Real scene red envelope big draw

And the quality is not bad.

Touch it by hand, the texture is very delicate.

Not one of those crudely built pianos.

Of course, this piano is not the most top-level piano.

This piano is almost 2 yuan.

Wealthy families can basically afford it.

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In the second ordinary red envelope, Zhou Rui got a stone.

Just a rock.

At the beginning, Zhou Rui thought the system was playing a joke on him.

But after careful inspection, nothing unusual was found.

Then, Zhou Rui put the stone into the space of mountains and rivers.

There is nothing unusual about this stone except that it is bigger.

Zhou Rui didn't expect a stone monkey to pop out of him.

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In the third ordinary red envelope, Zhou Rui got a book in it - "Three Hundred Tang Poems".

Zhou Rui dare not say that he can recite all the poems in it, but he is confident that he can recite more than half of them.

But this "Three Hundred Tang Poems" is really well-made.

Whether it is paper or other, it is very beautiful.

This thing is really good for collection.

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In the fourth red envelope, Zhou Rui got an antique product—a large Guangcai bowl with stories about characters from the late Qing Dynasty.

Diameter: 40.5CM, height: 13CM, bottom diameter: 20CM.

The shape of this plate is regular and large, the color is bright and calm, the painting is smooth and simple, the glaze is fine and moist, the color and decoration are obvious, the paste is handed down from generation to generation, the paste is natural, the soles of the feet are exposed, and the tire is old. It is comprehensively judged to be a product of the late Qing Dynasty.

This character story Guangcai extra large bowl is a pair.

Put together, quite beautiful and delicate.

But although it is a pair of extra large bowls, the story described above is different.

The big guy on the left describes the scene of "Wu Song fights the tiger".

On the extra-large bowl, there are scenes of mountains, strange rocks, and high mountains. In the center, a big man is riding on a tiger, raising his big fist and about to hit it.

But not yet.

Below, is a huge tiger's head, with its mouth open, motionless.

Lifelike, very realistic.

There is quite a painting style of the late Qing Dynasty.

On the extra-large bowl on the right, there is a scene of "Lu Zhishen pulling up the weeping willow upside down".

Needless to say, you can see it at a glance.

A bald monk holds a willow tree in both hands.

The underside of the willow tree has been pulled out.

The monk's face is very ferocious, and his arms are very thick.

Unusual horror.

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The fifth ordinary red envelope was a gift from Dashan when Zhou Rui passed through Dashan.

It is a packet of seeds.

One packet has no information, and no one knows what kind of seeds it is.

In the sixth ordinary red envelope, Zhou Rui got a pair of expensive cigarettes.

For the seventh ordinary red envelope, Zhou Rui got a scarf.

In addition to these seven ordinary red envelopes, Zhou Rui also got three different world red envelopes.

The first red envelope from a different world, Zhou Rui got one from a movie world - "Dwelling in the Fuchun Mountains".

Dwelling in the Fuchun Mountains is a calligraphy and painting of the Yuan Dynasty. The artist Huang Gongwang painted it for Zheng Xi. With the Fuchun River in Zhejiang as the background, the whole picture uses light and elegant ink. It is Huang Gongwang's representative work and is known as one of the "Top Ten Famous Paintings Handed Down in China".

At the end of the Ming Dynasty, it was passed on to the collector Wu Hongyu. Wu Hongyu loved the painting so much that he even ordered the painting to be burned and buried before his death. He was rescued from the fire by Wu Hongyu's nephew, but at this time the painting had been burned into one large and one small pieces. two paragraphs.

The longer latter section is called "Wuyongshi Juan", which is now in the National Palace Museum, Taipei; the front section is called "Remaining Mountain Map", and is now in the Jiangsu and Zhejiang Provincial Museum.

Title of the first half volume: "Dwelling in the Fuchun Mountains·Remaining Mountains"

Size: 31.8 cm in length and 51.4 cm in width

Name of the second half of the volume: "Dwelling in the Fuchun Mountains: Wuyongshi Volume"

Size: 33 cm in length and 636.9 cm in width

But this red envelope from another world gave Zhou Rui a surprise, but it also gave Zhou Rui a regret.

Surprisingly, the "Dwelling in the Fuchun Mountains" inside the red envelope is the full version.

In other words, both the first half volume and the second half volume are in Zhou Rui's hands.

Unfortunately, the painting was still burned.

Became a long paragraph and a short paragraph.

Because when acting in a movie, there are one long paragraph and one short paragraph.

Regarding this, Zhou Rui was also a little helpless.

I have to say that this "Dwelling in the Fuchun Mountains" is indeed one of the top ten famous paintings handed down from generation to generation in China, and it is indeed extraordinary.

It is said that Huang Gongwang put his "life savings" into his painting creation, worked hard, and lasted several years. Finally, when he was over eighty years old, he finally completed this long scroll, which can be called the highest state of landscape painting - "Dwelling in the Fuchun Mountains" ".

In the form of a long scroll, it depicts the beautiful scenery of the early autumn on both sides of the Fuchun River, with emerald peaks, tall pines and rocks, clouds and trees, and sandy cottages. The vast and continuous landscape of the south of the Yangtze River is vividly expressed, reaching the realm of "thick mountains and rivers, lush vegetation".

This picture scroll is a six-jointed paper book, that is, a picture scroll made of six sheets of paper connected together.

In order to create "Dwelling in the Fuchun Mountains", when he "appreciated the victories of fishing and beaches in the mountains and rivers", he "carried a pen and paper in his sleeve, and whenever he encountered a scene, he stopped and memorized it".

It took him three or four years to observe and figure out with great concentration to complete this painting.

