“Elder Yang, I have something to attend to, so I’ll take my leave now. You two chat slowly; the bill is on me.” After sitting for a while, the stout middle-aged man departed, taking the imitation Maodizhi painting and the genuine Agarwood bracelet with him.

He left with a beaming smile after settling the bill and paying. As soon as the stout man’s figure vanished down the stairs, Yu Feibai impatiently asked, “Wang Guan, hurry and tell me, whose painting is this?” “How should I know whose painting it is?” Wang Guan feigned ignorance, but the unconcealed smile in his eyes betrayed his joyous mood.

“Stop putting on an act,” Yu Feibai scoffed. “You used the exact same trick to swindle that Agarwood bracelet out of me at the beginning.

Are you not tired of pulling this stunt?” “What are you talking about? It sounds like I'm cheating people,” Wang Guan glanced at Elder Yang, rubbed his nose, and vaguely stated, “I’m telling the truth; this painting is indeed an old piece.” “Young man, you don’t need to have any reservations.” As the saying goes, old age brings cunning.

Although Elder Yang was old, his experience was vast, and he was certainly not confused. Instead, he was quite intrigued.

“You’ve already told Xiao Yu that this is a genuine item. If he was unable to recognize quality when he saw it, it only proves that you, Young Man, possess a discerning eye capable of finding real gold amidst the gravel.

It’s a contest of insight, and no one can blame anyone else.” “Exactly,” Yu Feibai nodded. “The written agreement is even drawn up; what more do you have to worry about?

Tell us quickly, what is so marvelous about this painting that you were willing to trade the Agarwood bracelet for it?” “Before I tell you, let me test you first—see if you even passed middle school Chinese.” Wang Guan was in excellent spirits and couldn't resist teasing them. He smiled, “Feibai, do you know the idiom Xiong You Cheng Zhu (having a well-formed plan in one’s chest), and specifically where it originates?” “Xiong You Cheng Zhu…” Yu Feibai was still pondering.

Just then, Elder Yang’s eyes lit up, and he exclaimed in surprise, “Mr. Shishi, Wen Tong, Wen Yuke!” “Wen Tong… Mr.

Xiaoxiao, the founder of the Huzhou School of Bamboo Painting, a grandmaster of ink bamboo painting!” At this moment, Yu Feibai suddenly remembered and exclaimed with mixed excitement, “Are you saying this ink bamboo painting is an authentic work by Wen Tong?” Wen Tong, a famous grandmaster of bamboo painting during the Northern Song Dynasty, styled himself as Mr. Xiaoxiao Jushi, or Mr.

Xiaoxiao, and was also known as Mr. Shishi.

Look closely—it’s Mr. Xiaoxiao, not Lanling Xiaoxiao Sheng!

One must not misread that, or the misunderstanding would be immense. Wen Tong was a towering figure during the reign of Emperor Renzong of the Northern Song.

He was a Jinshi degree holder, and while serving as the prefect of Huzhou, he conducted in-depth and meticulous observations of bamboo, establishing the ink bamboo school, earning him the nickname Wen Huzhou. Of course, the name Wen Tong might sound unfamiliar to some.

But if one mentions his cousin, everyone would surely know the name instantly. Ah, I almost forgot to mention, Wen Tong was from Shu, and his cousin was also from Shu, residing in Meishan… Forget the detour; Wen Tong’s cousin is the one lauded in the lines, ‘The great river flows east, its waves sweeping away all the heroes of the ages’—Su Dongpo.

If there is truly someone who doesn’t know Su Dongpo, it suggests they certainly didn’t study hard in school. Clearly, both Elder Yang and Yu Feibai must have studied diligently.

Because they both knew that the idiom Xiong You Cheng Zhu originated from the essay A Record of Wen Yuke’s Painting of the Bamboo Grove in Yundang Valley, which Su Dongpo wrote in mourning for Wen Tong, and which brought the idiom widespread fame. “It really is Wen Tong’s ink bamboo painting?” After the initial shock, Yu Feibai also felt a flicker of doubt, frowning.

