Huang Shi and Hu Guang quickly returned to the office. After closing the door, the two sat down at the front and back of the desk.

After Hu Guang sat down, he saw Huang Shi pouring water into the porcelain cup with a kettle, and then smiled, "Brother Huang, aren't you Fujianese people the most favorite to drink tea? Why are you only boiled water here to entertain us?"

"Haha, those who love to drink tea are from southern Fujian, and I am from Fuzhou." Huang Shi laughed. This kind of regional misunderstanding is not only Hu Guangyou, but also friends from other provinces he knows. Sometimes they will ask Lao Huang if you are in Fuzhou, you also speak Taiwanese. Huang Shi was interested in explaining a few words at the beginning, but later he was asked too much, so he became numb. When someone asked, he would just say "yes, um" twice.

"Brother Huang, this time we..." After drinking a sip of water and talking a few more words, the conversation between the two officially entered the topic. Hu Guang described the detailed process of his trip to Fuzhou. Although Wen Desi and his friends had already reported through QQ-style radio stations before, that was just an explanation of the outcome of the matter, and what Hu Guang is talking about now is the detailed process of these matters.

After talking about how to make Master Gao "Yu die", Hu Guang then talked about how to deal with Mi Ling, the head of the Mi family, the Mi family. The Mi family made its fortune in this generation. The father who first started with Mi Ling opened a mounting shop called "Mi Jiazhou". He mounted calligraphy and paintings for literati and poets, so he gradually gained a reputation in Fuzhou City.

Because this calligraphy and painting mounting is a special craft that accompanied the creation and development of calligraphy and painting creation, in the Jin Dynasty, calligraphy and painting mounting entered the early stage, but the selection of materials, styles and techniques during that period were not perfect. It was not until the Southern and Northern Dynasties that calligraphy and painting mounting had initial development, and the mounting style of scrolls was produced.

Then in the Tang Dynasty, large-scale paintings with figures, landscapes and buildings as themes emerged, and the calligraphy and painting mount industry achieved great development, resulting in two new mounting styles: hanging scrolls and albums. The history of the Five Dynasties was very short, but the art of painting made obvious progress and had a profound impact on later generations. During this period, due to the expansion of the silk pattern of paintings, the creation of large-scale paintings became possible. Some works became decorations for screens, and later generations may frame and collect them in the form of single works during the screen repair process.

Because the Song Dynasty's famous calligraphers and paintings emerged one after another, the mounting of calligraphy and paintings has developed rapidly. The emperors of the Song Dynasty liked calligraphy and painting very much, and set up Hanlin Academy in the palace to serve as paintings. At the same time, the mounting workshops for mounting calligraphy and paintings were set up to formulate the format for mounting calligraphy and paintings. At this time, the mounting technology entered the mature stage, and the mounting styles had new developments, resulting in the famous "Xuanhe Preservation" hand scrolls.

With the development of silk weaving technology, fabrics of various textures provide a rich material basis for mounting calligraphy and paintings, and are widely used as mounting materials. However, the famous calligrapher and painter Mi Fu believes that silk is wear-resistant than paper, and the mutual friction between the two during the expansion and rolling of calligraphy and paintings is likely to cause wear and tear of calligraphy and paintings. Therefore, he advocated using paper to support the mounting of calligraphy and paintings, and his view had an important impact on the preservation of calligraphy and paintings in later generations.

The Ming Dynasty was an important period for the development of painting in my country, and the mounting of calligraphy and painting also entered the golden period of development. The emperor of the Ming Dynasty regarded the Renzhi Hall as the imperial painting academy and established an institution specializing in the mounting of calligraphy and painting. At this time, a group of literati and scholars who were familiar with poetry, calligraphy and painting also appeared in the Jiangnan region, and literati paintings had great development.

Against this background, "Su Framing", which takes Suzhou as its birthplace, began to emerge and was widely praised. The scene of "the world is inferior to Wuzhong" in the mounting style of calligraphy and painting. In terms of the mounting style of calligraphy and painting, the original mounting styles of hand scrolls, albums, etc. were more complete, and the hanging scrolls have basically been established and began to be popularized. During the Wanli period, a new mounting style of couplets was produced based on hanging scrolls. In terms of mounting theory, Zhou Jiazhou's "Decoration Chronicle" became the first specialized theory work of painting and painting mounting in Chinese history.

The installation of calligraphy and paintings has formed different schools and styles due to the different regions of the location, the tools, materials used, and the different mounting styles and craftsmanship. Therefore, "Beijing Framing" and "Sufang" appeared in the Ming and Qing dynasties, and they became the two main schools of the Chinese calligraphy and painting industry. "Beijing Framing" is simple and solemn, focusing on preventing dryness and cracks; the "Sufang" has exquisite craftsmanship, exquisite materials, emphasis on preventing mildew and moth. Even today, these two schools still affect the installation of calligraphy and paintings in China.

