After everyone tasted it for a long time, Yu Wenhong, a famous collector and master of appraisal, began to show off the Yongle blue and white loquat ribbon with bird pattern he brought.

"The height of this large plate is 9.2cm, the diameter is 51.2cm, and the foot diameter is 34.5cm."

"The plate has folded rims, a rhombus-shaped mouth, and a 16-petal lotus shape. The center of the plate is wide and flat, with a circle foot, a fine sand bottom, and no markings. The exposed area shows flint red. The blue and white base glaze is bright white, thick, moist and transparent. The plate

The main pattern of the heart is a ribbon bird perched on a loquat branch, looking back to eat the plump loquat fruits. The inner wall is painted with pomegranates, peaches, lychees, loquats and other branch flowers and fruits, and large and small lotus flowers are painted along the surface, and the lower edge is painted

The sea water and river cliff pattern, and the outer wall is painted with a pattern of broken branches and chrysanthemums."

"The Yongle and Xuande dynasties were the golden ages in the history of blue and white porcelain in my country. The texture, bottom glaze and painting of the blue and white porcelain were all exquisite. This plate uses the 'Su Ni Bo Qing' material imported from the West during the Yongle period, which is rich and gorgeous. It penetrates into the fetal bones, and there are 'rust spots' formed by natural dispersion, and it feels uneven when touched by the hand."

"The Yongle blue and white porcelain that has been passed down from generation to generation at home and abroad is often decorated with flowers as the theme, and it is rare to use loquats and birds as the theme. According to the information currently available, there are only three complete ones: except for this one,

There is one piece in the Japan National Museum of Art and one piece in our National Palace Museum, and the one currently in the National Palace Museum is the most exquisite."

Another rare fine porcelain, Yun Feiyang also has detailed information on another fine porcelain.

Yu Wenhong's disciple Tong Zhong only followed his master to increase his knowledge and did not come to collect any items.

Kong Pinxiang, the honorary chairman of the Chinese Calligraphers Association, brought Ouyang Xiu's "Zhuo Mo Tie".

"This is my most precious piece of secret calligraphy. It has never been shown to anyone. Today I specially share it with all my friends." Kong Pinxiang unfolded the scroll carefully.

Yun Feiyang saw Ouyang Xiu's calligraphy for the first time. He saw the handwriting on the unfolded scroll was dignified and elegant. The content was: "Xiu Qi, we haven't seen each other for many days, so sincerely. When we met, I spoke, and I didn't know what was going on."

How about it? Come to Xiu Ou at home, maybe I can see him. There are often Chinese doctors here, they are quite non-mundane practitioners, and you can discuss rights with them. There are also leisure matters, and I want to meet each other. Don’t announce it. Xiu will pay homage again, and learn to make correct steps.

.Twenty-eight said."

"The strokes of this post are made of square and wide characters, with clear eyes and plump cheeks, and a smooth movement forward and backward. The calligraphy is dignified and vigorous, showing both edge and forceful pauses. This is exactly what Huang Tingjian said: 'Using force in the brush is the method of the ancients.'" Su Shi said

'Use a sharp pen and dry ink to write square and wide characters, the hair will be colorful and moist' and 'the pen is strong and the handwriting is beautiful', it can be said that it scratches an itch." Yun Feiyang listened carefully to Kong Pinxiang's introduction.

After everyone tasted this calligraphy work, Liu Xingtong, the honorary chairman of the Chinese Artists Association, began to show the "White Picture of Shining Night" by Han Gan of the Tang Dynasty that he brought.

"This scroll is 30.8 centimeters long and 33.5 centimeters wide."

"'Zhaoyebai' is the mount of Li Longji, Emperor Xuanzong of the Tang Dynasty. In the picture, 'Zhaoyebai' is tied to a wooden pole, with its head held high and its hooves galloping, as if trying to break free from the reins. This picture is written in a concise way and the lines are woven

Thin and vigorous, the horse's body is slightly enhanced, and the majestic demeanor has been expressed. The six characters "Han Ganzhao Yebai" on the upper left of the picture are inscribed by Li Yu, the later master of the Southern Tang Dynasty. The two characters "Yanyuan" on the upper left of the picture seem to be a famous name in the Tang Dynasty

It is titled by the art historian Zhang Yanyuan; on the lower left is the inscription by Mi Fu of the Song Dynasty, and it is stamped with the seal of "Innate True Appreciation" in red. It is a famous trace that has been passed down."

"Han Gan, a native of Lantian, Shaanxi, lived in the reign of Emperor Xuanzong of the Tang Dynasty. When he was young, his family was poor and he often delivered wine to restaurants. The great poet Wuwei discovered his talent and funded him to study painting. 'He first studied with Cao Ba, but later became a master of his own.'"

He then became a famous horse painter. During the reign of Emperor Xuanzong, he served in the inner court. Emperor Xuanzong once asked him to learn from Chen Hong in horse painting. He said, "I have my own teacher, and the horses in your majesty's inner stables are all my teachers." It can be seen that his achievements came from

Obtained from the observation of real life and sketching.”

Liu Xingdong gave a very detailed introduction, and Yun Feiyang also listened very carefully.

After everyone admired it for a long time, Qin Wenguang, president of the Chinese Jewelry and Jade Association, began to show off the Western Han Dynasty jade belt hook he brought.

"The belt hook was used by the ancients to tie the waist, hook the collar or hang accessories. It usually consists of three parts: the hook head, the hook body and the hook tail. It is not only a practical tool, but also a decoration."

"This Western Han Dynasty belt hook is in the shape of a long flat strip, 14.6 in length, 3.5 in width, and 0.9 cm in thickness. It is carved from a piece of whole Hetian jade. It has brown spots in parts. The hook head and tail are both carved into the shape of a dragon's head.

