Chapter 3, Return Policy

However, the only ones he can extort are the street vendors. Major businesses like Panlou, Sangjiawazi, and Neizhongwazi, which have strong backing, naturally do not pay any attention to a rogue like him. Even the likes of Wujia Huazhai, which deals in calligraphy, paintings, antiques, and medicinal herbs, do not acknowledge Zhao Tieniu.

The name "Zhao Tieniu" immediately flashed in Wu Haogu's mind

Until they took out seven pieces of calligraphy and painting in one breath, claiming that they wanted a refund

Therefore, when the gate of the Wu family's painting studio was knocked open by the noblemen Liu Ai and Liang Shicheng from the Imperial Academy of Calligraphy, Wu Chengzhi and Wu Haogu were completely unaware of the impending disaster

Wu Dalang walked with his head covered, while searching through his mind for fragments of memories related to the calamity that threatened the Wu family with annihilation

Indeed, Wu Haogu clearly remembers that this transaction took place, and he can only acknowledge it.

As of now, more than half of the two-month deadline has passed, yet Wu Haogu has not managed to raise even a single copper coin

At this time, the food stall in front of the Wu family's painting studio had already been cleared away, and a large group of ruffians was blocking the entrance. There were also quite a few passersby and vendors from Panlou Street gathered around, and the sound of arguments could be heard from time to time

"Wu Dalang!" Zhao Tieniu exclaimed, "Now that you have come out of the Kaifeng Prefecture prison, why do you still not show yourself all day? Have you sold too many counterfeits and can no longer face the people of Panlou Street?"

Wu Dalang has arrived

Zhao Tieniu, due to his robust physique and his background in the Imperial Guard, along with having trained in wrestling techniques with the renowned master Lin Laohu from the Sang family, found himself with few rivals in fights and brawls, thus becoming a dominant figure among the ruffians. The entire Panlou Street was his "territory," where vendors setting up stalls were required to pay him a regular fee, essentially a protection fee.

The performance hall hosts all-night shows featuring various programs such as sumo wrestling, shadow plays, variety dramas, puppetry, singing, acrobatics, musical performances, and magic tricks. There are also sales of goods, medicines, and food, as well as services like fortune-telling, divination, and laundry. Typically, there are also gambling venues (casinos). It is almost a replica of the modern integrated shopping centers that combine shopping, entertainment, leisure, dining, and cinema.

The amount of money that truly fell into Wu Cheng's hands was only around 27,000 to 28,000 strings. However, according to the contract documents from the subordinate department of the Inner Palace, the Wu family's painting studio had received a total of 51,000 strings.

"Lin" refers to writing or painting according to the original work; "Mo" refers to placing thin paper (or silk) over the original work to write or paint.

These seven pieces consist of three calligraphy works and four paintings. The calligraphy includes Yang Shaoshi's "The Method of Immortal Living", Liu Shaoshi's running script "Sixteen Days", and a fan painting by Cai Zhonghui, which is inscribed with Du Mu's "Spring in Jiangnan"

Such a large sum of money is certainly not easy to raise, and the deadline given by the palace is urgent, leaving no room for the Wu family to slowly sell their treasures. Therefore, Wu Cheng could only pawn a few genuine masterpieces from his collection, and with the cash on hand, he managed to submit a total of thirty-three thousand strings of cash by the deadline.

Certainly, it is not a full refund, but rather, according to industry standards, a refund of ninety percent of the amount.

Since it is a fine product and is being sold to the officials of the Song Dynasty, Wu Chengzhi did not feel it appropriate to ask for less. For these seven paintings, he charged a total of fifty-one thousand strings of cash

Those authentic artifacts that are more real than the truth, just a small amount of pocket money in the hands of the Song Dynasty officials, can hardly purchase a few sheets of paper

The painting "The Immortal's Daily Life" sent to the palace by Wu Cheng is indeed not authentic, but it should also be a work copied by a renowned master from the early Song Dynasty

It is truly exasperating!

Master Liu is none other than the renowned Liu Gongquan, who also served as the Grand Tutor to the Crown Prince, thus earning the title "Master Liu." His authentic calligraphy was already considered exquisite during the Northern Song Dynasty, something Wu Chengzhi could not attain, and certainly, the Song Dynasty's Zhao Xu (Emperor Zhezong) could not afford. Therefore, the calligraphy piece that Wu Chengzhi presented to the palace was also a fine imitation, undoubtedly originating from a master calligrapher.

