Chapter 1496 Cow

The second newspaper bag contained an unframed painting.

This painting, ink and color on paper, is one meter long and sixty centimeters wide, and is full of creases.

Lu Fei was shocked when he saw this scene.

The painting depicts two little shepherd boys and two buffaloes. One of the shepherd boys is holding a birdcage in his hand.

Above the painting are sparse willow branches.

Although the body of the cow in the picture is only written with a light block of ink, it is old and vigorous. Thick ink lines are used to outline the cow's back, horns, mouth, eyes and the lines of the shepherd boy's clothes. The brushwork is ancient and clumsy, giving the texture and movement of the human and the cow Jumping onto the paper.

The whole work is done in one go with thick, light, burnt, wet, dry and dyed brushwork. It seems to be done with ease, but it is full of fun everywhere.

The picture not only carries a fresh poetic flavor, but also presents a peaceful atmosphere, which is particularly moving, like a silent poem filled with the sounds of nature.

The title on the upper left corner of the screen is: Li Keran.

The inscription on the upper right corner of the painting is "Ke Yuyan. Painted by Ke Ran's younger brother, Bai Shi."

Qi Baishi fell down and received seals from both sides.

Hiss——

Li Keran's cow, Qi Baishi's inscriptions and seals, this is so awesome.

However, Li Keran is also a modern painter.

To identify the authenticity of this painting, one must rely on Lu Fei's knowledge and understanding of Li Keran's skills.

Take a closer look at this painting, you will see the deep and sophisticated brushwork, the unique painting style, and the steady and clumsy writing of the title.

The almost perfect composition is vividly and extraordinarily expressed in this work.

The painting techniques and brushwork are completely consistent with Li Keran's skills and characteristics.

Qi Baishi's calligraphy is strong and powerful, and it also echoes the characteristics of Qi Baishi's calligraphy.

Seeing this, Lu Fei had already made a judgment.

To be on the safe side, Lu Fei used his mobile phone to look up the authentic works and seals of Qi Baishi and Li Keran.

Especially the appreciation seal, every trace and every spot

Click a spot for comparison.

After reading them all, Lu Fei was finally sure that this "Picture of Herding Cows" was the authentic work of Li Keran.

Li Keran is a famous modern painter who studied under Qi Baishi, but in fact, the relationship between the two was both teacher and friend.

Li Keran is good at landscape figures.

In terms of landscape painting, Li Keran advocated that "what is valuable is courage, and what is desired is soul" and "use the greatest skill to enter and use the greatest courage to fight out", which gave the ancient landscape painting art a new life.

At the same time, it is emphasized that when making landscape paintings, one must start from nothing, and from something to nothing, that is, from simplicity to richness, and then from richness to simplicity.

Li Keran's landscape paintings attach great importance to the cohesion of images.

His landscape works in the 1940s are linear brush and ink structures.

The works after the 1950s have changed from a linear pen and ink structure to a lumpy pen and ink structure, mainly ink. The whole is simple but rich in content, thick and vigorous, deep and dense.

Li Keran's landscape paintings introduce light into the picture, and are particularly good at expressing the backlight effect in the morning and evening in the mountains and forests, giving the works a hazy and confusing character with lingering light.

Overall, Li Keran's landscape paintings are closer to the perceptual reality of the objects than those of the Ming and Qing Dynasties, which in a sense weakens the independence of meaning and formal interest.

Wang Jinyu, a commentator on this matter, said that Li Keran combined tradition, Western methods, and nature to create a unique, thick and vigorous "Li Family Landscape".

Li Keran's figure paintings are dynamic and subtle, the images are exaggerated but not ugly, simple but not clumsy, and full of humor, wit and interest in life.

However, the ones that everyone is most familiar with are the cows painted by Li Keran.

The cows painted by Li Keran are full of interest in life. They are either walking, lying, or crowing in the water.

On the back of a cow

, the childish shepherd boy is leisurely and contented, either watching the mountains, talking, or racing. With just a few strokes, he outlines a simple and vibrant pastoral scene.

In recent years, seven cattle paintings by Li Keran have appeared in major auctions, and almost every time they are the finale.

In the Suzhou Wanda autumn auction in 2011, Li Keran's "Nomadism" was only about one square foot, and the picture was a cow, but it fetched a high price of 77 million.

In recent years, several of Li Keran's cattle paintings have each exceeded the 100 million yuan mark.

The "Picture of Herding Cows" in front of you is not only an authentic work by Li Keran, but also an inscription by Qi Baishi, making it even more valuable.

Looking at this painting, Lu Fei couldn't bear to look away.

At the same time, he cursed the leader Gao Da, the prodigal son who killed a thousand swords even more in his heart. ??

Damn it!

How virtuous is that grandson? He actually possesses the authentic works of Qi Gong and Li Keran at the same time.

He was lucky to have it, but the grandson actually wrapped it in newspaper and was reluctant to find someone to frame it.

It's just too much.

Could it be that in his mind, these two masterpieces were not as valuable as those gold bars?

Thinking of the gold bars, Lu Fei quickly felt relieved again.

Since he hid it in a disposable mezzanine, it is estimated that 99% of it is illegal and he would not dare to show it to others.

In this case, saving space makes sense.

After admiring it for a while, Lu Fei reluctantly put away the "Picture of Herding Cows".

As for the gold bars in the mezzanine, even if I don’t catch a cold, I can’t leave them here to benefit others.

Spread the plastic film and newspapers wrapping the two paintings, pick out the gold bars one by one, wrap them up and throw them into the bag.

Just as he stood up and was about to leave, Lu Fei stopped abruptly.

Looking at the mezzanine again, Lu Fei was slightly startled.

The bottom of the mezzanine is a wall stack made of red bricks and cement. When I picked up the gold bars just now, a red brick at the bottom moved.

Lu Fei didn't pay attention at first, but now that he thought about it, he felt something was wrong.

The grade of cement used to build the wall is quite high, and I could clearly feel it when I pried open the closet before.

But with such a high label, and I didn’t smash the red brick, how could it move on its own?

Lu Fei got on the chair again, picked up the red brick and looked at it, and immediately found the problem.

The cement used to build the wall here has the same markings as elsewhere, except that the gray number at the bottom of the mezzanine is smaller, and the proportion of sand mixed in is particularly large, so it is not so strong.

Not only this piece, but also a red brick next to it, and it can be broken off with a little force.

Lu Fei spat, feeling extremely contemptuous.

Damn it, I put all the effort into designing such a mezzanine, but I couldn’t bear to use more cement.

I really don’t know what this person is thinking.

Hiss——

Lu Fei frowned when he thought of this.

Something is wrong!

The mezzanine of this wasteful thing is so exquisitely designed that even the opening of the mezzanine is sound-insulated with plywood.

Such carefulness is obviously to disguise this mezzanine to the extreme.

In this case, how could it be possible to be reluctant to use more cement and leave flaws?

Did that guy design it like this on purpose?

Thinking of this, Lu Fei tried to break off all eight red bricks on this floor.