The game starts with escaping from the famine and flipping the table

Brothers fighting tigers, father and son go into battle.

Seeing that Hui Zhijia had taken his anger out on her cousin, Lin Yanyan understood that Hui Zhijia looked at Gui Qiangye with eyes that were not eyes and nose that were not nose and spoke in a sarcastic way to Gui Qiangye because of Feng Yuzheng.

However, Hui Zhijia couldn't lose face for his cousin in front of everyone.

There is a difference between closeness and distance.

Hui Mengmeng was not at all vague about which side to stand on: "Humph! This is the coat that my eldest brother wears over his blue shirt. It is the most popular way of dressing among students."

Uh?

student?

Su Xiaoya couldn't help but look at Yu Shuheng to confirm whether she had heard it wrongly? Wasn't this the version of cultivating immortals? Why did the style suddenly change to the version of the imperial examination?

After all, Yu Shuheng traveled through time 100,000 years in advance, so he must know more about Qingyuan Star than I do.

Although this is just an independent mustard seed space in the Witch God Trial Ground, the ancestors of these people in front of us did come from Qingyuan Star, so there must be some origin connection.

Yu Shuheng was also dumbfounded.

He had also never heard of anyone entering Taoism through Confucianism!

Yu Shuheng looked at Su Xiaoya and shook his head slightly. To be honest, I have only seen the concept of entering Taoism through Confucianism in fantasy novels. Among the vast number of fantasy immortal cultivation novels, the content of entering Taoism through Confucianism is not much.

Unexpectedly, I see a living one now.

Su Xiaoya and Yu Shuheng looked at Gui Qiangye at the same time, with the same expression on their faces.

Gui Qiangye didn't know what was going on. He was showing off excitedly when he suddenly shivered without any warning.

Uh!

what's wrong?

Subconsciously, Gui Qiangye stopped showing off a bit, but he still introduced it professionally. After all, you have to finish what you start.

"In addition to printing, dyeing and weaving, embroidery technology has also made great progress."

Embroidery was no longer just used for decoration of clothing and general silk fabrics, but began to be widely used in totems and various beliefs, and was used to embroider totems, scriptures, and Buddha statues.

There is no high or low in things, but people are divided into different classes by imperial power.

Court embroidery, which is at the top of the pyramid, has formed a certain pattern in craftsmanship. Dragon robes, palace costumes, embroidered words, and embroidered paintings are often the same with very few changes.

The embroidery that truly keeps pace with the times is booming and full of vitality among the people, relying on its practicality.

The "Four Famous Embroideries" with distinct regional styles - Suzhou embroidery, Hunan embroidery, Guangdong embroidery and Sichuan embroidery all come from the folk.

Later, a kind of exquisite high-grade flower-patterned silk fabric, Kesi, was created. It is also known as Kesi and Kesi.

The structure of kesi is rigorous, the transitions are natural, the flowers and birds are vividly interspersed, and the bright main pattern is set against a dark background, which is quiet and elegant.

As the kesi craftsmanship became more sophisticated, some kesi turned to appreciation, mainly weaving calligraphy and paintings by famous artists.

An inch of kesi is worth an inch of gold!

Well, as soon as Gui Qiangye said this, everyone stared at his actions tacitly.

Sure enough, Gui Qiangye took out a scroll from his storage bag.

This time no one spoke, they just watched quietly as Gui Qiangye slowly unfolded the scroll.

The vertical length of this scroll is about 24 cm, and the horizontal width is about 25 cm.

The first thing that catches your eye on the scroll is the gorgeous pink peony flowers. Some of the peonies are still in bud, like shy girls who want to speak but hesitate; others are already in full bloom, with petals spreading out layer by layer, showing their charm and elegance.

Look at the bird standing on the peony branch, it is lowering its head slightly, overlooking a small ladybug below. Its expression seems to be full of curiosity and playfulness, which perfectly depicts the bird's lively and agile posture.

The butterflies dancing nearby are even more eye-catching. With their wings spread, they look as light and elegant as fairies, with such grace and elegance that one cannot help but be intoxicated by them.

The whole picture is bright and colorful, and is filled with the vibrant atmosphere of spring. A careful observation reveals that the tapestry of this picture is extremely delicate and every detail is handled just right.

Especially when blending colors, a variety of superb techniques such as long and short strokes, wooden comb strokes, and mixed strokes are used to make the color transition natural and smooth without any sense of stiffness.

In addition, the painter also skillfully combined techniques such as flat embroidery and structured embroidery to give the entire picture a distinct sense of layering and a strong sense of three-dimensionality.

Among them, the details of bird feathers and butterfly wings expressed with the long and short strokes technique are simply works of ingenuity and lifelike, as if the birds and butterflies will fly out of the scroll in the next moment.

