This saved Jin Muchen a lot of trouble, because if this Tiansheng Bronze Man was in his pocket today, he would have to go through the Ziyu Space to repair it.

You should know that when the bronze man was passed down to the hands of the Qing Dynasty, he was basically in a mess. Not only the meridians and acupoints on the surface were blurred, but even the internal organs were rotten into pieces.

The Qing Dynasty people have never repaired this bronze man. After all, in their opinion, it is a time-consuming and laborious task to rebuild this bronze man. It is better to directly make a few new ones based on the orthodox bronze man of the Ming Dynasty.

So this is also one of the main reasons why this bronze man can escape the clutches of the Russians. It is precisely because the Russians disliked it too old and ragged that they did not steal the bronze man, but instead snatched away the orthodox bronze man that was better preserved.

But unexpectedly, even such a bronze man who was already in a mess could not escape the Japanese's poisonous hands in the end.

If the Japanese do not repair this bronze man, if Jin Muchen uses purple jade space to repair this bronze man, it will be a work that will take time and waste energy.

Now that the Japanese have helped him repair it, of course he doesn't have to waste time and energy to specifically repair this bronze man.

Jin Muchen happily packed the bronze man up and continued to move forward, but at this time, he basically felt that the things in the Falong Temple Treasure Museum had already collected almost.

Although there are still many Japanese people who think they are top national treasures, in their opinion, these things are just like that.

For example, those Japanese bronze lamps, and some other bronze ware, are the crystallization of their ancestors' wisdom and technology.

But in Jin Muchen's opinion, it was just a group of rough-crafted copycats, and compared with the Japanese national treasures he had plundered before.

These Japanese national treasures with rough craftsmanship have no inheritance and do not have the layers of historical allusions. In this way, whether it is collection value or archaeological value, it must be several levels lower.

Jin Muchen was too lazy to plunder these things to waste the space in his purple jade space, so he basically let go of all these things.

Of course, what he called letting go was just that he wanted it, but it didn't mean that he would leave these things to the Japanese.

Just like before. He took out the time bombs he had prepared before and installed them on the base of these Japanese national treasure exhibits. At that time, the bombs would explode as soon as time came.

The combustion aids released by the bomb after the explosion will easily burn these copperware into molten iron, and other so-called Japanese national treasures will eventually turn into ashes.

Jin Muchen raised his wrist and looked at his watch. It was already past two in the morning, almost three in the morning, and there were two or three hours left. It was dawn.

He also has an East Asia Museum to visit, so he doesn't plan to waste time in this Holong Temple treasure museum.

But just as he was about to step out of the Hokraji Treasure Museum, he saw something interesting in a corner at the entrance of the Treasure Museum.

The exhibit was very small. When I saw it, I saw it the size of a palm, covered by a glass cover, and placed in an inconspicuous corner on the left hand side of the door.

Although the thing is not big and not good-looking, this exhibit emits a strange light that Jin Muchen cannot ignore.

This kind of light seems very strange to Jin Muchen. It is not the kind of golden light that is the precious treasure that is used exclusively for the royal family, nor is it the kind of sunshine that has its own attributes like other treasures.

Anyway, this kind of light was the first time Jin Muchen saw it, and the color of this light was hard to describe. It was a dark yellowish color, not as conspicuous as the light shining by other treasures, but it had a very difficult-to-describe heavy feeling.

If you are not a person who plays with antiques, it is generally difficult to experience this feeling in antiques.

This feeling is very strange. It is not so much a sense of people's feelings about treasures, but rather a unique temperament of treasures themselves.

Generally, antiques that can produce their own temperament are almost all very amazing treasures.

Now Jin Muchen encountered such a treasure, so he stopped and came to the front of the showcase.

After standing still and looking carefully, I could see clearly the exhibit in the display cabinet. It was a very rough and even ugly pottery doll.

It looks very similar to the hilt of a modern sword. If it is not at the waist and two hands are stretched out, it is very likely that people who don’t know how to do this will treat this thing as a hilt accessories.

Jin Muchen stood in front of the display cabinet and did not rush to start, but carefully checked the pottery doll.

To be honest, he has a lot of pottery puppets in his hands, but he doesn't have one that is so ugly.

