When Feng Yuanyang learned that Lu Fei was the identity of instructor Xuanlong, he was frightened and came to the door to apologize.

Feng Yuanyang was even more shocked when he learned that Lu Fei was using the money snake toxin to cure Wang Bo.

"Boss Feng, I have my own principles in doing things."

"The same thing, your father's illness is on me. Your son Feng Zhe pretended to be Xuan Long and was arrested because he was blamed. I can't do anything about this."

"But I can't hold Feng Zhe responsible for threatening me."

"But the premise is that the golden lacquer wood carving must be given to me, so you can think about it!"

"No need to consider it, I agree to Instructor Lu's conditions."

Feng Yuanyang breathed a sigh of relief.

Before coming, he was ready to be robbed by Lu Fei and bleed heavily. Unexpectedly, Lu Fei was not overly greedy, which made Feng Yuanyang a little moved.

"Boss Feng, don't get me wrong. I want a shrine. It's purely my personal behavior. It has nothing to do with Xuanlong."

"I hope you don't confuse this."

"In addition, my instructor Xuanlong's identity is highly confidential."

"I won't pursue this, but I hope Boss Feng will not spread it, otherwise it will be very troublesome!" Lu Fei said.

Feng Yuanyang hurriedly stood up and promised.

"Instructor Lu, no, Mr. Lu don't worry, your identity is rotten in my stomach and will never be told."

"That would be the best."

"So, when will I see the shrine?" Lu Fei asked.

"As long as Mr. Lu has time, he can do it anytime."

"Then my father's illness and Xuanlong?"

"Don't worry, Boss Feng, I, Lu Fei, will never lose my trust."

"I got the shrine and Xue Taihe will go to treat your father. I will naturally say hello to Xuanlong."

"I don't know, can Boss Feng take me to see the goods now?" Lu Fei asked.

"no problem!"

This time

Yi was quite smooth, and the two people's views were rarely consistent.

Lu Fei couldn't wait.

Feng Yuanyang was reluctant to give the shrine to Lu Fei before, but now he was afraid that Lu Fei would regret it after dreaming for a long time.

So, sometimes people are just humble.

He can't take it and retreat.

Without alarming Wang Xinyi, Lu Fei and Feng Yuanyang left the hotel with his little dog.

The car drove for more than an hour and arrived at the Feng family's old house outside Yangcheng.

There were six security guards patrolling back and forth outside the yard. When they came to the yard, they were pitch black and there was no light.

"Mr. Lu, don't be nervous. In order to prevent fire, this courtyard does not have any power supply, but the security room has emergency lights and can be sent here immediately."

Lu Fei smiled faintly.

"Boss Feng's awareness of prevention is really good!"

Feng Yuanyang responded with a wry smile, but said in his heart that fire prevention awareness is OK, but the anti-theft awareness is far from it.

Thinking that the big gold-lacquered wood-carved shrine that had been collected for decades was about to change ownership, Feng Yuanyang almost cried.

After a while, two security guards sent three emergency lights, and Lu Fei and the other two lit up at the same time to an ordinary room in the backyard.

Feng Yuanyang opened the door and it was not a room inside, but a five-meter-wide downward passage.

After walking down the passage for more than ten meters, a high-tech CNC security door was presented to everyone.

Feng Yuanyang entered his password and fingerprint, and the security door slowly rose.

The little dog sighed in his heart that these precautions were almost at the risk of their Baihua Bank Insurance Depot.

The security door rose, Feng Yuanyang made a gesture of inviting him, and the little puppy was the first to rush in.

A second later, the little puppy cunning scream sounded in the empty space.

"Late"

groove!"

"This is too beautiful!"

Although Lu Fei did not exclaim, his eagle-like pupils had contracted to the extreme in his deep eyes.

There is only one object in the space of more than 200 square meters, which is the magnificent golden lacquered wood carving shrine.

The shrine is three meters high, two meters wide, and has an astonishing depth of one meters.

This shrine is huge in size and exquisitely carved, combining various techniques such as gold lacquer painting, carving and relief. It can definitely be called a classic work of Chaozhou wood carving skills.

