Riding the wind of rebirth

However, the two in this cheerful song has been changed by Zhou Zhi to all, can't has been changed to can, jump and down have been replaced by various verbs, and the male protagonist Joise and the female protagonist Susan are often interchanged.

The audience danced along with the song. Whenever Zhou Zhi sang a verb, the boys or girls had to perform the corresponding actions in the lyrics, because Zhou Zhi could control the speed of the music. For example, when he sang the part about the boy standing on one leg, the rest of the song became "Oh my Susan Oh my Susan Oh my Susan Oh my Susan..." and it dragged on for a long time. Then many fat North American men could not stand on one leg for too long and fell down. Also, because the protagonist's name was not announced until the end, some people were aroused by Zhou Zhi's singing and performed the actions in advance. In the end, they found that Zhou Zhi replaced the boy with a girl and the girl with a boy, which caused a lot of jokes.

Old Crawford was sitting next to Zhou Zhi, accompanying him in the music. He saw what was happening below most clearly and laughed so hard that tears came out of his eyes.

"This show can be kept!" During the intermission, old Crawford patted Zhou Zhi on the shoulder and said, "George is really good at having fun! Hahahaha, I haven't laughed like this in a long time..."

These are actually the games Zhou Zhi played with the children in Lianhe Township, except that he changed the song into Chinese at that time. The gameplay is the same, and it has been restored now.

These "big kids" from foreign countries seemed to enjoy playing this game as much as the children from Lianhe Township.

"I just can't control it." Zhou Zhi cleared his throat: "Fortunately you have all the equipment. If there were no microphone like in my hometown, my voice would be ruined."

"You probably don't know that I'm also a freelance creator for the Digital Alliance Music Forum." Old Crawford said proudly, "It's too troublesome to find a recording studio, so I built one myself."

Zhou Zhi gave him a thumbs up: "I thought your singing and playing skills were not simple, it turns out!"

But deep down I found it funny. Is this considered a case of being in the dark?

Just then Mai Xiaomiao came over, accompanied by two children. The younger one was the younger sister, about three or four years old, and the older one was the older brother, about six or seven years old. The older brother held a candlestick-like porcelain in one hand and said, "Elbow, my brother and sister want to exchange the porcelain for two food boxes. Do you think it's okay?"

After saying that, he winked at Zhou Zhi, indicating that he should agree.

Both children are very beautiful. Their clothes are a bit old but very clean. The girl's denim skirt seems to be altered from adult clothes, but it is very beautiful, which shows that the person who made the skirt has good skills.

But it seems a bit hot to wear a denim skirt in this weather.

Zhou Zhi was attracted by the two little foreigners who looked like dolls. He didn't even look at the boy's hand. Instead, he rubbed the little girl's hair and found it was a little wet. He took out a dry towel to wipe her sweat and said, "Why don't we give two lunch boxes to our brother and sister?"

"We don't eat for free, we exchange for things." The little boy said seriously: "We have explained it to my sister."

Zhou Zhi then noticed Mai Xiaomiao's helpless expression. That meant that I hinted at you before but you didn't see it at all, right? Then he heard Mai Xiaomiao cough lightly and said very seriously: "We don't understand porcelain. Aren't you a porcelain expert? It's a good opportunity to show you."

Zhou Zhi was amused. He thought that two children had just brought candlesticks to the stall to exchange for something. Mai Xiaomiao casually said, "We don't understand this. We'll just give you two lunch boxes." But was rejected by the children.

In order to get the kids to eat the lunch boxes, Mai Xiaomiao had to hold the kids back and make up a reason that he was a porcelain expert and could ask Zhou Zhi to appraise it, so that he would have a reason to continue the transaction. Zhou Zhi took the two candlesticks from the little boy and started to talk: "Well, the items are all good, the rarest one is a pair... eh?"

Zhou Zhi's expression became solemn when he took the pair of "candlesticks" from the boy for the first time. Although there were still traces of wax on them, the fine patterns on them allowed Zhou Zhi to see the craftsmanship characteristics at a glance.

The best colored porcelain in the late Kangxi period was of course enamel. Influenced by enamel, porcelain workers tried hard to find glazes that could replace expensive enamel, while adding various colors to the paintings to enrich the pictures.

Therefore, during the Yongzheng period, imported gold-red materials were added to the original domestic glaze colors, forming a type of porcelain with a mature color and style, which was called "Yongzheng soft color".

Soft colors continued to develop into the Qianlong period. As the porcelain body became white and exquisite, soft colors fully matured. They eventually set off each other and were organically combined to form a color usage and coloring technique that was elegant, gorgeous, soft and smooth. This is the famous "Qianlong Famille Rose".

Famille rose combines the achievements of many ceramic crafts in one. In addition to pastel painting, it also often adds color, gold or black, or combines it with blue and white, five-color, doucai, etc., and applies them to one vessel, which eventually became the "Qianlong aesthetic" that was ridiculed by everyone.

In fact, this so-called "Qianlong aesthetic" started in the Kangxi period, and Yongzheng also played with it. The "high-end aesthetics" of the two dynasties, whether elegant or pure, were also pushed to the peak by Qianlong.

All I can say is that prejudice in people’s hearts is a mountain.

The two candlesticks are neatly shaped, well made, brightly colored, and especially exquisitely painted. The outer edge of the rim is painted with rouge red, with finely painted flowers, the neck is decorated with lotus petals of various colors, and the abdomen is painted with rouge red, with lotus-supporting eight auspicious patterns composed of eight auspicious animals, including the conch, the wheel of Dharma, the umbrella, the white cover, the lotus, the vase, the goldfish, and the panchang. Even among Qianlong's enamelware, they are of course top quality.

Although the color and texture are both of the fine official kiln porcelain, the shape is so special that it is no wonder that foreigners mistake it for a candlestick, because it looks so similar.

This pair of objects is about 26 cm high and shaped like a gourd with a tray on the top and bottom. In addition to the theme of the eight treasures pattern, the bottom is a lipped foot and the outer foot wall is decorated with double lotus petals.

There is also a small lip on the top, and a circle of thin coiled branches around the neck, with an additional "head" shaped like a prayer wheel on it, with a small opening on the top. The entire head has the same pattern as the abdomen, both with watercolor rosé as the base, and coiled flowers decorated with eight treasures in the middle.

The neck between the two is very distinctive, with three groups of lotus petals painted in alternating red, yellow and blue colors, a typical "Qianlong aesthetic style". It looks a bit like the rotating colorful lights outside a barber shop, which can be described as "neither fish nor fowl".

The place where the mouth of the vessel should be was now full of wax. After Zhou Zhi carefully picked it off with his fingernails, he found that a small glass wine glass of the right size had been stuffed into the original bottle mouth, and then the wine glass and the bottle mouth were glued together with wax.

So what was supposed to be a strange bottle turned into a truly practical candlestick, and it seemed to have been used like this for a long time.

Zhou Zhi carefully turned the bottle over, and his heart finally relaxed. The inside and bottom of the two objects were covered with turquoise green glaze, and the bottom was covered with red color with a blank space, on which was written the six-character seal script that he was very familiar with: "Made in the Qianlong Period of the Qing Dynasty."

Thank God, it was not like the two Qing Dynasty vases I received from Old John last time, which had holes punched in the bottom and were transformed into lamp bases. Both artifacts were intact. (End of this chapter)