Chapter 274 Acquaintances

A seven-character regulated verse in running script, titled "Inscription on Jinling Ferry" by Zhang Hu of the Tang Dynasty.

Look at the paper before you look at the words.

At first glance, it seems ordinary: the paper is not white, but grayish, and has an old smell of having been stored for many years.

But the ink marks are very clear, jet black, without any blurring or smudges.

Most people, upon seeing this, would subconsciously assume that it was made with old paper and new ink, or that the paper was artificially aged, and would immediately judge the work as a forgery.

Actually, this is an effect of soaking the paper in a mixture of *Polygonum hydropiper* and alum as a mordant, used to prevent insect infestation. The original paper is ivory white with a hint of bluish-gray. As the paper ages over time, the white color fades, and the bluish-gray deepens, resulting in this grayish, aged color.

During the Qing Dynasty, only six types of paper were dyed with ginseng: Imperial Kaihua Paper, Yangzhou Luowen Paper, Imitation Song Dynasty Jin Su Paper, Imperial Ciqing Paper, Imitation Xuande Tribute Paper, and Jingxian Jade Xuan Paper.

These six types are all tribute paper. The others are mixed with acorns, cork trees, or have a base of bright blue, or are mixed with mica powder. Only Yangzhou ribbed paper is mixed with alum, which gives it this unique bluish-gray color after aging.

Looking at the ribbed pattern, it is arranged vertically, as fine as a hair, with exactly nine ribs within one centimeter. Moreover, when light shines through, it appears wavy, like a beaded curtain.

This is the improved curtain pattern technique of Wang Jinsheng's ink workshop in Yangzhou during the ninth year of the Qianlong Emperor's reign, which perfectly matches the characteristics of Yangzhou ribbed paper during its heyday.

Zheng Banqiao resigned from his official post at the age of sixty-one and later lived in Yangzhou, where the "Eight Eccentrics of Yangzhou" came to be. Therefore, at least the source and timeline match up.

After examining the writing, I looked at the ink. It was both black and glossy, with neat edges, no fading, and no blurring between the writing and the paper.

This is an extremely rare phenomenon among paintings and calligraphy works that have been stored for more than two hundred years.

Because ink also ages, over time the ink layer will peel and crack, and the ink particles will turn to powder and flake off. Due to moisture or the influence of air pH concentration, carbon elements will diffuse along the paper fibers to the surrounding area.

Therefore, most ancient calligraphy and paintings will turn gray and lighten, giving people the visual impression that the ink is seeping out of the characters.

But this one is different; no matter how you look at it, it looks like it was written on recently.

Based on this, it seems there's another reason to conclude that this is a fake.

Actually, that's not the case. This is ink that Zheng Banqiao himself made in his later years, which he called "Banqiao Ink": ancient kiln soot + musk, and the glue was made from fish bladder.

The so-called ancient kiln soot refers to the soot clumps on the walls of chimneys in brick kilns, tile kilns, and porcelain kilns, where the proportion of sulfur dioxide and nitrogen oxides adsorbed in the carbon particles is quite high.

It is lipophilic and hydrophobic, insoluble in water, acids, and bases. It is not significantly affected by moisture or changes in the pH value of the storage environment.

Secondly, Zheng Banqiao used fish glue instead of traditional cowhide glue, which increased the hardness of the ink stick and the ink molecule adsorption capacity by more than 40%. Even after two hundred years, there will be no phenomenon of ink layer delamination or ink particle peeling.

That's why the characters look so new.

Then look at the seals: "Vulgar Official," in red ink; "Old Banqiao Twenty Years Ago," in red ink; and "Seal of Zheng Xie," in white ink.

The first two seals are fine, especially the last one with white text: the four sides are slightly curved inward. Among Zheng Banqiao's more than thirty seals, only two have this feature.

This also applies to ink paste: cinnabar mixed with castor oil will develop a purplish sheen after aging.

Finally, let's look at the characters: the stroke begins with a reverse stroke, moves swiftly with the center of the brush, and ends abruptly with the brush lifted.

The downward stroke is like a knife cleaving through surging waves, the ending stroke pauses abruptly, leaving white space; the horizontal stroke is like a broken piece of wood, its end revealing a sharp point. The fine lines between characters are like strands of hair, alternating between broken and connected.

