s

When Bai Zirui heard He Daqing's last words, he thought that it was terrible to be uneducated. Marrying a cheap mother to him would be like a flower stuck in cow dung.

He couldn't wait to say: "Dad, can you take me to see what my mother left me?"

He Daqing nodded and said, "Okay! Anyway, these are the things your mother left for you. It's up to you to do with it what you want."

After saying that, he stood up and led Bai Zirui to an inconspicuous place where sundries were stored. He saw three shelves inside. Bai Zirui stepped forward to check. Two of the shelves contained some paintings and calligraphy as well as rare ancient books.

, there are some fine porcelain on another shelf.

These are the collections of the cheap old woman's mother-in-law and natal family for generations. After the relatives of the two families were killed, she transported them all to the Bai family's ancestral home. After she died of illness, they were all left to her.

After Bai Zirui saw the things that his cheap mother had left for him, he felt filled with emotion. Everything here could be said to be a priceless treasure. It was really hard for the Qing Dynasty to preserve these treasures in the storm of the past ten years.

After the two of them came out of this inconspicuous utility room, Bai Zirui said to He Daqing: "Dad, I would like to trouble you to help me guard these treasures for a while. After this storm is over, I will pick you up and

Let these darlings go to the capital together."

He Daqing nodded and said, "Zirui, don't worry! These are all left to you by your mother, and I will help you keep them safe."

Neither of them disclosed the existence of these things to the outside world. At about five o'clock in the afternoon, He Daqing prepared a delicious dinner for everyone. Not long after everyone finished the dinner, the driver in the morning started driving.

The car came to the ancestral home of the Bai family to pick up everyone and return to the capital.

After going to work the next day, Bai Zirui rode a tricycle to see Popohou. When Popohou saw him holding calligraphy and paintings, he couldn't wait to say: "Xiaozi, you won't get any famous calligraphy and paintings, right? Hurry up.

Come let me!"

Bai Zirui said respectfully: "Uncle Hou, this is a painting I found in my mother's ancestral house when I went to Baoding yesterday to visit my father. It feels very strange. I want you to help me grow palms and eyes."

After he finished speaking, he spread out the painting on the table. The scroll had just been opened halfway when Bao Pohou took one look at it and a look of displeasure appeared on his face.

"Say, kid, you're just showing me a fake like this, are you sure you're not entertaining me?" Bao Pohou angrily scolded.

Shapohou is worthy of being the second-most master of collecting in the TV series "Under the Zhengyang Gate", second only to Mr. Guan, the nine-door admiral. Naturally, he has great eyesight and can tell the authenticity of this painting at a glance.

Bai Zirui saw the angry expression on Bao Bao Hou's face and said quickly: "Uncle Hou, don't be angry yet. Let me explain to you."

"Explanation? Okay! I want to hear what you have to say. How dare you entertain me with a fake painting. If you can't explain it today, don't ask me about my door next time.

." Shapohou said angrily.

Bai Zirui said solemnly: "Uncle Hou, when I first saw this painting, I thought it was a fake of Tang Bohu's "Li Duanduan Picture" copied by an unknown person. By chance, a gust of wind blew up the painting.

I was struck by the sun and accidentally discovered that this painting actually had two layers of marks, so I came to ask for your guidance."

After patiently listening to Bai Zirui's explanation, Shapohou's expression improved and he asked doubtfully: "Really?"

Bai Zirui said confidently: "Uncle Hou, it's absolutely true! If you lend me some courage, I won't dare to deceive you."

Seeing the sincere look on Bai Zirui's face, Baolan Hou lowered his head to look at the painting on the table. He first looked at the axis of the painting and said critically: "The sky pole, earth pole and axis head of this painting are quite different.

It's made of wood, but the materials used are too poor. This painting should have been copied during the Republic of China period. I really don't understand how such a fake painting dares to hire someone to frame it, hmm..."

As he was talking, his eyes suddenly showed a look of disbelief. He lay down on the painting and observed it carefully, exclaiming: "This... this is the Beijing school's mounting technique! It's actually the Xuanhe decoration technique. Who knows how to use it?"

This is how you use this technique to frame this fake painting?"

Bai Zirui listened to the muttering of the broken man, as if his father-in-law was scratching his head and was confused.

After observing it carefully for a while, Shapohou rolled up the scroll and said to Bai Zirui with a serious face: "Little boy, follow me! Go see a master of painting and let him help you uncover the true identity of this fake painting."

He locked the door and Bai Zirui took him in a tricycle to Shijia Hutong in Chaoyangmen, where Ling Shuhua, a talented woman from the Republic of China, Zhang Shizhao, director of the Museum of Literature and History, etc. lived here. Therefore, Shijia Hutong is known as "one alley, half of China".

On the way here, Bai Zirui asked the shabby man what the Beijing style mounting technique he just mentioned was.

After the tatters were broken, he was introduced to the Jianghu faction that framed ancient paintings:

A complete painting and calligraphy work is inseparable from mounting to make it more beautiful and easy to preserve, spread and collect. If the calligraphy and painting are not framed, they will not only be difficult to appreciate, but also difficult to preserve. Only after being beautifully framed, can they be preserved.

Only then can it be transformed into a complete work of art.

The ancients also said: "three-thirds of painting and seven-cent of mounting", "the decorator is the master of calligraphy and painting", "those who treasure calligraphy and painting must pay attention to decoration" and other related remarks.

In the thousands of years of development of calligraphy and painting mounting, due to the influence of techniques, regions, climate, environment and other factors, different schools have emerged in each region, roughly forming: Su School, Yang School, Shanghai School, Hunan School, Lingnan School, Huizhou School

The techniques of different sects have their own characteristics, such as the Beijing sect and the Beijing sect. Nowadays, each sect learns from each other's strengths and complements each other's weaknesses, gradually forming the "Southern sect" and the "Northern sect".

The most typical example of the northern style of mounting is "Beijing mounting", which emphasizes drying and cracking prevention and inherits the general style of "Xuanhe mounting". When mounting various types of axis mountings, small flagpole edges are often added on both sides.

This kind of framing system is based on inheriting the "Xuanhe decoration" style and innovating according to its own development needs. Its decoration generally tends to be noble and gorgeous, with thick texture, brocade forging as the edge, and multi-color damask is commonly used.

The exterior decoration is stunning, characterized by rich decoration, and has more ancient styles of the Sui and Tang Dynasties.

In the early Qing Dynasty, Suzhou had the highest level of mounting of Chinese calligraphy and painting, especially Qin Changnian, Xu Mingyang, Zhang Ziyuan, Dai Huichang and others, who were even more famous.

During the Qianlong period, the Imperial Household Office of the Qing Dynasty had a collection of imperial ministers from all dynasties who were in urgent need of mounting. It recruited mounting experts from Jiangsu, and the governor of Jiangsu sent Qin Changnian and four others to Beijing to take charge of the task.

Qin Changnian and other four people carefully created a unique Beijing-style mounting style based on the northern climate, environment and people's aesthetic tastes, which has been well received by many parties.

Therefore, Qin Changnian and others became the founders of Beijing mounting. The main characteristics of mounting are: thick, heavy, flat, straight, bright and brilliant colors, chic and generous styles, and the books rattling between them.

The southern style of mounting is the southern style represented by "Su Mounting (Suzhou)". Because the weather in the south is humid, the southern style often uses lacquer spindle heads. The lacquer on the spindle heads (also called earth lacquer, is the resin flowing out of the lacquer tree)

It can protect the wooden shaft head from deformation and insect damage.
Chapter completed!