Appearing before Jeanne was the largest warehouse she had seen so far, roughly the size of one and a half basketball courts. What was even more shocking was that the warehouse was packed to the brim, filled with piles of boxes covered in plastic sheets.
The boxes were so densely packed that anyone slightly overweight wouldn't be able to squeeze through the gaps between them, highlighting just how much was stored in the warehouse.
"Here are the account books." After scanning the room, Liang En quickly found two books bound together, placed atop one of the boxes. Upon opening the books, he immediately realized what they were.
"That's right, no doubt about it. The bronze palace we're looking for is indeed here, and in addition to the dismantled palace, the warehouse also holds a series of other cultural relics from China."
The book was clearly prepared by the major to be passed down to his successor, written in great detail. It contained not only a comprehensive inventory of the items in the warehouse but also the entire history of how they were acquired.
According to the records, this major found a stash of Japanese treasures during his service in Korea and Japan, then used his power to transport those items back to the United States.
Of course, judging by the major's tone, the methods he used to extract information from the Japanese were far from humane. However, that was what those devils deserved.
After obtaining a large amount of treasure, the major encountered a problem. Most of the treasure was historically significant, making it impossible to sell.
This wasn't because these Western countries were particularly kind or just, intending to return the items to their rightful owners. Instead, they would have simply taken the items from the major and claimed them as their own.
So, over the next few decades, the major kept moving and hiding the items, hoping that time would erase everything. And it seems his plan worked quite well.
As time passed, most of the artifacts looted during World War II were laundered, meaning they could be valuable again.
Unfortunately, the major grew old and no longer had any use for the money. So he decided to leave everything to his nephew, his chosen successor.
He made a series of preparations, such as moving most of the items years in advance and gradually abandoning the base. He even left a generator and these books for his successor to collect.
Naturally, the collapsed remnants at the entrance from an explosion were also left by the major. He believed that detonating the entrance would prevent curious adventurers from finding the treasures he left behind.
"This explains everything. He just didn't anticipate dying so quickly, leaving no time to inform his successor of the most crucial details."
After reading the records, Liang En finally understood what had happened. As he suspected, there was indeed a treasure hidden here by that American.
Aside from the famous "Zongjing Pavilion," the warehouse also contained a batch of artworks made from copper, stone, ceramics, or wood, including exquisite statues and stone carvings filled with inscriptions, most of which were related to religion, though some were not.
For example, Liang En discovered a square-shaped epitaph and a beautifully painted and gold-leaf-adorned brick carving. While the specifics of these items were unclear, the inscriptions suggested they were anything but ordinary.
This also demonstrated the highly organized nature of the Japanese looting. In normal circumstances, invaders typically targeted valuables like currency or precious metals that were easy to carry.
"Look, these should be the boxes containing the building components of the Zongjing Pavilion." As Liang En inspected the inscriptions on the stone stele with his flashlight, Jeanne suddenly stood up and waved at him.
At her feet was a newly opened wooden box, inside of which were several oiled paper packages. One of these packages had been opened and placed atop the others, revealing a bronze tile the size of a palm.
Upon closer examination, Liang En found that the item was a triangular bronze tile with an engraved image of a dragon soaring through the clouds.
The dragon was depicted majestically, surrounded by auspicious clouds and precious pearls, exuding a powerful and vigorous aura. The craftsmanship was superb, with meticulous attention to detail.
The dragon scales were clearly visible, and even the dragon's beard was finely rendered, displaying the typical characteristics of Qing Dynasty Qianlong-era court art. The back of the tile was engraved with "Upper Rear Left Two," indicating its placement during assembly.
Most importantly, this bronze tile bore an astonishing resemblance to the tiles of the Baoyun Pavilion in both pattern and design, allowing Liang En to confidently confirm that it indeed belonged to the Zongjing Pavilion.
After sequentially opening the other boxes, he found that the majority of the warehouse was filled with various bronze architectural components.
"Good news, it seems we've found the right place." Sensing a card prompt in his mind, Liang En nodded in satisfaction, as this signified the success of his search.
However, in terms of value, the true treasures lay in several temperature- and humidity-controlled safes at the back of the warehouse: they were filled to the brim with ancient Chinese paintings and calligraphy.
A brief inspection confirmed that the collection was filled with masterpieces, including works by renowned artists like Liang Kai, Li Di, and Huang Tingjian.
The contents of another box were even more precious, containing over a dozen bronze artifacts. Although Liang En wasn't very familiar with bronzes due to various reasons, he could tell that these pieces were likely top-tier items based on their overall condition, particularly the degree of corrosion and the intricate designs.
In bronze artifact appraisal, the more intricate the patterns, the higher the value, as more elaborate designs indicate greater difficulty in production and require higher skill and effort from the craftsmen.
For example, ancient ritual vessels used for worship were exceptionally ornate, astonishing even by today's standards, while tools or weapons were noticeably rougher.
The degree of corrosion in bronze artifacts is also related to the metal smelting process. The higher the smelting level, the more scientifically balanced the bronze's composition, resulting in fewer impurities and less rust, while rougher bronzes corrode more easily.
Liang En concluded that these bronzes were indeed top-notch based on this theory, as they were not only exquisitely crafted but also showed minimal rust, indicating their premium quality.
In a way, the Japanese were indeed good students of the Chinese, particularly when it came to appreciating items with strong national characteristics. Among non-Chinese, the Japanese had the highest level of appreciation.
So, while such items might be found at a bargain in the West, it was nearly impossible in Japan. Yet, this American major was extremely lucky to have scooped up all the fine cultural relics looted by the Japanese from China.
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