After sweeping through the exhibition room filled with various treasure swords, Jin Muchen was also proud and felt that he was not allowed to go this trip.

The Japanese swords that were harvested this time made Jin Muchen feel very satisfied. You should know that the five famous swords in Japan have now won two of them. If this is said to be revealed in the collection industry, it would definitely be a very remarkable achievement.

If you add the chrysanthemum and the mother-of-pearl gold decorative sword I harvested before, you can say that you have already won half of the famous Japanese sword.

Such a "collection" achievement, even the Japanese emperor would not dare to be comparable to himself.

What's more, these are the treasures of the Japanese. Even if the Japanese want to see them in the future, they will not be able to see them. After more than twenty years, they will put these things in the Netherlands and take them to the United States to exhibit them in a private museum.

At that time, even the Japanese would have to stare at me. Even if they knew that the origin of these treasures was strange, what could they do?

Anyway, they do a lot of dirty things like this. If they dare to blame themselves, let them clean up their butts first.

At that time, if their descendants of the Japanese want to see the national treasures of their own country, they must spend a plane ticket, fly to the United States for thousands of miles, and then spend a high-priced ticket money to enter the museum and see the treasures created by their ancestors. This feeling may be quite unpleasant for the Japanese, but for Jin Muchen, it is not to mention how wonderful it is.

After collecting these Japanese swords, Jin Muchen didn't have much time to stink, because there were more treasures waiting for him here.

You should know that this museum is a place that displays Japanese national treasures. The Japanese national treasures are far more than these Japanese knives.

For example, their lacquerware is also a treasure that makes the Japanese proud.

In the No. 6 Pavilion next to this Weapon Museum, there are many lacquerware that the Japanese are proud of.

Lacquerware originated in China. And according to the current unearthed cultural relics, China can be said to be the earliest country in the world to use lacquerware, because the earliest lacquerware discovered in China has a history of more than 7,000 years.

Of course, the so-called lacquerware is just a fragment of painted pottery, which is still very different from the lacquerware we use now.

The lacquerware that is truly the originator of modern lacquerware is derived from vermilion pottery more than 3,400-3,600 years ago, and is also unearthed in Liaoning, China.

Later, lacquerware appeared in the history of various dynasties in China. It also ranged from ordinary to noble types.

When it developed to the late Ming and early Qing dynasties, Chinese lacquerware finally developed to a peak period. At that time, the lacquerware was extremely exquisitely made and was very popular among the high-ranking officials and nobles at that time.

However, later, due to the widespread use of other materials, lacquerware gradually declined in the history of Chinese cultural relics.

This technology of making lacquerware was of course passed down to Japan, and was even promoted by Japanese craftsmen.

So later, Japan's lacquerware was then on the rise, and enjoyed a great reputation internationally. It was even more popular among European and American countries than China's lacquerware.

Today, our country no longer has a very popular lacquerware, but it is still popular in Japan and the custom of using lacquerware. Internationally, most European and American countries know Japanese lacquerware. However, they already know very little about Chinese lacquerware.

This is a kind of sorrow for us to not protect our own ancestral culture.

Jin Muchen entered the exhibition hall No. 6 and did not go anywhere else. Although this exhibition hall contains a lot of Japanese lacquerware, many lacquerwares are ignored by Jin Muchen.

He went straight to the middle of the exhibition hall, because the exhibition places were all national treasure-grade lacquerware that the Japanese were proud of. When he came here to check in, he had already looked forward to it. So he didn't waste time.

With one blow, the glass cover of the display cabinet in the middle was smashed and the tortoiseshell mother-of-pearl lacquer plate inside was taken into his bag by Jin Muchen.

Jin Muchen had carefully looked at this lacquer plate before. The workmanship of this lacquer plate is very beautiful, the shape is very perfect, and the materials are quite not simple, so Jin Muchen had already thought about this lacquer plate.

Then he came to the next side of the display cabinet and smashed it with another hammer. The glass cover broke in response to the sound. The tortoiseshell mother-of-pearl patterned box inside the display cabinet also fell into Jin Muchen's bag.

After getting the two treasures, Jin Muchen felt satisfied.

In terms of workmanship, these two boxes can be said to be flawless, and they are definitely the best among the best. In addition, they are also unique in shape, and they can definitely be said to be works with master style.

