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Stand in front of this glass wall and look at the paintings of ancient sages behind the glass.

To be honest, for Jin Muchen, an entry-level novice in Chinese painting, it is really difficult for him to see the beauty of these paintings. "B, Jin Muchen really can't see it.

Even to put it bluntly, the level of these paintings is hardly as good as that of modern elementary school students who specialize in art.

But considering that these words were painted more than a thousand years ago, and when Gu Kaizhi painted these paintings at that time, there were no models at all, and he relied entirely on imagination to create out of thin air.

Moreover, at that time, Chinese painting did not have the basis of Western character sketching as it does now, nor did it have high-fidelity photography and imaging technology like now, and it was not easy for people to paint like this, at least at that time, this set of paintings could definitely be called the top paintings in the world.

Although these silk paintings are properly maintained, they are inevitably somewhat damaged due to their age.

Since the birth of this painting, it has been treasured by the palace nobles of the past dynasties, and the scholars of the past dynasties have also attached great importance to the "Female History Proverbs", and on the picture scroll in front of them, only the inscriptions and signatures of the palace nobles who have collected this painting in the past dynasties occupy half of the page, and everyone who has left a name on it has been famous.

The last collector of this painting was the famous Qianlong Emperor in Chinese history, who is said to have been obsessed with collecting all his life. But I regard this picture scroll as my favorite object. It's usually on his desk.

Whenever I think about it. He will unfold the scroll and take a good look at the last inscription on this painting, which is his, and he also left his own autograph inscription at the end of this painting.

However, after him, his children and grandchildren obviously had little interest in this painting, and directly collected this painting into the Old Summer Palace.

Later, the British and French forces burned the Old Summer Palace, and of course the painting was taken away before. It is said that the person who attacked him was a British captain named Ki Yong.

From there, the painting remained unaccounted for, and it was not until 1903 that it was re-interviewed and fell into the hands of another British captain, John, who was illiterate, and sold it to the British Museum for two pounds.

It can be seen that such a precious top national treasure of China was ruined by these white-skinned ghost animals.

However, there are still some knowledgeable people in the British Museum, and since the collection of this painting, it has regarded this painting as a treasure of the museum. From now on, it is no longer easy to show people.

Jin Muchen stood in front of the glass cabinet and sighed. Then he picked up the hammer in his hand.

The British put a little thought into the glass cover on the west wall, not using ordinary glass, but using heavier plexiglass.

But perhaps also because the iron gate outside was easily impossible for someone to break through from the outside, they didn't use safer bulletproof glass, and they thought that heavier plexiglass would be enough.

But they didn't expect that such plexiglass could prevent ordinary people, but how could they prevent the hammer in Jin Muchen's hand?

After two hammers, cracks finally appeared on the glass cover, and when the third hammer went down, the glass cover was finally wiped out.

And because it is plexiglass, this broken glass slag is not as destructive as ordinary glass slag, but turns into a piece of broken glass and falls to the ground.

Jin Muchen shook the hammer in his hand, Nima, it seems that this museum theft is really a hard work, and with a few strengths, it really can't smash the glass of their house.

After looking up, he smiled slightly, raised his hand, and praised this masterpiece as the world's top art, with a flash of purple light, he was included in his purple jade space.

Gu Kaizhi's "Female Historian" has been included, but in this Stein secret room, there is not only this Gu Kaizhi's painting.

Jin Muchen turned his head to look, and a cruel smile appeared at the corner of his mouth, hehe, the things in this secret room, Lao Tzu wants to snatch them all, take them away, clear the light!

This Stein secret room, for the British, may be regarded as the pride of the British, but for the Chinese, it is indeed a complete shame.

Because in this secret room, almost all the treasures are ancient silk paintings from China, in addition to Gu Kaizhi's "Female History Map", there are more than 500 ancient Chinese silk paintings.

And these paintings are all British antiquities dealers in the late Qing Dynasty, Stein smuggled from China to Britain by relying on the pit to be abducted.

Later, he gave some of these ancient paintings and historical books to the British East India Company, which had funded his 'treasure theft' in China, and now he remains in India.

The other part was sold to the British Museum, and in order to satisfy the East India Company, he tore many silk paintings in half to fill the number, which shows how far these national treasures were trampled by these foreign devils.

And in order to commemorate the 'contribution' of this antiquities dealer to the museum, the British Museum actually named the exhibition hall of the silk paintings he sold to the British Museum 'Stein Secret Room'!