There's no need to recall Zheng Banqiao's calligraphic characteristics; just compare it with the one next to it, and the difference in quality is immediately apparent.

At this point, Lin Sicheng was 99% certain that it was an authentic work by Zheng Banqiao during his later years when he was undergoing a transformation in calligraphy.

What's even more interesting is that there's a hidden seal stamped in the center of the painting, somewhat similar to a modern steel stamp. But it's not very deep; it's quite shallow and you can't see it unless you look closely.

If you dip the stamp in ink, it will look like this after stamping:

At first glance, it seems out of place and incomprehensible. But few people know that this is a seal representing the floral window design of Suzhou gardens.

In his previous life, Lin Sicheng had seen two such seals, both used as collector's seals for ancient books and paintings. One was in the Suzhou Museum, and the other was in the Suzhou Antique Shop.

This means that this chapter has filled in the last 1% of uncertainty.

Let's look at the estimated value: 120,000 to 150,000?

Lin Sicheng found it very strange: He never thought that he could find a bargain at an auction.

He didn't let Ye Anning write it down; he just glanced at the number.

Continue reading: Wen Zhengming's fan painting "Leisurely Conversation by the River," a paper hanging scroll "Pine Forest and Flying Spring," and a poem by Tao Yuanming in clerical script.

There is also Zhu Yunming's cursive script scroll of Li Bai's poems, cursive script seven-character poems, and a painting of a hermit under pine trees by Tang Yin.

It also includes calligraphy and paintings by famous Ming Dynasty artists such as Shen Zhou, Bada Shanren, Wang Duo, and Lan Ying. Dong Qichang's works are even more numerous: poems, paintings, and calligraphy samples, totaling more than a dozen pieces of varying sizes.

The valuations are hard to describe: they range from tens of thousands to over twenty million, with prices varying greatly.

Seeing Zhao Da and Zhao Er's eyes light up, eager to try, Lin Sicheng took the opportunity to give his two apprentices a lesson in ideology:

"When you go to places like this in the future, you can look around and try to buy one or two items if the prices aren't too high, just consider it tuition. But remember, never be greedy."

The two brothers nodded vigorously, but Lin Sicheng could tell at a glance that they hadn't understood at all.

Lin Sicheng sighed: "Go back and review the auction law!"

What does greed have to do with auction law?

The two brothers were puzzled and looked at their father.

Zhao Xiuneng stared wide-eyed: "Two idiots."

The Auction Law stipulates that auction houses can be exempted from all liability for authenticity as long as there is a clear statement.

For example, if the auction house states in its promotional materials or statement that it does not assume responsibility for the quality or defects of the auctioned items, even if something worth only a few cents ends up being auctioned for hundreds of millions, it has nothing to do with the auction house.

Just like with Zheng Banqiao's "Bamboo and Rock Painting" before, why did the buyer give up? Because he couldn't win the lawsuit and had no other options.

Strictly speaking, it's not that people are conservative and cling to old rules; even at the legal level, the basic principle of "once the transaction is finalized, it's over" is still followed.

Lin Sicheng explained it to the two brothers, and they suddenly understood.

The group continued forward and arrived at the modern and contemporary calligraphy and painting section.

This section boasts even more renowned figures: Fu Baoshi, Wu Changshuo, Liang Qichao, Yu Youren, Zhang Binglin, Sun Yat-sen, Soong Mei-ling, Guo Moruo, Zhou Zuoren, and many more.

Zhang Daqian's landscapes, Qi Baishi's shrimps, and Xu Beihong's horses are estimated to be worth only tens of thousands of yuan.

Looking at the things again, Lin Sicheng couldn't help but purse his lips.

So, in a sense, the so-called top-tier auctions are not much different from the street stalls in the antique market.

Do you have anything good?

have.

But first, you need to have a good eye.

Thinking it over to himself, Lin Sicheng glanced around rather casually. He barely stopped walking, only glancing at the objects briefly.

He stopped again as he walked.

Three contemporary masters: Pan Tianshou, Li Keran, and Huang Binhong.

How famous are these three?

The Great Hall of the People displays works by these three artists. Once their works are auctioned, they easily fetch hundreds of millions of yuan, with many selling for tens of millions.