Mi Ling's father belonged to the "Su Biao" school. He has rich personal experience, superb skills, and is serious and dedicated. Therefore, his calligraphy and painting mounting can better express the artistic charm of literati paintings, allowing calligraphy and painting to be preserved for a long time, and naturally became famous in Fuzhou Prefecture. This has accumulated a lot of literary connections for the Mi family, which later provided great help to the development of the Mi family.

Although the Fuzhou Intelligence Station led by Wen Desi focused on Master Gao, Mi Ling, as the No. 2 target, naturally had to arrange personnel to find out his movements. Fortunately, Mi Ling's warehouse and house were not in the city, so it was very convenient for them to follow.

Mi Ling's cargo warehouse is also in Hekou Port, two or three miles away from the South Gate, but it is a prosperous place during the day. His house is not very far from Xiahang Street. The hiking distance between the two places is about twenty minutes.

Every time Mi Ling goes out, he sits in a sedan chair. There are four or five thugs on both sides of the sedan chair. However, since the incident of inspector Jiang, who worked closely with him, who was intimately working with him, he has become even more careful when traveling, and has placed many good guards beside him. Maybe he has vaguely sensed his danger.

However, although he was wary, no new news came out after several months. The Jiang family's family extermination case was like an isolated case, like a small stone pouring into a small pond. Apart from the ripples at the beginning, the ripples behind gradually calmed down, leaving only the files requested to be investigated in various yamen.

If Mr. Mi hadn't been the "neither family" of inspector Jiang, even he would have forgotten this matter like others. However, after the long days and nothing else happened, he would have let down his guard. After all, this is Fuzhou Prefecture, and his house is close to the "Rouyuanyi" at the mouth of the river. He also raises a group of thugs in his home, so he couldn't help but relax his vigilance without fear.

After the first target character action was completed, Hu Guang asked the soldiers to have a good rest, while he and Wen Desi, Jintashan, and He Qing discussed the actions against the second target character.

At that time, Wen Desi asked at the meeting whether to attack Mi Ling from his doorstep to Hekou, because although Hu Guang and his friends did not carry a big sword and spear this time, they brought another magical magic weapon "electric baton" in the upper world. This is definitely a good equipment for killing and looting. He had used several servants who were about to escape in Jiangjiazhuang. This "short stick" that was not noticeable at all can be used when they approached the target. It can definitely kill all the thugs, and they may be able to react.

However, Hu Guang rejected this plan because it caused too much trouble when taking action during the day. Their staff were only 6 people, which was less than the other party's staff. And once they took action during the day, pedestrians on the road became witnesses on the scene, and there were only three directions of retreat. One was to capture people and retreat back to the city to hide, the second was to escape from other directions outside the city, and the third was to quickly take a sailboat at the mouth of the river.

However, the former means that the four gates of the government will be closed and turtles are caught in a jar; if you go to other directions outside the city, you will also have to worry about the danger of being chased by others; and although the journey to the mouth of the river is closer, there are naval troops stationed by the riverside there, and after boarding the boat, you may face their siege and interception.

"Then I can only go to his house to tie people up, and I can't catch people in the warehouse during the day." After hearing Hu Guang's opinion, Jintashan made this suggestion.

"That's all." After thinking about it again and again, Hu Guang nodded helplessly. In fact, there is no better way, and the only way to take out a quilt at night can avoid the real and the false.

Because during the day, there were more people in the Mijia warehouse, in addition to the thug guards he raised, as well as the shopkeepers and guests, Hu Guang and others had no chance of winning. As long as one of them ran to the streets at the mouth of the river, they would have to waste all their efforts, and they would have to consume and suffer casualties.

And there are many conveniences and benefits when taking action the next night. This is outside the city, with no walls or gates, no curfews or updates. It is easier to get close to the target's residence, and it is easy to hide and transfer luck after success.

Although the Ling family's house could not penetrate as easily as the Gao family, Hu Guang and the others still had their own solutions. This time they brought the eight-armed aircraft they used when they attacked Jiangjiazhuang last time. It was a good helper for detecting terrain and printing maps.

After dark at night, when the eight-armed aircraft flew up from the intelligence station and walked along the street toward the outside of the city, although someone heard a slight buzzing sound from the sky, he didn't understand what it was. After raising his head and taking a look, he stopped watching it.

The aircraft flew very quickly. Hu Guang and Wen Desi used the camera to control it to fly to the top of the Ling family's courtyard within a few minutes. At an appropriate height, they took several floor plans.

Because there are computers and printers in the intelligence station, Hu Guang copied these floor plans to the computer to print them. Although it was late at night, because the eight-arm aircraft uses a low-light infrared camera, the quality of the floor plans is also pretty good, and you can clearly see the specific details of the Ling family home.
Chapter completed!