My system is not decent

Chapter 1827 Crooked mouth, bronze Zhang

After repairing a bronze ware, since it needs to be rusted, it must also be derusted during the restoration process.

The rust of bronze ware can be roughly divided into several types according to its shape: hair rust, glaze rust, bone rust and floating rust.

Rust expands, glaze rust is hard and brittle, bone rust adheres to the ground, floating rust is loose, and harmful rust to bronze. Generally, it is removed with a chisel or a carving knife.

Then adjust the paint with an adhesive and seal it.

For other rusts, the method should be selected according to the specific situation. Generally, the rust that has been swollen from the carcass cannot be removed.

The rust on the bronze ware is generally removed by knocking, shaking, dialing, and engraving with a small hammer with a carving knife.

Then you can use sour plum paste and red fruit paste to loosen the rust, and then pick it with a carving knife to remove the rust.

In this way, the rust will not hurt the ground, and the bronze decorations are clear.

For Shang and Zhou bronzes, ammonium carbonate can be used to remove rust from bronzes that have been soaked in mercury and turned over copper.

Acetic acid water coating solution can also remove rust, but it must be strictly controlled.

The bronze wares of the Shang, Zhou, and Spring and Autumn Periods cannot be soaked, otherwise the bronze wares will lose their beautiful appearance and turn red bricks.

This method is suitable for utensils with hard copper rust, such as copper ware such as mercury-impregnated floors, black lacquer floors, and green lacquer floors.

In addition, chemical reagents can also be used to remove rust, and chemical reagents should be selected according to the specific conditions of copper corrosion.

Finally, to protect the bronzes, wax seals were used.

The ancient Chinese bronze wares are historical relics thousands of years ago. They were corroded and damaged by nature after being stored underground. The unearthed bronze wares are often broken and incomplete.

Therefore, most of the bronzes have undergone some restoration work to facilitate their long-term preservation and better play their historical, artistic and scientific value.

A complete cultural relic restoration process is also an important research work in itself.

The study of the characteristics of the times, plastic arts, and casting techniques of utensils has become an important reference for modern casting techniques, so the restoration work is an important and meaningful work.

my country's traditional bronze restoration and reproduction techniques have a long history.

The epigraphy of the Song Dynasty led to the rise and development of this skill.

Afterwards, different technical schools gradually emerged in different regions.

This technique was included in the "Bronze Restoration and Reproduction Technique" in the fifth batch of national intangible cultural heritage representative items list.

Of course, these skills generally have significant regional characteristics.

Traditional bronze ware restoration techniques include more than ten steps such as cleaning, dismantling, derusting, orthopedic, splicing, matching, mold turning, engraving, casting, polishing, and color complementing.

Each of these processes has high technical requirements.

The restoration skills that Chen Wenzhe learned before are mainly from Haihai City, because his main living area is there.

The restored antiques he saw were all from the sea area, so he naturally learned the technology there.

Moreover, the technique he learned came from a famous family, and it can even be traced back to the Qing Palace Building Office.

Long before the founding of New China, the level of bronze restoration and reproduction skills in the Haihai region had already enjoyed a high reputation throughout the country.

Its history can be traced back to the Bronze Bureau established by the Manufacturing Office of the Ministry of Internal Affairs in the late Qing Dynasty. One of them, a skilled craftsman named "Waizui Yu", repaired and imitated many ancient bronze wares for the palace.

His disciple Zhang Taien inherited the mantle and was called "Bronze Zhang" by the world.

From 1919 to 1937, Zhang Taien received a total of 11 disciples, and 7 of them established their own schools after leaving the teacher.

Among them, Wang Deshan has the most exquisite restoration skills, and he passed on the craftsmanship to his apprentice Wang Rongda in his heyday.

After Wang Rongda left his teacher, he came to Dahai City to repair bronze wares for antique dealers.

He is very talented, has deep research on bronze decoration and shape, has a high attainment in restoration, has innovated and perfected many technical links, and is well-known in the industry.

The restoration and reproduction of bronze ware was able to be bred and developed in the sea before liberation, thanks to the geographical and cultural advantages of the metropolis at that time.

At that time, a large number of precious cultural relics and related talents gathered here, which enabled the cultural relics restoration industry to flourish.

After the establishment of New China, all walks of life have stood at a new starting point.

The Maritime Museum established a cultural relic restoration workshop in 1958. It is the first cultural institution in China to set up a cultural relic restoration and reproduction team.

By recruiting talented people, we will bring together repairing talents and artisans scattered among the people.

Wang Rongda, the third-generation descendant of "Bronze Zhang", was hired into the Shanghai Museum in the same year as one of the masters in the industry.

Since then, he has become the founder of the first generation of bronze restoration and reproduction techniques in the Dahai Museum with distinctive technical characteristics.

Calculated in this way, Chen Wenzhe can also be regarded as the descendant of "Gutong Zhang", and he must be a direct descendant, but he is a descendant who has never had a bright road, and he is considered to be learning from a teacher.

This is also the first time Chen Wenzhe has systematically learned the art of antique restoration.

The restoration and reproduction techniques of bronze wares in the Maritime Museum mainly include more than ten processes such as cleaning, rust removal, orthopedics, splicing, engraving, mold turning, casting, matching, polishing, coloring, and aging.

Every link adopts scientific and reasonable methods and materials to prolong the life of cultural relics.

In the process of cultivating inheritors, it is required to fully grasp the characteristics of the shape and decoration of the bronze ware itself, the historical development and manufacturing technology.

On the basis of in-depth research on the original device, all the techniques have been honed repeatedly and fully mastered.

The restorers who grew up in such an atmosphere of high standards and strict requirements not only take the complete inheritance of skills as their bounden duty, but also follow the research spirit of their predecessors as a model, and strive to improve and perfect every link.

And Chen Wenzhe learned their final results, because only the best and top-level technical achievements can be used on the top-level ancient bronzes.

The craftsmanship that Chen Wenzhi learned was from a national treasure bronze ware, which was a dowry.

The reason why I remembered this thing was because it was in the Bronze Mirror Museum at this time.

So what does the Museum of Bronze Mirrors have to do with Liao?It's a big deal!
Liao refers to the utensils used to hold toilet items in ancient times.

Because the mirrors used by ancient women to dress up at that time were made of bronze.

In order to prevent oxidation and blackening in the air, the mirror is packed in a box.

Because the mirror is an essential item for dressing up, the dowry with the function of dressing up is also called a mirror dowry or a mirror box.

The earliest records of dowry can be found in "Shuowen" written by Xu Shen in the Eastern Han Dynasty.

"Mirror. "Leaving the Prison" has a clean sound, and this is a dowry."

As a note: "mirror box also."

Liao has been used as a dressing utensil for women for thousands of years, and its shape and decoration have also evolved with the social consciousness and social productivity at that time.

Different forms of dowry boxes, from a subtle angle, show us aesthetic consciousness and social concepts at different stages.

In particular, this bronze dome is from the Western Han Dynasty. Also, this bronze dome is an alloy formed by melting and casting elements such as tin and copper or lead and lead in a certain proportion, and it is model cast.

(End of this chapter)