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Each of these paintings in front of me is a small allusion in the history of Buddhism, including "Classic Chery", "Receiving Hu Lose", "Appearing in the Clouds", "The Poor Person", "Bamboo Forest Zhichen", "Viewing the Relic Light" and so on.

Because these paintings are not only China's national treasures, but also Japan's national treasures, and the reason why I say this is mainly related to the origin of these paintings.

This "Five Hundred Arhats" came from the professional painting imitation artists of Southern Song Dynasty Ning @ Bo, Lin Tingsi and Zhou Jichang, but these two people were not very famous at that time.

They paint these paintings just to make a living, which is similar to the concept of those young artists who copy oil paintings in domestic oil painting workshops in order to make a living.

At that time, they painted a total of 100 such paintings, but six of them were lost shortly after they were painted.

Later, because the Southern Song Dynasty was conquered by the Mongols, and the Jiangnan area was full of wars, these paintings were brought to Japan by some refugees around the 15th century.

Since then, it has become a Japanese national treasure painting, because these paintings are not only exquisite, the key is that the content of each painting in these paintings is basically an allusion to Buddhism, so these paintings are soon regarded as treasures by Japanese Buddhism and aristocrats, and have been collected in Daitokuji Temple in Kyoto, Japan.

In the 15th year of Eikuan in Japan, that is, in 1638 A.D., the Japanese Kano Tokuo made up for the six paintings that had been lost earlier. and a complete hundred. It is regarded as a national treasure by all walks of life in Japan.

And in 1894. The whole country of Japan was plotting to plan a war against the Qing Dynasty, because of the lack of funds, even the emperor was thrifty at that time, and the Japanese government even played up the idea of those national treasures in their country.

Therefore, under the instruction of the Japanese government, the abbot of Daitokuji Temple at that time brought 44 of the "Five Hundred Arhats" to the United States to sell them to raise military expenses.

Fenorosa, a scholar who had previously taught economics and philosophy at Tokyo Imperial University for eight years, had just been hired by the Museum of Fine Arts, Boston, as director of the Oriental Department.

So Fenolosa helped the abbot to hold the first event in American history at the Museum of Fine Arts, Boston. Chinese Painting Exhibitions and Auctions.

However, at that time, the people at the Museum of Fine Arts, Boston, did not take these antiques from China very seriously, and it was because of the negligence of the staff that two of these paintings were lost two days before the exhibition.

During the entire exhibition period, a total of 12 of these paintings were auctioned, raising a large amount of military funds for the Japanese devils.

Five of them were bought by the Museum of Fine Arts, Boston, and the other five were bought by Professor Denman, one of the founders of the Museum of Fine Arts, Boston. Rose bought, and later before he died. It was also donated to the Museum of Fine Arts, Boston.

The other two were bought by others, and later the Japanese sold many of the paintings in the "Five Hundred Arhats" one after another. Most of them were sold to museums in Europe and the United States.

In 1897, Japan defeated the Qing Dynasty and received rich war reparations from the Qing Dynasty.

Eventually, in 1908, they bought back 88 of the 500 Arhats, designated them as national treasures, and even designated some special measures to protect them.

However, the 12 paintings lost in the United States have never been recovered, including the 10 "500 Arhats" at the Museum of Fine Arts, Boston.

As for the other two, they happened to be lost at the Museum of Fine Arts, Boston, and are now in the possession of the Freer Gallery in Washington, D.C., which is home to the famous American collector, Charles. Man. Freer founded.

As for his experience of obtaining the two lost "Five Hundred Arhats", it is very peculiar, it is said that he obtained them at an ordinary auction in 1907, the thirteenth year after the two paintings were lost, and the price was not high.

Seeing this, I believe that as long as you are not a fool, you can guess that the means used by Freer to get these two paintings back then were the same as the methods that Shingo Yamamoto wanted to use on Jin Muchen before.

Steal first, wash a few times in a low-key manner, and then buy it through some special low-cost channels, and then these lost antiques become legitimate collections.

Now Jin Muchen looks at the ten "Five Hundred Arhats" in front of him, and he really doesn't know how to describe his current feelings.

In the past, our people didn't pay attention to this thing, because in the Song Dynasty, a treasure like this, perhaps in the eyes of the people at that time, was just an ordinary contemporary ordinary painting.

And after hundreds of years, when our historical civilization was interrupted by those steppe civilizations several times, we only found out when we wanted to rediscover the real history of hundreds of years ago.

