When people realized the value of this Li scholar's painting, they carefully inquired about the name of this Li scholar, but they could not find much information about this Li scholar.

What can only be found is that he is a fellow villager of the famous painter Li Gonglin in the Northern Song Dynasty, and when people later evaluated this painting, the evaluation of it was that in terms of historical value and artistic value, even in the "Journey to the Mountains and Streams" and "Fuchun Mountain Residence Map", it can be seen that this painting is cherished.

When it came to the Qing Dynasty, this painting was also swept to the Qing court by the antique collector emperor, Qianlong, and later after Qianlong hung up, many of his favorite things in his life were swept to the Old Summer Palace by his son Emperor Jiaqing to collect ashes.

But only this "Xiaoxiang Lying Tour Scroll" and a few other works of art were left in the Forbidden City.

At the end of the Qing Dynasty, this painting was collected in the Jingyi Xuan of Jianfu Palace, and it flowed out of the court at the end of the Qing Dynasty.

Later, he was caught by the Japanese Kikuchi Yudo clan through disgraceful means, and he was transported back to Japan.

However, in 1923, a major earthquake struck Tokyo, and Kikuchi's house collapsed due to the earthquake, and a fire broke out.

This Kikuchi is also a master who wants money and does not want to die, and several times rushed into the fire to snatch out the property, but the first thing he grabbed was this "Xiaoxiang Lying Tour Picture Scroll", and later this Kikuchi handed over the painting to the Tokyo National Museum for exhibition.

Later, this painting was shamelessly rated as a Japanese national treasure by the Japanese.

But from today onwards, this painting will no longer be a national treasure of Japan, but will return to its true colors and become a national treasure of the Chinese.

Jin Muchen took the hammer in his hand, and after a sound of glass breaking, he took the painting into his pocket.

In the future, wait until the turmoil subsides. He plans to build a museum by himself, and put all these Chinese national treasures on display, and this museum is planned to be established in China in the future.

The treasures of the Chinese should naturally be displayed in China in the future. Become a treasure that we Chinese ourselves look at casually, instead of hanging in a foreign country, in the enemy's museum, desecrated by the enemy's pups.

Collecting this "Xiaoxiang Lying Tour Picture Scroll", Jin Muchen continued to move forward, and the next painting is also a famous painting that was rated as a national treasure by the Japanese.

This painting is the "Snow Landscape Map" by the great painter Liang Kai of the Southern Song Dynasty, and there have been many painters in Chinese history who especially liked to paint snow. They also left a lot of famous paintings with snow as the theme, such as Wang Wei's "Snow Creek Map" in the Tang Dynasty, Jing Hao's "Snow Landscape Map" and Ju Ran's "Snow Map" in the Five Dynasties, Li Cheng's "Snow Scene and Snow Map" in the Northern Song Dynasty, Fan Kuan's "Snow Scene and Cold Forest Map", Guo Xi's "Valley Map" and so on.

These are all famous paintings with snow as the theme in the history of Chinese painting, but they are truly unique and unique, and were later sought after by literati and scholars in various periods. But only Liang Kai's "Snow Landscape Map" has the highest reputation.

In the late Northern Song Dynasty, some painters began to try to find a different way. Pioneering a new generation of painting techniques.

For example, at that time, Li Tang reduced the dense dots and cirrus clouds of the Northern Song Dynasty fashion to a sweeping and all-encompassing axe, forcing the later generations to simplify the panoramic landscape painting of the Northern Song Dynasty advocating the "high and far-reaching" method to the "one corner" and "half" landscape painting of the "far-reaching" method with detailed close-up and faint long-range view, which also formed a new fashion of landscape painting in the Southern Song Dynasty.

Liang Kai, on the other hand, takes these innovative painting techniques to the extreme, and the composition of "Snow Landscape Painting" is extremely simple: a waterfront is painted at the bottom, and three large trees are painted on the bank slope on the right. It has been two sides, the branches are withered, and two people ride horses in the snowy valley on the left; The picture shows a snow-capped mountain, with two hills on the left and two hills, and dense branches on the top. The mountains behind rise to the right, and only the vast expanse remains. The mountain is only half drawn, and there is a large blank space on the picture, only the trees on the top of the hill echo with the big trees on the shore, the composition is extremely concise, but the cold is pressing.

However, in terms of brush and ink, this painting is different from the "reduced brush" painting method pioneered by Liang Kai, and the figures, saddle horses, and big trees are all painted in great detail, vividness, and vividness.

Liang Kai studied painting under Jia Shigu, and Song Ningzong Jiatai was a painter to be edicted, and received strict sketching training, so he can accurately depict the dynamics of horses, people's demeanor and the posture of big trees, and can "reduce brushes" and be good at "fine brushes".

The lines of the sketch are concise and strong, and the big trees and the trees on the top of the mountain echo each other from afar, and the form is somewhat similar to the painting technique of Fan Kuan's "Traveling in Streams and Mountains".

In the painting, the hook and stalk of the mountain stone are covered by snow, which is very simple, and only the short line that resembles an axe split is slightly applied at the junction of the shady side of the hill and the waterfront.

