Li Mo checked some information and found that "Pictures of Emperors of Past Dynasties" is also called "Pictures of Thirteen Emperors" and was created by Yan Liben, a painter of the Tang Dynasty.

Yan Liben is good at painting figures, carriages and horses, and pavilions, especially portraits and historical figure paintings. His paintings have strong and powerful lines, lifelike expressions, elegant and calm colors, and his brushwork is more delicate than Gu Kaizhi's. The characters' expressions are detailed and his works are twice as good

Respected by the world.

In addition to "Pictures of Emperors of the Past", he also painted "Eighteen Scholars of the Qin Mansion" and "Pictures of Twenty-Four Heroes of Lingyan Pavilion" for Tang Taizong Li Shimin, which shows that this person's artistic level has reached a very sophisticated level.

It is precisely because of this that the picture in front of me is probably Yan Liben's original work. The experts and professors present were so excited that they did not even dare to touch it.

Li Mo was pushed aside, and he had to stand behind everyone and wait quietly.

The experts and professors were discussing in low voices while appreciating it, and even had arguments about certain details. Li Mo had been waiting for more than an hour, and the atmosphere in the conference room became increasingly lively.

Professor Zhu sat back on his chair, the excitement in his eyes not fading away. Curator Shi did the same, and he motioned for everyone to sit back on their chairs quietly.

The noisy conference room slowly became quiet.

"Li Mo, please carefully store this "Picture of Emperors of the Past" first, and then we can each express our opinions."

Li Mo rolled up the picture of the emperor, put it into the belly of the small-leaf red sandalwood, and sat down on the chair next to Professor Zhu.

"Let me talk about it first." Professor Zhu Changping organized the speech and said, "Looking at the whole painting, the painter has integrated a grand and broad spirit, using strong and thick lines. When expressing the image of the emperor, he is good at expressing the image of the emperor.

Through the characters’ eyes, eyebrows and expressions on their lips, the different personalities and temperaments of different emperors are depicted to express the evaluation of the deeds and talents of the previous emperors.”

"The painter tried to reveal the different inner worlds and character traits of each emperor through the depiction of their different looks and expressions."

"Those kings who founded dynasties and established dynasties all reflected "kingly demeanor" and "magnificent etiquette" in the painter's paintings, while those kings who were mediocre or lost their country showed a state of mediocrity and corruption."

"Professor Zhu said it well." A Peking University history professor continued, "For example, the former Han Zhao Emperor Liu Fuling in the picture is quiet and blessed, calm and calm, with a broad-minded and far-sighted demeanor, just like a monarch of a great country.

"

"Another example is Liu Xiu. He was the founding emperor of the Later Han Dynasty. He was broad-minded and resourceful. According to the "Book of the Later Han Dynasty: Guangwu Benji", Liu Xiu was tall and tall, with a beautiful beard and beard, and a big mouth and high nose. The painter based on these records and his own understanding of Liu Xiu

He was described as a tall man with sharp eyes and extended eyebrows, and he was a founding monarch who exuded confidence and open-minded temperament."

After he finished speaking, another professor also commented: "It can be said that the image of each of the thirteen emperors in the painting is very three-dimensional and full."

"Professor Zhu and I just discussed Cao Pi. Although the image of Cao Pi in the painting has the aura of the founding emperor, he is narrow-minded and unrevealed. His eyes are formidable, his lips are slightly closed, and he looks arrogant.

The demeanor of a lifetime.”

At this time, an expert in his fifties from the Kyoto Museum said: "I usually like to study the Three Kingdoms, so I just focused on Liu Bei, the leader of Shu."

"The image of Liu Bei, Lord of Shu, in the painting looks tired, with a melancholy face, mouth slightly open, and frowning, as if he wants to express his feelings but cannot express his feelings. At a glance, people can think of him who is busy and sick but still happy.

The helplessness of the Han Dynasty cannot be restored."

"His image portrayal is very vivid, and it is particularly consistent with various descriptions of Liu Bei in historical documents. It can be seen that the painter's brushwork is already miraculous."

