Riding the wind of rebirth

Chapter 450

"This posthumous title has a history, because in addition to his excellent knowledge, Wang Zhu has made great contributions to the restoration and collection of ancient books. He was also one of the best bibliophiles in the Northern Song Dynasty." Uncle Si Biao continued to explain.

"There are [-] volumes of bibliographies in his family's collection alone, and those with a large number of volumes, such as "Taiping Guangji", are not among them."

"The most commendable thing is his collection method. It is said that 'every time you get a book, you must ask for a different copy. After the school is correct, you will use EZ Puqi County cotton paper to copy it into a booklet'. The thickness of each book does not exceed [-]. page, specially for borrowers and children to read;”

"Then another copy will be made, and this one will be framed in yellow silk and placed in the Library Pavilion, called 'Zhenkushu'."

"There are more than 5000 volumes of the book of the town treasury transcribed in this way."

"He also had a very close personal relationship with another great book collector in the Northern Song Dynasty, Song Shou, who was also a Hanlin scholar. He once taught Song Shou the method of restoring ancient books that he had researched, which made all the bibliophiles emulate for a while."

"Knowing these backgrounds, it will be interesting to go back and read the words left by the two of them."

Mei Yaochen is a person who loves to visit the antique market. He once wrote a poem, which records the story that he found a jasper poppy that no one cared about in the antique market in Bianjing City, and picked up a big leak.

This poem tells another story, which means that I found a wonderful ancient painting in the market, but it was broken and brittle, because it had Jing Hao’s name on it, so I bought it, and knew that my friend Wang Zhu is a master at repairing ancient paintings, so he sent them here specially.

After the painting is restored, it will be invaluable. Fan Kuan, a famous landscape painter, will not be able to learn Jing Hao's magical brushwork even if he is old and dead. Another painter, Li Cheng, can only inherit some of Jing Hao's skills in depicting the scenery of Pingyuan. .

But I don't want to exchange money for this painting, I just ask the prince to give me a pill of Ting Guimo as a reward.

In the end, I couldn’t help but praise Wang Zhu—Old Wang, you are omnipotent. The craftsmanship of restoring ancient paintings is what makes "gold and white jade not precious"!

And Wang Zhu's postscript is the biography of Jing Hao recorded.

"Jing Hao, a native of Hanoi, calls himself Hong Guzi. He is liberal in art and loves ancient times, and specializes in landscapes, which is quite interesting.

It is said that 'Wu Daoxuan has a brush but no ink, and Qingrong has ink but no brush'.

Hao is also the director of the two sons.For those who have a pen but no ink, they see the path of writing and are less natural; if they have ink but no author, they are more perverted when they remove the marks of the axe.

Therefore, in Wang Qiazhi's paintings, he first splashed ink on the fine powder, and then took the natural trend of its height and height to make it.

Today, if Hao Jie is between the two, people think that they are made by nature, and they can get both.

Therefore, it is pleasing to the eyes and makes it easy for the viewer to see it.

At that time, it was related to Nenghua with the same title, and his teacher Shi Hao was his disciple.

Therefore, what Hao can do is highly valued for a while.

Later, he wrote a volume of "Shan Shui Jue", then published it, and stored it in the Pavilion. "

Zhou Zhi pointed to the end of the article: "This "Landscape Jue" is probably Jing Hao's theory of landscape painting."

"It's a pity." The fourth uncle also pointed to Mei Yaochen's poems: "In history, there are only Wang Wei's "Shanshui Jue", Huang Gongwang's "Shanshui Jue", and even this "But De Ping Yuangong" Li Cheng, his "Shan Shui Jue" also survived."

"But Jing Hao's "Shan Shui Jue" has been lost, and its content is unknown."

Zhou Zhi looked at Hua Xin, who was full of repairs, and couldn't help feeling: "This repair is really tiring."

"But it's worth it." The fourth cousin couldn't help sighing, "You've learned everything."

"It's nothing else, it's just a waste of energy..." Zhou Zhi couldn't help but tremble when he recalled the "hell mode" for more than a month.

