Jin Muchen stopped in front of the first painting he came to, because the light shining from this painting was too dazzling.

Although the colors on the canvas have been seriously distorted due to the age of this painting, the two huge peony flowers on the picture can still see the vivid artistic conception.

And this painting is rated by the Japanese as one of Japan's national treasures, the famous Southern Song Dynasty painter Li Di made the "Red and White Hibiscus Picture", this painting is a representative work of silk paintings in the Southern Song Dynasty.

It is also recognized by everyone as the pinnacle of flower and bird painting in the Southern Song Dynasty, and it is the number one representative work in the Chinese flower and bird painting in the world.

The length and width of this painting are about 26 centimeters, and the painting work is fine and neat, especially the lifelike and delicate painting style, which can be said to have created a vein of Chinese photorealistic painting of birds, so it has a very high evaluation in the history of Chinese art.

This painting was originally in the old collection of the Qing Palace, and it was the favorite of the emperors of the Qing Dynasty, especially the Qianlong Emperor, who liked this painting very much, and usually hung it on the wall of his study to admire.

Later, after Qianlong, Emperor Jiaqing succeeded to the throne, the emperor's love for antique calligraphy and painting, but not as obsessed with his father, when he had just copied Heshen, just from Heshen where to get the treasures are already countless, how can you have the heart to pay attention to this originally did not like the calligraphy and painting?

So this painting was put into the cold palace, and later after the Old Summer Palace was completed, it was stored in the Old Summer Palace.

Later, the British and French troops attacked the capital, and after looting the Old Summer Palace, they set fire to this famous garden, and the painting has been missing since then. Lost to the people.

Later, it was also collected to Japan by the famous Japanese antiquities dealer, Takashima Kikujiro, and the looting methods during this period, of course, were not very glorious, and later this painting was donated to the Tokyo National Museum by the Takashima Kikujiro.

After probably reading this painting, Jin Muchen continued to walk back. Then I came to a dazzling painting, the canvas of this painting is the same as the previous "Red and White Hibiscus", because of the age, it has been quite yellowed.

And because this painting is a splashed ink landscape painting, the use of black and white light ink, and no other dyes are used, so the painting fades quite a lot, except for some faint landscapes, basically can not see other appearances.

But even so. This painting still shines with a dazzling light, and this painting is also the "Xiaoxiang Lying Tour Scroll" by Li Sheng of the Southern Song Dynasty, which is rated as one of Japan's national treasures by the Japanese.

The reason why this painting is so precious is also because after the birth of silk painting in the Tang Dynasty, the most popular figure painting at that time was still the main body, but those figure paintings are mainly based on the earliest painting techniques, to put it bluntly, they are not very realistic.

In the Song Dynasty, landscape paintings began to be derived. In particular, splashed ink landscape painting began to prevail in the Southern Song Dynasty. even became the favorite of celebrities at that time.

And this Li Sheng's "Xiaoxiang Lying Tour Picture Scroll" is a representative work in the splashed ink landscape painting at that time, which has been passed down for many generations, and has always been recognized by everyone as the earliest representative work of splashed ink landscape painting, and has a high status in China's landscape paintings.

And the size of the painting is oversized. It is said that when the paintings were complete, there was a complete set of 12 huge scrolls with a size of more than 30 square meters, which was the first splashed ink landscape painting scroll in history.

And that's because of that. This painting has become an immortal legend in Chinese ink-splashed landscape painting.

Such paintings recognized by the Chinese have spread to Japan, and of course they will be recognized by the Japanese, so it is understandable that they are rated as one of Japan's national treasures.

This painting is the same as the previous "Red and White Hibiscus Picture", which is the old collection of the Qing Palace, and Jing Yixuan, which has been stored in Jianfu Palace, flowed out of the palace in the last years of the Qing Dynasty, and was later also obtained by the Japanese with not very glorious means.

When I first came to Japan, I fell into the hands of a man named Kikuchi Orangutan Clan, but this guy was also unlucky enough, when he first got his hands on it, this painting was a set of picture scrolls.

It's a pity that he didn't catch up with the good time, in 1923 there was a big earthquake in Tokyo, and then a fire broke out in his place of residence, this guy was also crazy at that time to break into the freight yard, snatched out part of this set of scrolls, and the rest of the scrolls were all buried in the fire.

