Speaking of this, Liu Lao couldn't help but show a gloomy look on his face, seeing this, Chu Chen hurriedly comforted:

"Old Liu, the deceased is gone, we should live happily, you are happy and long-lived, which is the most comforting for the deceased."

Hearing these words, Liu Lao put away the sentimentality in his heart and said: "Xiao Chu, let you see the jokes, when people are old, they are very nostalgic, but you are right, we only need to be happy if we live." Let's take a look at what's in this box. ”

When he came to Liu Lao's studio, Chu Chen took off all the plastic paper wrapped around the brocade box, and when he opened the brocade box, he saw that there was actually a silk calligraphy and painting inside.

In the world of calligraphy and painting, calligraphy and painting are drawn on silk, silk or silk fabric, which is called silk. However, although silk looks more expensive, the background color is not as white as that of paper, and because of the more preparation work before painting on silk, it is not as popular as paper.

Moreover, there are two shortcomings in the silk book, which is not only easy to be eaten by insects, but also easy to be damaged, and it is easy to preserve the paper book. Therefore, although there are many ancient calligraphy and painting scrolls, there are not many works that can really be preserved without damage, especially some works that have lasted for thousands of years, which can be preserved without damage, which is even rarer.

Seeing that there was actually a silk work inside, and Chu Chen and the others found that from the side, there was a faint light on the silk.

This kind of light on the silk surface is commonly known as "mirror light". The reason for this effect is that because of the characteristics of silk, it is necessary to remount it several times for preservation, and each operation must be glued and alumized, and the back of the calligraphy and painting is vigorously rolled with stone and wax. The more times you accumulate, the brighter effect appears.

This situation generally only appears on silk paintings before the Song and Yuan dynasties, and is generally not seen in silk books of the Ming and Qing dynasties and beyond.

Seeing this work, the age is at least the Song and Yuan dynasties, and the three of them were surprised at the same time, their expressions also became very cautious.

After cleaning up the table, Chu Chen put on gloves and carefully took the things out of the brocade box, and slowly spread them on the table.

Coloring refers to the use of color, because traditional Chinese painting, many are only ink, and the use of color is called "color".

Chinese painting has always attached great importance to coloring, so in ancient times, the picture was called "Danqing". Dan is cinnabar, and green is indigo, both of which are commonly used colors in painting. "Book of Jin" said that Gu Kaizhi "is especially good at Danqing, and the picture is wonderful." Du Fu presented a poem by the famous horse artist Cao Ba, entitled "Danqing Citation", which shows that the name of "Danqing" has been used by people.

Coloring is a basic technique that ancient painters must master, so Sheikh listed "coloring with kinds" as one of the "six methods".

This landscape painting on silk and color depicts the life of a hermit in a mountain dwelling, with streams meandering down the valley between the two mountains, merging into a rippling stream.

There is a bamboo fence thatched hut on the pond bank, a maid working in the backyard, a shepherd boy riding a cow in front of the fence gate, a farmer rushing on the path, a pavilion stretching into the water, Coats sitting against the railing, raising his eyes and looking at it, his expression is extremely leisurely, and his wife is playing with the servant girl in her arms, a plain but happy life scene.

There is a hanging spring on the mountainside behind the house, and it gathers at the foot of the mountain in the stream. The currents and surges are meticulously delineated with thin lines.

In this picture, the drawing methods of streams, streams, slopes, near mountains, and distant mountains are different, and the drawing methods of bamboo hedges and thatched huts, near trees, and distant trees are also different, but their combinations have rhythms and changes, and the whole picture can be said to be very harmonious.

These scenery and the vivid characters in the painter's pen are organically combined, which has to be said to be a visual feast.

The artistic level of this work is simply breathtaking. However, among the three people present, even Chu Chen has been involved in the antique world for five years, and when the painting first came into the eyes of the three people, they felt a little familiar, and when the three of them saw the style of the painting, everyone couldn't help but be shocked.

"This ...... This...... How is this possible, Dad, I can't be mistaken. ”

Although Liu Qinshu has not revealed how advanced her antique appreciation ability is in front of Chu Chen until now. But don't forget, she has been learning antique knowledge by Liu Lao's side since she was a child, no matter how bad her talent is, after decades, where will her level be worse?

Looking at the multiple inscriptions on this work, as well as more than a dozen bell seals and collection seals, each seal represents a famous figure in history, proving that this picture is a work of orderly inheritance, coupled with Liu Qinshu's professional level immersed in calligraphy and painting for decades, it can almost be concluded that this work is a genuine work.

Of course, if it were replaced by someone else's authentic work, or Liu Qinshu would not be so surprised, but the style of this painting is "the painting of Dong Yuan, the deputy envoy of Beiyuan", which has to surprise her.

Dong Yuan, whose name is Shuda, is a painter of the Southern Tang Dynasty of the fifth generation of China, Yuan Yi Zuoyuan, and a native of Zhongling, Jiangnan. He was mainly active in the Southern Tang Dynasty. Li Jing, the official to the Southern Tang Dynasty, was the deputy envoy of the North Garden, so it was also called "Dong Beiyuan", and after the death of the Southern Tang Dynasty, he entered the Song Dynasty and was regarded as the founder of the Southern School of landscape painting.