The most important thing is the producer of these two lacquerware, which is the national treasure giant panda-grade lacquerware master that Japanese people are proud of now, Akizai Kitamura!

This old man has a very unusual position in Japan. Although he doesn't come out easily now, if he has a new work, he can easily sell it at a sky-high price.

Even if it was Kobayashi Kyosuke who Jin Muchen had met before, he could only bow his head in front of this Kitamura Aozhai.

You should know that this old man is one of the few top craftsmen in Japan now and is a benchmark figure in the modern Japanese art world. Although this old man is just a lacquerware, his status in the Japanese art world is equivalent to that of Qi Baishi and Zhang Daqian. His status in the Chinese art world back then. As long as he knows his reputation, he will not give him a thumbs up and say he is convinced!

This Kitamura Akizai was born in 1938 in a lacquer art family. His grandfather was named Kitamura Kusai. At that time, he was a famous lacquerware master in the Japanese lacquerware industry. Even many lacquerware used by the imperial royal family were works by his grandfather.

His father Kitamura Oito is not only a master of lacquer art, but also a famous Japanese cultural and financial protection and restoration expert. He has a great reputation in their hometown of Nara.

After graduating from Tokyo Art University, Kitamura Akizai learned how to make lacquerware with his family. On the other hand, with the recommendation of his father, he participated in the protection and repair of cultural property at the Nara National Museum, and worked for more than 30 years.

Because of his achievements in the lacquerware industry, he was named the lacquer craft preservation technology holder by the Japanese Culture Department in 1994. This title is basically the same as that of the national arts and crafts masters in China, and they can receive government bonuses.

His lacquerware works, especially the "torror shell mother-of-pearl patterned box" that Jin Muchen had previously "collected", won the Minister of Culture Award at the 44th "Japanese Traditional Crafts Exhibition" in 1997.

This work is a perfect and clever combination of materials such as tortoiseshell, agate, thick mother-of-pearl and other materials with skilled Matsui technology, making his works thick and have a sense of existence with a beautiful and natural texture.

His works have very obvious characteristics of Japanese art, the combination of inlay and Makipai materials and craftsmanship, and the ingenious design and conception fully demonstrate the essence and beauty of the classical fine Japanese Masakura Inn style.

In 1998, he himself received a purple compliment issued by the Japanese government. In 1999, he was named the only retainer of the invisible cultural property of Japan by the Japanese Culture Department!

And it is respected by the Japanese art world as Japan's "national treasure on earth"!

Such awesome resume, of course, is of great significance to the art collection industry today, and its price is even more immeasurable.

The "torrorshell mother-of-pearl patterned box" that Jin Muchen had previously "collected" was sold by the Tokyo National Museum at a private auction. It is said that the Tokyo National Museum spent more than 30 million US dollars to get the patterned box.

That was more than ten years ago. Now, let alone other praises, just considering inflation, the price of this decorative box will at least double.

In addition, the old man is now over 80 years old and has basically no works released, and maybe he will die one day. If he goes to meet Amaterasu, the value of his peak masterpiece will at least be several times higher.

So Jin Muchen stopped looking at the lacquerware in the room, and just took away two works from the Japanese national treasure.

After walking out of this exhibition hall, Jin Muchen originally wanted to go to the next exhibition hall because in the next exhibition hall there was Japanese porcelain he had been thinking about.

Although this Japanese porcelain is incomparable to our Chinese porcelain, it is still a unique thing, especially the representative works during this period, which Jin Muchen still did not intend to let go.

But just as he turned around and was about to enter the exhibition hall that specializes in displaying porcelain, a treasure in the exhibition hall No. 5 suddenly attracted his attention.

He couldn't help but turn back to the exhibition hall. Looking at the Japanese knife hanging in the inconspicuous corner, Jin Muchen's mouth showed a playful smile.

This knife is really interesting. I haven't paid much attention to this knife before, but now I have a crush on it, so I have to stop and think about it carefully.

If this knife is in the background, it must be comparable to the famous Japanese swords he had "collected" before, but the key is that this knife is a very interesting thing.

Although it cannot be considered a top national treasure, it is still very meaningful!
Chapter completed!