Riding the wind of rebirth
Chapter 1075 Wen Zhengming’s postscript
Chapter 1075 Wen Zhengming’s postscript
The pigments and inks used in calligraphy and painting works are the crystallization of the wisdom of the predecessors. They contain colloids and spices, which prevent moths, and secondly, the color penetrates deep into the fibers and will not discolor or smudge when exposed to water.
But there are no absolutes. If there is a problem with the solvent used, such as the pH exceeding the critical value, this may also happen.
When he took a closer look, Zhou Zhi's anxious heart finally relaxed again. After careful observation, it turned out that it was not the blurring in the painting, but... under Li Fangying's painting, the underpinning of the heart of the painting, which is called in jargon " There are ink marks on the paper.
This explains the reason why this painting was so heavily framed that the damage after many years was more severe than that of the painting of the same period - it is two overlapping paintings!
"Now we're in trouble..." Zhou Zhi felt numb, having never encountered such a situation before.
The first step in the normal restoration process of calligraphy and painting is to spread the painting out, pour it with boiling water to soften it and dissolve the glue, and then remove the old mounting around it.
Then use a handkerchief to roll away the dust and stains on the center of the painting, and further remove the glue so that the center of the painting and the frame can be separated.
Then spread a piece of clean white paper on the painting, spray it wet and turn it over to remove the mounting paper and life paper.
Because there is an ordinary white paper as the substrate, and this paper is in direct contact with the center of the painting, it is equivalent to controlling the life of the center of the painting, so it is called "life paper".
The method of removing old life paper is very simple and crude. You can just tear it off with tweezers, pick it with a toothpick, or rub it with your fingers. It is all waste paper anyway. The principle is to remove it cleanly and not damage the painting.
But this trick obviously won't work now, because the life sheet itself is still a painting, and it's probably a precious painting, otherwise it wouldn't be covered up with a masterpiece by Li Fangying.
Zhou Zhi took a piece of white paper and put it on the painting, sprayed some water with a spray bottle to moisturize it, and started calling for help.
"Hello, which one?" A familiar Jiachuan dialect sounded on the other end of the phone.
"Fourth cousin, it's me, elbow."
"Elbow, why did you change your phone number again?"
"I also have a studio here. This is the phone number of the studio. It's not cool to be doing private work in an ancient book restoration institute. People who don't know may think I'm stealing things."
"Hahaha, I have such concerns. I can't be too cautious. What's going on? Are you urging us to start work?"
"How dare you," Zhou Zhi Nan said with a smile: "The people over there are all treasures, just work slowly and carefully. I'm here to ask for help."
"Elbow, are you in trouble?" The fourth aunt's voice also sounded. It was probably because the fourth uncle pressed the speakerphone button.
"Fourth Aunt, have you and Fourth Uncle ever encountered this kind of situation, where you use calligraphy and painting as fortune-telling cards?"
"Are you going to paper the wall with newspapers during the holidays? You also paint and repaint it. There is no such thing." The fourth cousin thought it was impossible: "If you do this, then the painting must be average, right?"
"I've met it now." Zhou Zhi smiled bitterly: "Li Fangying's "Mumei Tu" cannot be said to be average, right?"
"Li Jie Yuan?" Fourth Aunt asked, "His painting became a sandwich?"
"No, his painting is the center of the painting, and the sandwich is another painting."
"Whose sandwich is that?"
"Uh, I can't see clearly yet."
"Then why don't you send the painting back first, and your aunt and I will think of a solution." said the fourth cousin.
"It's late, because there is something unusual about this painting, and I'm a little curious." Zhou Zhi recounted what he had just discovered with some trepidation: "So... it has been framed... and now the painting is sitting on the workbench wet. It's up." "You!" The fourth cousin was a little annoyed: "Since you found that this painting is a little different from other paintings, why don't you study it carefully before doing it?!"
