Riding the wind of rebirth

Chapter 1370 The Four King Kong

Crouching Tiger Arhat is behind the pine, leaning on the pine tree with his waist, and is resting contentedly. Under him, a tiger is curled up at his feet like a big cat, and his expression is even a bit flattering.

One person and one tiger are drawn with fine brushwork, including the Arhat's clothes, shoes and socks, and the tiger's claws and beards. Each stroke is extremely delicate. The meticulous depiction in this painting actually becomes the extraordinary highlight of the characters. The method is just like the portrait under a fixed-focus lens. There is partial blur in the close-up and distant views, making the delicate and clear portrait more prominent.

"It's amazing." Zhou Zhi flipped through the pages of the album and found that Shi Tao treated every painting in the same way. The flowers, trees, clouds and mountains in the near and distant views, and the Yanluo River and rocks were all painted freely, while the characters and animals were all painted freely. The combination of the two makes the painting richer, more elegant and full of charm: "No wonder Wu Hufan commented that the finer the Shitao landscape, the more wonderful it is, and the best characters are better than the landscape!"

"It's a pity that most future generations think that freehand brushwork represents willfulness and carelessness. They don't know what 'dancing in shackles' or 'following one's heart without prejudgment' means." Qi Lao said with a smile: "So Wu Hufan continued to say Well, later generations who learn from stone masters always look for it from a violent place, which is really a fallacy!"

In fact, there is basically no doubt about the authenticity of things that have been appraised by Qi Lao and Wang Lao, but Zhou Zhi's view is relatively rough.

Although it has not entered the inner palace and has been circulated privately, it still has the seals of the alchemists and Ming Jian on it.

As we have discussed before, Fang Shishu was a relatively famous painter during the Qianlong period. Cui Ruzhuo had his paintings and was very familiar with his seals, so he picked up a big leak from a collector in the island country.

As for Ming Jian, neither Zhou Zhi nor Cui Ruzhuo knew him. According to the two elders, he was a monk, calligrapher and painter during the Daoguang period. He became a monk in Jiuhua Mountain and called himself "Jigu". There is his postscript on the back of the album -

"Master Shi Tao painted the picture of Five Hundred Arhats at Jingting Mountain in his early years. It took several years and was refined by Taoist Shi throughout his life. In the twelfth lunar month of the Gengxu year, Jigu Mingjian inscribed it."

At the end of the album, there is a piece of letterhead, which is written in calligraphy: "No imperial seal, no famous minister's seal, little lion Taoist, Mingjian Zen master, seems to be the wrong person to embrace this treasure. Meiji seventeenth year."

"Densaburo Fujita? He's also mistaken?!" Zhou Zhi couldn't help laughing: "The collectors in this island country are really one after another...sincere! It's not easy for the collection to escape from his hands."

"Densaburo Fujita and Eiichi Anzhai have similar styles. They are both famous for buying lavishly regardless of price. Once they cannot be judged to be genuine, replacing them is just like dirt." Mr. Wang shook his head: "The main product He is a tyrant, and it is precisely because of this that they have accumulated countless treasures."

The chicken vat cup is his representative and important collection.

The first one is Sakamoto Goro. This is a serious colleague. His profession is an antique dealer and a part-time collector.

Behind it was a seal with the two-character seal character "Xiangxue" written on it.

Sakamoto Goro is very passionate about collecting Chinese antiques and art. He started as an ordinary little person and eventually developed into the founder of the most influential antique exchange meeting "Fuyan Tang" in the island country. It can be said that he has taken advantage of the value of Chinese cultural relics along the way. Soaring east wind.

"Hehehehe..." The remaining people laughed, and Master Ma said: "How come the four great Vajras of the island country don't know about it in the collecting world?"

The "Four King Kongs of the Island Country" mentioned by Ma Wei actually refer to four wealthy collectors of the Island Country who have collected a large number of precious Chinese cultural relics.

"Can you all recognize his seal and handwriting?" Cui Ruzhuo was stunned again: "Is this also common sense in the collection world?"

