These four famous Chinese paintings, which were rated as national treasures by the Japanese, have finally returned home.

Jin Muchen can be regarded as part of completing today's most important task, but in the next exhibition hall, there are still many good things waiting for him to discover and save.

I believe that if our Chinese ancestors have spirits in the sky, we don't want their masterpieces to be reduced to the museum of Japan, a bloody enemy of China, for the descendants of these beasts to see and desecrate.

In this exhibition hall of ancient Chinese calligraphy and painting, there are not only these four famous Chinese paintings, but also the works of other well-known painters and calligraphers.

For example, Ma Yuan of the Southern Song Dynasty's "Crossing the Water in the Cave Mountain", Zhu Duan's "Hanjiang Solo Fishing" in the Ming Dynasty, Zhao Zhiqian's "Flower Picture" in the Qing Dynasty, Ding Yefu's "Youxi Listening to the Spring", Song Huizong's "Duck Picture", Li Di's "Dragonfly and Raccoon Picture" and other famous works.

The reason why these paintings were not rated as national treasures by the Japanese is simply because there are many masterpieces of these famous artists and they are also widely circulated.

However, these famous paintings in the collection of the Tokyo National Museum are not considered to be the top masterpieces of these famous works, so they are not rated as national treasures of Japan.

But when it comes to artistic value and collection value, the value of these masterpieces is also very high.

In addition, there are many works of painters who did not leave their names in ancient China, and such paintings often only indicate the date, but in terms of the author's name, they can only be marked with the word anonymous.

Jin Muchen also saw a lot of such paintings when he ransacked the Museum of Fine Arts, Boston.

Although the authors of these paintings are not famous, their artistic attainments cannot be ignored. Being able to be collected and exhibited by these top international museums is enough to show the artistic skills of these paintings.

Therefore, Jin Muchen did not let go of such paintings, and they were all in his pocket.

Soon in this painting exhibition hall, there are all the paintings that Jin Muchen can see. Almost all of them were in his pocket.

In fact, Jin Muchen wanted to take all the paintings here with him.

The last time I was at the Museum of Fine Arts, Boston, I saw so many paintings by famous Chinese artists, and Jin Muchen wanted to take them with me, but unfortunately, because there were too many paintings by famous Chinese artists on display at the Museum of Fine Arts, Boston, they collected more than 20,000 pieces, and there were more than 2,000 pieces on display.

Although Jin Muchen wanted to take them all, it was a pity that his purple jade space capacity was really limited. So he could only pick out some fine products to take away, and this time at the Tokyo National Museum, he encountered the same problem.

Last time at the Museum of Fine Arts, Boston, although he couldn't take some excellent paintings with him, although he felt some regrets, it was not particularly strong.

After all, he has taken away where the best painting exhibits, and Americans and Chinese. There have been no direct conflicts and grievances in history, although the Americans have indirectly seized a lot of benefits through Japan's war of aggression against China.

But after all, they are not like the Japanese. It left too deep harm on the Chinese, so Jin Muchen's perception of the American gang of robbers is okay.

As for the Japanese, Jin Muchen has always had a bitter hatred in his heart, after all, these Japanese bastards back then had too many sins in China. It can definitely be described as a book.

And now, they still don't admit their mistakes, and they also take the lead in blocking China everywhere, just because the Japanese are doing this now, Jin Muchen doesn't want to leave too many good things for the Japanese.

It's a pity that his purple jade space capacity is limited. It is really impossible to take away all the exhibits in this exhibition hall, Jin Muchen had to reluctantly give up some paintings, and could only reluctantly let these paintings continue to stay in Japan for those bastard children and grandchildren to desecrate.

Little Japan, you wait for me, I will be back!

Jin Muchen reluctantly glanced at the paintings that were left by him a few times, and then continued to move forward, this is the first time he 'visited' the Tokyo National Museum, and the main purpose of this time is to take away all the best Chinese cultural relics here.

In terms of painting, he has taken away the best of several famous paintings, and the rest should be calligraphy.

There are many calligraphy of famous Chinese historical figures in the collection of the Tokyo National Museum.

For example, the famous calligrapher of the late Ming Dynasty, Wang Yi's "Cursive Poetry Scroll", Ni Yuanlu's "Cursive Five Words Rhythm Poetry Scroll" in the Ming Dynasty, Zheng Banqiao's "Huaisu Self-Narrative Post" in the Qing Dynasty, Zhu Yunming's "Before and After the Teacher Table" in the Ming Dynasty, Zhao Mengfu's "Xuanmiaoguan Rebuilding the Three Doors Scroll" in the Yuan Dynasty, and so on.

And the most precious of them is, of course, the fragment of Wang Xizhi's "Thirteen Treks of Lanting" copied by Zhao Mengfu in the Yuan Dynasty!

This Zhao Mengfu, but anyone who has studied Chinese painting and calligraphy, there is no one who does not know this name, this guy is a famous master of calligraphy and painting in the Yuan Dynasty.

