After learning that Lu Fei was the instructor of Xuanlong, Feng Yuanyang was frightened and came to apologize in a panic.
Feng Yuanyang was even more shocked when he found out that Lu Fei used gold snake venom to cure Wang Bo.
"Boss Feng, I have my own principles in doing things."
"As I said before, your father's illness is all my fault. Your son Feng Zhe pretended to be Xuanlong. It was his own fault for being caught. There is nothing I can do about it."
"But I don't have to hold Feng Zhe responsible for threatening me."
"But the premise is that the large gold-lacquered wooden shrine must be given to me. You should consider it!"
"No need to think about it, I agree to Instructor Lu's conditions."
Feng Yuanyang let out a long breath.
Before coming, he was already prepared to be ripped off by Lu Fei and suffer a lot of bleeding. Unexpectedly, Lu Fei was not overly greedy, which made Feng Yuanyang somewhat touched.
"Boss Feng, please don't get me wrong. My request for a shrine is purely a personal act of Lu Fei and has nothing to do with Xuanlong."
"I hope you won't confuse this."
"In addition, my identity as instructor Xuanlong is highly confidential."
"How did you find out? I won't pursue this, but I hope Boss Feng won't spread it, otherwise it will be very troublesome!" Lu Fei said.
Feng Yuanyang hurriedly stood up and promised.
"Instructor Lu, no, don't worry, Mr. Lu, your identity is rotten in my belly and will never be revealed."
"That would be best."
"So, when can I see the shrine?" Lu Fei asked.
"As long as Mr. Lu has time, I can do it at any time."
"What about my father's illness and Xuanlong?"
"Don't worry, Boss Feng, I, Lu Fei, will never break your promise."
"With the shrine in hand, Xue Taihe will go to treat your father. I will naturally say hello to Xuanlong."
"I wonder, can Boss Feng take me to see the goods now?" Lu Fei asked.
"no problem!"
Hand in this time Yi went very smoothly, and the two people's views were rarely the same.
Lu Fei couldn't wait.
Feng Yuanyang was reluctant to give the shrine to Lu Fei at a cheap price before, but now he is afraid that Lu Fei will regret it.
So, sometimes people are mean.
If you are held back, you will go backwards.
Without alerting Wang Xinyi, Lu Fei took the puppy and left the hotel with Feng Yuanyang.
The car drove for more than an hour and arrived at the Feng family's old house on the outskirts of Yangcheng.
There were six security guards patrolling back and forth outside the house. When they came inside the yard, it was pitch dark without any light.
"Mr. Lu, don't be nervous. To prevent fire, this courtyard does not have any power supply, but there is an emergency light in the security room, which will be sent to you immediately."
Lu Fei said with a faint smile.
“Boss Feng’s awareness of prevention is really good!”
Feng Yuanyang responded with a wry smile, but he was saying in his heart that his awareness of fire prevention was okay, but his awareness of theft prevention was far behind.
Feng Yuanyang almost cried when he thought that the large golden lacquered wood carving shrine, which he had collected for decades, would change hands.
After a while, two security guards brought three emergency lights, and Lu Fei and the three of them lit them up at the same time and came to an ordinary room in the backyard.
Feng Yuanyang opened the door. What was inside was not a room, but a five-meter-wide passage going downwards.
After walking down the passage for more than ten meters, a high-tech CNC security door appeared in front of everyone.
Feng Yuanyang entered his password and fingerprint, and the security door slowly rose.
The little dog sighed in his heart that these precautionary measures were almost as good as the insurance basement of their Baihua Bank.
The security door was raised, Feng Yuanyang made a gesture of invitation, and the little puppy rushed in first without hesitation.
A second later, the puppy's oozing exclamation rang out in the empty space.
"Lie
groove!"
"This is so beautiful!"
Although Lu Fei did not scream in surprise, the falcon-like pupils in his deep eyes had shrunk to the extreme.
In the space of more than two hundred square meters, there is only one object, and that is the magnificent golden lacquered wood carving shrine.
The shrine is 3.3 meters high, 2.5 meters wide, and an astonishing 1.6 meters deep.
