Director Miao and Dean Deng both smiled when they saw Liu Yuliang's anxious appearance after he came in. This Lao Liu guards hundreds of thousands of treasures in the Palace Museum, but he is not satisfied at all, and always wants to get back all the Chinese antiques and artworks that have been lost abroad.

They are all old acquaintances for more than ten years or even decades, and everyone knows what kind of person he is. However, they also understand Liu Yuliang's heart, this old Liu is definitely a person who is bent on the protection of cultural relics.

"You sit down and have a cup of tea and rest, and then let's look at the painting, waiting for you to make the final appraisal." Tian Fengyuan greeted.

"Yes, Lao Liu, we just looked at it, and it feels very true, Lao Miao said that I will wait for you to complete the appraisal, and I am doing a carbon 14 appraisal to determine the age, but it mainly depends on your opinion." Dean Deng said.

"What else to rest, I'm not thirsty, take me to see the painting quickly." Dean Liu said anxiously.

"Okay, in my study, let's go." Tian Lao led everyone into the study again, and as soon as he entered the study, Dean Liu saw the vacuum storage box on the table, and immediately pounced, his face was about to stick to the glass cover, and he began to carefully study the ancient paintings inside.

The other three people also followed behind, Director Miao is the director of the State Administration of Cultural Heritage, but he doesn't understand the appraisal of antiques at all, he is mainly engaged in administrative work, and Dean Liu of the Palace Museum, Dean Deng of the Department of History of Peking University, and Tian Lao, who is a professor of the Department of History of Peking University and an expert of the Palace Museum, are all expert-level figures in identification, and they are definitely top authorities in China.

As for calling Director Miao over, it was mainly for the post-processing of the painting. After all, the person who sent the ancient painting left a letter saying that the painting was donated to the state. There's still a lot to deal with in the future.

More than half an hour passed before Dean Liu gradually came to his senses. On the sofa in the house, he lit a cigarette and smoked a few puffs, he needed to rest first, after all, he was old, and standing in one position for a long time was indeed a little unbearable.

"What's your opinion?" Dean Liu asked first.

"I just took a look at the seals in detail, there are a total of 11 seals on them, which basically occupy all the blank space, and the earliest seal is the seal of Tang Lizong. Later, the Song, Ming and Qing dynasties had royal seals, and there were also several private seals, and my analysis was that there was a period of time when this painting was circulated among the people, and the time was mainly concentrated in the Southern Song Dynasty to the end of the Yuan Dynasty and the beginning of the Ming Dynasty, in fact, this time can also be matched, so I think that this painting is a genuine work, or at least a painting of the Tang Dynasty. Deng Yuzhou, dean of the Department of History of Peking University, spoke first.

"Before you come. I have been looking at this painting, and the painting of Wu Daozi that has been handed down to the world so far, and the one that was snatched by Japan, Wu Daozi's "Heavenly King Sending His Son", has also been recognized as a copy of the surviving Song Dynasty Li Gonglin. And Wu Daozi stayed. Mostly frescoes. I have just carefully studied the style of this painting, which is consistent with the style of the paintings left by Wu Daozi, and it is full of ancient charm. The characters are agile and the gestures are round. If the painted clothes and belts are blown by the wind, they definitely deserve the idiom "Wu belt when the wind". Tian Lao said.

Wu Daozi is good at painting Buddha statues. You must know that the idiom 'Wu takes the wind' comes from Wu Daozi, and later generations praise it for his superb painting skills and elegant style.

Dean Liu nodded and said: "I basically agree with your opinion, there is no shortage of names, promotions, treasure seals, royal collection seals, and collection seals, and from the age to the people who hold the seals, they are all well documented, this should not be wrong." ”

"From the analysis of silk cloth, ink color, and dyes, it is also from the Tang Dynasty, but this still needs to be further chemically identified."

"The brushwork of the painting saint is simple and colored, slightly dyed in the burnt ink marks, the folds of the painted characters are fluttering, the lines are strong, and the people are called the strips of lettuce, which has the effect of flying clothes and the wind on the wall, and the sitting statue of Guanyin on this painting is completely in line with the painting style of the saint."

"So I think this painting should be the authentic painting of Saint Wu Daozi." Dean Liu made a final decision, and when he heard this conclusion, everyone nodded affirmatively.

Dean Deng said with some excitement: "If it can be determined that this painting is the true work of the painting saint, then his significance will be extraordinary, this will be the only painting of the painting saint in the world, and it is also likely to be the only authentic work that has survived in the world." ”

Director Miao looked at the vacuum storage box on the seat and asked Tian Fengyuan: "Tian Lao, you said on the phone that this painting was sent by someone else, and you don't know who it is, you tell me carefully about what happened, after all, this painting is also involved in an international theft case, and we still need to study how to deal with this painting in the later stage." ”

Now that the painting appraisal is completed, as for the more careful scientific appraisal later, it is necessary to open the vacuum storage box for verification, but the appraisal is one thing, how to deal with it is another, in fact, the treatment of this painting is still more tricky, if one is not handled well, it is likely to cause international disputes.

"When I got home, my wife said that someone had sent a package, so I opened it and looked at it, and found that it was this painting, and I also carefully checked the box, there was no courier label, and then when I looked through it, I found this letter under the box." Saying that, Tian Lao took out the letter left by Mu Yang and handed it to Director Miao, and continued: "This letter should be left by the thief, and I suspect that the person who delivered the goods is one of the thieves, or has something to do with them, as for why they sent it to me, I don't know very well, but I have a guess that I once had an online conversation with the stolen French collector François about the ownership of the national treasure lost overseas, and they may have seen it, so they sent it to me." Tian Lao told in detail how he got this painting, and added his own analysis.

The three of them nodded their heads when they heard this.

Next, Dean Liu called the staff of the Palace Museum and asked them to send someone to send a car to Tian Lao to pick up the painting. After all, it is not safe for this painting to stay here in Tian Lao, and the country has to do further experiments, so it will naturally be put in the Palace Museum.

But Director Miao took the letter left by Mu Yang, this matter has just begun, there are still a lot of problems to be solved, and Director Miao has to report to the country, because this matter is not just a matter of cultural relics and antiques, he has been involved in diplomacy, international public relations, public security and other issues, in the end, this painting is still a stolen object. (To be continued.) )

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