"What's the use of what you're talking about now." The fourth aunt said at the side: "Elbow, how about we follow the normal procedure and remove the mounting around the center of the painting first, then put on the supporting paper, and then turn it over and remove the mounting, leaving only Draw your heart and life paper and see what is on the life paper before talking."
"That's right," the fourth cousin said: "When the time comes, look at the center of the painting. After it's wet, you can always see some clues through the paper."
"Okay, Fourth Cousin, I heard that there is an ancient painting method, which is to peel off the painting," Zhou Zhi asked: "Good painting paper is usually made of multiple layers. A master can separate it and turn a painting into Several of them are still authentic, is there such a thing?"
"There is such a saying." The fourth cousin said: "But that is for the works of the time. There is nothing wrong with doing this when the paper is intact and tough."
"But this is an ancient painting. The paper of the ancient painting is old and fragile, and it is not easy to peel off. Just do what your aunt said first, and then we will think about whether there is any better way."
"Okay, I'll call you when I'm done."
After hanging up the phone, Zhou Zhi found that he was no longer as scared as he was just now.
It's like a child who has done something wrong has been forgiven by his parents, and the parents have also agreed to help make up for the losses caused by the mistake. Although he has not yet given a specific method, Zhou Zhi somehow feels more confident.
People are calmer, their minds are calm, and their hands are steady.
Re-open the cover paper, rinse it with boiling water, and use a towel roll to roll it from the center to all sides, allowing the stains and dust on the painting to flow out of the workbench with the pressure of the water, and the center of the painting will gradually become clean and clear.
Li Fangying's works are bold and bold, dripping with ink, thick heads and random clothes, and informal ink. Later generations commented that his brushstrokes were "intended between ivy, white sun, and bamboo."
Qingteng is Xu Wei and Xu Wenchang, and Bai Yang is Chen Chundaofu. These two people created the freehand style of Chinese painting almost at the same time, and their influence on later generations was extremely profound.
Zhuhan is Zheng Banqiao, a self-proclaimed "lackey under the Qingteng family" and an inheritor of freehand brushwork.
And Li Fangying's painting of plum blossoms is also a freehand work. The wind is thin and stiff, the old stems and new branches are curved on the sides, and the calligraphy skills are profound and exquisite.
Carefully remove the frame, brush the supporting paper carefully, turn the painting over, and begin to remove the frame.
With the support of his elders, he didn't feel panic. Zhou Zhi returned to his master's style in a blink of an eye, removing the framed clothes quickly and accurately. After a while, a large six-page album appeared in front of Zhou Zhi's eyes.
In other words, Li Fangying's picture is a large painting, but underneath the large painting, there are actually six small paintings.
On both sides of the six small paintings, there are three articles with small characters. Although they are still backwards, the handwriting of one of them is extremely familiar to Zhou Zhi. It is Wen Zhengming who he has copied for a long time!
Wen Zhengming wrote the postscript!The paintings below are all from the Ming Dynasty at least!
The remaining six paintings all have seals on them, and three of them have signatures.
Two articles were also printed, but not signed.
Zhou Zhi found a mirror, adjusted the words back to normal through the principle of reflection, and then used the mirror to interpret the words.
Read Wen Zhengming’s article first.
Tao returned to Yumen and gained the reputation of being good at it.The genius has beautiful hair, and his strokes are extraordinary, especially wonderful sketches. One flower and half a leaf, the light ink is bold, sparse and slanted, but it is aggressive and lifelike, moving the crowd.Minangong, Wang Shuming and Huang Zijiu, the masters of landscape painting, did not imitate their imitation, but their relaxed and leisurely style was clearly visible in their eyes.I am a master in the industry. Qu has his own way of painting and calligraphy, and he is not my disciple.
This article indicates that the owner of the painting was Wen Zhengming's apprentice. However, he was praised as being good at originality, unique in his own way, and "a master above his master."
Wen Zhengming modestly said that he could only be regarded as the person who led him in. His teachers were Mi Fu, Wang Meng, and Huang Gongwang, so I cannot call him a disciple.
