Riding the wind of rebirth
Chapter 1760 It's complicated to talk about
Chapter 1760 It's complicated to talk about
"Whether it is a mother model or not can only be determined after we get the picture." The fourth cousin said, "Is this painting still being repaired?"
“Why not repair it?” Zhou Zhi felt strange. Haven’t you handled enough ancient paintings?
"Have you ever thought about this, Elbow?" The fourth cousin pointed to the broken edges of the scroll and said, "The apricot-yellow ribbons, chicken-wing wood shafts, enameled lotus pendant beads, and even the silk brocade used for the edges are becoming less and less in the Forbidden City now. Now that the Cultural Relics Law has been promulgated, should these materials also be considered cultural relics according to the law?"
Zhou Zhi thought about it and realized that it was true. He had discussed this matter with Grandpa Qi and Grandpa Wang. The materials used for mounting in the palace collections were becoming increasingly scarce, and those from the original dynasties were becoming increasingly rare.
Not only the brocade, paper, wooden scrolls, pearls and jade used for the restoration of calligraphy and paintings, but even the wallpaper and the lining underneath the wallpaper used to repair the rooms in the Forbidden City are now in poor stock. Moreover, according to the current definition of cultural relics, these things that have been preserved from the three Qing dynasties and are of great value to literary and historical research should of course be counted as cultural relics.
Since it is a cultural relic, cutting it up, even if it is actually for the purpose of repairing more important cultural relics, is actually an act of destruction.
This creates an endless loop.
Therefore, Zhou Zhi began to sponsor the Academy of Agricultural Sciences to produce "imitation antique silk", and then sponsored Master Yang to produce imitation antique Shu brocade. The purpose was actually for this purpose, to obtain new imitation antique materials that were indistinguishable from the real thing, to fill the material gap in the restoration of important cultural relics.
"Let's repair it." Zhou Zhi said, "Even if we send it to the National Museum, we still have to take it back in the end, right?"
"I brought the painting back this time just to satisfy the old couple's desire. If the three of us don't repair it, there won't be anyone better than us in the whole country, right?"
"Elbow, you sound a little proud!" Although Fourth Aunt criticized, her tone was full of smiles: "Even if we want to repair it, we have to discuss a plan. I have an idea. Since your fourth cousin said that the mounting materials of these paintings should be considered cultural relics, then should we try a different way of repair than before?"
"Eh?" Zhou Zhi asked in surprise, "Is there anything else you two haven't told me?"
"Nonsense!" The fourth cousin laughed and said, "What your aunt means is that this time we can't do the old Yanggong's way as before, only repairing the center of the painting and replacing the rest of the bed sheets with new ones."
"Is that so..." Zhou Zhi said, "So at least these edges of the sky and earth, as well as the signature slips and the silk used for water separation, need to be repaired?"
"Well, are you confident?"
"Confidence is fine." Zhou Zhi said, "But in this case, the scroll may be thicker than before."
"It's not much thicker." The fourth cousin nodded and said, "In fact, it's only one layer of the backing silk. We only keep the surface, and the bottom... the places that don't affect the visual effect, we will replace them with new ones."
"Okay, then I'll call Mr. Wang and the others to communicate. I'll ask them to draw up a restoration plan and leave the physical work to me." Zhou Zhi said.
When I called them, they were very excited to hear that they had discovered a copy of Lu Tanwei's "Seven Sages of the Bamboo Grove and Rong Qiqi" by Li Zhaoqing, a national artist of the Northern Song Dynasty, which was suspected to be from the same model as the brick and stone murals in four large tombs of the Southern Qi Dynasty in Danyang, Jinling.
Li Zhaoqing was from Fengcheng, Jiankang, or Jianning in Fujian according to some sources. He initially served as a Hanlin attendant in the Southern Tang Dynasty. At the end of the Kaibao period, he followed Li Houzhu to the Song Dynasty and was appointed as an attendant in the Painting Academy.
He was particularly good at painting Buddha statues, especially Guanyin. When he painted ancient and modern figures, he could distinguish the freshness and maturity of the folds in clothing, which was beyond the reach of his predecessors. Before he started to paint, he would find a very clean and quiet room, cover all four sides of the room, leaving only a few feet of space, and then he would start to conceive. He was so meticulous.
