It is hard to say which one is more valuable to the Yuan blue and white Xiao He chasing Han Xin's big jar or the Zhu Yuanzhang's imperial edict.

One is the imperial edict in the world that only has one piece, and the other is also the blue and white jar with only one piece in the world that currently has one piece. Who are you talking about is more valuable? This is clearly a problem between Guan Gong and Qin Qiong.

In the Yuan Dynasty and even the Ming Dynasty, there were still a large number of large Yuan blue and white jars, which can be seen from some ancient books and historical books. Similarly, there were a lot of imperial edicts during the Hongwu period of the Ming Dynasty. Zhu Yuanzhang was the emperor for 31 years in his life, but he knew how many imperial edicts he issued in his life.

But whether it is an imperial edict or a large Yuan blue and white jar, in modern times, it has almost become an isolated product. The value can only be described as difficult to measure.

After slightly cutting off this unthinkable thought, Yang Jing continued to pull up the thatch under the Yuan blue and white jar.

The height of this Yuan blue and white Xiao He Yuexiao Zhui Han Xin's large jar is less than 30 cm, and the abdominal diameter of Yang Jing is estimated to be more than 33 cm. According to the size of this large iron box, the first floor can at least put four such large jars, but this floor only has one big jar. The big jar and the iron box are all filled with thatch. It seems that the Japanese also knew the value of this big jar at the beginning. In order to better protect the big jar, they did not put too much.

In other words, if the bottom is not all thatch, at least there must be a big jar below.

Sure enough, after a few strokes, another large pot of Yuan blue and white can also be pulled out.

This big jar is almost the same as the first big jar, and both the cloud pattern, the blue material and the shape of the vessel are almost like twin brothers. If it weren't for the different patterns on this big jar, Yang Jing really thought that this second big jar was also a big jar of Xiao He's moon chasing Han Xin.

The pattern on this big jar is a pattern that Yang Jing had never seen before. At least on other Yuan blue and white porcelains, Yang Jing had never seen this pattern.

The pattern format of this large jar is almost exactly the same as the first one, and is painted with imported blue material. The first layer of the neck is decorated with water ripples; the second layer of the shoulder is the peony pattern of the output value; the third layer of the belly is the theme pattern of the story; the fourth layer of the lower part is the deformed lotus petal pattern painted inside Chenbao, commonly known as the "Bada Size".

This pattern format is also used in the nine large pots of Yuan blue and white characters that have been born.

The theme pattern on the third floor is a general wearing armor galloping on his hands while riding a horse. The general was carrying a quiver with a quiver in it, and there were many white feather arrows inside. However, the general's hands did not tie the reins, but held the bow in his left hand and the reins of the horse with his right hand. Both the people and the horse were vivid. Not far from the general, there was a big stone. Strangely, on this big stone, a white feather arrow inserted the big stone with a slightly slanted slope, and half of it was inserted!

Obviously, the general who was galloping on the horse just shot an arrow for some reason, but unfortunately he didn't hit the target but shot a big rock...

Although the whole pattern is not big, it is painted vividly. Whether it is the general's movements, the expressions of the horse, and the shape of the big stone, they are all extremely exquisite.

Although Yang Jing had never seen this pattern, since he saw this pattern, Yang Jing knew which story was drawn in the theme pattern of this Yuan blue and white jar.

When he was in elementary school, Yang Jing learned a poem, which was written by the Tang Dynasty poet Lu Lun, "The Song of the Enclosure with Zhang Pushe. The Second", which is the abbreviated "The Song of the Enclosure".

This short poem on the frontier poem describes the story of a general hunting a tiger. It is based on the "Biography of General Li" by Sima Qian, a historian of the Western Han Dynasty, which records the deeds of Li Guang at that time. The original text is: "When we hunt, we see the grass and see the stones in the grass, and we think that the tiger is shot in the middle. There is no arrowhead (arrow). When we look at it, it is a stone."

It means: late at night, the mountains and forests were dark, and suddenly the wind was blowing, and the grass was shaking and shaking. The frogman was waving and talking to him, a white tiger was vaguely rushing towards him. At this time, the general was galloping past the forest. He was quick-eyed and his hands were quick, and he pulled his bow and shot out with an arrow...

The next morning, the general remembered what happened in the forest last night and came to the scene along the way. He was shocked: In the bright morning light, he clearly saw that the one he shot was not a tiger, but a huge rock. He squatted there silently with fear, and the white feathered arrow penetrated deeply into the stone edge!

This poem describes the story of General Li Guang, a famous general of the Western Han Dynasty, "rafted a horse at night, and shot a stone with a bow."

In other words, this large pot of Yuan blue and white characters should be called the "Large pot of Yuan blue and white Li Guangye's bow".