“I know Wen Tong; he was the grandmaster of the Huzhou Bamboo School. Painters throughout history, like Zhao Mengfu of the Yuan Dynasty, Xu Wei of the Ming Dynasty, Shi Tao and Zheng Banqiao of the early Qing, all regarded him as the founding father of ink bamboo painting.

However, very few of his bamboo paintings have been passed down, and only a handful have been authenticated as originals.” “Indeed.” Elder Yang nodded in agreement. “From what I know, Wen Tong’s bamboo paintings rarely bear an inscription.

At most, they might feature a seal reading ‘Jingxian Study’ or ‘Wen Tong Yuke.’ The reason for this is also explained in Su Dongpo’s essay.” “Wen Tong was incredibly famous for painting bamboo back then, but he himself didn't place much importance on bamboo painting. When many people brought silk to ask him to paint, he would get annoyed, toss the silk onto the floor, and say he needed it to make socks…” Elder Yang chuckled softly.

“However, given the social obligations among literati in ancient times, Wen Tong, as one of them, must have painted quite a few ink bamboo works for social engagements. After painting so many, he simply stopped inscribing them and affixed his seal as a perfunctory gesture.

Therefore, the few extant ink bamboo paintings by Wen Tong today bear only his seals.” “Regarding Wen Tong’s ink bamboo, Mi Fu of the Northern Song once commented that Wen Tong painted bamboo using deep ink for the surfaces and lighter ink for the backs. This technique—using dense ink for the front of the bamboo leaves and lighter ink for the back, creating a well-arranged contrast of light and dark—was pioneered by him, which is why later generations call him a grandmaster.” Yu Feibai carefully examined the ink bamboo on the table and gently shook his head.

“Although Wen Tong’s style was relatively realistic—his renderings of the stalks, branches, leaves, and nodes closely resembled real bamboo—and is similar to the style of this ink bamboo painting. However, the ink used for the bamboo in this work is too pale, even a bit blurred.

If this were a later imitation of Wen Tong’s bamboo painting, I might believe it, but claiming it as an original work by Wen Tong himself lacks persuasion.” “That’s true.” Elder Yang studied it for a moment and also nodded. “Wen Tong deeply loved bamboo; the area where he lived was planted with many bamboo groves.

After observing the characteristics of bamboo at various stages of growth, he internalized the specific features of the stalks, branches, nodes, and leaves, which led to his state of Xiong You Cheng Zhu.” “Wen Tong’s bamboo paintings used deep ink for the surfaces and light ink for the backs, and he even meticulously depicted the slightest tilt or fold of a leaf tip in the wind. It was realistic without being cluttered, capturing both form and spirit, and was highly acclaimed.

After him, ink bamboo painting was widely accepted by the literati, formally separating from the meticulous brushwork and colored flower-and-bird painting, and establishing itself as its own school.” Elder Yang sighed softly. “The title of grandmaster is not conferred lightly.

As the one who opened up a new realm, his ink bamboo works must possess extremely exquisite brushwork. Unlike this painting, which clearly lacks that mastery.

Of course, it’s possible this is an early work by Wen Tong, or one done for a social obligation. But without proof, not many people will be convinced.” Finally, Elder Yang offered consolation.

“Young Man, don't be disappointed. As you said, this is an antique painting.

Even if it isn’t Wen Tong’s original work, it still holds some value.” Naturally, trading the Agarwood bracelet for it was a loss. However, considering Wang Guan acquired the bracelet for five hundred yuan, it meant he bought an antique painting for five hundred yuan, which wasn't a huge loss—perhaps even a gain.

But Elder Yang worried that Wang Guan, being young and impetuous, might not have such a calm perspective. ..........................

Thanks to reader “samwtwss” for the tip. Still soliciting collections and recommendations.

C