(End of this chapter)
The pigments and inks used in calligraphy and painting works are the crystallization of the wisdom of the predecessors. They contain colloids and spices, which prevent moths, and secondly, the color penetrates deep into the fibers and will not discolor or smudge when exposed to water.
But there are no absolutes. If there is a problem with the solvent used, such as the pH exceeding the critical value, this may also happen.
When he took a closer look, Zhou Zhi's anxious heart finally relaxed again. After careful observation, it turned out that it was not the blurring in the painting, but... under Li Fangying's painting, the underpinning of the heart of the painting, which is called in jargon " There are ink marks on the paper.
This explains the reason why this painting was so heavily framed that the damage after many years was more severe than that of the painting of the same period - it is two overlapping paintings!
"Now we're in trouble..." Zhou Zhi felt numb, having never encountered such a situation before.
The first step in the normal restoration process of calligraphy and painting is to spread the painting out, pour it with boiling water to soften it and dissolve the glue, and then remove the old mounting around it.
Then use a handkerchief to roll away the dust and stains on the center of the painting, and further remove the glue so that the center of the painting and the frame can be separated.
Then spread a piece of clean white paper on the painting, spray it wet and turn it over to remove the mounting paper and life paper.
Because there is an ordinary white paper as the substrate, and this paper is in direct contact with the center of the painting, it is equivalent to controlling the life of the center of the painting, so it is called "life paper".
The method of removing old life paper is very simple and crude. You can just tear it off with tweezers, pick it with a toothpick, or rub it with your fingers. It is all waste paper anyway. The principle is to remove it cleanly and not damage the painting.
But this trick obviously won't work now, because the life sheet itself is still a painting, and it's probably a precious painting, otherwise it wouldn't be covered up with a masterpiece by Li Fangying.
Zhou Zhi took a piece of white paper and put it on the painting, sprayed some water with a spray bottle to moisturize it, and started calling for help.
"Hello, which one?" A familiar Jiachuan dialect sounded on the other end of the phone.
"Fourth cousin, it's me, elbow."
"Elbow, why did you change your phone number again?"
"I also have a studio here. This is the phone number of the studio. It's not cool to be doing private work in an ancient book restoration institute. People who don't know may think I'm stealing things."
"Hahaha, I have such concerns. I can't be too cautious. What's going on? Are you urging us to start work?"
"How dare you," Zhou Zhi Nan said with a smile: "The people over there are all treasures, just work slowly and carefully. I'm here to ask for help."
"Elbow, are you in trouble?" The fourth aunt's voice also sounded. It was probably because the fourth uncle pressed the speakerphone button.
"Fourth Aunt, have you and Fourth Uncle ever encountered this kind of situation, where you use calligraphy and painting as fortune-telling cards?"
"Are you going to paper the wall with newspapers during the holidays? You also paint and repaint it. There is no such thing." The fourth cousin thought it was impossible: "If you do this, then the painting must be average, right?"
"I've met it now." Zhou Zhi smiled bitterly: "Li Fangying's "Mumei Tu" cannot be said to be average, right?"
"Li Jie Yuan?" Fourth Aunt asked, "His painting became a sandwich?"
"No, his painting is the center of the painting, and the sandwich is another painting."
"Whose sandwich is that?"
"Uh, I can't see clearly yet."
"Then why don't you send the painting back first, and your aunt and I will think of a solution." said the fourth cousin.
"It's late, because there is something unusual about this painting, and I'm a little curious." Zhou Zhi recounted what he had just discovered with some trepidation: "So... it has been framed... and now the painting is sitting on the workbench wet. It's up." "You!" The fourth cousin was a little annoyed: "Since you found that this painting is a little different from other paintings, why don't you study it carefully before doing it?!"
"What's the use of what you're talking about now." The fourth aunt said at the side: "Elbow, how about we follow the normal procedure and remove the mounting around the center of the painting first, then put on the supporting paper, and then turn it over and remove the mounting, leaving only Draw your heart and life paper and see what is on the life paper before talking."