"Sparrows step on flower branches to reveal the white silk. I have heard people say that brocade is difficult to make. You should know that it is a Xuanhe product. Don't treat it as an ordinary embroidery."

Su Xiaoya and Yu Shuheng looked at each other, and both fell into deep thought.

Qingyuan Star is too similar to Blue Star in many ways.

One of the characteristics of kesi works is to imitate ancient calligraphy and painting works. The painting works are inherited and expressed with kesi techniques, which can not only convey the artistic conception and charm of traditional Chinese painting, but also are different from paintings purely rendered with pen and ink, and have a unique charm.

The kesi square scroll in Gui Qiangye's hand is a kesi masterpiece based on the flower and bird album painted by Song Huizong Zhao Ji - Kesi Zhao Ji Flower and Bird.

The reason why Su Xiaoya and Yu Shuheng recognized this kesi work at a glance was because of the film viewing class organized by the school before they traveled through time.

At that time, in order to broaden students' horizons, the school arranged a film viewing class every month. Many of the films were various folk arts selected into the national intangible cultural heritage list.

For example, plant dyeing, kesi silk…

Kesi, an ancient and mysterious art form, is also known as "carved silk" and can be regarded as a shining pearl among China's traditional silk artworks.

It originates from the long history of silk weaving in China and is the most traditional and unique technique in China's silk weaving industry.

Its uniqueness lies in the fact that by cleverly selecting the warp and weft, it displays amazingly delicate patterns and gorgeous colors, making it a silk fabric with great appreciation value and decorative value.

Since the Song and Yuan Dynasties, kesi has been favored by the royal family for its exquisite craftsmanship and rarity, and has become one of the royal fabrics.

Emperors and generals of all dynasties often chose kesi to carefully weave their dragon robes and phoenix robes as well as the noble clothing of the emperor and empress. It was also used to make lifelike and vivid imperial portraits (i.e. imperial portraits), preserving the majestic image of the monarchs forever in the world.

In addition, kesi is an excellent medium for copying famous calligraphy and paintings. Those masterpieces handed down from generation to generation are often reproduced by the skillful hands of kesi artists, and they can often add a bit more charm than the original works.

However, the weaving process of kesi is extremely meticulous.

Each silk thread needs to be carefully selected and processed by the craftsmen, and then between the interweaving of warp and weft, exquisite patterns are outlined bit by bit.

Because of this, kesi works not only consume a lot of man-hours, but also require extremely high skills from the craftsmen.

It is precisely because of this attitude of striving for perfection that kesi products can often surpass the original works themselves and present more stunning effects.

Unfortunately, due to the difficulty in making kesi silk and the expensive raw materials, the number of fine kesi silk silks in existence is extremely small.

This undoubtedly makes kesi a well-deserved focus in today's weaving and embroidery collection field and auction market.

In the collecting world, there is a saying that "an inch of kesi is worth an inch of gold", which shows how precious it is. The reputation of "the saint of weaving" fully demonstrates the lofty status of kesi in silk weaving techniques.

It is worth mentioning that Suzhou Kesi painting, with its unique style and excellent quality, is known as one of China's "Four Great Weavings" along with Hangzhou silk weaving painting, Yongchun paper weaving painting, and Sichuan bamboo curtain painting. They each represent the characteristics and cultural connotations of different regions, and together constitute a rich and colorful treasure house of Chinese folk art.

In May 2006, Suzhou kesi weaving technique was successfully selected into the first batch of national intangible cultural heritage list, which is undoubtedly a high recognition of the inheritance of China's traditional culture.

Then, in September 2009, Kesi once again became a hit and, as an outstanding representative of China's sericulture and silk weaving techniques, was listed as a world intangible cultural heritage.

Wang Jinshan, Wang Jialiang, Wang Jianjiang, Wu Wenkang and other representative inheritors of kesi craft are shouldering the important task of inheriting and promoting this ancient craft. They use their wisdom and hard work to continue writing the glorious chapter of kesi art.

What impressed Su Xiaoya the most was the 17-meter-long unique copy known as the "King of Kesi" - the "Complete Kesi Scroll of the Duanshi Lanting Picture Calligraphy" commissioned by the Emperor Qianlong period.

There is no other reason. The price of many kesi works can be as high as 20 or 30 million, but the auction price of "The Complete Scroll of Duanshi Lanting Calligraphy Engraved by the Imperial Commission" directly exceeded 100 million.

During the auction, the work started at 8000 million yuan. After several rounds of fierce bidding, it was finally sold for 2.1 million yuan, and the final transaction price reached 2.415 million yuan.

This price not only broke the auction record for kesi works at the time, but also made it one of the most expensive kesi artworks in the world.

The entire scroll of "The Complete Scroll of the Lanting Painting by Duanshi Carved by Imperial Order" is based on "The Preface to the Lanting Collection". Through the traditional handicraft of kesi, it perfectly combines calligraphy art with natural landscape, demonstrating extremely high artistic value and historical significance.

