Riding the wind of rebirth

Chapter 1533 Details and Differences

When Zhou Zhi heard this, he couldn't help but roll his eyes secretly in his heart. Old man Xu really had the character of an old boy. He was clearly instructing himself on the production and making of vintage silk materials, but he didn't follow his students at all on the other end. Say, just hang them up like this.

The students couldn't help but calm down. This was the most famous painting of Tang Bohu among the four Ming dynasties. After Zhou Xingxing's new version of "Tang Bohu Spots Autumn Fragrance" became popular in the Chinese world, the auction prices of his calligraphy and painting works also went up to a higher level.

This may also be done deliberately by Xu Bangda to stimulate the enthusiasm and initiative of the students, but the effect seems to be pretty good. In any case, at least a thick repair plan has been worked out.

Zhou Zhi had no choice but to take the plan first, but he didn't open it to look through it. Instead, he said to the staff: "Why don't you just focus on it and tell me about your preliminary treatment and repair plan."

"Ah, it's like this. The painting core of this Tang Yin landscape painting is made of silk. Due to the fiber weaving, the surface of the painting core has been stained to varying degrees over time due to the weaving of the fibers. Also, because the painting is very damaged and has aged and become fragile, so Under the guidance of Mr. Xu, we first used a soft brush to gently remove the dust on the surface. For some stubborn stains, we used a sharp knife to gently scrape them off. After completing this process, we started the pre-cleaning work. "

"Because we were worried about the retention of the ink color on the silk, we first used a brush dipped in water to do a stability test on the local ink color to ensure that the ink color was stable and would not become ink when exposed to water, and then we started cleaning the painting core."

Zhou Zhi nodded, this is also the detailed difference between paper and silk. The strength of silk is much stronger than that of paper in a certain period of time, and the effect of the scroll is worse than that of paper, but the retention is far inferior to that of paper because of the material.

This is why silk books pay special attention to the use of vitriol. This is actually a curing process. However, as time goes by, this process can easily cause degumming and discoloration. Calligraphy is not bad, especially silk paintings with fine brushwork and heavy colors, and raw silk. For calligraphy works made of materials, the ink and paint are very unstable, and it is almost a common problem to smear, run, fall off, and fall off.

Therefore, the retention test is a necessary process before silk restoration. If it is found that the retention is not good, it is necessary to add a process of curing the color ink before cleaning.

In fact, the curing method is simple to say, it is just glue, vitriol, water, and water and oil paper.

However, each company has its own expertise in the specific ingredient concentration and usage techniques. In this regard, Rongbaozhai can almost be regarded as the industry leader.

During the cleaning process, some of the accumulated dust and local stains can be washed away, making the picture clean and bright. Another function is to allow the painting core and supporting paper to encounter water, making the original paste less viscous and easier to separate, which provides the basis for the next step. Prepare for mounting.

At the same time, potions should be used to remove local color contamination of the picture caused by insects, bacteria and other biological acid corrosion degradation. After removing these stains, use a dry towel to gradually absorb the water from the picture.

After the painting core is cleaned, it is necessary to prepare water-oil paper and grout.

The function of the water-oil paper is to prevent the broken silk painting core from moving. The thickness of the water-oil paper pulp is determined according to the degree of wear and tear of the picture. Mastering the thickness of the water-oil paper pulp is the key to various framing schools. This special skill is also one of the processes that most tests the craftsman’s skills in the mounting process.

Because silk materials and water-oil paper have different toughness and tensile strength, two layers of rice paper must be added to prevent them from cracking.

This is also the difference between silk and paper.

The water-oil paper is pasted on the front of the painting core. After holding the painting core, turn it over and put the back side up on the mounting table. Brush it flat with a brown brush. The next step is to uncover the painting core. In the restoration work of ancient calligraphy and paintings, uncovering the core of the painting is a very important task. There is even a saying in the industry that whether the life of an ancient calligraphy and painting can continue depends entirely on the uncovering work.

If the calligraphy and painting are not revealed well, such as making mistakes such as uncovering the waste or removing the meaning of the painting, the calligraphy and painting will lose its vitality and vitality.

The so-called uncovering means overdoing it. The original purpose of uncovering is to remove the back-mounting. If the painting's feelings are hurt in the process, it is called "revealing".

The so-called "removing the meaning of the painting" has a more serious result than unmasking it. In the process of removing the frame, it not only damages the core of the painting, but also damages the important information components in the painting, such as the important components of brushwork in calligraphy, and the components of the painting. The important character parts, the core landscape part, and the visual center part destroy the local or even global composition, aesthetics, and charm. Such a problem is terrible.

The reason why it is said to be a "problem" rather than a "mistake" is because sometimes such things are simply unavoidable.

For example, the Tang Dynasty painter Han Huang's famous silk painting "Five Cows" was handed down from generation to generation. When he returned to his motherland after half a century of displacement, the painting was already scarred, with holes and mold spots all over it. Many places on the body of the five cows in the middle of the painting have been filled with paper and brushes that have changed color, and there are obvious empty shells in the center of the painting.

After removing the supporting paper, it was discovered that the predecessors had left forty-one holes during the re-mounting process. In terms of the meaning of the painting alone, there were fifty-five holes that appeared on the bodies of the five cows. The largest number on a cow is fifteen, and the smallest number is four.

It all relied on Sun Chengzhi, the top restoration expert in the country at the time, to lead the Forbidden City ancient calligraphy and painting restoration team. After more than eight months of meticulous repairs, the restoration of "Five Cows" was completed.

The expert group who inspected and accepted the work spoke highly of the restoration work, saying that the painting was in full color at the replacement parts and did not reveal any traces of the brush strokes. It remained unified with the original painting and was almost seamless.

Later people learned that it took Sun Chengzhi five days just to remove the old supporting paper from the center of the painting.

Although Tang Yin's landscape lenses cannot be compared with the "Five Bulls" in terms of value, size, or damage, they still need to be operated with great care. When unveiling the life sheet, you will often encounter various "surprises", that is, damage and injuries that cannot be seen in advance suddenly appear in front of everyone. In this case, you need to hold a meeting to study and revise the plan at the same time.

"After peeling off the two layers of backing paper, there was still a layer of supporting paper left on the supporting silk. Since we had previously observed that the painting core was hollowed out in many places, our original plan was to remove the entire supporting silk and place a layer of supporting paper on the painting core. After filling the pulp, restore the supporting silk. "The staff introduced to Zhou Zhi: "When it was uncovered, it was found that the single piece of silk was too thin, and the warp and latitude lines of the silk, especially those that had been damaged before the old mounting was repaired. The longitude and latitude lines near some wounds are very easy to move, so we had to modify the plan and leave the supporting paper on the silk for the time being. This can also play a role in fixing the supporting silk. "

"Then we need to separate the paper and replenish the pulp." Zhou Zhi is an expert. As soon as the staff said it, he thought of a solution: "Start from the empty space where the painting is damaged, separate the supporting paper and supporting silk from the painting core, and draw the core Use a syringe to top up the prepared thick paste, and then slowly brush the support silk down to restore it. "

"After the painting is roughly fixed, start to peel off the paper from the silk from all four sides, and use a brush to add slurry to ensure that the silk and the painting core are fixed and do not move."

"Removing the supporting paper allows you to carefully remove the supporting silk, leaving only the core of the painting."

(End of this chapter)