The second one is the Fujita family, whose founder is Denzaburo Fujita. He and his son founded the Fujita Museum of Art, which is one of the most prestigious private art museums in Japan.

Denzaburo Fujita was an important industrialist in the modern history of the island country. He was a wealthy businessman in the brewing industry. After participating in the overthrow of the Reform Movement, he became an important minister of the Reform and gained huge wealth in many industries such as mining and securities.

He is also a lover of East Asian traditional arts and spends huge sums of money to collect national treasures from China and Japan. He is known for being quick and ruthless when purchasing cultural relics, and almost never asks the price. The famous Yaobian Tenmoku tea bowl is an important collection of the Fujita Museum of Art.

The third person is Linyu Shanren, whose collection includes kilns from the north and south, and is known as the most comprehensive private collection of Song porcelain.

The black-glazed partridge-spotted bowl from the Ding kiln, the azure-glazed plate from the Jun kiln, and the oil-dropped Tianmu tea bowl from the Jian kiln are all remarkable collections.

The fourth one is Eichi Anzhai, a famous second-generation rich man. His father also saw that this child was not a business material, so he did not designate him as his successor. However, by mistake, after his father passed away, he took over the Anzhai industry.

He was indeed consistent, leaving the management of the industry entirely to professional managers, and devoted himself wholeheartedly to the collection of ceramics.

He only has one standard for collecting: beauty. He despises the official kilns of the Qing Dynasty the most. He goes to major auctions all year round and uses the surplus in the company's account to buy ceramics.

The Southern Song Dynasty oil-drop Tenmu tea bowl, Longquan Fei Celadon, Ru Kiln narcissus basin, and the Southern Song Dynasty Jizhou Konoha Tenmu bowl are all in his collection and are classified as national treasures in Japan.

In the end, the "taste of home ownership" that is talked about by islanders was formed.

These collectors all have one characteristic in common, which is their special preference for Song porcelain.

The ones with the richest collections are undoubtedly Fujita and Anzai.

However, in the eyes of ordinary people, these people are all great collectors and big shots, but here in Zhou Zhi, they are also ordinary people.

Because Zhou Zhi and Ma Ye have dealt with two of the "four great kings", Anzhai and Sakamoto.

Zhou Zhi had just finished the college entrance examination and had not even received the admission notice, so he went to Hong Kong to participate in an appraisal meeting hosted by Lin Wanqiu, and it was identified that "Dainikkyo·Zhenyan Menzhu Xinpin" was written by An Hai, a calligrapher from the island nation. It is authentic and has been recognized by Anzhai and Sakamoto with detailed and reasonable appraisal opinions.

This triggered a fierce competition among all parties for the "Dainikkei·Zhenyan Menzhu Xinpin" at the auction, which reduced the number of competitors for the return of "Chunhua Pavilion Poster" to the country, and finally was successfully won by the Chinese representative.

Overall, after Zhou Zhi's brief interaction with Eiichi Anzhai and Goro Sakamoto, he actually had a feeling of "nouveau riche" about them, and his impression was average.

First, when appraising the porcelain, the two of them lacked knowledge about the dragon pattern on Chinese porcelain. They actually failed to recognize the "Yinglong pattern" on the blue and white porcelain. Zhou Zhi, who was a high school student at the time, taught them a lesson.

When Zhou Zhi authenticated the authenticity of the Dainikake, a fight broke out at the auction. Because the two had not been able to raise funds before, Anzhai made things difficult for Zhou Zhi to authenticate his qualifications and participate in the auction, and made trouble in order to raise funds domestically. To gain time.

In the end, he used words to control Zhou Zhi, making him admit that the bid of 28.5 million Hong Kong dollars was the last move, and then bought the "Dainikkei" at a higher price. Afterwards, he even exaggerated it in the media and boasted about the two. How they battled wits and courage at the auction and finally returned the national treasure.

Although Zhou Zhi was not mentioned by name, as the "strongest competitor" of the "Dainikkei", there were certainly no good words for him from the mouths of the two people and the media in the island country.

(End of this chapter)