"Haha, you like the Three Kingdoms, but I like the history of the Sui and Tang Dynasties. I saw Yang Jian." Another museum expert said with a smile, "Yang Jian, Emperor Wen of the Sui Dynasty, had a tall and slender figure, a long face, a slightly tilted head, and unsteady eyes.

Fixed, seeming to be swiping around, lips tightly closed, looking quite scheming."

Everyone said a few words, and I said a few words, and the heated discussion began again. The more in-depth the topic became, the more they believed that this must be the authentic work of Yan Liben.

With a smile on his face, Professor Zhu gestured for everyone to calm down and said: "In short, most of the emperors who made great achievements wore crowns, were solemn, solemn, wise and enlightened, and had a graceful and generous demeanor. And like Chen Bozong and Chen Shubao,

Yang Guang and several other kings who were incompetent or tyrannical and subjugated their country appeared to be weak and willful."

Li Mo benefited a lot from the comments from experts and professors, which also made him clearly aware of his shortcomings.

"Director Shi, you have been to the United States many times to participate in the maintenance of the "Pictures of Emperors of the Past" that is suspected to be a copy of Lang Yuling, and the Kyoto Museum also preserves a large number of detailed pictures. You have the most say in this matter.

of."

Shi Ziming cleared his throat and said, "What everyone discussed just now was about the thirteen emperors. I will talk about the others."

"In addition to the thirteen emperors, there are also forty-six attendants painted in the painting. For example, among the ten attendants of Emperor Chen Xuan, six servants with different postures are carrying the chariot, and two people on the left and right are holding fans.

.”

"Some of these people seemed to be carrying the chariot pole dully, some had bitter expressions on their faces, some looked back in hope, and some were dedicated to serving the emperor respectfully."

"The two courtiers following behind the chariot are also very well portrayed. One looked solemnly at the scene in front of him and fell into deep thought, while the other, who was older, looked sad."

"The world thinks that the painting "Pictures of Emperors of All Dynasties" in the collection of Laomei is a facsimile, mainly because there are flaws in the details of the human figures, and there is still a slight gap between the writing power of Yan Liben's original work handed down from generation to generation."

Professor Zhu Changping thought for a moment and asked: "Director Shi, what is your appraisal conclusion about this imperial painting?"

"The most famous paintings of ancient sages by Yan Liben are "Pictures of Emperors of All Dynasties", "Pictures of Eighteen Scholars of the Qin Mansion" and "Pictures of Twenty-Four Heroes of Lingyan Pavilion", which are known as divine paintings."

"This imperial painting discovered by Li Mo not only has full and vivid images of the thirteen emperors, but also the images of the attendants are very well depicted. It truly has the grandeur of a divine painting."

"The most important point is that the imperial picture in Li Mo's hand has the seal of Yan Liben and the seal of Kang Yuling. However, the imperial picture in Lao Mei's collection does not have any information about the artist. It only has the inscriptions and postscripts of some celebrities from the later dynasties, which is quite suspicious.

many."

Shi Ziming finally said: "So I personally think this is the authentic work of Yan Liben."

All the experts and professors in the conference room nodded one after another. It would be a great thing. As long as this authentic imperial painting is announced, the old American copy can be left alone.

"Today is just our preliminary identification, and a series of scientific and systematic studies are needed next." Professor Zhu looked at Li Mo, who had been silent, "What do you think about it?"

"I will stay in Kyoto during this period to cooperate with professors and experts. In addition, this imperial painting needs professional protection. I..."

Before Li Mo finished speaking, Shi Ziming hurriedly stood up and said: "This is what we are best at. We have the equipment and professionals. It will be absolutely no problem to leave it to us."

"Xiao Mo, there can't be any more mistakes in this imperial painting. It is the best choice to hand it over to the Kyoto Museum for professional processing and protection first. When the divine painting comes to the world, there will be a lot of movement."

Professor Zhu also suggested the same thing.

"Okay, I'll contact a lawyer immediately."
Chapter completed!