My system is not decent

Chapter 1825 Repair and copy, reinforce and make old

After the color is done, the color also needs to be processed.

There are roughly three methods of rubbing the color.

One is to use 400 mesh fine water sandpaper and rub it with water;

Another method is to use a cotton ball dipped in alcohol and squeeze out the alcohol with your hands.

As long as the cotton ball is wet, gently rub it on the skin color;

The other is to mix fine mud with clean water, rub the mud paste on the surface color with an old cloth, rinse off the mud with clean water, and rub it with a nylon brush to get the luster after drying.

Regardless of the method of kneading, the strength should be moderate, not strong.

The color is good, it is old, and finally it needs to be rusted.

There are several ways to make this traditional way.

The most commonly used method should be the "spot mud method" to make rust spots.

Mix the pre-prepared fine soil with water to make a paste.

Dip the prepared mud with a toothbrush, and move the toothbrush with a small blade to make the mud cover the color of the shell.

Refer to the shedding condition of the original rust layer to make the mud in irregular shapes such as flakes or dots.

After the thin mud is air-dried, according to the color of the original surface rust, sand green is mainly used for powder rust, a little ultramarine and Taibai are added to fine quartz sand, and the paint leather juice should be slightly thicker.

After the granular rust is removed, some red, black, and blue stains are scattered.

After the color layer is dry, gently scrub with a soft leather brush dipped in water to wash off the mud.

Where the mud clods and mud spots fall off, the finished bottom skin color is exposed.

In the small part without mud spots or mud flakes, the dialed rust spots are left, and become rust spots (powder rust) with uneven bumps, different sizes, and different colors.

If the "base" is finely rubbed and calendered, the effect will be more realistic.

In addition to this method, there is a second method, which is pattern powder.

Some utensils, such as the chariots, shafts, doors, etc. of Qin bronze chariots and horses, should be made with raised complex patterns, and convex lines should be made when replicating.

Specifically, the traditional method can be adopted, and the rubber powder is wrapped in a plastic bag.

A "powder tip" is tied at the mouth of the tie, which is made of copper or iron sheet and looks like a brush cap. The diameter of the tip hole should be determined according to the width of the line.

The rubber powder is prepared according to glue, soil powder and Taibai 1:1.06:1.06.

Add a little varnish to mix, and add some pigments according to the color of the line.

Both soil powder and Taibai pigment should be finely ground.

The ratio of glue to water is 1:5, and it is 1:7 in spring, summer and autumn.

When draining the powder, hold the powder bag in hand, and squeeze the powder out of the powder tip along the pattern line drawn in advance like squeezing toothpaste.This is similar to the method of making flowers on the surface of a cream cake.

Squeeze out the rubber powder, stick it on the surface of the copperware, and pile it up into straight, curved, and raised lines to form a pattern.

Restoring an object should not be done blindly, but meticulous work is required, and new discoveries may be made during restoration.

For example, the "Yu Ding" in the Haihai Museum, the original inscription on the tripod has been finalized decades ago.

Both "Three Generations of Auspicious and Jin Wencun" and "Zhensongtang Collection of Ancient Remains" were recorded before liberation.

During the restoration, the bottom of the five-element inscription was found, and the characters were different from the general inscription.

After derusting, under the five elements, there are 2-3 more characters in each, a total of 14 characters, which overturns the content explained by the archaeological circle in the past.

Another example is the Dajian originally collected by the Maritime Museum, which was restored 40 years ago, but the rust has changed since then.

When it was restored in recent years, inscriptions were found under the rusty color of the original covering, which played a major role in supplementing the history.

One more point, before repairing, we must pay attention to retaining the attachments on the copper ware.

This time Chen Wenzhe saw the restored bronze mirror, which was also the purpose of his coming here.

It was also on this bronze ware that he saw the top restoration techniques, and of course, the reproduction techniques.

Bronze restoration and reproduction techniques belong to the traditional techniques of the Palace Museum and one of the national intangible cultural heritages.

Traditional bronze restoration techniques mainly include shaping, splicing, complementing, bonding (welding), reinforcement, and distressing.

Sometimes rust removal, waxing (surface sealing) and other work are also involved.

Replication technology includes mold making, mold casting, engraving patterns, polishing and other processes.

The restoration technology of Chinese bronzes has a long history.

It should be said that as soon as the bronze ware came out, there was a corresponding restoration technology.

During the Spring and Autumn Period and the Warring States Period, there were stories of fake tripods.

"Qi Falu claimed to slander the cauldron, Lu used it to fake it, Qi people said it was fake, and Lu people said it was true,...

The content of this "Han Feizi" proves that there were bronze forgery in the Spring and Autumn and Warring States.

In the Song Dynasty, there was a saying of "revealing new Song wares": "The upper imitation is to worship the ancients, and the lower is forged for profit."

This shows that there were also examples of imitation and forgery in the Song Dynasty.

The development of foundry reproduction and other techniques is closely related to restoration techniques.

With the development of these handicrafts and the need for preservation of antique appreciation and collection, restoration techniques began to emerge.

Modern restoration technology, from the official workshop to the society, has formed a unique professional technology and a complete comprehensive technical system after long-term practice.

In 1952, bronze ware restoration experts headed by the Beijing School entered the Palace Museum and began to use traditional techniques to restore and reproduce bronze ware relics.

These experts also include inheritors of the Beijing School who have been engaged in bronze restoration and reproduction for a long time.

For decades, these experts have restored and copied thousands of bronze artifacts of various types.

Bronze ware restoration and reproduction skills are really not as simple as making a bronze ware.

Whether it is splicing fragments, or chiseling patterns and inscriptions.

Whether it is making various kinds of patent leather floors, or spraying and spotting rust.

Whether it is gilding or gold and silver, it has formed a relatively complete set of traditional crafts.

Bronze restoration and reproduction techniques are a rigorous and scientific process.

For different shapes and degrees of damage, the welding methods and welding processes used are different.

Sometimes it is used alternately, but it must follow the principle of repairing the old as the old and trying not to damage the original artifacts.

The whole process is more troublesome than making a bronze ware.

Because of the craftsmanship of making bronzes, you must go back to the restoration, and some restoration techniques must be added to it.

For example, in plastic surgery, when the bronze ware is deformed as a whole, it can be repaired by using different tooling and fixtures according to the degree of deformation and different parts.

Generally, support, top pressure, prying, twisting and other methods are used for correction.

No matter what method is used, it depends on the stress change and bearing capacity of the cultural relics.

Generally, based on experience and understanding of the performance of cultural relics, make corrections according to one's ability.

Bronze cultural relics are mostly cast, and after long-term corrosion, their ductility and elasticity will be reduced to a certain extent.

Therefore, for objects with serious deformation, they can only be sawed and assembled to achieve the purpose of final shaping.

This is still a simple repair. If there is a defect, it must be supplemented.

Complementary methods can be roughly divided into two categories.

One is the application of the manufacturing process similar to that of beaten copper ware in supplementary matching;

Another type of matching method is based on the casting process of bronze wares. The two methods can be used according to specific situations.

(End of this chapter)