Zhang Geng recorded Dong Qichang's praise for this painting in "Picture Essence", "Zijiu's paintings are the best of the four masters of the Yuan Dynasty... such as the Fuchun Mountain Scroll, its charm is superb, it embodies all kinds of methods, it is detached and harmonious, and it does not fall into the trap path."

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After reading the information on "Dwelling in the Fuchun Mountains" with the technique of appraising treasures, Zhou Rui couldn't help feeling a deep admiration for Huang Gongwang, the author of "Dwelling in the Fuchun Mountains".

Such a person is a respectable master!

Chapter 594 Immortal Hero Treasure - Qingxin Bell

"Dwelling in the Fuchun Mountains" is more than one foot high and about two feet long.

Yun Nantian said, "The bald peaks in Pingsha are painted in such a way that they are extremely wild." Dong Qichang also said that when he saw this painting in Chang'an, he felt "spiritual and heart-warming".

In 1350, Huang Gongwang gave the title of this picture to Master Wuyong.

"Dwelling in the Fuchun Mountains" had its first owner, and since then began its ups and downs in the world for more than 600 years.

At the beginning of this painting, Master Wuyong was "concerned about someone who would take advantage of it by chance".

Unfortunately, as he said, when Shen Zhou collected this picture during the Chenghua period of the Ming Dynasty, he encountered a "trickster".

Shen Zhou asked someone to write an inscription on this picture, but the man's son hid it and lost it.

Later, this picture appeared on the market and was sold at a high price. The honest and honest Shen Zhou was unable to care about it and was unable to buy it, so he had to carry a volume on his back to comfort his feelings.After that, it was handed over by Fan Shun, Tan Zhiyi, Dong Qichang, and Wu Zhengzhi.

During the Shunzhi period of the Qing Dynasty, Wu Hongyu, a descendant of the Wu family and a collector in Yixing, cherished it even more after he got it.

Yun Nantian's "Ouxiangguan Painting Postscript" records: Wu Hongyu ignored his family's collection during the "time of national change", but took "Dwelling in Fuchun Mountains" and "Authentic Works of Thousand Characters of Master Zhiyong" with him to flee.

In the seventh year of Shunzhi in the Qing Dynasty, when Wu Hongyu was dying, he still couldn't forget the treasure box next to his pillow.

At this time, the family understood that the other party was still obsessed with that beloved landscape painting before he died.

At this time, someone immediately took out the painting and unfolded it in front of him.

Before Wu Hongyu died, he gave the last order - burn.

After finishing speaking, he slowly closed his eyes.

Everyone present was stunned, the master is going to burn the painting to be buried!The painting to be burned is the national treasure "Dwelling in the Fuchun Mountains".

Because I cherish this scroll so much, I asked my family to prepare it to be burned and "burned as a sacrifice" for burial.

"First burn the "Authentic Works of a Thousand Characters" one day, and personally watch it be burned. The next day, burn "Dwelling in the Fuchun Mountains" as a sacrifice to pay for the fire. When the fire is full, Hong Yu will lie down."

This "Dwelling in the Fuchun Mountains", which has been passed down for three generations in Wu's mansion and regarded as a family heirloom by the young and old of the Wu family, was thrown into the fire in full view. The flames flickered and the painting was ignited!

At the critical moment when the traditional Chinese painting was about to be burned, a person suddenly jumped out from the crowd, "rushing to the burning place", grabbed the painting in the fire and threw it vigorously, "coming out of the red furnace", in a daze to save the painting It turned out that he was Wu Hongyu's nephew, and his name was Wu Jing'an.

In order to deceive others, he threw another painting into the fire and rescued "Dwelling in the Fuchun Mountains" by exchanging beams for pillars.

Although the painting was rescued, several holes were burnt in the middle, and it was broken into two sections, one large and one small.Since then, the rare national treasure "Dwelling in the Fuchun Mountains" has been divided into two parts.

In 1652, after Wu Jigu, a son of the Wu family, got it, he carefully peeled off the burnt part of the damaged scroll. After re-joining, there was a scene of mountains, rivers, hills and valleys, and it was almost impossible to tell that it was cut and stitched together. , It's really God's blessing.

Therefore, people called this part "The Picture of Remaining Mountains".

As for the other section that retains the main content of the original painting, in order to cover up the traces of burning during mounting, the inscription and postscript of Dong Qichang, which was originally at the end of the painting, was cut off and placed at the beginning of the painting. roll".

On this occasion, the original "Dwelling in the Fuchun Mountains" was divided into "Dwelling in the Fuchun Mountains: Remaining Mountains" and "Dwelling in the Fuchun Mountains: Wuyongshi Juan", with different bodies and heads.

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After reading the historical course of "Dwelling in the Fuchun Mountains", Zhou Rui couldn't help feeling a lot of emotion.

I have to say, it was really rough.

Then, Zhou Rui opened the second red envelope from another world, which was a national treasure from a movie world—the Dragon Head.

This dragon head is none other than the dragon head among the bronze heads of the twelve zodiac animals in Yuanmingyuan.

But to Zhou Rui's embarrassment, the dragon head already existed.

He took out another dragon head, it's not just looking for trouble.

Zhou Rui's dragon head is real.

The real dragon head is also real.

So the question is, why there are two dragon heads, and they are exactly the same.

I believe that many people will be curious about this question.

Then, they will go back to the source and trace the origin of the two dragon heads.

At that time, if Zhou Rui couldn't tell, it would be so embarrassing.

In fact, Zhou Rui really couldn't tell the origin of the dragon head.

Even if you make it up, you can't make it up.

Therefore, it is destined that the dragon head in Zhou Rui's hand is destined to be invisible.

This thing can only be appreciated by himself.

Of course, there is also "Dwelling in the Fuchun Mountains" that is not seen in the light.

You can only look at it yourself, not take it out.

Unless one day, something happens.

something happened.