But that was after 2011, when works with revolutionary themes suddenly became incredibly popular, and they became more popular year by year, almost tripling or increasing in popularity each year.

After 2018, none of the works by these three artists that were put up for auction ever exceeded 20 million.

But now, the fame of these three is only average: Pan Tianshou, the most famous, is only around 200,000 per square foot. Li Keran is in the middle, at 150,000, and Huang Binhong is the least famous, at 80,000.

Looking at the wall again, there are about ten works of art by the three artists, each of considerable size and quality.

Pan Tianshou's "Mandarin Fish" and "Ink Sparrow", Li Keran's "Returning Home from Pasture", and Huang Binhong's "Writing in the Spring Mountains".

These are all small pieces, ranging from half a square foot to two square feet, and the estimated prices are not high, ranging from tens of thousands to hundreds of thousands.

The lowest valued item is Huang Binhong's "Rooster Crest Rock," estimated at 20,000 to 30,000 yuan.

In seven or eight years, it will be at least five million. What industry can have such high profits?

There are also a few hanging scrolls, each three or four feet in size, with the highest estimated price being only 450,000.

Lin Sicheng roughly calculated: based on the estimated price, these ten or so paintings would be around two million. To be on the generous side, if he bought them all, it shouldn't exceed three million.

Starting in 2015, the initial investment would be 300 million.

It felt like picking up money from the ground?

Even though the repair center is still in its early stages, it's spending money like water every day. And who knows, if they acquire a few more patents like BTA, they might earn even more money faster.

But Lin Sicheng was still itching to take the plunge: "If Heaven gives me this opportunity and I don't seize it, I'll suffer the consequences... I'll just film it first and see what happens."

I didn't deliberately take notes; I just paused briefly to verify the authenticity.

All are genuine works...

In this way, I went around the whole place and looked at all the works.

Zhao Xiuneng recorded two paintings and three calligraphy works, Wang Qizhi recorded a Ming Dynasty woodblock print, and Ye Anning recorded the most, filling five or six pages of his notebook.

Around noon, the group stayed in the hotel and booked a table upstairs.

Neither Zhao Xiuneng nor Wang Qizhi were particularly interested in the porcelain or bronze items.

This is an auction, not a lecture, so Lin Sicheng didn't let Zhao Da and Zhao Er come along.

Around 2:30, Ye Anning urged him to go downstairs.

Western paintings weren't very interesting, and sculptures and rare stones didn't have many viewers either, so the two of them went straight to the stationery section without hesitation.

There were more than thirty items written in the notebook. Even with a one in eleven chance, they could still find three or four. Ye Anning wasn't in a hurry, and the two chatted idly as they looked at the notebook.

"You were in Shanxi for three months and didn't go back to Xi'an even once. After you came back, you only went home once a month to get some clothes, and you didn't even have time to eat?"

"My aunt said she raised an ungrateful child!"

Lin Sicheng didn't take it seriously: "My mom is something else, calling you to yell at me?"

“What do you mean by making a phone call? During the May Day holiday, my aunt, my maternal aunt and I went to Huaqing Pool for a hot spring bath. On Children's Day, we took Youjian and had a meal with Aunt Jiang. During the Dragon Boat Festival, my uncle came back, and Uncle Lin and Professor Lin were both drunk by my uncle.”

Before I knew it, several holidays had passed.

Even though I wasn't there, the two families were still visiting each other quite frequently?

Lin Sicheng didn't take it to heart: "I'll definitely go home this time when I return to Xi'an. If we have time, let's have a meal together."

Just hearing the word "if" tells you that even if Lin Sicheng returned to Xi'an, he would definitely be extremely busy.

"Lin Sicheng, why are you in such a rush?"

Lin Sicheng sighed: "Time waits for no one!"

Just like this time, if he hadn't been fast enough, and if Wang Qizhi hadn't tricked Wu Hui, who was originally going to Shanxi for inspection and guidance, into going to Xi'an, the Guzhen site would have been excavated long ago in Yuncheng.

By then, even if he could prove the connection between Hejin porcelain and Yingqing porcelain, sweet white glaze, and Chenghua doucai porcelain, its influence and representativeness would drop several levels.

But like now: the discovery and research are integrated, and once it is announced, it will definitely make the research center an instant hit.

