"Pictures of Luo Shen Fu" is a painting by Gu Kaizhi of the Eastern Jin Dynasty. It is a colored silk scroll. It is a long scroll that is similar to a comic strip and is composed of multiple storylines. It has been lost. The main ones handed down now are four copies from the Song Dynasty, which are collected in

The Palace Museum in Beijing (two pieces), the Liaoning Provincial Museum and the Freer Museum of Art in the United States. The two figures in the Palace Museum are basically similar, but the scenery is divided into one complex and one simple.

The whole volume of Luo Shen Fu is divided into three parts. It depicts the sincere and pure love story between Cao Zhi and Luo Shen in a detailed and layered manner. The characters are arranged in an appropriate density, alternating, overlapping, and exchanging naturally in different time and space.

The depiction of mountains and rivers all shows a kind of spatial beauty. Among the existing ancient Chinese paintings, "Fu Tu" is considered to be the first painting adapted from a literary work.

The scroll starts from the right end, and the first section depicts Cao Zhi leading his entourage back to the fiefdom from the capital at dusk, and stopping to rest when passing by the shore of Luoshui River. On the calm water, the elegant and affectionate Luoshen's clothes are flowing and dynamic.

Calmly, coming in waves. On the bank of the willow, Cao Zhi leaned forward slightly and stretched out his hands to block the followers. The followers' eyes were dull, but Cao Zhi stared scorchingly at the beautiful Luo Shen on the water in front of him. The painter skillfully passed this moment through

The movements not only vividly and vividly express Cao Zhi's surprise at seeing Luo Shen, but also vividly express Cao Zhi's inner activities of being deeply attracted by Luo Shen's peerless beauty. Cao Zhi expressed his deep love for Luo Shen by giving him a jade pendant.

The Goddess of Luo indicated that he would be hiding in the abyss for a period of time, but Cao Zhi was afraid of being deceived and felt conflicted. So he calmed down his face and kept it polite, and the two of them fell in love. The Goddess of Luo played with the gods, the God of Wind calmed down the wind, the God of River calmed the waves, the God of Water played drums, and the God of Snails

Dancing, the Goddess Luo looms in the air, in the mountains, and in the water, singing and dancing with her sleeves stretched out. Through the joy and play of the goddess and the gods, the lively scenes pave the way for the upcoming separation of the Goddess Luo and Cao Zhi, and set off the helpless and contradictory inner state of the goddess.

The second paragraph depicts the scene when humans and gods have different paths and have to part with regret. This is the climax of the story. The painter vigorously depicts the lineup of Luo Shen when he leaves. The scene is grand, exciting and lively. Six dragons drive the cloud chariot, Luo Shen

The car rides on a cloud car and drives into the distance. Whale sails rise from the bottom of the water and surround the car. The six dragons, salmon and whales are detailed and dynamic. The car and the clouds are all flying in the sky, creating a parting scene.

It was extremely lively and intoxicating. On the shore, Cao Zhi, supported by his entourage, watched Luo Shen gradually go away, with endless sadness and helplessness in his eyes. Luo Shen kept looking back at Cao Zhi on the shore, with tears in his eyes.

It shows reluctance and attachment. As the distance between the two becomes farther and farther, it highlights the pain of helpless separation in the hearts of Cao Zhi and Luo Shen, making the sad atmosphere of being unable to stay together in the picture even more intense.

The last part depicts the journey. It shows Cao Zhi’s deep memory and longing for Luo Shen after she left. Cao Zhi took a boat upstream to catch up with Yun Chai, hoping to see the beautiful figure of Luo Shen again. But unfortunately, humans and gods were separated, and he had already died.

There was no trace of the Goddess of Luo. He couldn't control his longing and sadness, so much so that he couldn't sleep all night. He waited until dawn by the Luoshui River, lingering on the scene. Until his entourage drove on the road, Cao Zhi still kept looking back, and in the end he was reluctant to leave.

With a helpless mood, he embarked on his way back to the fiefdom. Cao Zhi's infinite sadness is vividly displayed on the scroll, making the viewer infected by the sincere feelings between Luo Shen and Cao Zhi.

Before tonight, I firmly believed that Gu Kaizhi’s version of Luo Shen Fu had been lost, perhaps it had been

It was wiped out in the vast river of history. However, Wumai suddenly said that the authentic work of Luo Shen Fu Tu was actually in their hands all along. This news was indeed shocking enough.

Not to mention the intentions of the man who snatched the treasure, the reappearance of the Luo Shen Fu Tu is an extraordinary matter. Now, the true and false doubts have been raised again. It is conceivable that next, there will be a certain amount of controversy surrounding the Luo Shen Fu Tu.

A series of stories will arise.

Speaking of Luo Shen Fu, we have to mention the era when it was created - the Northern and Southern Dynasties. The Wei, Jin, Southern and Northern Dynasties were a period of frequent wars, complex changes and divisions in Chinese history. Political instability and chaotic current situation.

, although it brought about a general economic decline, it actually enriched the content and connotation of culture as never before. This was an era of freedom, liberation, wisdom and enthusiasm in the history of ancient Chinese thought and culture. Due to social turmoil, northerners moved southward

In addition, the invasion of foreigners resulted in the mutual integration of life and culture between the north and south and between various ethnic groups. In the murals in Dunhuang during the Northern Wei Dynasty, people can see that the images of characters have been integrated into the expression of traditional paintings based on foreign styles. The paintings in the south are also the same

It is also deeply influenced by religious themes and becomes more pious and rich.

