Riding the wind of rebirth

Chapter 1776 They are all famous

The mutton used by Donglaishun is selected from Inner Mongolia. Only meat from five parts of the body, namely the upper brain, small Sancha, big Sancha, groundan, and cucumber strips, is used. The mutton made here is red and white, with tender texture, bright color, neat shape, and uniform thickness.

As thin as paper and shaped like a handkerchief. It is cooked in one dip in the pot and will not become overcooked even if you dip it for a long time. It tastes soft, not smelly or greasy, and is delicious.

The chefs here are very good at cutting meat, and they use special long knives. The slices of meat they cut are of uniform thickness, arranged neatly, and shaped like handkerchiefs.

There is not only mutton hotpot here, there are also several dishes that are worthy of praise, such as chicken mince and white fungus, offal in white soup, and stir-fried tripe.

"In the early years, Donglaishun set up a stall in the Dong'an Market to sell mutton noodles and buckwheat cakes. Later, it added pancakes and porridge." Grandpa Wang introduced while distributing chopsticks to everyone.

"Later, a fire destroyed the Dong'an Market. When it was rebuilt, Ding Deshan built three tiled houses here and changed the signboard. That's when Donglaishun started its shabu-shabu business."

"When we were there, the best hot pot restaurant was Zhengyanglou," said Mr. Qi. "I don't know when Donglaishun became more popular."

"It was probably in 1920, I remember." The bald fat old man recalled, "Zhengyanglou later came to our Harbin, known as the 'Kyoto Zhengyanglou', and changed to selling braised pork. Small sausages and pine nut pork belly are still the two specialties in our place."

"By the way, I haven't introduced Elbow yet." Grandpa Qi said with a smile, "This grandfather is Chen Shizhong, the director of the Shenyang Palace Museum, and an expert in the appraisal of Qing Dynasty calligraphy and paintings."

"This bearded grandfather is Zhou Zhanlin, a senior researcher at the Nanjing Museum and an expert on the history of the Six Dynasties. He was the first person to propose that the brick paintings of the Southern Qi Dynasty were created by famous artists of the Six Dynasties. You should have read his paper, right?"

"I have heard a lot about you." Zhou Zhi hurriedly saluted: "I have read Grandpa Zhou's thesis, and he has done a very deep study on the history of painting in the Six Dynasties. I am also familiar with Grandpa Chen, and I often read his works."

"Oh? Little boy, have you read my works? Which one?" Zhou Zhanlin was a little unconvinced and thought Zhou Zhi was just being polite.

"Grandpa Zhou's Xiqing Ancient Mirror Records and Xiqing Continued Mirror Records," Zhou Zhi said, "These two books are indispensable for understanding the bronze artifacts in the palace collection."

"Hey! You really know it!" Zhou Zhanlin pointed at Zhou Zhi and said to Grandpa Qi and Grandpa Wang: "Whose disciple is Elbow Zi? That's right!"

Xiqing Ancient Mirror is a large catalog of ancient bronzes collected by the Qing court. It has 40 volumes in itself and 16 volumes of Qianlu in its appendix. It contains more than 1,500 bronzes from the Shang and Zhou dynasties to the Tang dynasty, most of which are Shang and Zhou Yi wares. It was compiled by Liang Shizheng, a famous calligrapher and collector of imperial cultural relics during the Qianlong dynasty.

This book is very unique, with a picture of each artifact and a caption in regular script after the picture. The pictures were all made by masters of the imperial court, with meticulous drawings and accurate accuracy. The size, circumference, height, width, weight and weight of the artifacts are recorded in detail, and the inscriptions on the ancient artifacts are copied and annotated.

There are also a lot of textual research on mathematics and physics. Although it incorporates the views of many scholars such as Ouyang Xiu, it is beyond the reach of other scholars. The book also refutes the fallacies of the staunch scholars of the past dynasties, explains the difficulties, supplements the omissions, and makes the ancient artifacts of the Three Dynasties appear as if they were in the present. This kind of book is like the "high-definition pictorial" of ancient times, which requires drawing and engraving, and the cost is extremely high. Of course, its importance is self-evident. It is a pity that the turmoil of more than two hundred years later made the two books scarce.

Zhou Zhanlin spent a great deal of effort collecting and organizing the information, and made detailed "reading notes". He is considered to be an outstanding contributor to the compilation and discussion of the two ancient books. This is why his two works are called "Xilu".

Although "Xi Lu" was written by Zhou Zhanlin in his early years, it is still recognized as the best material for studying the bronzes collected in the two palace museums, and is therefore very famous in the industry.

However, because both books need to be read in conjunction with ancient books, and both ancient books are picture albums, even in modern times, the cost of printing and production is still high. Therefore, except for truly professional institutions, ordinary people have neither the interest nor the ability to spend the money to purchase "Xiqing Ancient Mirror" and "Xiqing Continued Mirror" for three hundred yuan.

Old Master Qi did not tell Zhou Zhanlin whose disciple Zhou Zhi was. He only said, "Little friend, you and Old Zhou are also from the same family. If there is a need for care in the future, you should understand, right?"

"The Yangtze River's waves behind push the waves ahead." Zhou Zhanlin shook his head repeatedly: "We have seen what the paintings looked like before through photos. It takes not only me and Lao Chen's two galleries, but also your two galleries to be restored to the present state. There are not many, right?"

"On the contrary, there are still a few old guys in Rongbaozhai." Chen Shizhong said, "Old Zhou, you are so honest. I don't know if Old Qi is showing off. The repair of elbow is not just a simple repair. The research and development of the materials used for the repair is the most commendable."

"Oh? Really? My specialty is bronze, so I don't know much about calligraphy and painting restoration."

"You don't know, do you?" Chen Shizhong said with a smile, "Do you know what the biggest embarrassment we encounter in restoring ancient calligraphy and paintings now is?"

"I have heard from several people in charge of the calligraphy and painting department that restoration materials are becoming increasingly scarce." Zhou Zhanlin said, "The materials used to restore ancient paintings should preferably be the same as those used in the paintings themselves. This is troublesome. It is no wonder that calligraphy and painting cultural relics have always been the ceiling among cultural relics. The cost of protection is also one aspect."

"In fact, there are several main reasons: lack of funds, lack of support, lack of research." Mr. Qi said: "Also, there is a lack of professional talents."

"Everything is about money. Now everything is about economic benefits." Mr. Yuan said: "The market for making antique paper and antique plain paper is too small, the cost is too high, and the process is too complicated. This is a business that loses money and does not make any profit."

The old people had endless grievances to pour out when talking about this, and then they began to recall the difficult years.

Zhou Zhi can fully understand the urgency and helplessness of today's cultural heritage workers, as well as the deep sense of powerlessness. Come to think of it, the state sold large quantities of bronzes and Qing Dynasty porcelains at the Arts and Crafts Store and the Handicraft Department of the Friendship Store in exchange for much-needed foreign exchange. Those days were only a few years ago, and until now there has been no clear document to stop them.

Zhou Zhi had no choice but to console her, saying, "The country is paying more and more attention to this aspect. From the enthusiasm of the audience at every exhibition, we can see that the people's growing spiritual needs are no less than their material needs..."