The body is slightly curved, with a tiger pattern carved in high relief on each side."

"Chi, an animal in ancient legends, is a genus of dragons. On one side, the tail of the chi tiger is rolled up to the hook surface, and on the other side, the chi tiger's head is facing the hook surface, and the tail is twisted with silk. There are six groups of hooks and clouds embossed with negative lines on the front of the hook body.

It has a pattern and an oval button on the back, which is offset to one side. It is carved with the jade material."

"In addition to inheriting the decorations of the Warring States Period, the jade belt hooks of the Han Dynasty also developed and innovated. The chi tiger decoration on the belt hook is a new innovation. The chi tigers echo each other and are integrated into one, showing a majestic and bold art.

style."

This jade belt hook is perfect and everyone has been admiring it for a long time.

Vice President Qian Ming showed a jade ring from the Western Han Dynasty.

"This ring is carved from Hetian jade, with a pure and moist texture, flat and round. The diameter is 9.9, the aperture is 5.7, and the thickness is 0.4 cm."

"The decorations on both sides of the jade ring are basically the same. Both sides use the bas-relief technique to carve dragons and phoenixes piercing the clouds. The inner and outer edges of one side are decorated with a string pattern, and the interior is decorated with dragons and phoenixes piercing the clouds. The other side is carved with a standing beast between the dragons and phoenixes.

The head, arms, and limbs are well developed. The dragons and phoenixes on both sides of the jade ring are intertwined with each other and pierced through the clouds. The lines are soft and smooth, and the dragons and phoenixes are dancing, lifelike."

"When the ancients made jade, they divided the round and flaky jade into three types: jade bis, jade rings, and jade rings based on the size of the central aperture. However, judging from the physical objects unearthed from archaeological excavations, the ancients had different understanding of the aperture and body of jade bis.

There are no strict regulations on the proportion of jade rings. Therefore, today people are accustomed to refer to round objects with wide sides and small holes as bi, while those with narrow sides and large holes are called rings. Jade rings have appeared in the Neolithic period, with simple and unsophisticated decorations.

An ornament that ancient people wore on their chests or tied to their belts."

"In the Western Han Dynasty, the shapes of jade rings became more colorful. Such a jade ring with dragon and phoenix patterns is not only of excellent jade quality and exquisite carving, but also has a novel composition. The image of dragon and phoenix is ​​exaggerated. The jade carving craftsman depicts the imaginary leaping posture of dragon and phoenix and the moment of leaping up.

It is vivid and vivid, full of the beauty of dynamic art. This is rare among the jades unearthed in the Han Dynasty. It is a masterpiece of innovation in the dragon and phoenix art of the Western Han Dynasty and is extremely precious."

Yun Feiyang personally liked this jade ring with profound artistic beauty. Everyone admired it for a long time before Li Guangde, the honorary president of the Chinese Jade Sculpture Association, showed off the next piece of the collection.

The collection he brought was his own jade carving work: the jade carving ornament "Laozi Leaving Seclusion".

"This jade carving is made of jade material with a height of 24.5 cm, a width of 7 cm and a thickness of 7 cm."

"The whole piece of jadeite is light purple, with some dark purple in between. During the material review process, I carefully conceived according to the natural color and shape of the piece of material, determined the theme based on color, designed based on the material, and applied techniques according to the material. It is meticulous.

Describe the scene of Laozi leaving Hangu Pass after explaining the Tao Te Ching to Guan Ling Yinxi."

After Li Guangde's brief introduction, everyone began to appreciate it carefully.

But in the picture, there are many mountains, the sun is shining high, and auspicious clouds are lingering. In the distance, a tower is hidden on the mountain peaks, among the trees, dozens of birds are flying in the sky; in the nearby valley, there are towering rocks, and on the right side, vigorous pine trees stand

Next to the path, echoing another small tree on the left, a wooden bridge spans over the mountain spring; the water under the bridge splashes with water; on the path, the fairy-like Laozi has big ears and drooping, his beard and hair are flowing, and he is in good spirits.

, sitting cross-legged happily on the back of the green ox, a young child is innocent and lively, stepping lightly in front of the green ox, the old and the young respond to Gu Pan, showing the joy of coming out of seclusion, the characters are delicately carved, the form and spirit are

All ready, ready to go.

The work uses traditional Chinese scatter-point perspective techniques and an "S"-shaped composition to make the picture space wider and clearer, showing the effect of height, distance, and distance, making the vast Guanshan border area appear far-reaching and empty; the horizontally fluttering cloud patterns are used to blend with the mountains, rocks, and trees.

It forms a contrast between the vertical and horizontal lines, and the characters, animals, flowing water, rocks, and towers form a dynamic and static contrast, setting off each other and enhancing the changes in the composition. It has both contrast and unity, making the picture more colorful.

In the carving, various techniques such as round carving and relief carving are integrated into one, and they are carefully carved to make the picture undulating and concave and convex. It produces a chiaroscuro effect under the refraction of light, enhancing the sense of space and three-dimensionality; the color is cleverly used, and dark purple is used as the sun.

, placed in a conspicuous position and properly laid out. The theme of the work is prominent, the virtual and the real are alternated, the complexity is simplified, and the layers are clear. The color of the jade carving is very consistent with the chosen theme, making the "oxen walks through Hangu Pass, and the purple air comes from the east" perfect.

manifestation.

The work "Laozi Leaving Seclusion" is equipped with a red sandalwood carving base, and uses relief techniques to carve rocks, trees, paths, etc., especially the path on the base is connected to the path on the lower right side of the jade carving screen, giving people a feeling that the painting is not finished and the meaning is endless.
Chapter completed!