Riding the wind of rebirth

Chapter 1522 Good work in the middle of the night

Because the plot was too complicated and brain-burning, the film lasted more than two hours. By the time we came out of the movie theater, it was already past 11 p.m.

Hearing that something happened in the screening room of the Sports Academy, Liang Hong and Yang Honghui hurried back. These two people are now a bit like "social activists" in the school. They are in nine out of ten places. They have many friends and are worried about causing trouble. There is a companion in the thorn head of the child.

They were in a hurry to go back, so Zhang Lu, who was on the same road, had no choice but to leave together. The remaining Liu Lu and Zhao Zhonggang were just at the time when the honey was mixed with oil. Zhao Zhonggang was a person who had lived in a collective life for a long time, so it was not easy to catch him. The chance for the two of them to live a life was gone as soon as the movie ended.

In the end, only Big Baozi Band and Xu Jingfei were left, leaving Zhou Zhi to send them off.

I went upstairs and took a look. Yang He hadn't come back yet. He was probably staying in the hospital to work overtime again.

Struggle in the workplace is actually not complicated sometimes. As long as you maintain the enthusiasm at the beginning of your work and continue for several years, you will not be able to become an expert.

The key is persistence.

So Zhou Zhi did not persuade Yang Heyou to take it easy. This boy was full of energy now, so it was not easy to dampen his enthusiasm.

In fact, he himself is also elusive. Although the two live in the same place, there are really not many opportunities to meet.

"Brother Elbow, Tingting said you wrote this story?" On the way back to Sichuan Sound, several girls from the Big Baozi band were chattering and discussing the plot of the movie intensely in the car, making it very noisy.

The key is that the plot is quite brain-burning, and the silly girls still didn't understand many parts. In the end, Zhou Zhi was asked to judge to see who understood it correctly.

So Zhou Zhi had no choice but to review the story with them while driving. For example, when Jesse Cheng first discovered the location of the dragon head, the reason why he misled Lu Siyi was because he had noticed that there was a mole in Interpol, so he deliberately used Lu Siyi. Yi released the news and passed false information to the leader of the criminal group in this way.

At the same time, he also verified his own ideas and uncovered the culprits.

However, if Lu Siyi was informed of this matter in advance, the secret would definitely be exposed. Therefore, the best way was to deceive Lu Siyi as well, but this made Lu Siyi even more convinced that Jesse was a criminal who preyed on the underworld.

However, he hid some details at every step, so when Lu Siyi finally decided to arrest him, Jesse Cheng was able to successfully clear his name again.

"What is the structure of Brother Elbow's head?" It can be said that every plot of the story is intertwined. After the explanation, Guan Tingting and Hu Rui looked at each other in confusion: "How about... let's watch it again tomorrow?"

No one in the co-authorship understands it!

But it didn't seem entirely right. Zhou Zhi caught a glimpse of Xu Jingfei, who had been silent all this time. When he was explaining the plot, the boy had a clear expression on his face. He seemed to be a smart kid.

However, their energy was so high that they had no intention of sleeping at all. Guan Tingting adjusted the music of the big sister, added an electric violin to Xu Jingfei in her studio, and developed Xu Jingfei into the band Big Baozi. Non-staff members.

After sending several children to the Caotang community, Zhou Zhi turned around and drove towards Suihuaxuan.

He now has a "survivor bias" and believes that his luck is best after twelve o'clock in the evening, and that work done secretly in the middle of the night is good work and often yields great rewards.

Using a flashlight, I came to the three large tanks in the corner. After a week of soaking, the outer clay sculptures of the three statues here have turned into mud.

Zhou Zhi reached into the vat and took out the inner tube of the statue that was half buried in the mud. Under the light of the flashlight, a dark statue appeared.

The statue is a very obvious Buddha statue. Judging from the face and clothing, it has the characteristics of the Southern and Northern Dynasties statues. However, due to the mud on the face, some details cannot be seen clearly. However, in any case, it is not comparable to the level of mud statues made by previous rural craftsmen. of.