The rendering of the snow scene in the whole picture is very distinctive, first using the emerging "blank" method since the Song Dynasty to use light ink to layer upon layer of water, sky and mountains to set off the snow cover, and then apply white # powder on the mountaintop, trees and shore, and add white @ powder above the branches of large trees to show the snow cover.

In the indifferent emptiness created by the ink and white @ powder, the warm-colored horses and jujube-colored horses worn by the two horsemen are dazzling, bringing the warmth of life to the viewer. This is also the ingenuity of this picture in the use of color. This is also the ingenuity of this picture in the use of color. The left downslope shore of this picture is signed "Liang Kai" in very small characters.

Wen Zhengming once inscribed on this painting: "The ancient masters are mostly snow scenes, and they want to fake this to send the cold and clean ears of the year." ”

In the vernacular, this painting uses the unique black, white, and gray ink colors of Chinese painting to create a snow-capped mountain and cold forest, reflecting a clear, empty, and dusty atmosphere, which just fits the Zen of "the unity of heaven and man" and "clear contemplation" that ancient painters yearn for.

It is precisely because this is a classic work that is very characteristic of the times in terms of composition and brushwork, but also has great personality and charm, so this painting has also been sought after by literati and scholars of all dynasties in later years.

During the Qing Dynasty, the painting also failed to escape the looting of the antique collector and was looted into the Qing Palace.

Later, after the abdication of the Qing Dynasty, the Aixin Jueluo family was driven out of the Forbidden City, and the painting was also taken out of the Forbidden City, and later brought to Jinmen by the old and young of the Qing Dynasty.

Later, after the Japanese antiquities looting agency learned the whereabouts of the painting, they sent people to forcibly seize it, and later brought the painting down to Japan.

But today's painting is going home.

Jin Muchen copied the previous action, smashed the glass cover, cut the wire, and put the painting into the purple jade space, and then continued to move forward without stopping.

A little further on, there is another famous Chinese painting that has been recognized as a national treasure by the Japanese, Indra's "Picture of the Cold Mountain".

Indra was a famous painting monk in the Yuan Dynasty, and left many famous Zen paintings in his life, and the content of the paintings is mostly related to Buddhist allusions and wit.

His works are generally evaluated in Chinese mainland, after all, there are many paintings with Buddhist themes in China, and there are many Zen paintings, although Indra's paintings are very distinctive, but they are not very outstanding.

Indra's paintings, however, are moderately popular in China, but they are particularly popular in Japan.

This is mainly because the paintings he made should be the first batch of Buddhist Zen paintings to flow into Japan, this kind of painting with a very deep Buddhist Zen feeling, in Japan at that time, it was the first time to appear, it was an eye-opener for the Japanese, so the Japanese people especially liked it.

Indra's "Picture of the Cold Mountain" is a paper and ink painting, and on the far left of the picture, there is a praise written by Chu Shi Fanqi: "The cold mountain has found two heads, or a new poem or a song." I asked where Fenggan went, and smiled speechlessly. ”

This painting depicts Hanshan and two immortals sitting under an ancient tree, with their backs to the stone mound, chatting with each other, looking at ease. In the painting, Hanshan is unkempt and barefoot smiling, one person holds his hands together, and the other leans forward. The lines of the picture are exquisite, and the shades are powerful.

Because the Hanshan and Shide paintings in this painting are the historical prototypes of the "Hopewa Two Immortals" that the people pray for harmony and happiness, this painting immediately caused a sensation when it was introduced to Japan in the 14th century.

At that time, Buddhism was at the height of its prosperity in Japan.

According to the records of Buddhist history, Hanshan and Shide are legendary figures in the Tang Dynasty, and in the Buddhist tradition, Hanshan Toutuo is regarded as a virtuous monk and the incarnation of Manjushri Bodhisattva.

And the head is the incarnation of the Bodhisattva of Puxian, and the Fenggan Bodhisattva incarnated by the Buddha Toutuo, and is called the "three hidden" or "three sages" of Buddhism.

So when Hanshan and Shi appeared in a painting at the same time, with such a Zen poem, the B grid of this painting immediately became tall in the eyes of the Japanese.

Not long after he arrived in Japan, he was taken into his pocket by Matsudaira, the owner of Matsudaira, and regarded it as a family heirloom.

It was not until 1956, after the painting was designated a National Treasure by the Japanese Cultural Appraisal Agency, that the painting was sent to the Tokyo National Museum by the Matsudaira family for exhibition.

In fact, this "Hanshan Finding" is only a part of the entire volume of Zen machine drawings made by Indra, and in Japan, there are four other Zen machine drawings drawn by Indra.

Because the Japanese like to cut long scrolls into multiple parts and then frame them into scrolls to enjoy separately, the "Picture of the Cold Mountain Found" on display at the Tokyo National Museum is actually just a part of Indra's paintings.

The other parts of Indra's drawings of the Zen machine are on display in several other famous museums in Japan as treasures, and of course those parts are also considered national treasures by the Japanese. (To be continued.) )