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Chapter 693 Pursuit

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    As for the dating of this red three-fish pattern goblet, Meng Zitao estimated that Shen Xuanzhong should have some idea in mind. Otherwise, he would not have agreed so readily. As for whether it could be a Xuande official kiln,  Then stop joking.

    There was such a bright red underglaze three-fish pattern goblet in Xuande, but it was worth at least tens of millions. How could Shen Xuanzhong be so confident in bringing such a treasure to Meng Zitao for appraisal, and how easily could he agree to Meng Zitao's request?

    Shen Xuan was very happy when he saw Meng Zitao agreeing, and then took out the painting.

    Unfolding the scroll, Meng Zitao discovered that this painting was a "Prosperity and Changchun" painting by Shanghai-style painter Zhang Xiong. The so-called "Prosperity and Changchun" is a pattern composed of peonies and roses, which means that spring will last forever and wealth will be great.

    Zhang Xiong, also known as Zixiang or Shoufu, also known as Xiangweng or Xixiangke, also known as Yuanhu Waishi, and his room name is "Silver Teng Huaguan". He is a relatively famous painter of the Shanghai School. He is known for his exquisite workmanship and elegant flowers.  , with beautiful fruits and vegetables, and also painted figures and landscapes. He was especially good at large-scale peony paintings, which were appreciated by both refined and popular people. He was called the "Yuanhu School" at that time.

    Some friends may not know much about "Shanghai style calligraphy and painting". It is a very important painting school in modern my country, which originated from the social transformation period from the late 19th century to the early 20th century when Shanghai opened as a port.  Generally speaking, "Shanghai School of Painting and Calligraphy", "Beijing-Tianjin School of Painting", "Lingnan Painting School", "Chang'an Painting School", "Jinling Painting School", etc. are collectively known as the five major schools of modern Chinese painting and calligraphy.

    Among them, the original meaning of "Shanghai School" refers to the "Shanghai School" Peking Opera that was opposed to the "Beijing School" in the early 20th century, and gradually developed a derogatory meaning. Later, the "Shanghai School" was gradually shortened to "Shanghai School".

    The formation of "Shanghai-style calligraphy and painting" has the characteristics of a wide range of members, eclectic styles, diverse expressions of pen and ink, multi-dimensional creative concepts, and themes close to the public. It caters to the interests of collectors from all aspects.

    For example, Ren Bonian's paintings are combined with writing, which can be appreciated by both refined and popular people; Ren Xiong's silver hook and iron paintings of characters are fresh and lively;  Unrestrained and graceful; Wu Changshuo's flowers are painted with calligraphy and are powerful; Wu Hufan's landscapes are beautiful and plump, pure and elegant, etc.

    Of course, these are just a few of the more famous "Shanghai-style calligraphy and painting". In fact, except for them, the works of most of the Shanghai-style calligraphy and painting have not performed well in the calligraphy and painting auction market.

    This is mainly because the main market for "Shanghai-style calligraphy and painting" was initially formed in the City God's Temple in Shanghai. It was operated by several painting shops there. It mainly faced the citizens and tourists, so the cultural level was not very high.  At that time, the works of painters headed by Ren Bonian were all commercial paintings, which were more vulgar and less elegant, just for the sake of flattery. This left a mark on the early "Shanghai style calligraphy and painting" which lacked artistic quality.

    In addition, a considerable number of high-quality works of "Shanghai-style calligraphy and painting" have been spread abroad. Due to price reasons, collectors do not want to sell the works. The market is flooded with ordinary works, which gradually leads to  The market for "Shanghai-style calligraphy and painting" has slumped.

    Closer to home, Zhang Xiong's "Wealthy Changchun" picture is already very good from the perspective of ordinary people, but for professionals like Meng Zitao, although it is also remarkable, compared with  Some works by famous artists are a bit more common, and their value is not very high, only around 20,000 to 30,000 yuan at most.

    However, upon closer inspection, Meng Zitao discovered that the painting¡¯s framing was very unusual and looked very much like the craftsmanship of the Liulichang framing masters during the Republic of China.

    Speaking of framing, we have to mention Liulichang. Its framing shop is famous throughout the country for its superb craftsmanship.

    Since the late Qing Dynasty and the early Republic of China, calligraphy and painting collectors, calligraphers and painters have had contacts with famous painting and mounting shops.  As for calligraphy and painting connoisseurs who have a keen eye for calligraphy and painting, some are born in the painting industry, and some are good at mounting paintings.

    There is a saying in the antique shop, "Third points for painting, seven points for mounting." This shows the importance of mounting old calligraphy and painting.  Liulichang's craftsmanship in mounting calligraphy and paintings can be said to be the best in the world.