"That's right, it's also thanks to Wang Zhu's use of the official repairing technique of the Imperial Academy of the Northern Song Dynasty," Uncle Si Biao said, "This technique went south along the canal and was perfected in the Hangyang generation, and finally became the painting and calligraphy mounting school of our Yangbang."

"Since it is in the same line, even if you are familiar with the road, you will gain a lot. Fortunately, fortunately."

The restoration of the silk version is even more difficult than the paper version.

Ancient calligraphy and painting silk books are worn differently due to different years, and there are many types of silk books. Therefore, before cleaning, it is necessary to make sufficient preparations. The first thing to do is to choose suitable patching silk and supporting paper.

Silk patching requires "three closenesses", that is, the texture of the hole-filling silk is similar to that of the painting core, the color of the patching silk is similar to the color of the painting core, and the natural light of the patching silk is close to the painting core itself.

The mending silk used for restoration may itself be an old thing, so if there are slightly darker traces such as mildew, stains, water stains, etc., use chemicals such as potassium permanganate, oxalic acid and other solutions to decontaminate and wash until it is washed. net.

Handle the mending silk well, but also handle the supporting paper.

The supporting paper must be matched with the color suitable for the painting core, because the painting core of the silk book itself is thick and the color is dark, so it is better to choose thin cotton for the supporting paper.

The slurry used for supporting the painting core is also thicker than the paper.

The color of the supporting paper is required to be slightly lighter than that of the painting core.However, the texture of some painting cores is relatively sparse and not so tight. If the supporting paper is too light, it will show the bottom and lose its focus, which will affect the color effect of the front of the painting core. Therefore, there is still a problem of grasping the degree.

And because the color of the general supplementary donation and supporting paper cannot be exactly the same as that of the old copy, there is also a dyeing process.

Generally, traditional Chinese painting pigments: ocher, gamboge, and ink are used to prepare, and the lightest part of the painting core shall prevail, and sometimes the texture of the painting core shall be referred to for flexible modulation.

After the preparatory work is completed, it is the operation of the painting heart.

Like paper restoration, the first step is cleaning.

This step is fixed. If the silk painting core is torn or broken, first use paper and starch on the opposite side of the painting core, and brush it flat to fix it.

What needs to be paid attention to in this step is to splice the painting correctly, and avoid the situation of Zhang Guan Li Dai.

Then scrape off insect droppings, black spots, mildew, water marks and other stains on the screen with a sharpened knife as much as possible.

Due to the passage of time, natural damage, and poor preservation techniques, some silk painting cores have been seriously damaged. To clean this kind of silk painting cores, you must first spread the painting cores in a special washing pool, pour them with pens, and boil water. Burn it more than two times, and then rinse it slowly with clean water several times.

If the texture of the silk painting core is firm and the color is not affected, it needs to be soaked in the pool for a long time.

This has two effects. One is that after the silk painting core is scalded with boiling water, the pulp between the original mounting paper and the silk is swollen, the viscosity is weakened, and it is easy to separate, which can be used for the next step to remove the original supporting paper. prepare.

The second is to scald the silk painting core with boiling water, and the yellow water that flows out is like soy sauce soup. This is the process of removing the dust accumulated over the years, which can make the picture much fresher.

Then use a clean towel to gradually absorb the water on the screen. If there are mildew and other stains on the screen, deal with it at this time.

Generally, when the mold cannot be removed by rinsing with boiling water, chemicals will be used for the next step of removal. However, this method is strictly not allowed for precious paintings and calligraphy such as "Shu Mountain Picture".

Because if it is not cleaned properly, the chemicals will damage the fibers and old atmosphere of the core texture.

In addition, when using chemicals to wash old painting cores, if you are a little careless, you will make mistakes, and once you make mistakes, it will be irreparable.

In the same way, the treatment of lead flooding on the picture must be handled with caution. It is best to use fire to deal with it, because hydrogen peroxide is too easy to damage the core of the painting.

(End of this chapter)