Director Naiya also likes publicity a little. Seeing Abe Masahiro standing in front of such a colorful bicycle, he couldn't help but explain it to him.

But after the talk, when I saw Abe Masakuan again, he looked completely confused and knew that he was talking to him, so I stopped explaining the origin of these exhibits to him.

After all, for a rough person like Abe Masakuan, no matter how much you tell him, he will not understand what the use of collecting such things is, so it is useless to talk about it. It is better not to waste such verbal words.

Abe Masakuan was also quite embarrassed at this time. Of course he could see the attitude of Director Ai, so he simply stopped standing in front of the exhibits and pretending to be b. If he stood there, he would be even more timid.

So he simply walked inside again: "Director Xizhang, please introduce me to the overview of this art gallery!"

"Okay, let me introduce to you our Fukuoka Art Museum..."

Director Abe Masakuan walked inside with him. Jin Muchen, who was following them, felt very regretful. Abe Masakuan didn't want to listen to the details of the art museum, but he still wanted to listen.

Abe Masakuan doesn’t understand, but he can understand. Abe Masakuan doesn’t understand, he understands!

It’s a pity that he is not the protagonist in this occasion, so he can only follow the steps of those people.

"Our art museum was built in 1999. It mainly collects East Asian cultural artworks south of Mongolia, and is mainly aimed at modern art. In fact, the most important thing is our modern artworks in Japan. Although our art museum also collects all antiques and cultural relics, its main collection is still art paintings of the ages, and its main target is the works of artists in the Kyushu area. Now our art museum covers an area of ​​about 9,100 square meters and is roughly divided into five exhibition areas. Among them, the special exhibition area is open to the public, namely the A-D area, the Japanese painter's meeting room, small exhibition room, corporate collection display room, and ancient art display room, which are open to the public from time to time..."

From nothing to something, this Fukuoka Art Museum was built by the director of this Fukuoka Art Museum, so when introducing this art museum, he didn't have to read the information and could easily talk.

Abe Masakuan listened very carefully, but he wouldn't know that Jin Muchen, who was hiding behind him, listened more carefully.

Especially when he heard about the corporate collection display room and the ancient art display room, Jin Muchen even raised his ears. He followed Masakuan Abe and the footsteps of the art gallery and had already visited a large area.

However, in these areas, he didn't see anything he wanted to see. He was a little surprised before. Even if this art gallery is a place that specializes in collecting works from second to second grade, can they really not collect any antiques that can be called cultural relics?

Now that he heard this introduction from this sir, he finally understood that he had collected all the good things in the exhibition halls at the back.

Moreover, not only did he hear the point of the words, but also Masakura Abe also heard the point of the small exhibition hall in front, and the Japanese painter's meeting room, were not paid attention to at all. Masakura Abe was focused on the same focus as him, and the company's collection display room and ancient art display room.

"Oh? Director of the Art Gallery, what do the corporate collection display rooms and ancient art display rooms in your art gallery mean?"

Abe Masakuan asked this question, but after asking an idea, Jin Muchen couldn't help but feel happy to kiss this guy, because this was the question he was most concerned about.

"Well, this company's collection display room is actually some paintings collected by some large enterprises in Fukuoka or Kyushu area..."

When Abe Masahiro said this, Abe Masahiro suddenly interrupted him and asked, "Oh! So, these works should be quite precious, right? Director Abe, can you introduce to me what works are these works? What are they collected in about the age of the time?"

When I heard Masakuan Abe's question, the old man Abe looked a little embarrassed: "Chairman Abe, I don't think the introduction of this work is necessary. Because there are many companies that are unwilling to publish at all. I can only tell you that a considerable number of these works are very precious works, probably all of which were excellent works bought from abroad by some companies in our Kyushu area in the 1970s and 1980s."

When Abe Masakuan heard these, his face turned solemn. Although he didn't know what treasure was about the old man named Abe, he could see from his attitude that this old man named Abe should attach great importance to those works.