It turns out that the documents that recorded the history of those years were actually erased by those barbarian barbarians, and the history left behind was the history written by the victors, and as for the real historical truth, we actually had to use the cultural relics lost overseas to discover the truth at that time.

For example, the Qing Dynasty's record of the ten days of Yangzhou and the three massacres of Jiading, basically when the Siku Quanshu was built, all of them were destroyed by bastards like Ji Xiaolan.

And the same is true of the "Five Hundred Arhats", these 100 paintings, not only have extraordinary artistic achievements, but also the allusions about Buddhism recorded on each painting.

These allusions are connected to the history of the development of Buddhism from its spread into China to the Southern Song Dynasty.

And when we want to study these histories, because of the loss of evidence, we can only go to Japan to learn from their collection of Chinese cultural relics, which has to be said to be an unspeakable sadness.

These paintings can no longer be described only as antiques, it is also the history of a country in a certain period of development, so their cultural relics and archaeological value are higher than the antique value of these paintings.

When Jin Muchen ransacked the Museum of Fine Arts, Boston, he listed these paintings as one of the main targets, but he didn't expect to see them in the museum.

At that time, he felt very sorry because he missed it, but he didn't expect to find these paintings in this Yamamoto Shingo home today, which can really be described as an unexpected joy.

Presumably, this grandson also knew that this thing was not only the treasure of the Museum of Fine Arts, Boston, but also a national treasure of Japan, so he took the opportunity of Jin Muchen and Jesse to loot the art museum and quietly secreted these paintings.

It's just that I don't know if he plans to collect it himself, or if he plans to buy it for the Japanese government, but now these things are not important, the important thing is that these things now belong to him Jin Muchen.

With a wave of his hand, Jin Muchen put all these things into the large backpack behind him, then turned his head to look at Shingo Yamamoto and asked, "Is that all?" Mr. Yamamoto! ”

Shingo Yamamoto raised his hands and nodded sincerely, "Yes, sir, that's all." ”

As soon as the words fell, Jin Muchen raised his hand and punched him in the chest, and Shingo Yamamoto, who was scared, staggered back a few steps, hit his head on the corner of the table, and his head was knocked into a green bag.

He is not at the same level as Jin Muchen in terms of body type, let alone strength, and he is usually a scholar and literati sitting in the office, Jin Muchen is so fierce and vicious that he is scared enough.

"Mr. Yamamoto, I advise you not to play tricks, and we don't want to use too rude means, but about the loss of the Museum of Fine Arts, Boston, we all saw it on TV, and what you said about the loss is not the same as what we took it? Also, if you take out these things, they don't match what you said were lost, so where are the other things? Our patience is very limited, and in a while, your wife and children will be back, and I don't think you want to see them hurt in any way, do you? ”

Jin Muchen's words finally made Shingo Yamamoto, who pretended to be calm, change his face.

Although he is a selfish guy, he also cherishes his family very much, and the two in front of him are the same as the black @ gang boss Posey. Jackson's gang.

They're now wanted by the American police, they're just a bunch of outlaws, and they can do anything.

As soon as he thought of this, Yamamoto felt his legs go weak for a while, and his face was very pale, but this time it was not a normal white, but a miserable white from excessive fright.

"Uh...... Wait, I seem to be mistaken, it does seem that there are still some more, you wait......"

Saying that, under the attention of Jin Muchen and Jesse, he entered the secret room again, and this time he took out more than a dozen scrolls.

Jin Muchen snatched the scrolls of those ancient paintings, and then spread out those paintings one by one to take a look.

Ooh! Even he couldn't help but exclaim, this guy really took this opportunity to make a lot of money, this special look at the quantity, and quality are not necessarily much worse than taking those by himself?

Originally, it was a carnival of revenge for the Museum of Fine Arts, Boston, but I didn't expect to almost make this grandson a fisherman, but fortunately, I killed a horse pistol, and the role of this fisherman became himself again.

The mutton only took a bite, but it caused a commotion, this is not what Jin Muchen wanted, he looked at the paintings in front of him with a smile, and looked at Shingo Yamamoto who was standing aside with a smile, thanks to him, otherwise these good things are probably still in the Museum of Fine Arts, Boston.

Yamamoto thought he was a fisherman in the battle between the snipe and the clam competition, but he probably never imagined that now he was just a praying mantis in the mouth of a yellow finch. (To be continued......)