As the saying goes, once you miss this village, you won't find another shop like it.

They walked and talked, and before they knew it, they had gone around in circles. Ye Anning then realized that neither of them had looked at anything.

She glanced inside the cabinet, then her eyes lit up: "Lin Sicheng, look!"

Lin Sicheng turned around: Huh, a Chengni inkstone?

Oh no... they're all inkstones!

Looking from where they were standing, there were inkstones everywhere: jade inkstones, stone inkstones, bronze inkstones, and porcelain inkstones.

A wide variety, a dazzling array.

Now look at the area in front of us:

The inkstone is large with a flat surface and a hand-carved back. It comes with a copper-covered burl wood inkstone box.

The inkstone's top is decorated with a relief of a dragon amidst clouds, its long whiskers flowing, soaring through the clouds with a majestic and powerful presence.

The inkstone is bluish-yellow in color, simple and elegant. The carving is exquisite and meticulous, delicate and realistic, and the firing process is just right. The shape is elegant, strong and solemn.

Even among the finest Qing Dynasty Chengni inkstones, this one could be considered a top-quality piece.

But the estimated value is only 30,000 to 50,000?

Upon closer inspection, a seal is engraved on the side of the inkstone: Jiangyunlou.

Lin Sicheng suddenly understood: this was the residence and library of Qian Qianyi and Liu Rushi, writers from the late Ming and early Qing dynasties.

If it weren't for the fact that the water was too cold and his scalp was itchy, this inkstone would have been worth four or five times more, given his status as the leader of the late Ming Dynasty poetry scene and the leader of the Donglin Party.

If he had resolutely thrown himself into the river back then, he would have been a second Wen Tianxiang. Forget 30,000, even a hundred times that price, someone would probably still want that inkstone.

Of course, even so, it shouldn't be only 30,000. This inkstone is worth 70,000 or 80,000. Don't even think about it going unsold.

Ye Anning then pointed to the side and asked, "Take a look at this?"

Lin Sicheng glanced at it: Red silk stone, Fuwen inkstone?

The so-called "fuwen" refers to the serrated, square-shaped pattern around the edge of the inkstone, which has been worn away and is no longer clearly visible. The inkstone is very old, much older than Qian Yiqian's, and has numerous inscriptions, all by famous calligraphers:

Firm yet not stubborn, Xiaolan inscription.

Xiaolan admired Yu Fuwen's inkstone, so he gifted it to him. I inscribed it with the following words: "The stone's texture is dense, its structure strong; a gift for the Censor-in-Chief to write memorials; this old man and this inkstone are truly a perfect match." February, Renzi year, Shi'an. Seal: Yong

These two sentences alone tell us that this was Ji Xiaolan's seal, which he later gave to Liu Yong.

Later, there were also poems and inscriptions by Jiang Shiyue, a principal of the Ministry of War in the late Qianlong period; Gui Fu, a painter and seal engraver in the late Qianlong period, and Yi Bingshou, the prefect of Yangzhou, who was also a painter and seal engraver.

Upon careful recollection, Lin Sicheng remembered that this inkstone was recorded in Ji Xiaolan's "Yuewei Caotang Yanpu".

The item is definitely genuine. Now let's look at the estimated price: starting bid with no reserve.

Lin Sicheng scoffed, "Don't even think about it. Just based on the names Ji Xiaolan and Liu Yong, this inkstone could fetch five or six hundred thousand at auction."

Ye Anning readily complied and pointed to the side, "What about this side?"

Lin Sicheng glanced at it and a strange feeling arose in his heart: Ha, it's Qianlong again. I can run into him just around the corner.

Moreover, there are two: one is an inkstone, and the other is ink.

There are numerous inscriptions, but only two seals, both bearing the imperial inscription of Emperor Qianlong: Qian and Long.

Each of the inkstone and ink sticks has a line of small characters inscribed on one side: Made in the 30th year of Qianlong's reign, respectfully presented by your subject Zheng Rui.

This person is not mentioned much in official historical records, but is featured extensively in Qing Dynasty archives and court-related historical materials:

He successively held important positions such as Imperial Textile Commissioner of Jiangning, Superintendent of Huai'an Customs, and Superintendent of Guangdong Customs. He was highly trusted by Emperor Qianlong and was responsible for all procurement work for the palace.

