Chapter 1426 Rushing to cooperate
The time to stay in the island country is very short, Zhou Zhi needs to seize every minute. After the negotiation with Sony was completed, he even declined the subsequent visit to the art museum. Except for a short nap, almost all the time was spent on the identification and observation of cultural relics.
This kind of highly intensive mental consumption and concentration brings rapid growth in ability. Zhou Zhi once had such an experience when he was restoring ancient paintings in Hongqi Village.
But this time it was much better than that time, at least Ono was there to bring him food.
At this time, Ikeda walked in with his mobile phone and interrupted everyone very embarrassedly: "Mr. Sakamoto called and asked when we can go there."
The three people in the collection room just burst out laughing. They were all crazy. They had promised to go there after receiving Mr. Ma today, but ended up rushing here and completely forgetting about the day.
Looking at the simple wall clock on the wall, it was already two o'clock in the afternoon. Zhou Zhi had no choice but to ask apologetically: "Would you like to trouble Ms. Ikeda to get us some bento boxes? Let's set out after reading these things."
Ikeda has nothing to do with these men, let alone her. I worked as an assistant to Zhou Zhi for a few days, and I also felt that Zhou Zhi Seeing the charm of this job, he smiled and said: "Mr. Sakamoto seems to have guessed all this. He just said don't miss the Fujita family's dinner."
"Oh, that's good." Zhou Zhi breathed a sigh of relief. , it would be bad to leave the impression that Chinese people are impolite.
"Does Zhou Sang have a suit?" Ikeda Qiu asked another question suddenly.
"You want a suit?" Zhou Zhi couldn't help but was stunned for a moment and looked at Master Ma.
“Don’t look at me, I’m wearing a cardigan, and I’m very excited when I look like a foreigner in formal attire.” Mr. Ma was very proud: “Now I have to bring one with me when I go abroad.”< br>
“Didn’t you tell me such a valuable experience earlier?” Zhou Zhi couldn’t help but stare.
“You didn’t even ask me!” Mr. Ma glared back.
"I understand, leave it to me." Ikeda Qiu faithfully performed his duties during this period, no longer paying attention to the old and young who were looking at each other, and went out calmly.
"Hey, don't be too exaggerated..." Zhou Zhi said quickly, and added after thinking: "...and don't be too expensive!"
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“I can’t tell, but my elbow looks pretty good in a suit. Handsome." On the way to the Fujita Art Museum, Ma Ye admired Ikeda Qiu's clothes. He was able to judge Zhou Zhi's accurate figure just by visual inspection, and bought a suitable suit. After Zhou Zhi put it on, he looked more like The kind of "college student" Fu Xia calls him.
Osaka is a mecca for appreciating Oriental porcelain, as it is home to two art museums with important collections of porcelain.
One is the Municipal Museum of Oriental Porcelain, which mainly houses the old collection of Eiichi Ataka, and the other is the Fujita Museum of Art.
Unlike Eiichi Anzaka, who is basically only interested in ceramics, Denzaburo Fujita has a wide range of interests, ranging from bronzes, lacquerware, ancient calligraphy and paintings, scriptures, ceramics, tea ceremony utensils and other ancient artworks. There are collections.
Azaya Eiichi’s quirk is that he will try every possible means, no matter how high the price is or how hard the process is, he will collect the things he likes once he gets them, but he will never comment on his collection.
This approach is also very consistent with the attitude of the islanders who like the "philosophy of style". The good things are there, so there is no need to say more nonsense. Denzaburo Fujita is of a different style. It is said that this collector never bargains on price and is always straightforward and can only say "yes" or "no".
The island country during the Meiji period also experienced great turmoil. It advocated the west wind, and also set off cultural riots on the island that "destroyed Buddhism" and "un-ancient", resulting in countless treasures, temples, calligraphy and painting scriptures Waiting for a devastating blow.
The wealthy people of the island country took the opportunity to collect a large number of precious cultural relics at this time, which objectively played a role in protecting cultural relics.
The Fujiwara Museum of Art is much smaller than the Museum of Oriental Porcelain, but there are more than 5,000 treasures here, and many of them are rare treasures.
For example, the second-ranked piece of the island country’s three national treasure-level obsidian-level celestial lamps is here.
In addition, the Shang and Zhou bronzes include bronze Taotie-patterned square statues, square lei, gourds, and sheep cups; Yuan Dynasty Longquan kiln printed celadon Phoenix tail statues and lotus leaf lid jars; and Buddhist statues from the Tang Dynasty and Northern Wei Dynasty are all extremely rare treasures.
In terms of ancient calligraphy and painting, the six-hand scroll of Shiqubao Pavilion that is about to change hands this time is not the most precious cultural relic in the art museum.
More precious than them are the oldest Mahaprajna Sutra in the island country, and the 387 volumes of Nara Yakushiji Temple's Sutra written in the eighth century AD, with the words "Translated by the imperial edict of Tripitaka Master Xuanzang" , is highly similar to the Tang Dynasty scriptures unearthed in Dunhuang. It is a typical Tang Dynasty style of scripture writing, with fine writing and good preservation.
There is also the "Xuan Zang Tripitaka Painted Scroll", which is said to be the legendary work of the famous 14th-century island country painter Takakane Takashi. It is twelve volumes long and more than 100 meters long, and completely shows Tang Sanzang's life from his birth. All the deeds in the past life can be called the most glorious and magnificent, and it is a masterpiece in the history of world art.
In addition, there are two 11th-century "Da Sutra Enlightenment Pictures" from the esoteric Shingon sect of the Tang Dynasty, which has been cut off from the Dharma lineage in China and left behind in the island countries.
However, these have been designated as "national treasures" of the island country. The law of the island country prohibits the sale of national treasures and important cultural properties. They can no longer appear at auctions, and they have basically lost hope of returning to China.
Just from these collections, we can see that the Fujiwara Museum of Art, as a private museum, has the strength of its collection to rival the National Museum.
Although the Fujiwara family got its start through the overthrow of the curtain and gained huge wealth in a short period of time, its role in World War II was not glorious, and today it has declined.
It can also be seen from the current state of the art museum that the decades-old museum has not been repaired since its establishment in 1954. All aspects have become old and worn out. It reminds me of my passion for spending yen equivalent to forty kilograms of gold to buy the Yaobian Tianmu Zhan.
Fortunately, although the cultural relics protection policy of the island country is relatively strict, there are not many restrictions on the Chinese cultural relics collected in modern times. Therefore, with the matchmaking between Anzhai and Sakamoto, the Fujita Art Museum decided to sell some of the cultural relics and use them for To alleviate operational difficulties and repair outdated buildings.
Of course, it cannot be said that it is 100% good-hearted and well-intentioned. It can only be said that Goro Sakamoto, as a successful antique dealer, has smelled the breath of money hidden in the wind from the mainland, and has been keenly aware of the mainland, which is about to prosper. In the collectibles market, some layouts have been made in advance, some connections have been planted, and some friendships have been left behind.
These are good things that are win-win for all parties. For example, Zhou Zhi and Ma Ye now simply cannot refuse.
Not only could I not refuse, but I had to rush to cooperate.
(End of this chapter)