Zhao Mengfu's character is Ang, the name is Songxue, and he is a native of Songxue Road, born in Wuxing, which is today's Zhejiang@Jiang@Hu@Zhou.

And his identity is far more than just calligraphy and painting, he is also the 11th grandson of Zhao Kuangyin, Taizu of the Song Dynasty, and the descendant of Zhao Defang, the king of Qin.

His life is also relatively tragic, he experienced the end of the Southern Song Dynasty, then the Yuan Dynasty, and later entered the Yuan Dynasty as an official for a time, which shows the bloody nature of Chinese Confucianism.

To be honest, his artistic achievements in calligraphy and painting, Jin Muchen feels that it is absolutely irrefutable, but in terms of his character, Jin Muchen feels that it is really debatable.

Although the ancient Chinese Confucian scholars have always been known for their lack of discipline, they have no lower limit for the rulers of previous dynasties, even if they are of different races, they can also kneel and lick with peace of mind, so as to gain the favor of the ruling class, even if it is a foreign race, and then share the world with these foreign rulers, they have no psychological barriers.

This point was particularly evident after the Tang Dynasty, especially after the Song Dynasty promoted literature and suppressed martial arts, and emasculated the martial style of the Chinese nation.

The later Ming Dynasty actually died at the hands of these shameless Confucian scholars.

And those other Confucian scholars can kneel and lick the ruler of Meng Yuan, which is understandable, after all, their attributes are consistent without discipline and no lower limit.

But as the great-great-grandson of Zhao Kuangyin, Taizu of the Song Dynasty, you Zhao Mengfu finally shamelessly entered the court of Mengyuan as an official, which makes people feel a little too much.

You must know that this Meng Yuan has killed the great enemy of your family's ancestors for several generations, and has a hatred for killing your father and taking your wife with your family, but it is not false at all.

Not only did people rob your wife, but even your country, but you can still enter Mengyuan as an official with peace of mind, and this bottom limit can definitely be said to break through the sky......

So Jin Muchen won't make too many comments on this Zhao Mengfu's character, anyway, he thinks this person is very spineless.

However, putting aside his character, his achievements in calligraphy and painting are still quite high, not to mention paintings, original, and in terms of calligraphy, he is also one of the best people in Chinese history.

Today, he copied Wang Xizhi's "Thirteen Treks of the Orchid Pavilion", which is one of the best works in his world.

This calligraphy turned out to be the thirteen paragraphs written by Zhao Mengfu after playing with the original stone rubbings of "Dingwu Lanting", plus the full text of the "Lanting Preface" copied.

After he created it, this work became a sensation and was once collected by many literati and scholars.

In the era of the Ming Dynasty, it even flowed into the imperial palace for a time, and was accepted as a palace collection by the emperor of the Ming Dynasty, but it is a pity that it flowed into the people again during the war at the end of the Ming Dynasty.

After arriving in the Qing Dynasty, it has been collected by the literati of the Qing Dynasty, and when it came to the emperor Qianlong, who was an antique collector, Qianlong had sent people to the people many times to find this work, but he never found it.

Later, there was finally a clue, it turned out that this work was actually collected by the famous Confucian Tan Zushou at that time, so those palace eagles came to the door and forced him to hand over this treasure.

But this Tan Zushou is also a backbone Confucian, this work has been collected in their family for several generations at that time, he cherishes this calligraphy very much, although the emperor wants it now, but he doesn't want to hand it over so easily.

But the eagle of the court was too tight, and in the end, he was in a dilemma, so he could only choose to commit suicide with hatred, so as not to see himself hand over this calligraphy to the emperor who was full of Tartars.

But his descendants are also very backbone, this head saw that the father was actually caught by the eagle of the court and forced to die, turned his head and burned the calligraphy, and then when the eagle of the imperial court caught, he told them that unfortunately the calligraphy was a natural disaster, and it caught fire after being struck by lightning, and now there is a little fragment left, if you want to take it.

When the eagles grabbed those fragments, they immediately lost interest and could only leave in disappointment, and Qianlong also felt great regret for losing such an opportunity to collect Zhao Mengfu's masterpieces.

You must know that since Wang Xizhi, there have been countless famous calligraphers who have copied his "Orchid Pavilion Preface", but it has never been able to reach the height of Zhao Mengfu.

Although Qianlong lost interest in these fragments, another person still attached great importance to them, and this person was the famous calligrapher Weng Fanggang of the Qing Dynasty.

This Weng Fanggang was a famous literati in the imperial court at that time, and he used to be a scholar in eastern Guangdong, Jiangxi Province, and Lu Province, which is equivalent to the director of the education department of a certain province now, and belongs to a deputy ministerial-level cadre.

He was also very sorry after learning that Zhao Mengfu's "Thirteen Treks of the Lanting Pavilion" was destroyed by natural disasters, but he still insisted on going to the Tan family to accept these fragments. (To be continued.) )