Riding the wind of rebirth

Chapter 1789 Expert Discussion

The next step, of course, is the solid-state drives used in laptops.

Today, when 4G hard drives are still standard equipment for most home PCs, this thing is simply amazing. It has been in short supply since its launch. Many high-end designers directly plug two of them into their computers, and use the real-time synchronization software developed by Clover, one master and one slave, to ensure the maximum security of their system information.

These usages are new "ways of playing" accumulated by the users themselves. As far as Zhou Zhi himself believes, using the fragile TYPE-C as a long-term fixed data storage link is itself a relatively risky behavior, but at least so far he has not heard of any party reporting any problems.

After all, the data exchange speed of TYPE-C is so fast that everyone finds it very convenient to use and even thinks that its risks are not worth mentioning.

There are even companies that have developed a small accessory called "interface solidifier" specifically for TYPE-C, which has never appeared in the previous life.

With this thing, the server construction work can be done very quickly. Once the server is built, Director Song can ask scholars from Huaqing to come and listen to the introduction, and then use it as the first step output of the Xia, Shang and Zhou dynasty dating project, and further "coordinate" more people to participate.

However, Zhou Zhi was working very happily on this end. On Mr. Wang's end, the news he received was that Researcher Wu took him, Mr. Ma and the island friends to the National Museum to visit the Li Gui, and then they said something. Researcher Wu called the Science and Technology Commission, and then several people disappeared.

Zhou Zhi's phone was no longer accessible, so they had to call Ma Ye. It turned out that Ma Ye was already having dinner at the Beijing Hotel with two friends. He said that Elbow was kept by Director Song of the Science and Technology Commission and was going to prepare for a big project.

  Old Master Wang felt his head buzzing. The appraisal of four paintings from the Six Dynasties was just going on, but the real owner was detained!

Fortunately, there are not too many old scientists who like calligraphy, and Mr. Qi has many connections in the scientific community. He soon found out what was going on, and then advised Mr. Wang... It is really hard to judge which is more important, the Xia, Shang and Zhou dating project or the publication of the paintings of the four masters of the Six Dynasties...

After An Chunjia arrived, Zhou Zhi and he built the Oracle splicing engineering software and database, and then they got out. Then they found that the computer room of the Science and Technology Commission blocked the mobile phone signals, and their mobile phones were almost blown up in two days.

When we hurriedly arrived at the National Museum, we heard a lot of noise in the ancient painting restoration studio.

A voice that Zhou Zhi was somewhat familiar with said, "As of now, Lu Tanwei's "Seven Sages in the Bamboo Grove and Rong Qiqi" and Gu Kaizhi's "Biographies of Women: Benevolence and Wisdom" can be confirmed as authentic. Because "Seven Sages in the Bamboo Grove and Rong Qiqi" has brick paintings from four tombs of the Southern Qi Dynasty as evidence, the two can be completely overlapped after being scaled to a certain ratio. The painting style is basically the same as the island country's "True Shapes of the Five Stars and Twenty-Eight Mansions", especially in the combination of various colors and close-ups of clothing folds, human bodies, and animal hair. It can be seen that although the copies were made by two people, the original was basically made by one person."

"In addition, the appearance of this painting also illustrates another problem, that is, the island country's "True Shape of the Five Stars and the Twenty-Eight Mansions" is Lu Tanwei's original work, and the claim that Liang Lingzan wrote the inscription is not correct. The reason is that this copy by Li Zhaoqing is more profound and exquisite, and is even better than the "True Shape of the Five Stars and the Twenty-Eight Mansions".

"From this we can see that Li Zhaoqing, who was from Wu, had a deeper understanding of Lu's version. Both of them are copies, but Li Zhaoqing is better than Liang Lingzan. Since the copy of "The Seven Sages of the Bamboo Grove and Rong Qiqi" can surpass "The True Shape of the Five Stars and the Twenty-Eight Mansions", then "The True Shape of the Five Stars and the Twenty-Eight Mansions" is undoubtedly a copy."

"The other is the Biographies of Women: Benevolence and Wisdom Volume, which should be more accurately called the second volume. The materials, composition, color, layout, clothing and period, and character representation techniques used in the first volume are exactly the same. We have already studied this very thoroughly when we were repairing the first volume." Another voice that Zhou Zhi also felt was familiar said, "The first and second volumes originally belonged to the same book. We at Rongbaozhai can guarantee this!" Zhou Zhi knew who this person was, Xu Bangda, a veteran expert in the calligraphy and painting department of Rongbaozhai.

Chen Shizhong's voice also rang out: "The other painting, "Avalokitesvara Bodhisattva", is more likely to be an authentic work. This is the first time that Cao Buxing's work has been published, and it is of great significance!"

"This is the first time Cao Buxing's work has been published. How can we be sure that it is authentic?" A voice rang out: "If we hold a press conference in the future, these questions will definitely be raised by our journalist comrades."

"This is simple. The key is the three postscripts. We have both Mi Fu's and Cai Xiang's works in our museum," said Mr. Qi. "The research on these two people is quite profound in China. We can confirm that these two of the three postscripts are authentic."

"In addition, there are records in the history of painting and the meaning of Mi Fu's postscript." Chen Shizhong said: "Mi Fu's family once collected a scroll of "Ruyi Wheel", which is recorded in history. With this postscript, this "Ruyi Wheel Bodhisattva Image" is the Mi family's "Ruyi Wheel" mentioned in the history of painting, and this possibility is quite high."

The voice of Mr. Wang answered: "The Wheel of Wishes is the Guanyin statue from the Tang and Song dynasties. The full name should be 'Wishful Wheel Bodhisattva' or 'Wishful Wheel Guanyin'."

"In order to determine the authenticity of this portrait, we searched the museum's collection of such paintings from the Tang and Song dynasties, and indeed found a sample."

"That is the Fragment of the Avalokitesvara Bodhisattva donated to the Palace Museum by Mr. Shao Xunmei from Shanghai in 1754. Please see the slide. This is the packaging at that time. It was wrapped in a roll of kraft paper with the words "Cultural Relics Collection Office of the Palace Museum/19 Huaihai Middle Road, Shanghai/Sent by 1957 Shao Xunmei" on it. The postmark shows that it was sent on July 7, 8."

"This is the Forbidden City's damaged piece number for the Guanyin statue: Xin00156154."

"Avalokitesvara is one of the six Avalokitesvaras in the Esoteric Buddhism. Its image is usually depicted with six arms. As for the treasures it holds and the seals it holds, there are many variations depending on the sutras."

"According to the "Wish-fulfilling Wheel Yoga Chanting Method", the Wish-fulfilling Wheel Avalokitesvara has six arms, a golden body, a topknot on his head, and a solemn crown to show his solemnity. In the crown is Amitabha Buddha, who is in the Dharma-teaching phase. The six arms represent the ability to travel in the six realms and relieve all sufferings of sentient beings in the six realms with great compassion."

"This fragment of the Ruyilun Guanyin statue donated by Mr. Shao Xunmei is a Dunhuang painting, painted on paper, originally 28 cm long and 30 cm wide. Unfortunately, only part of the painting remains today, and the right hand part of the painting is severely damaged."

"But we can still see the huge difference between the Guanyin Bodhisattva and the Guanyin image commonly seen in later generations."