Dong Yuan is good at landscapes and beasts. His landscapes are mostly painted with the real mountains of the south of the Yangtze River and are not strange and steep brushes, and it is recorded that he painted the scenery of the south of the Yangtze River more "plain and naïve, and there is no such product in the Tang Dynasty". Mi Fu once praised its landscapes and said: "The peaks and mountains are haunted, the clouds and mist are obscure, not pretending to be funny, all are naïve."

In the "Painting Guide" of the Five Dynasties, it is recorded: "There are two kinds of Dongyuan landscapes: the same ink, sparse forests and distant trees, flat and deep and deep, and mountains and rocks are covered with linen; The same coloring, there are very few inscriptions, the color is thick and ancient, the characters are mostly red and green clothes, and there are also powdered people on the human face. Both are masterpieces. "

Shen Kuo of the Northern Song Dynasty mentioned in "Mengxi Brush Talk": "Dong Yuan is good at painting, Longgong Qiulan has a long view, and writes more about the real mountains in the south of the Yangtze River, not for the pen of strange mountains and cliffs", also known as "his brush is very hasty, myopia is not like objects, and the scenery is beautiful from a distance......" In the history of painting, Dong Yuan, Fan Kuan, and Li Cheng are called the three masters of the early Northern Song Dynasty.

Dong Yuan is not only known for painting landscapes, but also for cows, tigers, dragons and people. As a landscape painter, Dong Yuan is also not specialized. The Song people praised its large colored landscapes and rich scenery, just like Li Sixun's style.

But its most original and highest achievement is the ink landscape. He used the method of draping linen and dotting moss to express the natural appearance of the Jiangnan area, and wonderfully conveyed the scenery of the south of the Yangtze River with obscure peaks, Zhouzhu and smoke. He is very hasty with his brushwork, short-sighted, and looks at the scenery from a distance, and is creative in his technique.

His famous works "Waiting to be Crossed in the Summer Mountain Pass" and "Xiaoxiang Picture" vividly express the specific scenery of the hills in the south of the Yangtze River in summer, the lush vegetation and the clouds among the rivers and lakes. His brushwork is fully adapted to the specific scenery he represents.

At the beginning, Dong Yuan's landscape paintings were favored by Li Jing, the lord of the Southern Tang Dynasty.

It is said that Li Jing built a villa in Lushan when he was young, integrating the beautiful scenery of mountain springs and forests. In order to be able to see the scenery of Lushan from time to time, he specially sent Dong Yuan to paint a "Lushan Map".

Dong Yuan skillfully painted the five old peaks, clouds and pines, spring and strange stones and courtyard villas into a picture. After Li Jing watched, he praised endlessly, couldn't put it down, ordered someone to hang it in the bedroom, and watched the painting day and night, as if living in the mountains for a long time. It can be seen that Dong Yuan's ingenuity in conception and superb art of scene writing.

There are very few works of Dong Yuan in the world, only a few such as "Xiajing Mountain Pass to be Crossed", "Xiaoxiang", "Summer Mountain", "Longsu Suburban", "Creek Bank Map" and so on.

Despite this, Liu Qinshu was not surprised to see a work by Dong Yuan now, but the work in front of them was clearly "Creek Bank Map".

Liu Lao put down the magnifying glass in his hand, and said with excitement and excitement on his face:

"What's impossible about this, do you want to say that "Creek Bank Map" is now in the metropolis of the United States? Hehe, I thought there was something wrong with that work at the beginning, not to mention anything else, but to compare it with "Summer Mountain" and so on, it is completely two different styles. And you see, the technique of this work in front of you is the cloak created by Dong Yuan. ”

Moreover, the style of painting, as well as the brushes of people and animals, are also consistent with those of "Summer Mountain". The most critical point is that the first bell seal here is still the Southern Song Dynasty minister Jia Nidao, this, you two should know what this means, right? So I think this is the real "Creek Bank". ”

Weishenme Liu Lao wants to mention this bell seal alone, it is because the "Creek Bank Map" of the metropolis starts with the same bell seal of Jia Yidao. One is a work using Dong Yuan's method of draping linen, and the other is a work using typical techniques of the time, which one will people think is genuine?

"Dad, do you think Dadu's "Creek Bank Map" will be a modern forgery?"

Liu Lao shook his head and said: "I don't believe that picture is a modern forgery, I think its technique and style are still the style of the ancients, judging from the current work, it is very likely that Jia Yidao got the authentic work of Dong Yuan and asked someone to imitate it." ”

"Old Liu, is it possible that this picture is an imitation?" Liu Qinshu asked curiously.

Liu Lao smiled and replied: "What you said is not impossible, I admit that that work does have high artistic value, but to prove that the work is indeed Dong Yuan's authentic work, then more ironclad evidence must be produced, otherwise it is just wishful thinking." ”

"And our one, whether it is technique or style, is well-founded, unless someone can prove that those museum works are fake, otherwise, my mind will not change."