one person's life

Chapter 416 Treasure
"This part is not well preserved." Tang Muzhi looked at the canvases stacked on the wooden box and thought with some regret that in Wu Gensheng's era, there were probably not many people in China who were as accomplished as him in oil painting. The subjects of the paintings are all human beings. The expressions and movements of the characters in the paintings are vivid and lifelike on the paper. They can be said to be quite lifelike. This is because a lot of attention has been paid to the details.

There is only one style of oil painting left here without roots, and that is realism painting.

There are many ways to appreciate oil paintings in modern times. Systematically speaking, you must first look at the color, light and shadow of oil paintings.The 29 oil paintings with inner canvas frames nailed inside the cave are all well preserved. From the colors and light and shadow of these paintings, we can see the emotion and atmosphere of Wugensheng when he was painting.

Most of these paintings are the same as the young Feng Baobao, the colors are soft and bright, and the characters are lifelike. Thanks to Wu Gensheng's artistic modulation of colors, the whole oil painting has a unified and harmonious tone, and the transition of the color blocks is smooth at the edges of the characters and the environment. Naturally, the whole painting is fresh and simple, and the innocent and innocent emotions of the little girl in the painting are very full and vivid.

Let’s look at the composition and proportions of the paintings. The themes of these oil paintings are clear and the proportions are coordinated. Traditional Chinese painting pays attention to “sparse but airtight”, and the same goes for oil paintings.

Most of Wugensheng's paintings are of Chinese people, and there are also a few paintings of foreigners. The strange thing is that even if Chinese people who don't understand oil painting are allowed to appreciate it carefully, they can still find a uniqueness in the paintings of foreigners. The affinity, or the philosophical thought contained in the painting can be detected from the composition, color, light and shadow, and brushstrokes——

Heaven and man are one.

The characters in the painting, the buildings in front and behind them, and nature are integrated. This is due to Wugensheng's unique brushstrokes. Brushes are the foundation of a painting and an important basis for analyzing the author's emotional orientation when creating.The rich texture traces created on the picture through oil painting materials and tools are the painter's own artistic concepts, aesthetic concepts and value orientation.The rootless brushstrokes are natural and unrestrained, making the picture look coherent and integrated.

It can be said that Wugensheng has the Impressionist ability to capture the changes in light and shadow with extreme sensitivity, and the overall tone is firmly established on realism. This feeling is particularly strong in the oil paintings of some ethnic minority figures.

Tang Muzhi tasted it carefully, and some of the paintings are really excellent, and the pictures have a strong sense of story, which means they are very attractive. He thought about it, and finally only took out Feng Baobao's painting alone. I plan to take it with me when I leave.

Tang Muzhi got a lot of information from these paintings. One oil painting showed several men wearing Kuomintang military uniforms. They were in a dark cave. Two leading officers were commanding several men carrying people on their backs. The soldier with the 1924 Mauser rifle laboriously moved several wooden boxes into another hidden cave tunnel.

Some details can be seen at the end of the left side of the canvas. An officer and soldier looked sideways at the box at the end. It can be seen from the gaps in the wooden frame that these boxes actually contain gold!

"It's interesting..." Tang Muzhi calculated based on the perspective ratio. The density of gold is very high. One ton of gold is about the size of half a trolley suitcase. Even if only one-tenth of these boxes is gold, then Looking at the value now, it is at least more than [-] million yuan.

Tang Muzhi paid a little attention to this, but unfortunately, although there were many details in the painting, there were no real clues pointing to a specific place.

There is also a painting with blue sky and white clouds in the background. The main subject is the back of a woman standing in front of a temple surrounded by smoke and clouds. She is wearing a white robe and has smooth black hair hanging down to her waist. She looks a bit like an ancient woman.Tang Muzhi didn't know who this woman was, but looking at the style of the temple, it looked very similar to the Zhimiao Temple where Tang Muzhi and Ye Kexin had visited. It was suspected that there were fragments of the "Yongle Dadian" or a copy of Tengshan's secret method.The sky and scenery in this painting also show that the location in the painting is Jiangnan, but the Zhimiao Temple in the painting has not been destroyed... Tang Muzhi very much suspected that the woman in the painting was Fang Ying among the 36 thieves.

It seems that as Yang Man knew, Fang Ying had been to Zhimiao Temple, and Wu Gensheng was there at the time. Maybe Fang Ying met Wu Gensheng on the way to Yangcheng Lake Town before leaving Fujishan.

Tang Muzhi then walked around the cave again. There were indeed only some miscellaneous items stored here, all belonging to Wu Gensheng's personal collection: clay figurines, conch shells, cicada sloughs, organ, pocket watch, ink ingots, canvas, rice paper, Cameras... and rocks.

Not only the ordinary stone by the river, but also landscape stones with "Yellow River Strange Stones" engraved on them, jade with mottled and strange colors, etc. Some of them are now considered valuable collectibles outside, but for most strangers It's all useless stuff.First of all, it can be purchased with money, and secondly, there are no secrets of Qi refining or rootless diaries.

Tang Muzhi pulled off the silk cloth, picked up many of them, looked at them for a while and then put them down. There were two cameras in Wugensheng's collection. One was a Rollei twin reflex camera, which was a bit heavy, but ordinary people could afford it; The camera is an Argus A-type film camera made in the United States. It is small and exquisite, and has a very contemporary feel.

There is also a brooch pocket watch. Although the parts in it have stopped rotating a long time ago, and the dial and hands have traces of oxidation and rust, after cleaning the dust near the spring, gently twisting it, and with a "click" sound, That pocket watch spans nearly a century, and the hands can still move. The white dial has been oxidized to grayish yellow, and the silver hands have turned black, but it still looks very beautiful...but the timing is a little inaccurate, which is worse than not. The time Tang Muzhi memorized was on time.

Around the cave, Tang Muzhi stopped and walked, looking at most things without moving. After all, this was someone else's collection and had nothing to do with him. He wanted to take away Feng Baobao's portrait because he didn't want this immortal man to The secret is just exposed.

After looking around the cave, Tang Muzhi walked over the nineteen stone steps and climbed to the pavilion with a huge Bagua diagram in the center. The pavilion was not small, but there were no items stacked there. Tang Muzhi walked towards the underground Bagua diagram. A place where a pair of "footprints" exist.

The "footprint" was dented a few inches from the Bagua map in the ground. Because of the darkness in the cave, it did not appear to be too abrupt. Tang Muzhi stepped forward and squatted half-down. He stretched out his hands to place the "Yongquan Point" of the footprint. With a thought in his mind, a blue Qi pillar emerged from the fingertips of his hands and penetrated into the ground, and an icy blue Qi light emerged from the Yongquan Cave of the footprints.

hum-

As if an ancient mechanism had been touched, with the "click" sound produced by the rubbing of stones, the huge Bagua diagram suddenly separated from the middle, revealing a bottomless secret passage in the middle of the pavilion.

(End of this chapter)