"That's right," the fourth cousin said: "When the time comes, look at the center of the painting. After it's wet, you can always see some clues through the paper."
"Okay, Fourth Cousin, I heard that there is an ancient painting method, which is to peel off the painting," Zhou Zhi asked: "Good painting paper is usually made of multiple layers. A master can separate it and turn a painting into Several of them are still authentic, is there such a thing?"
"There is such a saying." The fourth cousin said: "But that is for the works of the time. There is nothing wrong with doing this when the paper is intact and tough."
"But this is an ancient painting. The paper of the ancient painting is old and fragile, and it is not easy to peel off. Just do what your aunt said first, and then we will think about whether there is any better way."
"Okay, I'll call you when I'm done."
After hanging up the phone, Zhou Zhi found that he was no longer as scared as he was just now.
It's like a child who has done something wrong has been forgiven by his parents, and the parents have also agreed to help make up for the losses caused by the mistake. Although he has not yet given a specific method, Zhou Zhi somehow feels more confident.
People are calmer, their minds are calm, and their hands are steady.
Re-open the cover paper, rinse it with boiling water, and use a towel roll to roll it from the center to all sides, allowing the stains and dust on the painting to flow out of the workbench with the pressure of the water, and the center of the painting will gradually become clean and clear.
Li Fangying's works are bold and bold, dripping with ink, thick heads and random clothes, and informal ink. Later generations commented that his brushstrokes were "intended between ivy, white sun, and bamboo."
Qingteng is Xu Wei and Xu Wenchang, and Bai Yang is Chen Chundaofu. These two people created the freehand style of Chinese painting almost at the same time, and their influence on later generations was extremely profound.
Zhuhan is Zheng Banqiao, a self-proclaimed "lackey under the Qingteng family" and an inheritor of freehand brushwork.
And Li Fangying's painting of plum blossoms is also a freehand work. The wind is thin and stiff, the old stems and new branches are curved on the sides, and the calligraphy skills are profound and exquisite.
Carefully remove the frame, brush the supporting paper carefully, turn the painting over, and begin to remove the frame.
With the support of his elders, he didn't feel panic. Zhou Zhi returned to his master's style in a blink of an eye, removing the framed clothes quickly and accurately. After a while, a large six-page album appeared in front of Zhou Zhi's eyes.
In other words, Li Fangying's picture is a large painting, but underneath the large painting, there are actually six small paintings.
On both sides of the six small paintings, there are three articles with small characters. Although they are still backwards, the handwriting of one of them is extremely familiar to Zhou Zhi. It is Wen Zhengming who he has copied for a long time!
Wen Zhengming wrote the postscript!The paintings below are all from the Ming Dynasty at least!
The remaining six paintings all have seals on them, and three of them have signatures.
Two articles were also printed, but not signed.
Zhou Zhi found a mirror, adjusted the words back to normal through the principle of reflection, and then used the mirror to interpret the words.
Read Wen Zhengming’s article first.
Tao returned to Yumen and gained the reputation of being good at it.The genius has beautiful hair, and his strokes are extraordinary, especially wonderful sketches. One flower and half a leaf, the light ink is bold, sparse and slanted, but it is aggressive and lifelike, moving the crowd.Minangong, Wang Shuming and Huang Zijiu, the masters of landscape painting, did not imitate their imitation, but their relaxed and leisurely style was clearly visible in their eyes.I am a master in the industry. Qu has his own way of painting and calligraphy, and he is not my disciple.
This article indicates that the owner of the painting was Wen Zhengming's apprentice. However, he was praised as being good at originality, unique in his own way, and "a master above his master."
Wen Zhengming modestly said that he could only be regarded as the person who led him in. His teachers were Mi Fu, Wang Meng, and Huang Gongwang, so I cannot call him a disciple.
(End of this chapter)
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