After a long time of appreciation, Yu Wenhong, a famous collector and expert master, began to display the Yongle blue and white loquat ribbon bird pattern plate he brought.

"This large plate is 9.2cm high, 51.2cm in diameter, and 34.5cm in diameter. ”

"The disc folds along, the rhombic flower mouth type, the whole body is 16-petal lotus shape, the center of the plate is wide and flat, the circle foot, the fine sand bottom, no money, and the exposed fetus presents flint red. The blue and white base glaze is bright and white, thick and transparent. The main pattern of the pan is a ribbon bird perched on a loquat branch, looking back at pecking at the plump loquat fruit. The inner wall is painted with pomegranate, peach, lychee, loquat and other folded branches and fruits, along the surface of the large and small entwined branches of the lotus, the outer edge of the sea water cliff pattern, the outer wall painted with the folded branch chrysanthemum pattern. ”

"Yongle and Xuande dynasties are the golden age in the history of blue and white porcelain in China, and the fetal quality, bottom glaze and painting of blue and white porcelain are all fine. This plate uses the 'Su Ni Boqing' material imported from the West during Yongle time, which is heavy and gorgeous, penetrates into the fetal bone, and has the 'rust spots' formed by natural halo, and there is a sense of unevenness when stroked by hand. ”

"The existing Yongle blue and white porcelain at home and abroad, the large plate often takes flowers as the decorative theme, and the theme pattern of loquat ribbon bird is rare, as far as the information currently available, there are only three complete pieces: in addition to this one, one of the National Art Museum of Yuedao, one of our Palace Museum, and the one that exists in the Palace Museum is the most exquisite. ”

It is another rare porcelain boutique, and Yun Feiyang also has a detailed information of a fine porcelain.

Yu Wenhong's disciple Tong Chong only followed the master to increase his knowledge, and did not have a collection.

Kong Pinxiang, honorary chairman of the Chinese Calligraphers Association, brought Ouyang Xiu's "Burning Ai Post".

"This is one of my most precious pieces of calligraphy. It has never been shown, and today I am specially appreciating it with all friends. Kong Pinxiang carefully unfolded the scroll.

Yun Feiyang saw Ouyang Xiu's handwritten calligraphy for the first time, and saw the dignified handwriting on the unfolded scroll, which read: "Xiuqi, don't see each other, be honest." Seeing the speech, Zeng Zhuoai, I don't know what is going on in the body? This kind of Chinese medicine practitioner is common, quite non-layman, and can be discussed with it. There are also idle things, thinking about each other. Undeclared. Repair and worship, learn to step right. Twenty-eight said. ”

"This post is written in square and wide words, clear eyes and plump cheeks, and advance and retreat. The calligraphy is dignified and vigorous, that is, it is sharp and powerful, which is what Huang Tingjian called "exerting force in the pen, which is the method of the ancients". Su Shi said, 'Use a sharp pen and dry ink to make square and broad characters, with beautiful hair and endless cream' and 'The gesture is dangerous, and the font is beautiful', which can be described as scratching the itch. Yun Feiyang listened carefully to Kong Pinxiang's introduction.

After everyone tasted this calligraphy work, Liu Xingtong, honorary chairman of the Huaguo Artists Association, began to display the "White Picture of the Night" by Han Gan of the Tang Dynasty that he brought.

"This scroll is 30.8 centimeters in length and 33.5 centimeters in width. ”

"'Zhaoyebai' is the mount of Tang Xuanzong Li Longji, in the picture, 'Zhaoyebai' is tied to a wooden tree, hissing with his head held high, and his hooves soaring, as if he wants to break free from the reins. This picture is concise with a pen, the lines are finely woven and strong, the horse body is slightly rendered, and the majestic demeanor has been expressed. The inscription on the upper left of the picture is 'Han Ganzhao Yebai', which is the inscription of Li Yu, the queen of the Southern Tang Dynasty. The word "Yanyuan" at the top of the left seems to be the title of Zhang Yanyuan, a famous art historian in the Tang Dynasty; It is a famous relic that has been passed down for a long time. ”

"Han Gan, a native of Lantian in Shaanxi, lived in the era of Xuanzong of the Tang Dynasty. When he was young, his family was poor, and he often sent wine to the restaurant. The great poet Wuwei discovered his talent and funded him to learn painting, "the first teacher Cao Ba, and then he was good at it", and then became a famous painter of horses, Xuanzong enshrined the inner court, Xuanzong had ordered him to teach Chen Hong to paint horses, he said: "The minister has his own teacher, the horse of His Majesty's inner stable, and the teacher of the minister." It can be seen that his achievements are achieved from observation and sketching in real life. ”

Liu Xingtong introduced it in detail, and Yun Feiyang also listened very carefully.

After everyone admired it for a long time, Qin Wenguang, president of the Huaguo Jewelry and Jade Association, began to show the Western Han jade belt hook it brought.

