Rebirth 81: Being forced into marriage by my sister’s best friend at the beginning

Manager Fan was naturally overjoyed. Lin Ran picked up one of the silver coins with the words "Guangxu Year System" engraved underneath.

It is a silver ingot from the Guangxu period of the Qing Dynasty!

This is quite valuable and has been preserved for 300 years. These silver ingots alone are enough to buy a ten thousand year apartment.

Manager Fan was very happy and carefully collected all the money.

Lin Ran also put back the money in his hand, without any thought of taking advantage.

"This is really a treasure chest. It seems that your great-grandfather left you a lot of property." Lin Ran smiled.

What a pity!After all, it belongs to others.

If I had such a box in my home, I wouldn't have ruined my family back then.

Although it's not bad now.

Lin Ran's thoughts were a little wandering.

In addition, there are some accessories in the box.

Gold bracelets, jade rings, silver earrings.

If these were objects from the Guangxu period of the Qing Dynasty, they could be easily sold for tens of thousands of yuan at auction.

Manager Fan also knew that Lin Ran owned an auction house, so he asked jokingly: "Mr. Lin, can these things be put on consignment with you?"

"Of course, but the specific estimate depends on the master." Lin Ran replied.

He was actually not that interested in money, especially property belonging to others. Envy was a useless emotion. Lin Ran had already taken this step.

And to be honest, compared to the treasure chests Lin Ran had seen buried with him in ancient tombs, this treasure box was still several levels behind.

However, Manager Fan discovered the treasure chest and couldn't put it down.

Even though he is very rich, how can a businessman like him not have too much money?

I just looked through it and put it back in the box.

Finally, Lin Ran noticed that there was a scroll-like item in the box.

Lin Ran recognized it at a glance. It was a calligraphy and painting!

"Can you take it out and take a look?" Lin Ran asked.

Manager Fan saw the scroll inside and smiled: "Of course!"

He already regarded Lin Ran as his noble person. Without saying a word, he took out the calligraphy and painting. Lin Ran repeatedly reminded him to be careful.

Judging from the appearance of the scroll, the framing is unusual. In ancient times, the calligraphy and painting that could be made into a scroll was definitely not something ordinary calligraphy and painting could do.

Unless, like Hui Wang's painting, this is his first work.

Lin Ran unfolded the calligraphy and painting with excitement.

The moment he saw the calligraphy and painting, Lin Ran became excited.

Because this painting is obviously Tang Yin's work - "Picture of Prostitutes in the Palace of Wangshu"!

Lin Ran unfolded it completely. The entire scroll was 1.3 meters wide and [-] centimeters wide, which was exactly what he remembered.

The reason why he was able to recognize Tang Yin's work at a glance was not because Lin Ran had seen this painting in the Palace Museum, but because Tang Yin's figure paintings were so distinctive in their meticulous brushwork and heavy colors.

Tang Yin's painting style has always been representative, and his works can often unintentionally demonstrate his superb craftsmanship in modeling, coloring and other aspects.

For example, the scroll in front of me vividly displays the symmetrical and graceful figure of the palace ladies.

During the Ming Dynasty, Tang culture did not completely fade away, but instead integrated into the life of the Ming Dynasty.

At that time, court ladies often liked to have narrow shoulders, narrow backs, willow eyebrows and cherry buns, and apply white frost on their foreheads, noses, and chins, euphemistically called "Three Whites."

Tang Yin's figure paintings not only absorbed the "Tang Zhuang" style in Zhang Xuan's works, but also incorporated Tang Yin's own understanding, painting the delicate and beautiful images of ladies in the Ming Dynasty to the fullest.

In this painting, four palace ladies stand staggered, appearing stable and orderly.

From their slightly tilted heads and slightly bent postures, it can be seen that they are having a conversation. Through this interactive painting, the image comes to life on the paper, adding to the richness and vividness of the picture.

Coupled with Tang Yin's brush and ink skills, as the saying goes, the clothing pattern is used as a piano and the collar is used as a string drawing. Not only the character painting is vivid, but the clothes also appear smooth and rich in texture under his brushwork.

Different from the characteristics of court painters who purely please the emperor, Tang Yin's paintings have always had artistic characteristics that can be appreciated by both refined and popular people.

"Mr. Lin, do you recognize this painting?" Seeing Lin Ran's surprised expression, Manager Fan roughly guessed that this painting must be complicated.

Lin Ran nodded and said: "This painting is called "Picture of Prostitutes in Wangshu Palace". Of course, there is another name "Picture of Four Beauties". This painting should be Tang Yin's painting."

Tang Yin?

Although Manager Fan is not from the antiques circle, as a Chinese businessman, how could he not know the name of Tang Bohu, the leader of the four great talents in Jiangnan!

"Is this true?"

"The painting is a likeness, but I still have to identify whether it is the exact one." Lin Ran replied.

After all, there are too many fakes of Tang Yin's paintings on the market.

In fact, when Tang Yin created this painting, he did not name it. Instead, in the late Ming Dynasty, a collector named Wang Diyu named it in his collection "Coral Net Painting Record", and it was later used. to date.

The scroll does not actually depict the beauty of the lady, but actually satirizes Wang Yan, the lord of the former Shu.

The four ladies in the picture are actually his singers, who are finishing their makeup and waiting for the king's call to serve and have fun.

The woman in the scroll wears a golden lotus crown on her head, a Taoist robe decorated with clouds and clouds, and a thick layer of rouge on her face. Her body appearance is also the plump style favored by the Tang Dynasty, but she is plump but does not look bloated, but has a somewhat graceful look. .

Lin Ran's impression of this painting was that it was exiled overseas during the war, and was eventually bought back from abroad by a Mr. Zhang Boju, and finally donated to the Palace Museum.

Therefore, he was not sure whether it was authentic or not.

Lin Ran wanted to use the secret technique of identifying treasures, but he instantly thought of the identification method.

He is a treasure appraiser and cannot always rely on the secret skills of appraising treasures. Lin Ran always feels that this ability is a bit mysterious, so he should try not to touch it as much as possible.

As for whether it is authentic, the identification method is actually very simple.

The key lies in this scroll!

The scroll is one of the mounting forms of Chinese calligraphy and painting. It is the so-called plain insect, gray silk and sometimes covered scroll.

Based on the wear and tear of the silk on the scroll and the traces of paper on the scroll, Lin Ran quickly came up with an identification result.

This scroll painting is indeed an old object left over from the Ming Dynasty. The probability of it being authentic is 80.00%!

Moreover, Lin Ran had seen the original work in the Palace Museum, but not in the Palace Museum of this era. He was the only person who had seen the original work.

So he dared to conclude that this was Tang Yin's authentic work!

Suddenly, the gold and silver jewelry inside looked dim.