The first box was Shen Zifan's tapestry "Magpie Trampling Plum Blossoms", and Lu Fei was already very excited.
After the surprise is over, move on to the second box.
This box follows the same pattern as the previous one, with big boxes inside small boxes.
But it's one level less than the first box.
The last layer is opened, and inside is a bronze vessel wrapped in triple high-density foam.
This is also an amazing big treasure.
This is a gold, silver, four dragons and four phoenixes copper plan. Seeing this object, Lu Fei's mood that had just calmed down became unstable again.
This bronze design with four dragons and four phoenixes mixed with gold and silver is 38 centimeters high and half a meter long and wide. It is a rare heavy bronze vessel.
The whole case is decorated with gold and silver patterns.
In the lower part, there are four sika deers, two males, two females, lying on their sides, with their limbs curled up, carrying a circular base.
In the middle part, on the arc surface of the ring base, there are four dragons standing in all directions.
The four dragons have one head and two tails, with their heads held high and their chests held high, their forelimbs standing upright, their wings gathered in the middle to form a hemisphere, and their bodies curled up to both sides and their horns hooked back.
There is a phoenix on each side between the entangled coils of the dragon's body. It draws its neck and sings, spreading its wings to fly.
The upper part of the dragon roof supports a square frame, and the brackets and case frame are decorated with hooked cloud patterns.
The case surface of this plan was originally a lacquer board, which has decayed and only the copper desk base remains.
Its shape is inward but open outward, combining movement and stillness, with appropriate spacing and density. A picture of a flying dragon and a dancing phoenix pops into view, breaking through the traditional techniques of relief or round sculpture in bronze animal shapes since the Shang and Zhou dynasties.
In addition, each of the four dragons has a bracket, which for the first time vividly reproduces the shape of the bracket during the Warring States Period.
This plan breaks the traditional dynamic scene of "dragons flying and phoenixes dancing".
With tranquility as the keynote, a circle is supported at the bottom by four sika deers with gentle expressions.
Four dragons and four phoenixes are intertwined with each other, with their wings and tails connected, forming an inward-in yet open-out bracket, covered with several tables, stable and stretched, presenting a A kind of static beauty.
Because the ancients sat on the ground according to the number, so the plan can also be called the number.
This vessel has a square frame, and the surface was originally a lacquer board, and now you can still vaguely see the mottled paint.
The whole body of the plan is decorated with gold and silver, which is a technique of gold and silver inlay.
Each part is cast separately and then riveted and welded. Some parts have larger curvatures and are cast by joint casting or lost wax method.
The overall structure of this vessel is complex and proportionate, the casting process is exquisite, the animal shape is graceful, vivid and delicate, making it a rare treasure.
The entire pattern of the utensil was cast into parts from pottery molds. A total of 186 pottery molds were used, which were cast and welded many times to create a finished product with such a complex structure.
The whole plan is preserved quite neatly, and several welding joints are broken, which is not a big problem for Lu Fei.
Such a large bronze plan is rare among all museums in China.
However, its value goes beyond its beautiful shape and large size.
There are also twelve inscriptions engraved on the edge of one side of the plan frame: "Fourteenth Sacrifice, Right Car, Coward Guo, Worker Scabies".
This describes the caster of the artifacts, the level of the tomb owner and the grand tomb scene.
The general meaning is "In the 14th year of King Cuo of Zhongshan, the craftsman Guo made the right car, and the supervisor was scabies".
After carefully appreciating this plan several times, Lu Fei was not only excited but also couldn't help but sigh.
These are all treasures of China, and even the China Museum is rare to see them.
If Fatty Guan Haishan King and the others see this, they will have to enshrine it as an ancestor.
If it is exhibited, a separate exhibition hall must be dedicated to this project.
Because these are all national treasures
Cultural relics deserve such treatment.
But in the eyes of wealthy families like Boss Long Yun or the Robert family, these are just items for trade, or even gifts to connect people.
For the baby, this is the greatest humiliation.
For Chinese collectors and the archaeological community, this is even more shameful and helpless.
Damn it!
If I have a chance in the future, I will definitely bring back all their good things.
Give your babies the courtesy they deserve and let the national treasures return to their roots.
The plan was packed and repacked, and Lu Fei pried open the last box.
When prying the box, Lu Fei did not hesitate and struck hard.
Because Lu Fei concluded that this box was the same as the previous two.
At the very least, the outer layer must be protective solid foam.
Facts have proved that Lu Fei's guess was absolutely correct.
After opening the two layers of protective boxes in succession, there was still a bronze item inside.
This bronze is much more beautiful than the copper scheme with four dragons and four phoenixes mixed with gold and silver.
This is a piece of furniture from the Warring States Period, with a gold and silver tiger-eating deer screen base.
The screen base is 23 centimeters high and 52 centimeters long.
The main body of the vessel is a tiger. The tiger's eyes are wide open, its ears are erect, and it is devouring a weak deer.
The fawn struggled desperately in the tiger's mouth, raising its short tail hard and still unable to escape.
The tiger's hind limbs push hard on the ground, its forequarters squat down, and its entire body is curved. The tiger's right front paw is suspended in the air for grabbing the deer, and the balance of its body is supported by the deer's legs.
The entire shape of the vessel is cleverly conceived and natural.
The fur patterns of tigers and deers are inlaid with gold and silver, making them vivid and lifelike.
The tiger's neck and buttocks each have a rectangular shank.
Both sides of the chariot are decorated with goat heads, and the mouth of the sheep is the chariot mouth. The straight lines along the two openings intersect at almost a right angle, and a screen fan is installed to form a straight ruler shape.
The whole object shows the dynamics and body structure of tigers and deers, which increases the artistic effect of the object.
This object is ingeniously conceived and crafted with exquisite craftsmanship, which is rare in the world.
There is a vertical inscription cast under the tiger's belly with twelve characters: "Fourteen sacrifices, bed hut, stingy husband Xu Jian, making provincial utensils".
In ancient times, because many palaces had open fronts and the buildings were not very rigid, screens had to be set up inside the rooms to block the wind.
At the same time, a building often has multiple functions, and screens need to be used to divide the indoor space at any time. Therefore, the use of screens is very extensive.
However, bronze was extremely rare at the time.
When a house is renovated, changes owner, or changes in dynasty, most of these bronze components will be melted down and reprocessed.
It is usually used to make weapons.
Therefore, there are almost no screen holders handed down.
The bronze screen seats in several major domestic museums are all unearthed objects.
Even so, it is rare.
The gold and silver tiger-eating deer bronze screen holder in front of you is definitely a national treasure.
In more than two months, my own museum will be completed.
Instead, I put this thing in the bronze exhibition hall and invited Guan Haishan and others to appreciate it. I guess those old guys must have a heart attack.
Looking at the three treasures, they are of astonishing value and of extraordinary significance.
Boss Long Yun is indeed generous.
After packing up the three treasures, Lu Fei left the No. 3 vault and came to the No. 2 vault again.
Inside, I carefully selected more than a dozen pieces of jewelry and packed them individually.
When the Hong Kong Island auction house is completed, these jewelry will be the first items to be auctioned.
There are so many of these things that I sadly don’t like, but if they were put up for auction, they would definitely make those rich women and famous ladies go crazy for them.