"The belt hook was used by the ancients to tie the waist, hook the collar or hook to hang the ornament, usually composed of three parts: the hook head, the hook body and the hook tail. It is both a utility and an ornament. ”

"This Western Han Dynasty belt hook is in the shape of a flat and long strip, 14.6 long, 3.5 wide, and 0.9 cm thick, which is carved from a piece of Hetian jade. Locally brown spots. The hook head and hook tail are carved into the shape of a dragon's head, the hook body is slightly arced, and each side is carved with a tiger stripe in high relief. ”

"Cantis, an animal in ancient legends, a genus of dragons. On one side, the tail of the tiger rolls over to the hook surface, and on the other side, the head of the tiger turns to the hook surface, and the tail of the skein is curled. The front of the hook body is embossed with six groups of hooked moire, and there are oval buttons on the back, which is carved with jade. ”

"The Han Dynasty jade belt hook, in addition to inheriting the Warring States period ornamentation, there is also some development and innovation, the hook tiger decoration is a new initiative, the tiger echoes each other, integrated into one, showing a majestic and bold artistic style. ”

This jade belt hook is perfect, and everyone has admired it for a long time.

Vice President Qian Ming showed a Western Han jade ring.

"This ring is carved from Hetian jade, the texture is pure and warm, flat and round. The diameter is 9.9, the aperture is 5.7, and the thickness is 0.4 cm. ”

"The ornamentation on both sides of the jade ring is basically the same, and they are all carved with bas-relief concealment techniques to carve dragons and phoenixes through the clouds. The inner and outer edges of one side are decorated with string patterns for a week, and the interior dragon and phoenix wear among the clouds. On the other side, there is a standing beast carved between the dragon and the phoenix, with a side head, arms, and well-developed limbs. The dragons and phoenixes on both sides of the jade ring are intertwined with each other and penetrate the clouds, the lines are soft and smooth, and the dragons fly and the phoenixes dance, lifelike. ”

"When the ancients made jade, they divided the flake-shaped round jade into three types: jade, jade, and jade ring, according to the size of the central aperture. However, judging from the physical objects unearthed from archaeological excavations, the ancients did not have strict regulations on the ratio of the aperture of the jade bi to the body. Therefore, today people are accustomed to refer to the round ware with wide side and small hole as bi, and the narrow side and large aperture are called rings. The jade ring has appeared in the Neolithic period, and the ornament is simple and simple, which is a kind of ornament worn by the ancients on the chest or tied on the belt of clothes. ”

"To the Western Han Dynasty, the shape of the jade ring is more colorful, such a piece of dragon and phoenix pattern jade ring, not only the jade quality is excellent, the carving is exquisite, and the composition is novel, the image of the dragon and the phoenix is exaggerated, the jade carving craftsman will imagine the dragon and phoenix leaping posture and the moment posture that is jumping up vividly and vividly, full of the beauty of dynamic art. This is rare in the jade unearthed in the Han Dynasty, and it is a superior work of artistic innovation for the dragon and phoenix of the Western Han Dynasty, which is very precious. ”

This jade ring with deep artistic beauty, Yun Feiyang personally liked it very much, and everyone appreciated it for a long time before Li Guangde, honorary president of the Huaguo Jade Carving Association, displayed the next collection.

The collection he brought with him was his own jade carving work: the jade carving ornament "Lao Tzu Exits".

"This jade ornament is carved from jadeite material with a height of 24.5 cm, a width of 20 cm, and a thickness of 7 cm. ”

"The whole piece of jadeite is light purple with dark purple interspersions. In the process of reviewing the material, I carefully conceived according to the natural color and natural shape of this piece of material, determined the topic by color, designed according to the material, and applied art according to the material. Finely depict the scene of Lao Tzu leaving Hangu Pass after telling Guan Ling Yin Xi about the Tao Te Ching. ”

After Li Guangde's brief introduction, everyone began to appreciate it carefully.

But I saw that the picture was stacked with mountains, the sun was shining, the auspicious clouds were swirling, and a city tower in the distance was reflected in the mountain peak. Among the trees, dozens of small birds fly in the air; the strange stones in the valley nearby, the vigorous pine tree on the right side stands beside the path, echoes with another small tree on the left, the wooden bridge spans the mountain spring; the water splashes under the bridge; the old man of the fairy wind bone on the path has drooping ears, the hair is fluttering, the spirit is refreshing, he sits happily on the back of the green ox, a young child is innocent and lively, walking lightly in front of the green cow, the old and the young echo the expectation, revealing the joy of going out of the customs, the character image is delicately portrayed, the form and spirit are both, and they are about to come out。

The work uses the traditional Chinese scattered perspective technique to compose the picture in an "S" shape, so that the picture space is wide and the layers are clear, showing the effect of high and low, far and near, making the boundless Guanshan border appear far-reaching and empty;

In the carving, the round carving, relief carving and other techniques are kneaded into one, carefully carved, so that the depth of the picture undulating, concave and convex changes, under the light refraction to produce a chiaroscuro effect, enhance the sense of space and three-dimensionality; The theme of the work is prominent, between the virtual and the real, the complexity is simplified, the layers are clear, the color of the jade carving is very consistent with the chosen theme, so that "the cow goes to the valley pass, and the purple gas comes from the east" is perfectly embodied.

"Lao Tzu Out of the Customs" works are selected with rosewood carving base, using relief carving skills to carve mountain stones, trees, paths, etc., especially the path of the base is connected with the path on the lower right side of the jade carving picture, giving people the feeling that the painting is not finished, and the meaning is endless, and I can't help but praise it.