Mou Xuan's fingertips slid across the three-dimensional sand table that was a reconstructed version of the illustrations from "Yuan Ye". The pebble patterns reflected a torrent of data in his pupils.
The time power rippled on his retina, and he suddenly pressed down the silver scissors that Chen Yao was using to carve the time table of The Classic of Tea: "There are still forty-nine unrestored copies left."
Chen Yao's silhouette swayed in the soft light of late spring, and the suspended millet models of "The Book of Fan Sheng" were arranged in a matrix around the tactical gloves.
She flicked the fragments of "Illustrated Explanation of Military Equipment" stuck in her hair into the rhino leather box. "When Mr. Xing used rhino horn glue to complete the last three pages of "Tao Shuo", the shield had 72 hours of energy left."
The "Jingdezhen Pottery Song" on the dome happened to sing the tune of "The kiln fire never gets dark", and Mou Xuan suddenly spread out his five fingers.
The ripples of time swept through the cultural room. The "Construction Methods" seven-beam flying eaves index racks that originally required three days to complete, with the blessing of supernatural powers, were like ice crystals carved by an invisible chisel, and instantly condensed into a classification system that flashed with cold light.
"Every mulberry leaf is a timer." Old artist Xing inserted the agate knife into his bun and knocked out three long and two short codes on the silkworm room model in "Qimin Yaoshu" with his dry hands.
The pile of fragments suddenly trembled, and the yellowed pages automatically floated to the corresponding classification racks, like migratory birds finding their way home.
Wu Ernst jumped in front of the three-dimensional sand table holding a glowing millet model, and kicked the crossbow projection of "Wu Bei Zhi" apart with his small leather shoes: "Brother Mou, Grandpa Lu said that there is a dancing wooden kite hidden in "Kao Gong Ji"!"
Mou Xuan held down the ahoge on the child's head, and when his tactical gloves touched the nine-ring structure of the "Lu Ban Jing", the vines suddenly differentiated into hundreds of fluorescent index tags. "Once we have installed the windmill from The Exploitation of the Works of Nature into the protective cover," he pointed to the three-dimensional mission map that was being reconstructed, "let Mu Yuan take you to collect the Chenshi Dew recorded in The Classic of Tea."
The cultural enthusiasts let out low cries, and the hands of one of the cultural enthusiasts were shaking as he held the stitch diagram of the "Embroidery Manual".
Only propagandist Qu huddled in the shadow of the star map of "Yu Di Ji Sheng" and folded the gongche notation of "Jingdezhen Tao Ge" into a paper boat and threw it into the pile of materials.
"Now assign the tasks." Mou Xuan's voice was as clear as the firing pin of a flintlock in "Illustrated Explanation of Military Equipment".
Vine index sticks rained down on everyone, each with a fluorescent mission book wrapped around it.
Chen Yao's silver scissors split three space-time rifts in mid-air, sending "The Classic of Tea", "The Theory of Pottery" and "The Book of Fan Sheng" into the restoration space with different flow rates respectively.
When Propaganda Officer Qu discovered that his task was to repair the armor atlas in "Wu Bei Zhi", the paper boat suddenly ignited with blue flames.
He raised his foot to put out the flames, and casually placed the bracket structure diagram from the "Yingzaofashi" under his butt: "This kind of needlework..."
"You are pressing the envelope of the Yongle Encyclopedia!" The single culture enthusiast suddenly pounced on him, and his glasses chain swept across the tip of his nose.
Half a page of his treasured "Embroidery Manual" was stained by the rhino horn glue that propagandist Qu had rubbed against it, and the "seed embroidery" on the needle diagram suddenly turned into a twisted ball of ink.
The soft late spring light in the cultural room suddenly turned into the "quenched blue" recorded in "Kaogong Ji", and the suspended millet models collided with each other with crackling sounds.
Chen Yao's silver scissors made warning marks on the wall, and the rhythm of the agate knife used by old artist Xing hitting the rhino-hide box carried a murderous sound.
Mou Xuan bent down and picked up the blueprint that Propaganda Officer Qu was sitting on. As his tactical gloves brushed past it, the chain mail pattern of "Wu Bei Zhi" automatically filled in the missing buckles. "I heard that you persuaded the rioters in the shelter to surrender with just three sentences?" He slapped the mission book stained with blue fire ashes on the other party's chest, "Why not make these cultural treasures more attractive than the mutant crystal core?"
The remains of the paper boat at the fingertips of the propagandist Qu suddenly unfolded and turned into a simple diagram of the water-turned overturned car in "The Exploitation of the Works of Nature".
He was about to retort when he suddenly discovered that Wu Ernr was using the millet model of "Fan Sheng Zhi Shu" as marbles, aiming at the only copy of "The Complete Book of Music" in his collection.
"The promotional materials will be delivered tonight." When Mou Xuan turned around, a glazed tower model suddenly appeared on the "Yuan Ye" sand table, with task progress lights of different colors hanging on each eaves, "including cultural enlightenment animations for children."
When Qu's propagandist reluctantly reached for the "Jingdezhen Tao Ge" phonograph, a single cultural enthusiast suddenly slapped the stained "Embroidery Book" in front of him.
On the yellowed "seed embroidery" diagram, the ink ball was actually smudged into graffiti of a mutant attack. "Do you know how the embroiderers in the Ming Dynasty used human hair to embroider the Diamond Sutra?" He wrapped his glasses chain around the other person's wrist. "The splitting technique they used is a hundred times more sophisticated than your negotiation skills."
When the soft light of late spring once again enveloped the cultural room, Propaganda Officer Qu discovered that his promotional manuscript had been carved on the inside of the rhino-skin box lid by the old artist Xing with an agate knife.
Those originally perfunctory sentences, in the rainbow light of "Kao Gong Ji", revealed a solemnity that was unfamiliar even to himself.
Wu Ernst came over holding a glowing model of a silkworm room from Qi Min Yao Shu, and pointed with his little finger at the four characters "Fire of Civilization" on the lid of the box: "Uncle Qu, can fire be eaten?"
Suddenly, there was a scratching sound from the mutant outside the protective shield, and Chen Yao's silver scissors carved a new defense countdown on the wall.
Propaganda Officer Qu looked at the millennium wisdom flowing in the cultural room, his Adam's apple moved, and he finally stuffed the half-folded paper boat into the insert of "Wubeizhi".
When he touched the kiln-fired glaze with fingerprints on the remaining pages of "Tao Shuo", his fingertips were suddenly stained with the temperature that spanned four hundred years.
(Continuation)
When Wu Ernr stood on tiptoe to blow out the flickering blue flames on the lid of the rhinoceros-hide suitcase, the waterwheel model from "The Exploitation of the Works of Nature" suddenly began to turn.
Propagandaman Qu paused with his hand holding the half-broken charcoal pencil. He had just painted the "blue sky after rain" glaze mentioned in "Tao Shuo" when the indigo blurred on the rice paper coincided with the faint light from the mutant's claws outside the protective shield.
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