Riding the wind of rebirth

Chapter 1765 Yang Guo in the Middle

The crown and tassels are indeed one of the most important items of clothing for an emperor, but it is a formal dress, and the most important formal dress. Even the emperor can only wear it twice a year except for major events such as New Year's Day and the sacrifices to heaven and ancestors.

The Tongtian crown, as one of the daily uniforms, was actually more often worn by emperors.

The Tongtian Crown is also very old. It is similar to the Jinxian Crown in Han Dynasty paintings, but the difference is that "there is a high mountain in front". The front wall of the cup tube is higher than the top of the cap beam, and then curls backwards, making it look majestic and prominent. Because of this feature, it also got another name - the Rolling Cloud Crown.

The cirrus crown began to become more complicated in later generations, with more beams and many additional decorations such as cicadas, Boshan, necklaces, green threads, hairpins, and hairpin guides.

But at least in this picture, the Tongtian crown worn by Emperor Wu of Han is clean and simple, and is basically the same as the stone carvings of Qingji, King Wu, King Han, and Jie of Xia in the Han Dynasty ancestral hall in Jiaxiang, Shandong.

The closer the time gets, the more solemn the emperors are depicted. In particular, influenced by the stereotyped painting style in "On Painting" and the painters' imagination due to their lack of having seen real emperors, this led to scenes of emperors in crowns and robes fighting dragons.

This is as absurd as the marshal in later film and television dramas wearing a marshal's uniform and commanding a battle in a field command post.

The "Emperor Wu of Han Shooting a Dragon" in Zhou Zhi's hand is normal. The paintings of the Six Dynasties are close to the regulations of the Han Dynasty. Emperor Wu of Han is standing on a chariot, wearing a Tongtian crown on his head. His robe sleeves end at his elbows with loops, and there is a leather arm guard on his forearm to prevent being swept by the bowstring. He climbs up the bow and draws the arrow, aiming at the fierce dragon in the water on the right side of the picture, ready to pounce.

A chariot is a light military vehicle, usually pulled by one or two horses. It is very fast and is often used as a vehicle for messengers and also often accompanies nobles on hunting trips.

This painting records the real hunting scene in the Han Dynasty more realistically. It feels like the author has at least seen real Han and Jin nobles hunting, and painted this picture based on that scene, rather than twirling a pen in the study, or imagining based on the grand etiquette of later generations that he observed from afar.

In any case, the remaining three paintings are no less important than the "Seven Sages of the Bamboo Grove and Rong Qiqi", which is almost completed.

So the pressure still fell on Zhou Zhi. Grandpa Wang and Mr. Qi meant that they had to seize the time and ensure the quality of the restoration, pay attention to new discoveries during the restoration, and report the progress of the restoration at any time.

Then, don't rush to restore the whole painting. Once the painting core and inscriptions are restored, you can take this part to the capital. The rest of the work can be done slowly.

Then Zhou Zhi asked his fourth cousin for help, but his fourth cousin acted as if he didn't hear him. He only repaired the inscriptions and refused to touch the painting. After the restoration was completed, he leisurely helped his fourth aunt repair the brocade on the surface of the original painting, but he refused to help Zhou Zhi.

  Whenever Zhou Zhi protested, the fourth cousin would use the excuse that his eyesight was poor and earnestly warn Zhou Zhi to find an apprentice as soon as possible. Qingwen's ability to mend the golden pheasant fur coat at night was something only a teenage girl could do. If she became Qingwen's mother-in-law, do you think it would be okay?!

The words were ugly but the logic was sound. Zhou Zhi couldn't do anything about his fourth cousin. However, his fourth cousin and his aunt had not been idle these days. They had been studying several paintings and never got tired of looking at them.

The ancient paintings in the Palace Museum and the National Museum are not usually exhibited to the public, especially those by Gu Kaizhi and Lu Tanwei, which are usually only exhibited for a few days every five or six years.

What everyone can see on weekdays are basically replicas. So Zhou Zhi just rolls up his sleeves and works hard. As for the analysis and research of the paintings, he will leave it to his fourth cousin and aunt, and he will just be a microphone every night.

Then, Mr. Wang and Mr. Qi would often ask some "overflowing" questions based on the opinions of my fourth cousin and aunt. For example, for the upper and lower volumes of "Biographies of Women of Benevolence and Wisdom", all the details, such as the characters' clothing, size, movements of men and women, postures, expressions, the treatment of the starting, running and knotting of the silk thread, and the brushwork used for concave and convex rendering to create three-dimensional images, are worthy of study.

  But it is impossible to expect everyone to let Zhou Zhi off. For example, when Zhou Zhi told Mr. Wang that he found that the concave and convex rendering technique used in the second volume was the same as that in the first volume, Mr. Wang would ask whether it was from the side edge to the center edge, or from the center edge to the side edge, or from the side edge to the side edge? Is there a difference when using thick and thin? Mr. Qi would ask how to consider the relationship with the edge when rendering? For the same section of sleeves, was the rendering done with a single layer or multiple layers?

Then Zhou Zhi would remain silent when asked questions and could only seek help from his two elders at home.

Whenever this happened, Zhou Zhi would think of the plot in Jin Da Da's "The Return of the Condor Heroes", where Hong Qigong and Ouyang Feng decided who was better by learning moves from Yang Guo. They were fighting happily, but Yang Guo suffered.

However, just like Yang Guo who mastered the unique skills of the two great masters, the Beggar of the North and the Poison of the West, Zhou Zhi is also benefiting a lot now.

During these days, Zhou Zhi's cousin, the daughter of her fourth cousin who worked at the Chinese medicine hospital, came to bring them meals every day. Feng Xueshan also visited Zhou Zhi twice, and her eldest aunt came every day under the pretext of passing by on her way to work.

In fact, everyone in Jiachuan knows that my aunt is now retired.

A week later, the scroll was restored. Feng Xueshan and Yang He took the time to invite everyone to a meal. They had agreed to treat everyone, but Zhou Zhi was about to run away again.

In fact, their vacation has arrived. After all, they are already working people, and their winter and summer vacations cannot be compared with those of college students.

Lao Guo's stir-fry restaurant at the Majie Town wharf was still open, and Uncle Hu Sanye's eel stall at the Zhangjiagou Market was also doing a booming business, so Zhou Zhi simply asked Yang He to catch two black-bone chickens from Baimi Township, and then ordered ten kilograms of eels and river seafood from Uncle Hu Sanye, and had them delivered there together, so that they could have lunch and dinner together.

Zhou Zhi used to be a regular customer of Guo's stir-fry. When he was still in Jiachuan, he often came here with his godfather to enjoy a bite to eat and discuss the findings of field surveys in various places in Jiachuan.

It can be said that the small courtyard with green tiles and wooden walls under the big banyan tree at the pier is the starting point of Zhouzhi's "liberal arts career". Coming here again, Zhouzhi couldn't help but feel many emotions.

"There is such a place in Jiachuan City?" Fang Wenyu was a little surprised: "This place is not bad."

"This place is quite similar to Brother Ming's place." Liang Hong looked around carefully: "Except that the Fuhe River is not as good as the Yangtze River, the small-leaf banyan tree is not as good as the big banyan tree, and the yard is a little small."

Zhou Zhi didn't pay much attention to this problem, but now looking back, it really does have a bit of the feeling of Mingyi's small courtyard, but the patio here can accommodate several tables and is much larger than Mingyi's small courtyard.

Zhou Zhi now has a deeper understanding of the ancient buildings in southern Sichuan, and discovered that there is a Qing Dynasty-style building here, which is almost the same as the buildings seen in Wushan and Guling during the Three Gorges investigation.