By the way, the exquisite copies in both the imitation and the original versions were also highly valuable during the Northern Song Dynasty. Due to the lack of advanced photography and printing technology in the Northern Song, the difficulty of replicating famous paintings was extremely high. Ordinary painters did not even have access to the originals or exquisite imitation copies, so what could they use to replicate them

The so-called rascals refer to local bullies and hoodlums. They usually gather in groups of three to five, behaving tyrannically, yet they do not commit any capital offenses that would warrant severe punishment. As a result, the authorities are unable to deal with them, and ordinary citizens dare not provoke them

Someone suddenly exclaimed, interrupting Wu Haogu's thoughts. Haogu looked up and realized that he had arrived at the intersection of Panlou Street and Moxing Street. The southwest corner of the intersection is the renowned Sang Family Tile House, while the northwest corner is the Neizhong Tile House

In the calligraphy and painting shops of Kaifeng during the Northern Song Dynasty, good copies and reproductions were considered to be "relatively genuine" artifacts. Many items sent to the palace by the calligraphy and painting officials were merely "relatively genuine" as well

Wu Haogu hurriedly quickened his pace and arrived in front of the shop, only to find a group of idle ruffians blocking the tightly shut door of the painting studio, shouting and cursing.

These activities are all in service of the nobility, and even casually befriending a few individuals is beyond the reach of someone like Zhao Tieniu, who is nothing but a rogue. Even the Wu family, which has fallen on hard times now, is not something Zhao Tieniu can easily manipulate

Among the dozens of large and small tile houses in Kaifeng Prefecture, the largest and most prosperous is undoubtedly the Sang family tile house. The small painting studio belonging to the Wu family is located directly across from the Sang family tile house, right in front of the tile house itself. This is truly the most prime location in Kaifeng Prefecture

However, in Wu Haogu's memory, this paper "Guardian Deity Painting" is indeed a genuine work of Zhang Fang...! ... There is at least an 80% chance that it is authentic! Therefore, in the contract established, Wu Chengzhi promised a full refund if it is found to be a fake!

Both "lin" and "mo" have their strengths and weaknesses. "Lin" is easier for learning brush techniques and strokes, but it is not easy to grasp the structure of the composition; on the other hand, "mo" facilitates the understanding of the structure of the composition, yet it is challenging to learn brush techniques and strokes. In terms of difficulty, "mo" is easier while "lin" is more difficult. However, both are essential courses for painters or calligraphers

Zhao Tieniu is a ruffian and not a cultured person, and he indeed has little connection with the world of calligraphy and painting

It was a day over a month ago, raining, and the Wu Family Painting Studio had little business.

During the Song Dynasty, contracts were indeed a common practice. Larger transactions typically involved the establishment of a contract, which, according to legal regulations, also required official endorsement. In the Panlou market, transactions involving calligraphy, paintings, and antiques, especially those of significant value, generally necessitated a contract. Three months ago, Wu Cheng sold a "Guardian Deity Painting" to the owner of the Wanjia shop, and a contract was established for this transaction. Therefore, Wu Haogu cannot deny this now and must acknowledge it.

In other words, the Wu family is entitled to a full refund of fifty-one thousand strings of cash

Due to the complete lack of business at the Wu family painting studio, there has been no news regarding the officials and private merchants on Topan Street assisting in the sale of the collected fine items

Therefore, truly good copies and reproductions are of great value

It is evident that those who have framed the Wu family have already informed the Kaifeng Prefecture's calligraphy and painting establishments: they are not to provide any facilitation for the Wu family in painting and selling calligraphy and paintings

Zhao Tieniu merely smiled coldly, reached out, and took a scroll from the hands of a ruffian beneath him, waving it in front of Wu Haogu. "Your father, who specializes in selling fake paintings, deceived Lord Wan, the owner of thousands of shops on Moxing Street, three months ago with a piece titled 'Guardian Deity of the Law', claiming it to be a genuine work by Zhang Fang, and charged eight thousand coins. Is there any truth to this?"

