According to the book "National Treasure Archives", many precious national treasures in our country have not only undergone the baptism of time, but also suffered many disasters because of people's ignorance. For example, the largest jade artifact found in China so far, the Great Jade Sea of Dushan, which was formed in the Yuan Dynasty, was accidentally obtained by a Taoist priest in a Taoist temple after the Ming Dynasty, and it took more than 260 years of pickles to be discovered.
The Chen Cang stone drum, which Kang Youwei hailed as the first antique in China, was found in a wet market, and according to the confession of a butcher, this "stone block" was made as a whetstone in his family during his father's generation.
The only surviving work of the Tang Dynasty painter Lu Shuyi, "Six Statues of the Venerables", worth about 400 million yuan, was used by an alcoholic to paste the windows.
Why is there such a phenomenon of "having eyes and not knowing Tarzan"? In fact, we can't blame these people, after all, China's culture has a long history, and many cherished treasures even historical experts dare not easily draw conclusions, not to mention those people whose historical knowledge is not rich and do not have much cultural heritage! And the national treasure that this article wants to talk about is also for the same reason, unfortunately fell to the dust: as a famous painting of the Jin Dynasty, "Wen Ji Gui Han Tu", it was used by the northeast old Han to make a fume cloth for more than ten years.
When Japan surrendered in 1945, the puppet Manchukuo regime it established also collapsed, and many treasures in the Imperial Palace in Shenyang were looted by the Japanese, and even if the Soviet army stopped this behavior, there were still many cultural relics lost to the people. At that time, Li Laohan, whose ancestral home was in Changchun, Jilin Province, was working as an honor guard at the Imperial Palace in Shenyang, and in that chaotic situation, Li Laohan took a painting with his bare hands. However, at that time, the Soviet army blockaded the Imperial Palace in Shenyang to check out the traitors of the Japanese puppet army and the theft of cultural relics without permission. In order to leave the palace, Li Laohan handed the gatekeeper a pot of good wine.
With this bottle of wine, Li Laohan successfully left the palace and returned to his hometown in Changchun, but after returning home, Li Laohan did not find anything strange about this painting, and he could not find anyone to help identify it, so he casually put the painting on the stove to cover the oil. In 1962, in order to restrict some black-hearted antique merchants from using low prices to defraud cultural relics from the hands of the people and then transfer them to other collectors at high prices, many archaeological teams were sent to the homes of the people to collect antiques.
Li Laohan thought that there were so many clay pots and clay pots in his small courtyard, maybe he could dig out gold, so he called two archaeology team members to come to his home as guests to inspect the clay pots by the way. What Li Laohan did not expect was that the two archaeologists did not find any mystery in those jars, but were attracted by the paintings that Li Laohan put on the stove to make fume cloth. Archaeologists carefully spread out the painting and found that the paper used for the painting was relatively old, which should have been more than 500 years old.
After obtaining the consent of Li Laohan, the archaeologists bought the painting for 160 yuan and brought it back to the unit, and after careful cleaning and research, they always believed that the painting should be the original "Wenji Gui HanTu" by the painter Zhang Yu in the 13th century AD, on which there were also the seals of the Ming Dynasty Wanli Emperor and qianlong inscriptions, and the seals of Jiaqing and Puyi were also on it.
The background of the creation of "Wen Ji Gui Han Tu" is very complicated, when the Jin people destroyed the Northern Song Dynasty, the Song Dynasty abandoned the people in the north and chose to live in the south, perhaps the author was being bullied by the Jin people at that time, so he chose the historical theme of Wen Ji Gui Han to express his thoughts about the country. Moreover, every character in the painting is vivid, and the situation of the horse team rushing outside the sai is cleverly expressed on the paper, which is a rare masterpiece both from the artistic and cultural levels.