Later, only such a part of the "Xiaoxiang Lying Tour" was preserved, and it was later donated to the Tokyo National Museum by Nakikuchi.

Looking at the picture in front of him, although it was claimed to be a fragment, it was still a grand picture, Jin Muchen couldn't bear the excitement in his heart.

You must know that in the era of the Southern Song Dynasty, the painters at that time were able to paint such a large painting, how difficult was it?

It's a pity that our descendants are not filial, so that such a great historical site actually fell into the hands of the Japanese with wolf ambitions, and this damned Japanese was originally located in the country of heavenly punishment.

God's punishment has brought to such a great painting, and as a result, no one can even think of seeing the whole picture of this huge work, only partial fragments, which is really pitiful, lamentable, and even more hateful!

As soon as he thought of this, Jin Muchen's hatred for the Japanese couldn't help but deepen a little.

It is precisely because of the hatred of the Japanese in his heart that Jin Muchen didn't look at the last two Liang Kai's "Snow Landscape Map" of the Southern Song Dynasty and Indra's "Zen Machine Diagram of Jian Hanshan Pickup", which were rated as national treasures by the Japanese, because he was really in a bad mood.

Because he was not in the mood to appreciate those two famous paintings, Jin Muchen simply gave up looking at these paintings, lest he accumulate too much negative emotions and couldn't help but have a seizure on the spot.

He simply began to put his mind on the security measures in this room, which was terrible and startled him.

The security measures in the porcelain exhibition hall before were already numb, and the monitoring facilities in this exhibition hall, in Jin Muchen's opinion, can be described as frenzied.

It can almost be described as a post in ten steps, a post in five steps, and a dense array of camera probes on the walls, roofs, corners, and even simply walls.

Moreover, the outside of those paintings is covered with glass, and even the security guards who usually don't appear in the museum at all are constantly patrolling back and forth in this exhibition hall at this time.

It seems that the Japanese have become the top priority of the entire museum, and it is very tightly guarded.

This made Jin Muchen feel very headache, not to mention the exhibition halls in front of him, they had been very well guarded, and this one could be described as a net.

Unless you didn't come here with any second thoughts, if you came with crooked intentions, I'm afraid that before you could do anything, you would have been caught on the spot by these security guards.

Jin Muchen has not been to museums in other countries before, he has been to a lot in the United States, and he has also visited the British Museum in the United Kingdom, but it is the first time he has seen such a well-guarded museum.

However, when you think about the international situation in which Japan finds itself, it becomes clear.

Even now, Japan, an animal country, has never been humble about their war of aggression, and the three countries in the world that were most brutally invaded and hurt the most by the Japanese were North and South Korea and China.

Let's not talk about the northern stick, now I often find Japan unhappy, not to mention the southern stick, and people will come to Japan at every turn, set fires, burn the Yasukuni shrine and something.

These two countries have never educated their citizens and forgotten the suffering caused by the Japanese back then, so the citizens of these two countries hate the Japanese quite madly.

And there is another China that is eyeing the side, which makes the Japanese have to be more cautious.

After all, the iniquity they have created is too deep, too much.

What's more, now they're still following their American daddy's ass and being the vanguard of containing China, so they're also afraid that if one day a couple of crazy extremist guys from China come to their museum and make trouble, it will be terrible.

After all, these cultural relics here are thousands of years old, and they are all very fragile, and they can't withstand the toss of those guys, so they have to deal with it carefully.

Jin Muchen sneered and continued to turn back, and then saw the partial fragment of Zhao Mengfu's "Thirteen Treks" in the Yuan Dynasty, and saw such a fragment of calligraphy, Jin Muchen sighed in his heart.

Zhao Mengfu, this is the number one calligraphy and painting in China after Wang Xizhi, and his calligraphy, even now in China, all the museums added together, there are less than 40 pieces.

And now there is such a huge fragment in Japan, think about it is really hateful, if this thing is in the country, even if it is a fragment, it can definitely be included in the scope of national treasures.

After all, Zhao Mengfu's hard-pen calligraphy can be said to be another great creation of Chinese calligraphy after Wang Xizhi, and his calligraphy, that kind of style, can be compared with Wang Xizhi's achievements.

This piece of calligraphy fragment was also donated to the Tokyo National Museum by the aforementioned Takashima Kikujiro, and that guy donated a lot at that time, donating more than 300 top and precious Chinese cultural relics at one time...... (To be continued.) )