What they didn't know was that Jin Muchen, who had been hiding behind them, could not hide his ecstasy after hearing such news. If he showed his true body at this time, people would probably know his mood just by looking at the expression on his face.

The paintings collected by the Japanese in the 1970s and 1980s didn’t have to think too much about them. They must be those famous Western paintings collected by Japanese companies at the time of the most glorious time of Japan’s economy.

Before the Plaza Agreement came into effect in the 1970s and 1980s, when Japan's economy was at its peak, a small island country relied on advanced mechanical processing and electronics industry, surpassing the former Soviet Union, defeating all the advanced countries in the EU and becoming the second largest economy in the world after the United States.

At that time, Japan was not a country supported by the real estate economy. They had various advanced manufacturing industries. At that time, Japan could export a large amount of industrial finished products every year and earn a large amount of foreign exchange from all over the world.

At that time, the rich Japanese people could really be called the kind that they had money and had nowhere to spend. They not only bought real estate all over the world and various mineral resources, but also extended their hands to various countries, including various types of art, antiques, cultural relics, etc. They didn't know how many they bought back at that time.

At that time, in the Western art world, it can be said that the most popular one was these Japanese nouveau riche. These rich Japanese not only swept away antiques and cultural relics from various eras, but also modern and contemporary Western artworks, especially Western oil paintings that are easy to carry and monetize, which are also very popular among these Japanese.

At that time, the Western art agents were also very unscrupulous. They often brought in some paintings by unknown painters and fooled the Japanese to buy them. However, the Japanese were willing to buy a lot of garbage oil paintings.

Of course, not all Japanese people would buy such garbage oil paintings. For example, some Japanese companies at that time were very smart. In order to deal with the risks of possible economic downturns, or to deal with exchange rate changes, they often export a large number of goods. After they exchange for foreign exchange, they would not directly exchange the foreign exchange for yen.

They will choose to go to major well-known galleries in Europe and the United States, or at large-scale antique auctions to bid for antiques or oil paintings.

At that time, the works of many well-known European painters fell into the hands of the Japanese at that time. For example, the famous French painter Monet's water lily series, several of which were bought back to Japan by the Japanese, and several works by Van Gogh. The most famous one was of course Van Gogh's representative work "Sunflower". Van Gogh painted a total of more than a dozen sunflowers, one of which was bought back by the Japanese.

However, after those European guys learned about this behavior of Japanese companies, they gathered together again and began to plot against these Japanese people.

For example, if you take out some not-so-good works by famous painters to fool the Japanese, or if you deliberately find a letter to raise the price during the auctions that Japanese people participated in, it has increased the acquisition cost of these Japanese companies a lot.

It is said that before the economic crisis broke out in Japan, the Japanese bought more than tens of billions of dollars in various cultural relics and artworks from Europe and the United States. The most expensive one was the oil paintings they bought at that time.

After the economic crisis broke out, when many Japanese wanted to monetize the oil paintings they bid for from European and American countries, they tragically discovered that they were cheated by the bastards in Europe and America. The oil paintings they bought at high prices were not valuable at all and could not be sold.

Even if there are some genuine products bought at high prices, they will be greatly discounted in terms of prices because they are not representative works of famous painters or pinnacle works.

This made those fooled Japanese and Japanese companies quite annoyed. Later, some people couldn't stand it and simply sold the oil paintings at a low price. Some individuals or companies with strong risk resistance simply locked the oil paintings into the underground vaults of major Japanese banks.

A few years ago, some European and American art media conducted a survey and they counted that there are about US$1.4 billion worth of Western oil paintings locked in the vaults of major banks in Japan. As for other artworks, it is even more impossible to count.

How many paintings are there for oil paintings worth more than 1.4 billion US dollars? This shows how much money did the Japanese spend money randomly back then?

After two thousand years of entering, some Japanese companies and individuals have also changed their strategies and are not locking all the oil paintings in the vault. After all, locking them in the vault cannot bring benefits to them.
Chapter completed!