"This part is not well kept." Tang Muzhi looked at the canvases stacked on the wooden box, and thought with some regret that in the era of rootless birth, there were probably few people in China who had such attainments in oil painting, and the subjects of his paintings were all people, and the demeanor and movements of the characters in the paintings jumped on the paper, lifelike, which can be described as quite expressive, which was a considerable effort in the details.

There is only one style of oil painting that remains here without roots, and that is realistic painting.

There are many ways to appreciate oil painting in modern times, and systematically speaking, the first thing to look at is the color, light and shadow of the oil painting. The 29 oil paintings with the inner frame of the canvas nailed to the cave are all well preserved, and the colors and light and shadows of these paintings can be seen in the emotions and atmosphere of the rootless paintings.

Most of these paintings are the same as the young Feng Baobao, the colors are soft and bright, and the characters are realistic, which is thanks to the artistic modulation of color without roots, the tone of the whole oil painting is unified and harmonious, at the edge of the characters and the environment, the transition of the color block is smooth and natural, the whole painting is fresh and simple, and the innocent emotions of the little girl in the painting are very full and vivid.

Looking at the composition and the proportion of the picture, the theme of these oil paintings is clear, the proportions are coordinated, and the Chinese painting pays attention to "sparse and impermeable", and the same is true for oil painting.

The strange thing is that even if you let the Chinese people who don't know oil painting taste it carefully, you can also find that the paintings of foreigners have a unique affinity, or from the composition, color, light and shadow, and brushstrokes, you can perceive the philosophical ideas contained in the paintings——

Heaven and man are one.

The characters in the painting are integrated with the buildings in front of and behind them, and nature, thanks to the unique brushstrokes without roots, which are the foundation of a painting and an important basis for analyzing the emotional orientation of the artist's creation. The creation of rich texture traces on the picture through oil painting materials and tools is the artist's own artistic concept, aesthetic concept and value orientation. The rootless brushstrokes are natural and unrestrained, making the picture look coherent and cohesive.

It can be said that the Impressionists have the ability to capture the changes of light and shadow extremely sensitively, and the overall tone is established unwavering in realism, especially for the oil paintings of some ethnic minority figures, this feeling is particularly strong.

Tang Muzhi carefully tasted it, there are a few paintings that are really excellent, and the sense of story in the picture is very strong, that is, it is very attractive, he thought about it, and finally only took out Feng Baobao's painting alone, and planned to take it away by the way when he left.

Tang Muzhi still got a lot of information from these paintings, one of which depicted several men in Kuomintang uniforms in a gloomy cave, and two leading officers were directing several soldiers with 1924-style Mauser rifles to laboriously move several wooden boxes into another hidden cave tunnel.

Some details can be seen at the end of the left side of the canvas, and an officer and soldier leaned sideways to look at the boxes at the end, and through the gap in the wooden frame, you can see that these boxes are actually filled with gold!

"It's a little interesting...... Tang Muzhi calculated according to the perspective ratio, the density of gold is very large, a ton of gold is about the size of half a trolley suitcase, even if only one-tenth of these boxes are gold, then the value of it is at least more than 500 million yuan now.

This made Tang Muzhi pay a little attention, but unfortunately although there are many details in the painting, there are no clues that really point to a specific place.

There is also a painting with blue sky and white clouds in the background, and the main body is the back of a woman standing in front of a temple surrounded by smoke and clouds, she is wearing a white robe, and her smooth black hair is draped over her waist, some of which look like ancient women. Tang Muzhi didn't know who this woman was, but looking at the style of the temple, it looked like Tang Muzhi and Ye Kexin had been there, and it was suspected that there was a fragment of the "Yongle Canon" or a copy of the Fujiyama secret method.

The sky scenery in this painting can also be seen that the place in the painting is Jiangnan, but the Zhimiao Nunnery on the painting has not been destroyed...... Tang Muzhi suspected that the woman in the painting was Fang Ying among the 36 thieves.

It seems that as Yang Man knew, Fang Ying had been to Zhimiao'an, and Wugensheng was also present at the time, maybe Fang Ying was on the way to Yangcheng Lake Town before leaving Fujishan to get acquainted with Wugensheng.

Then Tang Muzhi walked around the cave for another week, and there were indeed only some miscellaneous items stored here, all of which were some things from a rootless private collection: clay figurines, conchs, cicadas, organs, pocket watches, ink ingots, canvases, rice paper, cameras, ...... And stones.

Not only the ordinary stone by the river, but also the landscape stone engraved with the "Yellow River Strange Stone", the mottled and strange jade, etc., some of which are now very collectible objects outside, but they are useless things for most Inhumans. First, it can be purchased for money, and there are no secret books for refining Qi or diary essays without roots.

Tang Muzhi tore off the silk cloth, picked up many and looked at them for a while and then put them down, there are two cameras in the rootless collection, one is a Lulai double-reflex camera, which is a bit heavy, but ordinary people can afford it; There is also an American-made Argus A-type film camera, which is small and exquisite, and it is very old.

There is also a brooch pocket watch, although the parts have long stopped turning, and the dial and hands have traces of oxidation and rust, but after cleaning the dust near the clockwork, gently twist it, with the sound of "Kaka", the pocket watch spans nearly a century, the hands can still move, the white dial has been oxidized to gray yellow, and the silver hands have been blackened, but it still looks very beautiful...... It's just that the time is a little inaccurate, and it can't compare to the punctuality of Tang Muzhi's own memorization.

Around the cave, Tang Muzhi stopped and walked, most of the things were just not moving, after all, this was someone else's collection, and it had nothing to do with himself, he wanted to take away Feng Baobao's portrait, but he just didn't want the secret of this immortal person to be exposed.

】

After reading the cave circle, Tang Muzhi stepped over the nineteen stone steps, and climbed the pavilion with a huge gossip map in the center, the pavilion area is not small, but there are no items stacked, Tang Muzhi approached the place where a pair of "footprints" exist on the underground gossip map.

The "footprints" sunk down from the underground gossip map, because the relationship between the darkness in the cave did not appear very abrupt, Tang Muzhi stepped forward and squatted down, he stretched out his hands to the position of the footprints "Yongquan Point", and his mind moved, and a blue Qi pillar emerged from the tips of his fingers into the ground, and the footprints came out of the spring cave with an ice blue Qi light.

Buzz –

As if the ancient mechanism had been touched, with the sound of "Kaka" produced when the stones rubbed, the huge Bagua diagram suddenly separated from the middle, revealing a bottomless secret passage in the middle of the pavilion.