This shrine is large in size and exquisitely decorated. It combines various techniques such as gold lacquer painting, openwork carving and relief carving. It can definitely be regarded as a classic of Chaozhou wood carving techniques.
The big shrine is also called the "ancestral shrine", the "master's shrine" and the "family shrine".
Large shrines are placed in the center of ancestral halls, public halls, and large residential halls. They are used to place ancestral tablets and are used for ancestor worship ceremonies during the eight festivals of the year.
Shrines are special artifacts used by Chaoshan folk to worship their ancestors. Their shapes are divided into different sizes. The larger ones are called shrines, while the smaller ones are commonly known as 椟子.
The overall shape is solemn and the workmanship is exquisite. It is the most exquisite workmanship among Chaozhou wood carving products. It is most commonly decorated with gold lacquer wood carvings, while those made of hardwood are mostly plain carvings.
In terms of production technology, the workmanship of this shrine is extremely exquisite, and the content engraved on it is very rich.
The patterns of sika deer and crane symbolize good fortune and longevity.
The magpie flies to the top of the plum blossom, which means that the eyebrows are filled with joy.
The shrine is engraved with elements from the Teochew opera "The Prime Ministers of the Six Kingdoms", which all reflect the customs and culture of the Teochew people.
Wood carving uses wood as paper, turns wood into gold, and adopts multi-level hollow carving to make it dense but not messy.
The characters are alive, the Teochew opera is playing, the flowers are blooming and the birds are on the branches, which reproduces the beautiful original beliefs of the ancients.
The origin of Chaozhou woodcarving can be traced back to the Tang and Song dynasties at the latest. After development in the Ming Dynasty, it reached its peak in the Qing Dynasty, forming a style that is exquisite, exquisite, translucent, and resplendent.
In the middle and late Qing Dynasty, many large houses with high walls were built in various towns under Chaozhou Prefecture.
< br> The Qianlong Mansion records: "When a prominent family builds a house, they must build a family temple, which is especially magnificent... If a family has a lot of gold, they must build a study, with carved beams and painted pillars, and a pool platform decorated with bamboo trees."
According to the chronicles of Chenghai County in the Jiaqing period: "The noble families like to build houses with carved beams and painted pillars, as well as ponds and bamboo trees, which must be extremely skillful."
Large and small sects competed to build ancestral halls, vying to praise their splendor and no expense was spared."
The "Guangdong Yearbook" in the 33rd year of the Republic of China records: "There are overseas Chinese in Guangdong who like to build large houses and mansions to show off their hometown. This trend is also prevalent in Chaoshan, but the scale of the houses is particularly grand compared to other places. For a wealthy family, the house must be
There is a family temple and a study room."
The trend of building large buildings in the Chaoshan area to boast of their magnificence, described by Zhicheng, created conditions for the heyday of Chaozhou woodcarving art.
The Congxi Gong Temple in Jinsha Township, Haiyang County, which was built in the 14th year of the Qing Dynasty from Tongzhi to the beginning of Guangxu, and the Huang Gong Temple in Jilue, Chaozhou City, which was built during the Guangxu period, can be described as the most exquisite wood and stone carvings and various techniques.
A master of wood and stone carvings in the Chaoshan area.
During the Republic of China, there were also such buildings, such as the Meizu Temple in Shenyang Village, Chaoyang.
The wood carvings of these buildings are truly jaw-dropping and astonishing.
As a result of the competition in every village to build ancestral halls, studies and temples, Chaoshan has become a hometown of architectural art everywhere.
After inspecting rural houses in Chaoshan, a professor from the Yangcheng Academy of Fine Arts wrote an article: "In some places where wood carvings are concentrated, it makes people feel that every village is like a wood carving art museum, and every house is like a carving showroom."
In the 1950s, Zhang Jianxuan, Chen Shunqiang and others produced works such as "Three Sheep Kaitai", "Pheasant Plum and Five Blessings", "Autumn Colors in the Lotus Pond", and "Lobster and Crab Basket", which shocked the world once they were exhibited.
At that time, the British Museum once offered a sky-high price of 19 million pounds to buy "Five Blessings of Pheasants and Plums", but Mr. Zhang Jianxuan rejected it and donated it to the National Museum.
You can imagine how awesome Chaozhou woodcarving skills are in the world.