The large shrine, also known as the "ancestor's niche", "master's niche", and "home shrine".

The large shrine is placed in the ancestral hall, the general hall, and the center of the main hall of the large residential building. It is used for the ancestral spirit plaques for the eight festivals of the year.

The shrine is a special artifact that worships ancestors' gods among Chaoshan people. Its shapes can be divided into sizes. The larger ones are called shrines, and the smaller ones are commonly known as shrines.

The overall shape is solemn and exquisitely made, and is the most exquisite one among Chaozhou wood carving products. The most common decoration of gold lacquer wood carvings, while the most of those made of hardwood are plain carvings.

In terms of production technology, this shrine is extremely exquisitely crafted and the content depicted on it is very rich.

The patterns of sika deer and cranes symbolize prosperity and longevity.

The magpies fly over the plum blossoms, which means joy.

The shrine is carved with elements of the Chaozhou opera "The Six Kingdoms' Famous Prime Minister", which all reflect the customs and culture of Chaozhou people.

Wood carvings use wood as paper, transform wood into gold, and use multi-layer carvings, dense but not messy.

The characters are like a living, the Chaozhou opera is coming, the flowers bloom and the birds are on the branches, recreating the beautiful original beliefs of the ancients.

The origin of Chaozhou wood carving can be traced back to the Tang and Song dynasties at the latest. After the development of the Ming Dynasty, it reached its peak in the Qing Dynasty, forming a delicate, delicate, exquisite and magnificent style.

In the middle and late Qing Dynasty, many high-walled houses were built in various towns under Chaozhou Prefecture.

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br> Qianlong Mansion Records: "When a prominent family builds a house and a cottage, it must build a ancestral temple, which is particularly magnificent... If a family has a thousand gold coins, it must build a study, carved beams and painted buildings, and decorated with bamboo trees on the pool and terrace."

The Jiaqing Chenghai County Chronicle records: "The prominent family likes to camp in houses, carved beams, painted buildings, and bamboo trees on the pools and terraces. They must be extremely skillful.

The big and small sects compete to build ancestral halls, competing for magnificence, and spare no expense."

The Guangdong Yearbook of the 33rd year of the Republic of China records: "There are overseas Chinese in Guangdong who like to build large houses to boast about the countryside. This style of Chaoshan is very strong, but the size of the house is particularly magnificent than other places. A wealthy house must have a family temple and a study."

The atmosphere of building large houses in Chaoshan area recorded by Zhicheng created conditions for the heyday of Chaozhou wood carving art.

The Congxigong Temple in Jinsha Township, Haiyang County, which was built from the 14th year of the Qing Dynasty to the early Guangxu period, and the Jiluo Huanggong Temple in Chaozhou City, which was built during the Guangxu period. The exquisite wood and stone carvings and the diverse techniques are used, which can be said to be the master of wood and stone carvings in Chaoshan area.

During the Republic of China period, there were also such buildings, such as the Meizu Temple in Shenyang Village, Chaoyang.

The wood carvings of these buildings are really jaw-dropping and amazing.

The result of the construction of ancestral halls, study rooms and temples in every village has made Chaoshan a place of architectural art everywhere.

After inspecting rural residences in Chaoshan, a professor at Yangcheng Academy of Fine Arts wrote a text: "In some places where wood carvings are concentrated, it makes people feel that every village looks like a wood carving art museum, and every home looks like a carving showroom."

The works such as "Three Sheeps of Flowers", "Five Blessings of Pheasant Plum", "Autumn Sweets of Lotus Pond", "Lobster Crab Bag" produced by Zhang Jianxuan, Chen Shunqiang and others in the 1950s shocked the world once exhibited.

In that era, the British Museum once offered a sky-high price of 19 million pounds to buy "The Five Blessings of Pheasant Plum", but was rejected by Mr. Zhang Jianxuan and donated it to the National Expo.

It is conceivable how awesome Chaozhou wood carving skills are in the world.
Chapter completed!