When people asked him why he did this, he said that he was imitating the story of Gu Kaizhi, a national master in the previous dynasty, who said, "Climbing up the stairs and removing the ladder." Therefore, he was able to achieve fine brushwork and color, and keep it as good as new for a long time.
The story of climbing a building and removing the ladder was first recorded in Zhang Yanyuan's "Famous Paintings of All Ages" in the Tang Dynasty: "Gu Junzhi once built a high building as a painting studio. Every time he climbed the building and removed the ladder, his family rarely saw him. If the scenery was bright, he would hold his brush, but if the sky and the earth were gloomy, he would not hold his brush. Today's painters mix their brushes and ink with dust, and their colors and colors with mud, which only stains the silk. How can this be called painting? Since ancient times, those who are good at painting are all nobles, hermits and great men. They create wonders for a time and pass on their reputations for thousands of years. It is not something that ordinary people can do."
What is said here is that one must have a sincere attitude towards painting. This attitude is also a major difference between a painter and a painter.
No works of Li Zhaoqing have been passed down to this day, except for the one in front of Zhou Zhi.
Therefore, it is possible that Li Zhaoqing's last work of Lin Lu Tanwei was handed down from the Song Dynasty copy of the same master model as the brick paintings in the tombs of dignitaries of the Southern Qi Dynasty. This is certainly a great event.
This is no less than Gu Kaizhi's "The Goddess of the Luo River" and "The Biography of Women" which are also Song Dynasty copies. Moreover, Gu Kaizhi's copy is from the Southern Song Dynasty, while this "Seven Sages of the Bamboo Grove and Rong Qiqi", if it is really from Li Zhaoqing, is from the end of the Five Dynasties to the beginning of the Song Dynasty.
The only other similarly signed copy is probably Zhang Sengyou's "The Gods and Forms of the Five Stars and the Twenty-Eight Constellations" kept in Osaka.
The scroll is signed by Liang Lingzan, a painter from the Tang Dynasty. There are two theories about this painting: one is that it was painted by Zhang Sengyou and inscribed by Liang Lingzan, and the other is that it was a copy by Liang Lingzan.
As research deepens, the academic community is now increasingly inclined towards the latter.
The two elders in the capital also approved of the restoration plan proposed by Zhou Zhi and his team, and reminded Zhou Zhi that after the core of the painting was repaired, it could be brought to the capital for the old men to review. As for the rest of the mounting accessories, there is no need to worry. If it really doesn't work, the Palace Museum and the National Museum can provide some assistance in materials.
Although the material is becoming increasingly scarce, if the painting is authentic, it would be worth any effort to restore it.
In the afternoon, Zhou Zhi had already received the faxed image of the brick painting. It was sent directly to Jinling Museum by Mr. Wang because that was the site where the brick tomb was excavated and the research there was the most in-depth and detailed.
The brick painting is divided into two parts, the upper and lower parts. The dimensions are marked on the side of the faxed picture. They are about 244 cm long and 88 cm wide, respectively, and each part is made up of more than 300 bricks.
Obviously, this has been enlarged, because Zhou Zhi has measured the painting in his hand and found that it is 420 cm long and 35 cm wide, which is the same size as a traditional scroll.
The production method of brick painting is very sophisticated, the paintings are large in size, and the craftsmanship is complicated. It is more difficult to make than the common Han Dynasty stone and brick reliefs, and can be called a "Six Dynasties masterpiece".
The paper also mentioned the production method, which is to first make a huge line-drawing powder copy on paper that is enlarged to a certain proportion of the original work, and then cut the powder copy into small pieces of paper that are the same size as different brick surfaces according to the different arrangements of the brick wall. Then, these small pieces of paper are written with "codes" according to the up and down positions and the flat sides of the bricks where the pictures are located, and then they are pasted on the wooden mold paper to make a brick mold.
The bricks are numbered according to the picture, and then the wooden mold is pressed onto the bricks. At the same time, the compiled code is marked on the back of the bricks, and then they are put into the fire to make bricks.
After all the bricks are fired, they can be embedded in the tomb wall one by one according to the order on the back of the bricks, and finally a complete picture is formed.
It sounds so complicated just to talk about it, so you can imagine how difficult it is to do.
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