Riding the wind of rebirth

Yuan Dongjue is the director, and the ancient books he handles even include the fragments of "Yongle Dadian" and "Sikuquanshu" collected by Shu University. He is an absolutely authoritative expert in the restoration of ancient books.

However, when it comes to the restoration of traditional calligraphy and painting techniques, Yuan Dongjue lacks the inheritance of ancient methods. This is a shortcoming that she has to admit and is eager to make up for through the restoration of ancient calligraphy and painting.

As early as two years ago, Zhou Zhi's appearance had made her think about it, and she even suggested that if Mr. Gu didn't like it, we would give him what the ancient books asked for.

It was because of her encouragement, delegation of authority, and even appeal to the school leaders that Zhou Zhi got the opportunity to restore the school's collection of calligraphy and paintings, starting from the late Qing Dynasty, and gradually repairing the first-class cultural relic "The Complete Map of Bashu".

The successful restoration of "The Complete Map of Bashu" and the commendation from the three ministries and commissions also allowed Zhou Zhi to register with the school leaders. Therefore, in preparation for the opening of the museum, Yuan Dongjue once again proposed "introducing talents", and almost no pressure was encountered again.

The restoration of calligraphy and painting is a very sophisticated knowledge, and the basis of this knowledge is the diagnosis of painting diseases.

Of course, this is Zhou Zhi's own understanding, because he also asked his fourth cousin what the basis of this knowledge was, and his answer was - boiling paste.

He couldn't say that his fourth cousin's answer was wrong. In the final analysis, painting and calligraphy mounting was just an art of playing with water and paste. However, if this answer were told to contemporary college students, I'm afraid everyone would disagree.

Therefore, Zhou Zhi had no choice but to recite what he heard when he was making paste. At that time, while boiling paste, mixing paste, and serving paste, he listened to his fourth cousin's explanation on the ins and outs of calligraphy and painting diagnosis. He is very proficient in painting, and he is almost proficient in painting.

There are many kinds of defects left by ancient calligraphy and painting, but in the final analysis they fall into two categories - physical damage and chemical damage.

Biological damage can be regarded as a combination of these two types of damage.

There are many sub-items when broken down, but Zhou Zhi has extracted an outline from traditional knowledge, and when the seniors can understand it, they will no longer be as ignorant as he was back then.

The older the paintings and calligraphy, the more defects there are, and many of them are "secondary damage" and "tertiary damage" accumulated due to improper techniques during the restoration process.

These are not only the diagnostic process, but also the lessons learned to avoid falling into again. In the process of analysis and explanation, they can leave a deep impression on the listeners.

Hanging up calligraphy and painting and explaining them will not cause too much harm to the calligraphy and painting. Such an opportunity is also very rare. In addition, many of the seniors and seniors personally participated in the restoration work of "The Complete Pictures of Bashu" last year. For Zhou Zhi, The younger brother was quite convinced, so now they all gathered in a circle around Zhou Zhi and the painting, taking notes in their notebooks.

Many of the repair equipment in the institute were newly designed by Zhou Zhi. For example, the "big wall" for repair that can adjust the angle, has rulers in different areas, and has backlight and front light is one of Zhou Zhi's inventions.

There are four ancient paintings hanging on the wall, and Zhou Zhi uses them to compare and explain.

In fact, the state of the ancient paintings in these collections is much better than those that Zhou Zhi has handled before, because they have been restored before and after entering the museum, and then were kept and collected in a relatively good environment.

The main painting problems are fractures caused by improper temperature and humidity, and the backward repair methods of previous generations, such as sterilization and spot removal measures, resulting in some "old wounds" that have to be left behind.

Zhou Zhi took a long bamboo stick and made dots on the ancient painting. In addition to explaining the current problems on the painting from top to bottom, he also explained where there were problems in the past and what techniques were used by predecessors in the restoration. To make up for it, there was a simple review of which areas were for color replenishment and ink replenishment, which areas were for stain and stain removal, what techniques were used after repair, what materials were used for re-mounting, etc.

The amount of information involved was very huge, and Zhou Zhi explained it so quickly that the seniors had no time to take notes. They kept making suggestions to ask him to speak slower, interrupting Zhou Zhi's rhythm several times. Fortunately, Director Yuan quickly brought a camera and said, "You can do whatever you want. We'll record it first and digest it after class."

It became much smoother now. After explaining the four Ming Dynasty paintings that had the most problems, Zhou Zhi replaced them with four paintings from the Qing Dynasty. This time, he combined explanation and inspiration to test everyone's mastery.

Of course, the seniors who can enter the restoration center are not just novices. They can still pool their wisdom and diagnose most of the painting diseases.

Zhou Zhi just needs to remind everyone to pay attention to those places that are more hidden and difficult to detect.

In this way, the speed was relatively fast. One day and one night, Zhou Zhi took everyone to diagnose the small twenty paintings, completed the consultation, and decided on a restoration plan.

On the second day, Zhou Zhi stopped participating in the diagnosis work and divided the working group into two teams. One team was responsible for collective consultation and made standard consultation opinions and repair proposals in accordance with Zhou Zhi's requirements.

If you encounter a controversial problem during the consultation, you will be able to diagnose and explain it thoughtfully.

There is also a team on the other side. The team members began to unmount the batch of ancient paintings from the mid-Qing Dynasty that were diagnosed yesterday, leaving only the heart of the painting in preparation for the next step of restoration.

Mounting is a basic skill, and Zhou Zhi does not need to do it himself. He can only direct the operation from one side, and occasionally demonstrate special techniques and deal with difficult points.

Yuan Dongjue is very satisfied with Zhou Zhi's approach, because this not only greatly speeds up the task of restoring ancient paintings, and can fully complete the tasks assigned by the school, but also can train a preliminary calligraphy and painting restoration team after this task.

This is the most important thing.

After working like this for a few days, every day in the restoration room there would be a few more paintings on the table waiting to be repaired and put together, and there would also be a few repaired paintings that were painted and pasted on the wall panels waiting to dry.

This is also Zhou Zhi's first attempt to break away from the one-man-one-person model of a handicraft workshop and adopt a "batch" method of division of labor and cooperation to restore paintings and calligraphy. However, in the past two years, he has gained rich experience in managing a team, plus pre-analysis The diagnosis was meticulous, the team members had solid basic skills, and with thoughtful and careful guidance, the work was done quite neatly and beautifully.

Of course, there are some areas where the team members are still unable to complete the repair, which requires careful experience and unique skills to complete the repair. At such times, Director Yuan will carry a camera and invite everyone to come and watch, such as lighting a fire to burn lead and applying red and white medicine. Fa and so on, everyone is amazed and admired inexplicably.

At the end of the week, a visitor came to the restoration center. Zhou Zhi did not recognize this person, but the person who brought him shocked Zhou Zhi. He was actually accompanied by Principal Lin himself!

After Shu University became a 211 institution, its administrative establishment was at the department level, but the president and secretary were at the deputy ministerial level.

Principal Lin is still a member of the old academic department. As an academician, in addition to administrative work and research work, she also has to supervise doctoral students. To say that she is so busy is not an adjective. She really flies hundreds of thousands of kilometers a year. .

Therefore, except for some very important "big occasions", not to mention students, even lecturers and associate professors in the school have few opportunities to see her. (End of chapter)