As early as the Qin and Han Dynasties, due to the dominance of Confucianism, figure paintings were inevitably used by the rulers as a tool to propagate political religion, because landscape paintings and flower-and-bird paintings could not intuitively educate people on how to meet the moral standards required by the upper class.

Only when the behavior of characters is vividly depicted can it be widely accepted by the masses and used as a guide for action. This somewhat strengthens people's emphasis on figure painting. Before the Wei, Jin, Southern and Northern Dynasties, although scroll paintings that were easy to preserve were relatively rare, we can learn from

Its shadow can be vaguely seen on the previous tomb murals and portrait stone portrait bricks, such as the Eastern Han Dynasty Emperor Ming's portraits of heroes in Yuntai, Luoyang, etc. It can be said that figure paintings before the Wei and Jin Dynasties were basically still in practical functions. By the Wei and Jin Dynasties,

, Confucianism still exists as an autocratic tool for rulers, and the political and religious ethics that "identified Confucianism as one" from the Han Dynasty still have a strong inertia and have an important impact on art. Whether it is Cao Zhi's painting "Existence for Discerners"

", or Wang Fan's desire to draw pictures of Confucius' disciples to inspire others, are all reflections of Confucianism's enlightenment thoughts. Even Gu Kaizhi's "Pictures of Women's Benevolence and Wisdom" and "Pictures of Proverbs of Women's History" are still in the practical application of education.

Function. But since then, the decline of society, the disintegration of the country, and the precariousness of human life have caused the Confucian concept as a ruling thought and social glue to gradually lose its role and become in decline. The kind of Taoism that interprets Confucianism with Taoism is actually Taoism

The metaphysics of concepts came into being. Due to the emergence of a large number of literati and officials, including Gu Kaizhi, who wrote a large number of theoretical works, figure painting has entered an advanced stage of aesthetics. This is fully reflected in "Luo Shen Fu Tu"

at this point.

"Pictures of the Luo Shen Fu" was written by Gu Kaizhi one day after he accidentally read the "Ode to the Luo Shen" written by Cao Zhi, a writer from the Three Kingdoms period, sent by a friend. Cao Zhi's original text expressed his pursuit of the love between humans and gods in a dreamland.

It reflects the self-sentiment of frustrated love. Gu Kaizhi used his rich imagination and artistic talent to recreate literary works, conveying infinite melancholy and sad mood, and expressing the theme of Cao Zhi's "Luo Shen Fu" completely and harmoniously. The picture

Fantasy and gorgeous, the plot is real and touching, rich in romanticism, full of elegant, romantic and poetic atmosphere.

However, for me, there is still a question.

That is - why Luo

What about the divine pictures?

Between the Kawashima family - the Five Meridians - and the Chinese and Japanese volumes of Luo Shen Fu, there must be a clue that we don't know that connects the whole thing.

Although the story told by Huang Mingda has a beginning and an end, many plots are only arranged in chronological order. What is most consistent with the conspiracy theory design is that it is just the time difference caused by the anonymous letter, and there is a lack of necessary logical elements between events.

"How do I connect the dots?"

After all, my knowledge of cultural relic identification is nothing compared to that of many experts in Wumai, so my speculations may be in vain.

At first, I thought that since the other party came for the "Luo Shen Fu Tu", there was a great possibility that it was related to the Luo Shen Fu Tu. You must know that the Luo Shen Fu Tu of the Kawashima family was stolen from China.

Maybe the descendants of the original Chinese masters have always been grudges and vowed to take back the national treasure and take revenge. But if you think about it carefully, it seems that there is no defensible position, because if it was done by Chinese people, it was just for revenge.

Why bother involving the five meridians?

But if you came here for the five meridians from the beginning, the article here would be even bigger.

As Mr. Yao said in the second anonymous letter, the Luo Shen Fu picture in Wumai's hand is not authentic. If this statement is true, then once the treasure appraisal conference is held, it will be a blow to Wumai. In this way,

The opponent's motive for bringing down Wumai is obvious.

But then again, Liu Bin's words just now can actually dispel this risky move very naturally. The outside world knows almost nothing about Wumai's collection, and Wumai has never publicized it. Therefore, if the version in Wumai's hands is

It's fake. Wumai can take advantage of the situation and throw it out. He knows it's a fake early on, so he never reveals it to the outside world. It doesn't matter who is real and who is fake. In the end, the national treasure will return anyway.

"True or false, false or true, what kind of evil intentions are hidden behind this series of actions?" Huang Mingda said angrily.

"Mr. Huang, please don't be angry yet." I poured him a glass of water and said, "I have two superficial thoughts after hearing this. I didn't say it well. Please forgive me, seniors."

"First, the Kawashima version of the Luo Shen Fu painting, which was rumored to be authentic, disappeared after being informed that it was a fake, and the secret Five Meridians version of the Luo Shen Fu painting also disappeared before it was publicly authenticated. If there is something behind the scenes,

It’s me, so what I’m going to do next is to make a big fuss out of this shocking reversal, preferably by causing uproar in the city, and the bigger the noise, the better.”

"What good does this do to you?" Liu Zheng became curious.

"It's very simple. Although it's hard to tell the real purpose of the man behind the scenes, I have a vague intuition that he is hiding very deep. The purpose of doing this is not to obtain the Luo Shen Fu Tu, but for something else.

Otherwise, his previous actions would appear illogical and redundant."

"Indeed, the average cultural relic thief, even if he wants to steal, will not do so many tricks. If he does this, he is asking for trouble." Mr. Shen Mochen of Qingmen, who had been silent, said.

"What about number two?"
Chapter completed!