Recycling of old stamps, acquisition of Cultural Revolution stamps, recycling of celebrity letters, acquisition of old objects

Recycling of old stamps, acquisition of Cultural Revolution stamps, recycling of celebrity letters, acquisition of old objects Tel: -+ There is a tea restaurant called "Reading Time" in Shanghai. People come and go here every morning, and business is very prosperous. In the corner of the restaurant, there is a collection room called "Guyunxuan". Many guests like to go in and take a look after their meal. The owner of this "Guyunxuan" is Liu Wen, a collector of folk items in our city. The collections displayed here are all old traditional folk items that were common in the past but are now rare. On the morning of the 3rd, the reporter came to the "Gu Yun Xuan" and saw many old objects from the Ming and Qing Dynasties, such as furniture, cabinets, and drawing boards. Each piece was antique, and the spectators seemed to be on a journey through time and space, feeling the influence of history. Collision and blending. He has a special liking for folk items and has a primary school culture. He "plays" elegantly. Liu Wen, who is 20 years old, is a native of Lianyungang City and later joined the industry to work in our city. Speaking of his indissoluble bond with collecting, we have to start from when he joined the army. "When I was in the army, I traveled across the country and had the opportunity to appreciate the local customs and customs. I saw many strange old objects and cultural relics. I was very interested in them." Liu Wen said that after joining the job, he devoted all his business time to Used for collection. A few years ago, Liu Wen's hobby gradually changed to collecting folk items. "In the past, old objects could be seen everywhere, but with the development of the times, they were slowly eliminated and disappeared from history." Liu Wen said that if you want to see them now, you have to go to museums everywhere. , some will never even see it, "I feel it is my responsibility to pass on this culture and let future generations feel the intelligence and wisdom of our ancestors." Collecting old objects requires a certain amount of knowledge and foundation. Due to financial difficulties at home when he was a child, Liu Wen dropped out of school in the third grade of elementary school and stayed home. Although he later studied hard, he always felt that there was something lacking. In terms of traditional culture, he always felt that he did not have enough foundation. "Collecting is a science. Without considerable cultural reserves, you will not recognize the treasure even if it is right in front of you. You will only suffer a loss and be fooled." Liu Wen said that he bought a large number of books to "make up for it" and often communicated with people in the collecting world. Friends learned and communicated, and gradually mastered some collection knowledge. Three warehouses are not enough for the collection. As long as it is related to folk customs, Liu Wen has collected them all. Since he fell in love with collecting folk custom items, Liu Wen is unwilling to give up every collecting opportunity. Over the years, his home became filled with various collections. On March 3, reporters came to his home on Kaikai Avenue and saw that the garage was filled with old furniture and household porcelain from folk kilns. This was only part of Liu Wen's collection. "My house is also full of them. I also have two warehouses where my collections are stored." Liu Wen said that old objects are mostly related to tables, chairs, boxes and cabinets, which take up a lot of space. How to properly arrange them now becomes a big problem. problem. The reporter learned that the old folk objects collected by Liu Wen can be roughly divided into furniture (such as desks, Eight Immortals tables, Taishi chairs, flower tables, etc.), cabinets, baskets and drawing boards (originally part of large old objects, There are hundreds of pieces carved with various characters and stories. Currently, part of the collection is placed in the "Guyunxuan" for free viewing by the public. "Do you know what this thing is used for?" Whenever he sees a guest walking into "Guyunxuan", Liu Wen likes to point to the collection and test everyone. If a guest couldn't answer the question, he would remind him from time to time. If someone could answer it, he would be extremely happy. "Actually, the things I pointed out to you were relatively common in the late Qing Dynasty and the early Republic of China." Liu Wen said that these old objects are closely related to everyone's production and life, but few people can answer them. "This makes it even more exciting." I feel that what I am doing now is meaningful." In order to match the couplets in the nave, Liu Wen "fiddled" several times. A nave painting was hung in the center of the wall, and a pair of couplets were paired on the left and right sides. In front of the calligraphy and painting, there is a table. In front of the table, there is an Eight Immortals table and an imperial chair on one side. This is almost the "standard configuration" in the halls of traditional Chinese houses since the Ming and Qing Dynasties. As the representative of hall culture, hall calligraphy and painting are the top priority. The calligraphy and painting couplets in the hall of "Guyunxuan" are "People live in the harmonious spring breeze, living beside green water and green mountains." The author was a Qing Dynasty person who painted traditional Chinese landscape paintings, and the author was also a Qing Dynasty person. Their collection was hard-won, and the entire collection process was representative of Liu Wen's various hardships in collecting old objects. A few years ago, Liu Wen met a friend in Huai'an and was told that there were many old books, calligraphy and paintings in his home, and was invited to deal with them together. "When I saw this couplet, it was seriously damaged, but the writing was very powerful and the words were easy to understand." The friend then gave the couplet to him. Liu Wen found professionals to repair and frame the couplets, and then spent a lot of effort to collect a landscape painting from the late Qing Dynasty to match the couplets. After a while, Liu Wen found another painting whose artistic conception matched the couplet better, so he bought it without hesitation. Later, Liu Wen found another painting that matched the couplet better and bought it again... In this way, Liu Wen bought a total of landscape paintings to match this couplet. "I spent a lot of money, but the current hall calligraphy and painting are very suitable in terms of style and charm." Liu Wen couldn't help but feel proud. It is with this persistence that Liu Wen collected many old objects that are rarely seen in large museums. For example, the Shanghai Museum now has a Ming Dynasty book box in its collection, but Liu Wen has several in his hands, and they are in good condition. Another example is the Shuimouzi (similar to today's thermos bottles) which were very popular during the Qing Dynasty and the Republic of China. They are rare in museums across the country, but Liu Wen collected ten of them at once. Liu Wen also has some similar orphan products.