Ventilation facilities are installed on the four walls of the space, and the temperature is dry and constant. This is the optimal temperature for storing things.
The surrounding ventilation ducts converge and extend out from the top center.
Lu Fei calculated the distance and found that it was probably inside the rockery in the center of the fish pond.
This design is indeed too clever.
Lu Fei counted and found that there were a total of five hundred and six boxes in the space.
It seems that these are all the treasures plundered by the Yoshida family.
Target a small box and take out the crowbar to open it.
The box was wrapped in hay and desiccant and treated very professionally.
Inside the hay is a rectangular object wrapped in foam.
After untying the foam, Lu Fei's eyes lit up.
This is a painted lacquer screen sixty centimeters high and forty centimeters wide.
Rectangular screen panel, the bottom part extends horizontally out of the screen feet.
It is painted with lacquer, with a simple pattern painted in light green oil on the red lacquered ground on the front, with a grain pattern in the center, a geometric square pattern around it, and a rhombus pattern on the edge.
On the back of the black lacquered ground, cloud patterns and dragon patterns are painted with red, green, and gray oil paints. The dragon is in the shape of a flying dragon, with a green dragon body and vermilion scale claws. The cloud patterns are wrapped around it in the shape of soaring clouds, and the edges are painted with rhombus patterns.
It is small in size and relatively rough in production. It is a funerary utensil imitating a practical screen.
This flat screen is not simple.
This is a Western Han Dynasty paint-painted screen. It was unearthed in the 23rd year of the Republic of China. It was considered a major discovery at the time.
Judging from the state of preservation, it can be said to be the best-preserved Western Han Dynasty paint-painted screen in history.
After processing and restoration, this valuable treasure was collected in the Chang'an Museum. It was robbed during the middle of the Anti-Japanese War and its whereabouts are unknown.
Paint-painted screens from the Western Han Dynasty have also been seen in the unearthed cultural relics in the following decades, but compared with this one, they are completely different.
If this screen is handed over, it will definitely be a first-class national treasure.< br>
The treasures in the next box are even more awesome.
This is an ivory cup, thirty centimeters high, a little over ten centimeters in diameter, and more than one millimeter thick in wall.
The main body of the cup is made of the root of ivory, and its belly and waist are hollow.
The chisel on the right side of the cup is made of another ivory plate and inlaid with it.
The mouth is open with thin lips, the belly of the cup is slightly convergent, and the lower part is embedded with a round bottom.
Insert the chisel tenon into the two small round holes on one side of the cup body near the mouth and bottom.
The whole body of the cup is decorated with patterns, and the patterns are divided into four sections.
The first section is the lower part of the cup mouth, which is engraved with three groups of animal face patterns. The body, tail, and mouth are on both sides, all facing downwards. The eyebrows, eyes, and nose are inlaid with turquoise, and the bottom is inlaid with turquoise and thin ribbon patterns.
The second section is the neck, decorated with three groups of animal mask patterns. The mouth, eyes, and nose are also inlaid with turquoise. A large triangular pattern is carved under the mouth, and symmetrical inverted Kui patterns are carved on both sides.
The third section is the lower part of the abdomen, with three groups of deformed Kui patterns engraved on it. The eyes are inlaid with turquoise, and the lower part is inlaid with turquoise thin bands for three weeks.
The fourth section is also decorated with three groups of animal facial patterns, with Chinese-shaped eyes, a big nose and upturned eyes, and the mouth is facing downwards, inlaid with turquoise.
The shape of the chisel is Kui-shaped, with the head pointing upward and a broad tail drooping.
The upper end of the chisel is carved with bird-shaped patterns on both sides, the beak is short and the crown is inlaid with turquoise. The eyes are inlaid with turquoise. The middle of the back of the chisel is carved with an animal face, with a protruding animal head below. The two horns stand upright. The mouth, eyes and eyebrows are all inlaid with turquoise. The chisel is close to
There are small round tenons that are symmetrical up and down on one side of the cup body.
This ivory cup is so awesome, it is clearly documented in the collection records.
This is an ivory carving from the Shang Dynasty, which can be said to be a pioneering work.
It was previously stored in the Zhongzhou Museum, but during that special period, it was also robbed.
Previous rumors
This treasure was robbed by bandits and sold to cultural relic dealers.
I didn’t expect it to be in the hands of the Yoshida family!