The pottery dolls in his hands were all plundered when he visited the Boston Art Museum and the British Museum.

Those pottery dolls were usually made from the tombs of the princes and nobles in the Han Dynasty or the Northern Wei Dynasty.

There are magnifying models, almost the same as real-life boys and girls, with vivid facial expressions, and their hairstyles and clothes on their bodies are very standard for contemporary people.

The smaller version of the song girl looks like a singing and dancing, although it is only the size of a palm, but the expressions on the characters' faces, hairstyles, and clothes on their bodies are also very exquisitely.

Although Jin Muchen didn't like such tombs very much, when he was plundering, he couldn't help but plunder a few of them because these pottery puppets were too exquisite.

Compared with the Chinese pottery puppet he had collected before, the pottery puppets in front of him were simply not even worthy of carrying shoes for our Chinese pottery puppet masters.

The head on this pottery doll is octagonal and the face is flat. The two square patterns engraved on it represent the eyes of a person.

The part of the nose is a deep groove, which means the nose, and the mouth is made into a big circle.

The shape of the two hands is also quite funny. If it weren't for the decorative patterns on the shoulders, it would be hard to see that this was done by two people.

If you have to describe such a doll, it can only be described in postmodern style. It is really hard for Jin Muchen to imagine that in Japan at that time, there would be a pottery maker with postmodern artistic cells.

However, when he saw the introduction of Tao ode before, he felt relieved.

Jomon's later works, works from about 4500 to 3300 AD!

Seeing this, Jin Muchen's head suddenly shook. No wonder the Japanese put this ugly pottery doll in the Falong Temple Treasure Museum.

Just now, when he saw the Tao Doll clearly see the appearance of this Taoist puppet, he was still laughing at the aesthetic vision of the royal family that day.

Logically speaking, as a royal aristocrat who has lasted for thousands of years, they must be worth nothing. After thousands of years of accumulation, they should be without any treasures!

But why did I collect such an ugly pottery puppet? After seeing clearly the age of the pottery puppet produced, I feel relieved.

This is a fucking treasure of Japan!

Jomon's later works, things from the park more than 4,000 years ago, are roughly made and ugly and indescribable, but if you know what era this thing is, you will definitely be relieved.

You should know that in that era, the ancestors of most countries and nations in the world were likely to still pick fruits from trees to eat.

You should know that the history of our China is only more than 5,000 years, and there have been people on this Japanese archipelago in more than 4,000 BC.

At least this pottery puppet is a proof that, and the people who can make such pottery puppets are definitely not those savages who eat raw meat and drink blood, but humans who have already shown signs of civilization and even civilized ones.

In this way, the ancestors of these Japanese people are also quite amazing!

It’s no wonder that the Emperor family will collect this ugly pottery doll.

This can be said to be a top national treasure for the Japanese and even the entire Yamato nation!

Maybe it is not good-looking and has no precious value, but this treasure proves that the ancestors of the Japanese are not savages who eat raw meat and drink blood. At least they were civilized and civilized in the park more than 4,000 years ago.

This will make many Japanese people stand up and believe that they are of a superior race. This pottery puppet is very important for enhancing national pride.

Of course, such things cannot be left to the Japanese.

Especially when seeing such a Taoist puppet, Jin Muchen suddenly remembered the Peking Man skull that was thrown away by the Japanese before, as well as the oracle bone pieces that were stolen by the Japanese.

That is also the pride of us Chinese, especially the skull of the Peking Man, which can prove the existence of our Chinese ancestors. It is the best and reasonable legal evidence for our nation's occupation of this existing land.

But because of the Japanese's robbery, the trouble is now unknown.

Do you think the Japanese are intentional or unintentional?

Jin Muchen firmly believed that the Japanese deliberately lost it, and even destroyed the fossil of the Peking Man's skull.

After all, they were in the period of invasion of China. At that time, they wanted to occupy China's territory forever. In order to promote the legitimacy of their occupation of China's territory, they had to destroy the legality of the Chinese people's own survival on this land.

So Jin Muchen suspected that the Japanese deliberately lost or destroyed the skull of the Peking Man. (To be continued.)
Chapter completed!