Among the treasures collected by the Wujia Painting Studio, there are two authentic pieces of "Huang Jia Fu Gui", as well as four exquisite replicas and copies that are highly convincing.

The result was that the Inner Court immediately ordered the Imperial City Division to apprehend the individuals, and both Wu Chengzhi and his son Wu Haogu were taken into custody at the Kaifeng Prefecture prison. Furthermore, the Wu family was required to pay the remaining eighteen thousand strings of cash within two months, or else their estate would be confiscated and they would face legal repercussions

The瓦子, also known as瓦舍 or瓦肆, features different performance areas, referred to as棚. Within the棚, there is a stage designated for performances, which is named "勾栏" due to its surrounding railings on all four sides

Zhao Tieniu chuckled and took out a contract from his bosom, throwing it in front of Wu Haogu. "It is clearly written in black and white, guaranteed without exception. Even if we go to the Kaifeng Prefecture, the lawsuit is sure to be won. Wu Dalang, are you trying to renege on the deal? Eight thousand strings at a ten percent discount amounts to seven thousand two hundred strings. When will you produce the money?"

However, not all of the 51,000 strings of cash were brought in by Wu Cheng. The officials involved in the Academy of Painting, including those waiting for appointments and those in charge of contracts, all required kickbacks.

Cai Zhonghui is Cai Xiang, and his authentic calligraphy works were equally expensive and extremely rare during the Yuanfu period of the Northern Song Dynasty. The fan presented to the palace by Wu Chengzhi is a replica, but it is a very good imitation, having already achieved about ninety percent of Cai Xiang's calligraphic skill. Wu Chengzhi himself analyzes that this work is most likely a masterpiece by Mi Fu

Wu Chengzhi, also known as Wu Haogu's father, is calculating accounts. Wu Haogu is copying a painting titled "Huang Family Wealth and Nobility"—the flower and bird paintings by the renowned artists Huang Quan and his son Huang Jucai from the Five Dynasties and early Northern Song period. Their style, characterized by its opulence, is well-suited to the luxurious atmosphere and decorative tastes of the imperial court, which is why Huang Quan's works were highly favored by the royal family and became a standard for the selection of paintings in the early Northern Song Academy. Their painting style is also referred to as "Huang Family Wealth and Nobility." In the calligraphy and painting shops of Kaifeng, "Huang Family Wealth and Nobility" also generally refers to the works of the Huang family, including authentic pieces, copies, and reproductions. Thus, Huang Quan's style was deeply appreciated by the royal family and became a criterion for the selection of paintings in the early Northern Song Academy. Their painting style is also referred to as "Huang Family Wealth and Nobility." In the calligraphy and painting shops of Kaifeng, "Huang Family Wealth and Nobility" also generally refers to the works of the Huang family, including authentic pieces, copies, and reproductions.

Therefore, good copies and reproductions not only possess high aesthetic value but can also be used for the study of calligraphy and painting—studies in calligraphy and painting generally begin with copying and reproducing.

Yang Shaoshi, also known as Yang Ningshi, was a successful candidate in the imperial examination during the reign of Emperor Zhaozong of the Tang Dynasty. He subsequently served in the Later Liang, Later Tang, Later Jin, Later Han, and Later Zhou dynasties, eventually attaining the position of Grand Tutor to the Crown Prince. He is commonly referred to as "Yang Shaoshi" and is a renowned calligrapher of the Five Dynasties period. His works were considered treasures even during the Song Dynasty, and it is not an exaggeration to say that each character was worth a thousand gold pieces

At that moment, one of the tall and robust men approached Wu Dalang. He was dressed entirely in black, with a wide belt around his waist, his face full of bulging muscles, and his gaze exuded a fierce and intimidating aura

"Zhao Daguoren," Wu Haogu said with annoyance as he clasped his hands in greeting, "what does the business of the calligraphy and painting shop on Panlou Street have to do with you? Why did you block the entrance to my family's painting studio?"

If the paintings and calligraphy cannot be sold, how can one raise 18,000 yuan?

The four paintings are Fan Kuan's "Snowy Scene in Cold Forest", Guan Tong's "Traveling in the Mountains", Dong Yuan's "Summer Mountain", and Zhang Fang's "Heavenly Maiden Scattering Flowers". These four paintings are indeed all copies, yet they are considered exquisite examples among copies.