Zhou Zhi whistled lightly, and it seemed that what he discovered on the inner wall of the mud tire was not in vain. The craft of ramie sculptures began in the Northern and Southern Dynasties. The earlier the time, the higher the level of the sculptures. Judging from the general shape, it should be the age of the statues. Something long gone.

There was a big bucket next to him. Zhou Zhi only roughly cleaned out the statues in the first bucket, then transferred them to the fresh bucket and carried them back to his bedroom.

The full name of the ramie sculpture technique is "dry lacquer and ramie sculpture technique", which is also known as dry lacquer statue, empty statue, beat-shuang statue, desand statue, etc.

When making a statue, first make a clay mold, then sew a piece of cloth on the clay mold, then apply it with lacquer to decorate it, then remove the mud and leave it empty to create the image.

Therefore, Volume 77 of "The Sound and Meaning of All Sutras of Huilin" quotes from Volume "Sakyamuni's Fangzhi": "Those who hold the knot in their hair should take off the empty image and cover it with lacquered cloth."

The small note in volume 12 of "The Records of the Western Regions of the Tang Dynasty" also says that "Jiazu is now called Tuosha".

"Zizhi Tongjian" Volume 205 Hu Sansheng's comment on the Zhizhu image also says, "Those who use Zhizhi cloth as a large image are made of seams in the Zhi cloth, which is later called 'Ma Zhu'".

As for the origin of this craft, it first started in the Han Dynasty. At that time, people had already begun to use varnished cloth to make crowns and jus. They also used bamboo to weave gray tires to make plates, bowls and other containers.

This kind of lacquered silk product is called Xia Zhou by the Han people. For example, in the tomb of King Xu of Han Dynasty, "Xia Zhou Cup" and "Xia Zhou Plate" with inscriptions were unearthed.

In the fourth century AD, with the introduction of Buddhism, Chinese history began to have written records and famous figures who made statues.

In the catalog of the original collection of Fayuan Zayuan in Volume 12 of "The Collection of Tripitaka Records", there is "The Record of the Erdai Zhizong Portrait of Qiao State."

The second Dai here refers to Dai Kui and his second son Dai Yong.

Volume 3 of "Bianzheng Lun" also records: "Daian Dao, a regular servant of the Jin Dynasty, was excellent in learning and art. He built the Zhaoyin Temple and made a self-made five-clip statue. They are very similar to each other and always shine with divine light."

Andao is the name of Dai Kui

Volume 16 of "Fa Yuan Zhu Lin" also says: "Kui also made the five-body statue of Xing and spent ten years on it. The statue is still in Waguan Temple."

The Buddha statues made of Zou made the body very light, which was convenient for the "walking statue" activities at that time. It developed quickly. Dai's Zou statues may not be in the minority at that time.

After that, more and more statues were made, and they became larger and larger. For example, Volume 16 of "Guanghong Mingji" records that Emperor Jianwen of Liang Dynasty made a thin gold statue with an eight-foot-foot-long scroll, and Volume 3 of "Bian Zheng Lun" also contains a record of Chen Shangshu Yuan Xian built ten-body statues in Shangdinglin Temple. In the north, Meng Zhonghui of the Northern Wei Dynasty built a statue of a Chinese man with a bandage in Yongming Temple in Luoyang in the early sixth century. The fourth volume of "Luoyang Jialan Ji" described it as a rare and rare figure in the world, and also recorded its supernatural deeds. This all proves that during the Southern and Northern Dynasties, the statues with hairpins in them were quite popular.

In the early Yuan Dynasty, there was another famous figure who made statues, "Baodi Liu Yuan, whose courtesy name was Zhengfeng, was even more proficient and outstanding. At that time, it was also called Bohuang statue."

"Liu Zhengfeng Sculpture Notes" in Volume 7 of "Tao Yuan Xue Ancient Records" says: "Those who strive for change, the silk soil is covered with soil and painted on it, but the soil has been removed, and the painted silk still looks like it. In the past, people tried to do it. Zhengfeng is especially good." The same book also said: "Anyone who has a mold made of clay and gold and is transformed into a Buddha by Zhengfeng's hand is unparalleled in the world."

(End of this chapter)