The profits were substantial, yet Zhengrui frequently ran into deficits. The key issue was that these deficits weren't due to embezzlement or misappropriation, but rather because he had too many ideas and was too individualistic.

Emperor Qianlong was angry that he was disobedient, so he would confiscate his property every few days. According to the records of the Imperial Household Department, there were 85 imperial gifts that Emperor Qianlong confiscated from his home and returned to the palace.

Later, Emperor Qianlong sent him to receive the British Macartney Mission. In order to force the British envoys to perform the three bows and nine kowtows when they went to court, he locked up the mission and disciplined them for a week.

He also demanded that the gifts be labeled "English tribute," but the British insisted on not doing so, so he sent someone to change it himself. He also replaced all the ensigns on the British ships with "tribute ship."

If it weren't for the subordinates fearing repercussions and secretly submitting a memorial to Emperor Qianlong to complain, it would have almost turned into a diplomatic incident.

Even so, Emperor Qianlong merely issued an edict, scolding him for being "muddle-headed and ignorant"...

Looking at the label, there's a specific explanation: This inkstone and the previous Chen Duanyou Taiping Youxiang Duan inkstone came from the same collector. In 1948, the collector moved his entire family abroad, and the inkstone followed him, remaining overseas for sixty years. One inkstone and one inkstone, similar in shape but different in material, are extremely rare.

Lin Sicheng knew that Chen Duanyou was the founder of the Shanghai School of inkstone carving, but he had no recollection of the elephant seal in Taiping. As for who had collected it, he had even less idea.

But since it's mentioned in the instructions, why not just write the name?

Secondly, the characters are incorrect, and the format is also wrong. If it were an imperial inscription by Emperor Qianlong, there would have been time involved, and he wouldn't have directly engraved these four characters on it.

Most importantly, it's incredibly new: the inkstone is new, the ink is new, and the inscription is even newer. Its golden sheen is dazzling and gleaming, hardly resembling something with a clear provenance, treasured for over two hundred years.

If it was just unearthed from an ancient tomb, such as a sand pit, then there is some possibility.

Let's look at the price: 350,000 to 450,000?

Lin Sicheng shook his head: "The price is a bit high!"

Ye Anning immediately understood, and pointed to the side: "How about this one?"

Lin Sicheng glanced at it: a Chengni begonia inkstone in the color of eel yellow, paired with a wooden carrying box.

The inkstone is quite old, and so is the box. The inscription on the inkstone reads: "The begonia inkstone is ancient, striking it produces a sound like gold and jade. It receives ink and further enhances the brush; though I am of advanced age..." — An old man of simple tastes.

Inscription on the inkstone box: Ming Dynasty, Chi Weng, Haitang inkstone, Yu Yue. Seal: Qu Yuan Sou.

Lin Sicheng looked at it carefully for a while before straightening up.

The "Chi Weng" refers to Xu Duanben, a painter from the Ming Dynasty and a close friend of Shen Zhou, who is not well documented in historical records.

Yu Yue was extremely famous, having passed the imperial examination in the 30th year of the Daoguang Emperor's reign. He served successively as a compiler in the Hanlin Academy and the educational commissioner of Henan Province. In his later years, he lectured at the Hangzhou Gujing Academy, where Zhang Taiyan, Wu Changshuo, and others studied under him, making him a master of classical studies in his generation.

The estimated price isn't high: the box and inkstone together are only 40,000 to 60,000.

The box is correct, but the inkstone is not; it's most likely a later imitation based on this handbag.

Based solely on visual estimation, Lin Sicheng deduced that it should be around the time of the Xianfeng to Guangxu Emperors...

He thought it was mostly correct, then shook his head again: "Too expensive!"

Just as he finished speaking, a burst of laughter came from the side.

The two turned around instinctively: a man and a woman. The man was around thirty years old, dressed in a suit and tie. The woman was twenty-five or twenty-six, quite pretty, and wearing an evening gown.

The woman suppressed a laugh, raised her hand and shook it: "Anning!"

As she spoke, she looked Lin Sicheng up and down again: "Where did you get this little puppy from?"

Ye Anning rolled her eyes: "Then what's next to you, an old hick?"

The woman paused for a moment, and the man next to her turned pale.