It can be seen that these white-skinned ghost beasts fuck up, obviously they didn't take the dirty things that Stein did as a very shameful thing, but regarded him as a kind of pride!

Grass your grandma, Lao Tzu will make you no longer proud today!

Jin Muchen thought of that humiliating history, and at this time, he couldn't help but have a hideous face and walked towards those collections with murderous spirit.

This secret room is rectangular, three or four meters wide, more than ten meters long, the west wall is the painting of Gu Kaizhi, and on the east wall, there is a long row of shelves, and these shelves are all the silk paintings of Nastein, who came back from China.

These silk paintings are also very promising, they are the silk paintings of Dunhuang, such silk paintings are rare in the history of China, so far, all the museums in the whole of China, none of them have collected the silk paintings of Dunhuang.

The two largest collections of Dunhuang silk paintings in the world are the British Museum in the United Kingdom and the Château de Fontainebleau in France.

Now that I think about it, it's really fucked up, the historical civilization relics created by my own country have turned out to be exhibits in the homes of two robbers, and the people of my own country have no chance to see it with their own eyes.

As soon as he thought of this, Jin Muchen had only one word in his heart that could express his current feelings, and that was: grass!

These silk paintings were mainly created during the Tang Dynasty, when Buddhism was prevalent, and Dunhuang painters painted their beliefs and devotion on plain silk in addition to painting on the stone walls of the caves, a tradition that lasted until the early Song Dynasty.

Their paintings on silk cloth, along with some of the scriptures they left behind, were stored in a grotto carved out of the stone wall of Dunhuang, which was named the Tibetan Scripture Cave by the local monks!

Later, when the monks of the Dunhuang temple closed the cave of the scriptures, these colorful and mature art treasures and documents, and scriptures were stacked together.

In 1900, the cave was discovered and opened by Daoist Wang, and most of the silk paintings of nearly 1,000 years have been well preserved.

Seven years later, the Englishman Stein embarked on a second expedition to the Silk Road under the sponsorship of the East India Company. When he was resting in Dunhuang, a master surnamed Jiang told him about the cave of the scriptures.

So Stein used 4 horseshoe silver, about 200 taels of silver, to buy 24 boxes of Dunhuang manuscripts in the Tibetan Scripture Cave, and 5 boxes of silk paintings and silk fabrics.

These things were taken out of the cave by the Wang Daoist, perhaps not very satisfied with the price, the Wang Taoist had an extra eye when he took the silk paintings, and specially selected those shabby ones to give to Stein, a total of about 500 pieces.

But how did this Taoist priest know that the more worn out those silk paintings are, the older and more valuable they are.

It was later confirmed that most of the worn-out silk paintings he gave Stein were from the Tang Dynasty and were the essence of Dunhuang silk paintings.

The remaining newer silk paintings did not remain in China, and were swept away by the Frenchman Birch, and all of them were brought back to Paris, most of them from the Five Dynasties and the Northern Song Dynasty.

This is the origin of these Dunhuang silk paintings in Stein's secret room, but this Stein is a very bastard, and many of those silk paintings were torn in half by him and given to the East India Company to offset the amount.

These silk paintings have endured for thousands of years, and they are already very fragile, and when Stein tosses them so much, when they are left in the hands of the British Museum, they are basically in a state of full holes.

At that time, the British Museum did not pay much attention to these silk paintings, so they were randomly locked in a box and put into the Stein secret room.

It was not until the fifties of the last century, after the founding of New China, that he began to sort out the national treasures, and found that there was no Dunhuang silk painting in his own country, and the British, at this time, also knew the importance of the silk painting in his hand.

So immediately pay attention to it, and then began to find someone to mount, but unfortunately they do not understand the mounting technology of Chinese silk paintings, and actually framed these silk paintings on kraft paper, because the silk itself is elastic, when pasting not enough or excessive, it will cause irreparable damage to these silk paintings, as a result, they tossed so much, and then damaged a lot of silk paintings, such as causing many bodhisattva faces and bodies to deform, or silk paintings directly damaged.

As soon as he thought of this, Jin Muchen greeted the eight generations of the ancestors of these white-skinned ghost animals.

Today, since Lao Tzu is here, these treasures, you don't want to keep any of them, rob the light, capture the light, clear the light, Lao Tzu will let you see it, Lao Tzu's three-light policy...... (To be continued......)