Riding the wind of rebirth

Chapter 1535: Don’t go too far

This is a myth in the Chinese cultural circles. The Chinese culture developed independently in the Song Dynasty and reached its peak. In addition to freehand brushwork, splashing ink and heavy colors have not yet come to an end, and the "Shanghai style painting" that later absorbed Western composition, perspective and other techniques. "Wind", as well as various newly discovered glazes, have almost exhausted their potential in metal processing, porcelain, calligraphy and painting.

In addition, Chinese art itself is an art of "dancing in shackles". Although it emphasizes breakthroughs, it emphasizes breakthroughs based on rules and regulations. If there are no rules and regulations, it will really be like a child's graffiti.

This is a problem in the category of aesthetics. Just like Xu Zhimo's "Farewell Cambridge" itself is beautiful, but if you throw it into the Song Dynasty or Ming Dynasty, people in the Song Dynasty and Ming Dynasty will only say "What the hell".

The reason is not that "Farewell Cambridge" is not beautiful, but that it deviates too much from the basic aesthetic stereotypes of people in the Song and Ming Dynasties when they wrote poems.

As the saying goes, one step ahead is a genius, two steps ahead is a lunatic, and it is very appropriate to apply it here.

Therefore, the aesthetics of the Song Dynasty became the benchmark for ancient Chinese culture, and in subsequent dynasties, culture moved closer to it.

For example, in order to make porcelain with the "iron foot and purple mouth" of the Song kiln, the craftsmen in Jingdezhen obviously had better porcelain clay and craftsmanship, and they had to use purple and black glaze to paint a circle of "decoration" on the white bottom of the imitation porcelain. Glaze" was used to simulate the characteristics of Song porcelain.

The same is true for the paper used for calligraphy and painting. Zhezong and Huizong of the Song Dynasty spent a lot of money to imitate the side-aligned paper of the Jin Dynasty; while Emperor Qianlong of the Qing Dynasty imitated the Jilin paper, Jinsushan Sutra paper, and Mingrendian paper of the Yuan Dynasty. Same thing.

The funniest thing is the Chengxintang paper. This paper was first used by the imperial government in the Southern Tang Dynasty in the Five Dynasties. It was hidden in the palace of the romantic emperor Li Yu.

During the Shenzong period of the Song Dynasty, they began to imitate, and finally obtained paper for calligraphy and painting with similar paper quality, also known as "Chengxintang". When scholar-bureaucrats received royal rewards, they often wrote poems to congratulate them.

In the Qing Dynasty, the imitation of "Chengxintang" also became one of the major cultural projects of the imperial government. The resulting paper was far removed from the Five Dynasties and similar to the imitation of Song Dynasty, so it was finally named "Chengxintang".

This is the emphasis on the treasures of the study room in ancient China, and the same is true for the silk used in calligraphy and painting. Fortunately, the process of promoting Si Mian Silkworm from south to north took a long time, and until the Qing Dynasty, suitable silkworms could still be found. Silk is made from silk.

This has led to the fact that besides the cost of painting silk after the Song Dynasty becoming more and more expensive and the selection becoming more and more stringent, there is actually no huge difference after being woven into the finished product, especially the high-end materials used by celebrities.

"How is this done?" The disciple's eyes were full of surprise: "Where did you find this kind of silk that is one-third thinner than modern silk?"

"The key is the quality." Another staff member said: "A fabric with such regular warp and weft can only be modern woven, but how come the color and appearance of this woven silk are almost the same as those of old silk? Well...it seems to be Even better in terms of cleanliness.”

"Yes," the disciple just nodded: "This is made by the old method, but the old work is quite perfect, almost reaching the quality of Song Juan."

"This is the result of the combination of modern technology and traditional craftsmanship." Zhou Zhi was quite proud: "It's also thanks to the recipe preserved by Mr. Xu."

The so-called quality and appearance of silk actually come from four aspects.

The first is the weaving process. This can be imitated by asking Master Yang to analyze the characteristics and then use computer control.

The second step is drug tanning. This is the specialty of the masters of calligraphy and painting forgery in the past dynasties. They should not be taught lightly and should not be taught lightly. Xu Bangda has never been able to find a successor worthy of his trust, so he has never mentioned this to outsiders. Now it is finally Having handed over this big stone in my heart, I felt really relaxed.

The third step is the aging effect of many years. It is difficult to deceive experts with the effect obtained purely by drug tanning. They have to be subjected to some oxidation, corrosion and friction in order to remove the "gloss" on the surface and achieve the aging effect. Effect. What makes outsiders unbelievable is that this step was actually completed with the help of Saturday Food Group.

Sister Xiao Juaner is a master of biological fermentation technology and acidolysis protein technology. Fermentation is actually a kind of degradation, and acidolysis of vegetable protein is also an important process for large-scale production of soy sauce. Silk is also a kind of protein, and this method is also applicable. This solved the problem for Zhou Zhi.

The last step is the illumination time. This was done in the Physics Laboratory of Shu University. The method is so simple that it is to coat the antique silk with a special reagent and then illuminate it with ultraviolet light.

After the process has reached this stage, in theory, if Zhou Zhi uses ancient handicrafts from reeling to weaving to make silk for calligraphy and painting, the uneven thickness and uneven density distribution of hand-woven silk can be brought into the antique silk. It can almost reach the level of being fake and real.

But if we really do that, it is very likely to cause the kind of "systemic disaster" that happened to the Tang Sancai collection in the ancient calligraphy and painting collection world.

Three-color artworks from the Northern and Southern Dynasties to the Tang Dynasty were once highly sought after collections by many overseas collectors, and were once speculated to extremely high prices.

However, the tricolor art itself is a funerary object, and the production process is actually not that complicated. The clay used is the soil on the Loess Plateau. As a result, a group of counterfeiting masters represented by Gao Huowang emerged, and the things they produced have attracted the attention of the collectors. It is difficult to distinguish the authenticity from the fake, which ultimately makes collectors fearful of the tri-color paintings of the Tang Dynasty.

Without any willing buyers, the market price of Tang Sancai suddenly plummeted.

Therefore, this imperfect antique silk cannot be faked. It is perfect for repairing calligraphy and painting, but it has flaws when used for forgery. This is in line with Zhou Zhi and Xu Bangda's pursuit, otherwise it would be too much.

"Let's get started." Xu Bangda looked at Zhou Zhi with a smile: "Don't you want to practice? Give it a try."

For paper restoration, Zhou Zhi is definitely among the best in the country, but for silk, it is still lacking.

Although the two are similar in terms of procedures, they are very different in details.

For example, what we need to do now is to use a blade to carefully trim off the "burrs" caused by the missing longitude and latitude lines around the cracks, then cut appropriate repair materials from the antique silk, refill the missing parts, and then combine the two. The longitude and latitude lines are butted together and fixed with water to achieve a seamless effect.

Of course, this only refers to the direction of the fibers. Afterwards, it needs to be repaired in the same way as the paper. After removing the water-oil paper, when the painting core is completely dry, you can stick the painting core on the board, perform full color and brush strokes, and draw ideas. Patched.

Those who are thoughtful and thoughtful are already at the level of instructors, and now they just need to make up for the shortcomings in the lesson of revealing the truth in silk.

Already possessing rich experience in calligraphy and painting restoration, now he has the materials at his disposal, experts in the industry can observe, and the top instructors provide careful guidance. In a short time, Zhou Zhi can operate independently, and even improves in speed. I was able to catch up with the staff of Rongbaozhai who were working together.

This made Xu Bangda sigh with emotion. This kid's understanding in this industry is really not very strong, and he should be classified as a genius.

(End of this chapter)