When he opened another big box and saw the items inside, Lu Fei's pupils shrank and he couldn't help but take a breath of air.
"OMG!"
"It's actually it?"
This turned out to be the Dak Ding of the Western Zhou Dynasty, which was known as the legendary treasure of the Republic of China.
This bronze tripod is nearly one meter high, has a diameter of 75 centimeters, a belly depth of 45 centimeters, and weighs more than 400 kilograms.
This Western Zhou Dake tripod has thick walls and majestic shape.
The mouth of the tripod has large double upright ears, a slightly narrowed mouth rim, a wide square lip, and a slightly bulging and drooping belly. It is called a narrowed mouth and an extravagant belly. It is one of the typical shapes of Zhou Ding vessels.
The landing point of the tripod foot is slightly wider than the upper end, and the center of gravity is slightly outward. This is an important example of the evolution of the column foot of the Shang Dynasty into the hoof foot of the Zhou Dynasty.
The neck of the Dak Ding is decorated with three groups of symmetrical deformed animal facial patterns, separated by six short ridges.
The abdomen is decorated with a large curved pattern that is continuous on both sides and surrounds the entire vessel.
The appearance of the corrugated pattern breaks the symmetry of the animal mask pattern and breaks away from the long-standing static decoration of bronze ware patterns.
It uses two continuous strip patterns to form a continuous repetition, creating a sense of rhythm and giving people a lively and comfortable feeling.
The traditional patterns since the early Zhou Dynasty have been completely deformed and entered a new period of pattern transformation, which brilliantly integrates the achievements of pattern and sculpture art at that time.
The upper part of the tripod is also decorated with three prominent groups of Taotie images. The tripod's ears are decorated with opposite dragon patterns.
The inner wall of the Western Zhou Dynasty Dake Tripod is inscribed with a total of 290 characters, divided into 28 lines.
The content of the inscription is divided into two parts.
In the first half, Ke uses beautiful words to praise the achievements of his grandfather, Shi Bifu, and praises him for his humble qualities and tranquility. Character and good virtue can assist the royal family and manage the country.
The wise Emperor Zhou was very wise, so he promoted Keti, the grandson of Master Bifu, to the important position of pantry, responsible for conveying the orders of Emperor Zhou.
In the second half, the Emperor of Zhou reiterated his appointment to Ke's position, and rewarded him with robes, land and slaves. Ke knelt down and kowtowed, happily accepted the appointment and rewards, and then cast a large cauldron to praise the virtues of the Emperor of Zhou and to worship the soul of his grandfather, Shi Bifu, in heaven.
The inscriptions on the Dake Tripod of the Western Zhou Dynasty are very exquisite in terms of font layout and casting effect.
The font size is uniform but flexible, and the writing is round and powerful, presenting a relaxed and elegant style.
In the Zhou Dynasty, there were regulations on the quantity of use such as "nine tripods for the emperor, seven tripods for the princes, five tripods for the ministers, and three tripods for the Yuanshi".
With the gradual evolution of this symbol of rank, identity, and status, the tripod gradually became a symbol of power.
The Dake Ding of the Western Zhou Dynasty was an important vessel used by the great aristocrat Shan Fu Ke to worship his grandfather, Shi Hua Fu.
The Dake Ding of the Western Zhou Dynasty was unearthed in a cellar in Ren Village, Famen Town, Fufeng County, Shaanxi Province in the 16th year of Guangxu's reign in the Qing Dynasty.
After it was unearthed, it was first bought by Ke Shaobin from Shandong. Pan Zuyin spent a lot of money to buy it from Ke and became the owner of Dake Ding.
After Pan Zuyin's death, his brother transported the tripod back to his hometown in Suzhou for storage.
In the early years of the Republic of China, an American offered a huge sum of money to buy it, but Pan's descendants flatly rejected it and regarded it as a family heirloom.
In the mid-1930s, Chiang Kai-shek's troops built a new building in Suzhou.
A subordinate officer suddenly came up with the idea of holding an exhibition in the name of commemorating the building after its completion, and invited the Pan family to participate in the exhibition with the tripod, in order to occupy the tripod indefinitely.
However, Pan discovered this clumsy trick and politely refused to participate in the exhibition.
Unfortunately, he still could not escape the catastrophe in 37 years, and his whereabouts are still unknown.