middle was smashed to pieces, and the tortoiseshell luodian flower-shaped paint plate inside was included in Jin Muchen's bag.

Jin Muchen had seen it carefully before, this lacquer plate was very beautiful, the shape was also very perfect, and the materials were not simple, so Jin Muchen had long been interested in this lacquer plate.

Then when he came to the side of this display case, he smashed it with a hammer, and the glass cover shattered, and the tortoiseshell luodian pattern decoration box in this display case also fell into Jin Muchen's bag.

With the two treasures in hand, Jin Muchen felt satisfied.

In terms of workmanship, these two boxes can be said to be flawless, absolutely the best of the best, and the shape is also unique, and it can definitely be said to be a master's work.

The most important thing is the producer of these two pieces of lacquerware, which is the national treasure of the giant panda-level lacquerware master that the Japanese are now proud of, Kitamura Shosai!

This old man's status in Japan is very unusual, don't look at people who don't go out of the mountains very easily, but once he has a new work, it can be sold at a sky-high price casually.

Even if it was Kobayashi Kyosuke whom Jin Muchen had seen before, in front of this Kitamura Shosai, he could only bow his head and ears.

You must know this old man, but now one of the few top craftsmen in Japan, is a benchmark figure in the Japanese modern art world, although this old man is only a lacquerware, but his status in the Japanese art world, it is equivalent to Qi Baishi, Zhang Daqian, the status of the Chinese art world back then, as long as you know his reputation, that must not give a thumbs up, say a word of service?!

This Kitamura Shosai, born in 1938 in a Japanese lacquer family, his grandfather was called Kitamura Kusai, who was a famous lacquerware master in the Japanese lacquerware industry at that time, and even many of the lacquerware used by the imperial emperor were his grandfather's works.

His father, Kitamura Daido, is not only a lacquer artist, but also a well-known expert in the protection and restoration of cultural properties in Japan, and has a great reputation in their hometown of Nara.

After graduating from Tokyo University of the Arts, Kitamura Shosai studied lacquerware making with his family, and at the recommendation of his father, he participated in the conservation and repair of the cultural properties of the Nara National Museum, where he worked for more than 30 years.

And he himself because of his achievements in the lacquerware industry, in 1994 by the Japanese Agency for Cultural Affairs as the lacquer handicrafts preservation technology holder, such a title, and now those national arts and crafts masters in China, basically a concept, but can receive government bonuses.

In 1997, he won the Minister of Education, Culture, Sports, and Culture Award at the 44th Japan Traditional Crafts Exhibition.

This work is the result of his perfect and skillful combination of tortoiseshell, agate, thick raden and other materials with skilled maki-e techniques, making his work thick and with a beautiful and natural presence of materials.

His works have a very obvious characteristics of Japanese art, the combination of inlay and maki-e materials and craftsmanship, and the ingenuity of design and conception, which fully demonstrate the essence and beauty of the classical boutique of the Japanese Shosoin style.

In 1998, he was awarded the Purple Medal by the Japanese government, and in 1999, he was named the only holder of Raden Intangible Cultural Property in Japan by the Japanese Agency for Cultural Affairs.

It is also revered by the Japanese art world as a "national treasure on earth" in Japan!

Such a glittering resume, of course, is Jean's work, which is of great significance in today's art collecting world, and the price is immeasurable.

The 'tortoiseshell luodian pattern box' that Jin Muchen 'collected' before was auctioned at a private auction at the Tokyo National Museum that year, and it is said that the Tokyo National Museum spent no less than 30 million US dollars to get this ornamental box.

That was more than a decade ago, and now, if nothing else, the price of this ornamental box would have to at least double if inflation alone was taken into account.

In addition, this old man is now in his eighties and almost ninety years old, and there are basically no works coming out, and maybe he will hang up one day, if he goes to see Amaterasu, then the value of his peak masterpiece will at least be doubled several times.

So Jin Muchen didn't look at this room full of lacquerware, and only took away two works of this Japanese national treasure.

Walking out of this exhibition hall, Jin Muchen originally wanted to go to the next exhibition hall, because in the next exhibition hall, there was Japanese porcelain that he had been thinking about.

Although this Japanese porcelain cannot be compared with our Chinese porcelain at all, it is also a unique thing, especially a few representative works during the period, Jin Muchen still has no intention of letting go.

But just as he turned around to enter the exhibition hall dedicated to porcelain, suddenly a treasure in the fifth exhibition hall attracted his attention.

He couldn't help but turn back to this exhibition hall, looking at the Japanese knife hanging in an inconspicuous corner, the corner of Jin Muchen's mouth showed a smile full of playfulness.

This knife is really interesting, I really didn't pay much attention to this knife before, but now that I see it, I can't stop thinking about it.

If this knife comes from something, it must be comparable to the world-famous Japanese knives that he 'collected' before, but the key is that this knife is a very interesting thing.

Although it is not a top national treasure, it is still very 'collectible'!

So thinking of this, Jin Muchen no longer hesitated, his hand rose and fell, the glass cover shattered in response, and then the Japanese knife inside revealed its true face, and Jin Muchen reached out and pulled the knife out...... (To be continued.) )