    The painting and calligraphy shop used to be called a painting and calligraphy shop in the early days. Paper or silk fabrics were used as a backdrop to decorate calligraphy and painting books, or to repair them to make them beautiful and durable.  The frame must have two layers. The front side of the calligraphy and painting faces the person lying down, which is called the frame. The one with undyed plain paper to set off the back is called the mouth of the frame, so it is called the frame frame.  There are still pichu alleys in the capital, and it is likely that during the Ming and Qing dynasties, pichu shops were gathered there.

    The craftsmanship of mounting calligraphy and painting in the capital was introduced from Suzhou. During the Guangxu period, the craftsmanship of mounting calligraphy and painting on the Liulichang painting pavement was so exquisite that even though old calligraphy and painting were broken to the point of being indistinguishable, or even so brittle that they could be blown away by exhalation, they were still intact.  It is truly miraculous and incredible that it can be framed in its original state.

    And this painting was actually the work of a master who specializes in mounting. Meng Zitao couldn't help but feel strange.?The long scroll cut it into two parts at the waist.

    This practice is simply an anecdote for the ages. The most serious consequence is that this framing method of cutting the painting into two parts has caused a series of irreversible damage such as cracking on the surface of the painting, loss of powder, and exposure to light.

    When Meng Zitao learned this, he was undoubtedly very angry.  In fact, this phenomenon of damage caused by ignorance of cultural relics occurs not only in the British Museum, but also in other major European and American museums' treatment of Chinese scroll paintings.

    To put it bluntly, it is the ignorance of Western naturalists about Eastern culture.  Anyone who has been to the metropolis knows that Chinese culture was placed after Egypt, ancient Greece and Rome, and even ancient Persia and Japan.  To this day, people in Europe and the United States probably have very little understanding of our country¡¯s culture and art.  What qualifications do they have to preserve our country's cultural heritage?

    But the reality is helpless. There is no other way. Who says that things are in the hands of others, while the blatant gangster logic and "cultural hegemonism" of "cultural relics internationalism" dominate the world?

    Zheng Anzhi continued: "In fact, in addition to the fallacy of 'cultural relics internationalism', there are other reasons that hinder the recovery of my country's lost cultural relics"

    In today's society, many cultural relics are exported abroad and there is a consensus that cultural relics lost in illegal and unethical ways, such as being looted during wars, excavations, smuggling, etc., are the main targets of recovery, and ownership should not exist  dispute.  However, the standard for truly defining whether cultural relics lost abroad are ¡°illegal¡± or not is always very vague.

    Some experts said that the situation of "good faith acquisition" complicates the definition of whether cultural relics lost abroad are "illegal" or not.  Every artifact has its own complex history.  They are likely to have changed hands several times and were sold through legal channels such as legal and formal trading markets.

    Most of those who have lost their cultural relics today belong to the "third -person in good faith", not those who originally plundered and theft of cultural relics.  For example, we are still unable to do anything about the large number of lost cultural relics from the Old Summer Palace in many museums in the United States.

    As cultural relics disputes have become a problem for many countries, international conventions involving the recovery of cultural relics have indeed emerged.  These conventions stipulate that cultural relics that have been looted or lost due to illegal import and export such as war and smuggling should be returned.

    However, these international conventions do not have the status of "jus cogens", and the return of a large number of lost cultural relics does not receive direct and effective legal support. This leads to many difficulties in the actual operation of recovering lost cultural relics based on the conventions.

    On the one hand, the retroactive period of the convention is limited, generally not exceeding 50 years. Cultural relics plundered by the British, French and Eight-Power Allied Forces in the Qing Dynasty are not within the retroactive period.  On the other hand, the treaty is only binding among the contracting parties. Only the parties concerned can be bound by it if they have joined the convention. Countries with a large number of lost cultural relics, such as the United Kingdom, France, and the United States, are not contracting parties.

    Meng Zitao feels that in the final analysis, these are all because the country is not strong yet. If it becomes stronger than the United States one day, I believe it will be relatively simple to ask for lost cultural relics.

    After understanding these difficulties, Meng Zitao immediately asked: "Master, is the country ready to take action to recover these lost cultural relics?"

    Zheng Anzhi said: "The operation to recover lost cultural relics has actually been going on, but unless foreign countries change their attitude towards us, there won't be much change, so now private acquisitions are still the main focus, so relatively speaking, there will still be  It¡¯s easier and you can avoid some problems and troubles.¡±

    Meng Zitao understood what the master said and asked: "Then do you have anything you want me to do? Or do you want me to join this non-governmental organization?"

    (2062) (Remember this website address: www.hlnovel.com
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