The "Complete Scroll of the Duanshi Lanting Painting Engraved by Imperial Order" is a unique art treasure in the world, and the whole scroll covers five eye-catching and wonderful contents.

First of all, this volume brings together the most famous versions of "Preface to the Lanting Poems" in history, which is like a treasure trove of calligraphy art.

These include not only the highly acclaimed "Lanting by Dingwu", but also the delicate "Lanting by Yu Shinan", the unique "Lanting by Chu Suiliang" and the extremely precious "Lanting by Tang Mo" and so on.

These copies in different styles complement each other, showing the diverse charm and profound heritage of "Preface to the Lanting Poems" in the hands of calligraphers of all generations.

Secondly, the scroll carefully presents a magnificent "Imitation of Li Gonglin's Flowing Wine Cup" painting.

This painting vividly depicts the scene of scholars and elegant people drinking wine by the stream, reciting poems and painting. The characters in the picture are lifelike, as if one can travel through time and space and experience firsthand that poetic and elegant gathering.

Furthermore, Emperor Qianlong's imperial edict and imperial poem add to the noble atmosphere of this scroll.

The imperial edict demonstrates the majesty of imperial power, while the imperial poem injects unique cultural connotations into the entire work with its beautiful words and profound meaning.

In addition, the volume also collects dozens of prefaces and postscripts from celebrities from all walks of life, just like an anthology of literary reviews.

Here we find Sun Chuo's Postscript to the Lanting Poem and Liu Gongquan's notes; there are imperial letters from Emperor Gaozong of Song Dynasty, as well as postscripts by Mi Fu, Zhao Mengfu, the vassal king Zhu Youdun, Zhu Yiqiao, Liang Guozhi, Dong Gao and many other masters.

They each expressed their views on "Preface to the Lanting Poems" and related content from different perspectives, making this kesi work more valuable for research and have more artistic depth.

Finally, it is worth mentioning that the entire painting contains as many as 51 seals!

Among them, 46 pieces are carefully woven with exquisite kesi techniques, and the other 5 pieces are imperial seals affixed after the kesi was completed. They are "Treasures for the Viewing of Emperor Qianlong", "Treasures for the Viewing of Emperor Jiaqing", "Three Volumes of Precious Collection", "Appreciation of Jiaqing" and "Treasures for the Viewing of Emperor Xuantong".

These seals dot the scroll like stars, further highlighting its rarity and importance.

This magnificent "Complete Scroll of the Imperially Commissioned Duanshi Lanting Painting on Kesi" is over 17 meters long, with 60 vivid figures and 9162 words carefully woven on it.

Because of its unparalleled artistic achievements and superb craftsmanship, it is deservedly praised as the "King of Kesi" and has become a dazzling pearl in the field of traditional Chinese arts and crafts.

It can be said that "The Complete Scroll of the Duanshi Lanting Painting Carved by the Emperor" is not only an outstanding representative of the kesi craft, but also a treasure of China's traditional culture and art.

When I was still in Blue Star, the "Complete Scroll of the Imperially Commissioned Duanshi Lanting Painting on Kesi" was very famous and attracted much attention.

However, in the end, it was successfully photographed by a mysterious person anonymously and disappeared from the public eye.

At that time, Su Xiaoya and Yu Shuheng were just two ordinary high school students who were studying hard and preparing for exams. Rare treasures like these were really out of their reach, and even seeing the real thing was an unattainable luxury.

Things are unpredictable!

Who could have thought that this Qingyuan Star would have such an amazing fit with the Blue Star? Even the masterpiece of kesi, kesi Zhao Ji Flower and Bird, which was made based on the flower and bird album painted by Emperor Huizong of Song Dynasty, was now placed in front of them.

If this is the case, how could they not hold on to a glimmer of hope, hoping that they might be able to obtain the authentic copy of the legendary "The Complete Scroll of the Duanshi Lanting Painting on Kesi Carved by the Imperial Commission"?

That's right, at this moment, what Su Xiaoya wanted in her mind was far more than just seeing the "Complete Scroll of the Imperially Commissioned Duanshi Lanting Painting on Kesi" with her own eyes. She was eager to add this peerless treasure to her own collection.

It has to be said that Su Xiaoya today is no longer the same as she was in the past. She is now full of confidence and determination.

She firmly believed that with the help of the system, she would be able to find a way to successfully obtain the "Complete Scroll of the Imperially Commissioned Duanshi Lanting Painting on Kesi"

After all, no matter who has this precious kesi scroll now, she is confident that she can offer the other party an exciting and irresistible bargaining chip in exchange.

As the saying goes, "Money has always been a motivating force for people." As long as the benefits are tempting enough, what can't be done?

If you can't do it, it must be because you don't have enough chips.