This is a very famous story that has been circulated among the people for thousands of years. Unexpectedly, the story was also drawn on the large pot of Yuan blue and white porcelain.

This big jar is also a big jar with characters that has never appeared before, and its value is also incalculable.

Obviously, these two large jars should be a pair of large jars. Whether from the shape, pattern format or blue material, these two large blue and white jars should be fired from the same kiln, especially the patterns of the theme story, one is the story of Xiao He and Han Xin in the early Western Han Dynasty, and the other is the story of Li Guang, a famous general of the Western Han Dynasty.

Whether it is the story of Xiao He chasing Han Xin under the moon or the story of Li Guangye catching the bow, they are all stories that have been passed down for thousands of years. These two Yuan blue and white jars are decorated with these two stories as the themes, which obviously form a pair!

What is the concept of a pair of almost identical Yuan blue and white characters’ stories?

Anyway, the nine Yuan blue and white jars that have been born are of different sizes. Even the two Yuan blue and white jars with the same theme pattern are of different specifications. In other words, the nine Yuan blue and white jars that have been born are produced in different years, and even the kiln workers are probably not the same batch.

And these two big jars are obviously a pair!

If it is a single Yuan blue and white character big jar, its value may be measured by money, but if this pair comes out, then the value is really hard to say!

Some things are the more unique, the better, and the more lonely the product is, the more valuable it is, such as the imperial seal, such as the "Preface to the Lanting Collection", but some things are the more complete, the better it is, the more valuable it is, such as the Nine Cauldrons of Dayu, and the Twelve Golden People of Qin.

If there were two imperial seals in Chinese history, I am afraid that the emperors of all dynasties in China would not have pursued the imperial seals so persistently. If Wang Xizhi had written two or more "Preface to the Lanting Collection", then this calligraphy would not have become "the first running script in China".

Similarly, if there is one missing from Dayu's Nine Cauldrons, what's the matter? Also, there are obviously twelve golden men, but there are still ten left in a row. I'm afraid everyone will try their best to find the two lost golden men, and try every means to make the twelve golden men into a complete set.

This principle also applies to these two large pots of Yuan blue and white characters.

This kind of porcelain, which was a kind of decoration in ancient times, was naturally beautiful in a complete set. These two large jars were obviously made according to one set. Therefore, if there was no other one, it would cause a sensation if it was taken out, but it would definitely not be astonishing as these two large jars were born together!

Yang Jing was absolutely satisfied with these two unexpected large jars of Yuan blue and white characters. During the treasure hunt, Yang Jing got the least thing that Yang Jing got was porcelain. Whether it was the earliest treasure of Duke Mu, the treasure of Gaddafi, the treasure of the last Tsar, and the treasure of the treasure of the treasure of the treasure of the treasure of the treasure of the last tsar, and the treasure of the treasure of the treasure of the treasure of the treasure of the treasure of the treasure of the last tsar, almost no ancient Chinese porcelain was found in those treasures. Apart from getting some extremely precious Tang Sancai in Wu Zetian Tomb, Yang Jing never bought the other ancient Chinese porcelains again, which made Yang Jing very disappointed.

Although there are many treasures in the treasures I have been looking for before, and any one I can find is a national treasure, it would be a pity that as the most representative antique in China, if there are not a few porcelains that can be used to show off, it would be a pity.

However, Yang Jing also understood this situation somewhat. After all, porcelain is not easy to preserve. Besides, Chinese porcelain, especially ancient official kiln porcelain, was priceless in modern times, but it was nothing in ancient times. For ancient royals, porcelain was a kind of daily necessities and decorations, and its practicality was far lower than that of other important materials, such as gold.

Therefore, among the treasures left over from ancient times, it is inevitable that there are very few or even nearly non-existent porcelains.

But what Yang Jing did not expect was that during this trip to the Philippines, he found two extremely precious Yuan blue and white jars underground in a church in a city. This finally made up for the regret of not finding precious ancient Chinese porcelain before.

Although these two Yuan blue and white characters have only two large jars, even if they are placed in the Palace Museum, they are definitely treasures of the museum. If these two large jars are displayed in their own museum, their weight will be absolutely heavyweight.

Satisfiedly, he carefully placed the two large jars in a corner of the space, and Yang Jing began to attack the next big iron box.

As a result, when the fourth box was opened, the rotten thatch that caught your eye shocked Yang Jing again!

"Is there any porcelain in this box?" Yang Jing wished he could raise his head and laugh. If the big iron box still contains porcelain, that would be great.

I was worried that there were no heavyweight porcelain in my collection, but I didn’t expect to find two boxes of porcelain here at once. Is this considered a sleepy person giving me a pillow?

Yang Jing carefully pulled apart the decaying thatch on the upper layer. Sure enough, under the protection of the thatch, one porcelain after another wrapped in oil paper was lying quietly...
Chapter completed!