Riding the wind of rebirth

Chapter 451 Repair
Before the cleaned silk painting is turned over to the mounting table, a backing paper needs to be placed on the screen, and then the silk painting and the backing paper are rolled up and placed on the mounting table, and the backing paper is removed, so that the painting core faces up, and the water is prepared. Oil paper and paste, paste water oil paper on the painting.

The function of this step is to prevent the broken silk painting core from moving, which is convenient for remediation. The key is to master the thickness of the paste used for brushing water and oil paper, which must be just right according to the degree of dilapidation of the picture.

In addition, the colors of ancient paintings are commonly used in colors such as azurite and stone green. Since these are mineral pigments, they will float on the surface of silk after being infiltrated into silk. Causes the color to come off the silk easily.

Therefore, some smooth rice paper must be lined on these color blocks, and then pasted with water and oil paper to prevent the color from being stuck.

But laying water-oil paper will bring a new problem, that is, the shrinkage force of silk-based painting cores is generally much greater than that of paper-based painting cores. In addition, water-oil paper is brittle and lacks the toughness to stretch, so it is pasted on the mounting table. Or the paintings on the wall may crack due to different shrinkage ratios.

In order to prevent this phenomenon, two layers of rice paper must be added as a protective layer after the water-oiled paper is pasted, and the mounting table should also be wiped clean with a damp towel. On the mounting table, peel off the two layers of old backing paper on the surface.

It's complicated enough to say, but the actual operation is more complicated and troublesome than this.

Because this painting was already "brittle, cracked and sticky again" in the Northern Song Dynasty, it was restored only thanks to Wang Zhu's superb restoration skills. Today, it has already been brittle and aged again, severely broken, and most of the core of the painting has been desmeared and hollowed out. , It's hard to open it.

Therefore, it can only be operated directly on the mounting table.Before cleaning, line the mounting table with thin vellum paper or fine mesh silk, and line it with a water pen to dry it.

Then put the painting scroll on and slowly open it, with the picture facing upwards, use the water pen to spread lightly and evenly, pour over the painting that can be fixed slowly, and then find other scattered fragments of the painting to splice.

This step requires careful observation of the painting, careful splicing, accurate in place, and nothing wrong.

Then use a towel to gradually and carefully blot and fix it piece by piece, then use a slurry water-oil paper brush to flatten the picture, and brush two layers of rice paper protection on the water-oil paper, and then gently connect the lining on the mounting table. Move the silk together to another mounting table and turn over, and brush the side with the water-oiled paper and the protective layer on the mounting table.

At this point, the original painting is considered to have completed the process of cleaning and facing the back side up, and then enters the second step, the key process, the process of exposing the painting core.

"The life of calligraphy and painting lies in uncovering", the work of this step is to peel off the backing paper of the painting core.

If this step is not done properly, the life of the painting will be ruined. You must be serious, patient and meticulous, and have a high degree of concentration during the operation.

Using fingers and tweezers, first carefully peel off the two layers of backing paper on the surface. When peeling off, open an opening in the blank part of the picture or a place that is easy to peel off, and proceed step by step in one direction according to the law.

Uncover if you can, and rub if you can't. When rubbing, pay attention to laying your fingers flat, and gently rub the thick part back and forth. If there are fragments of paper clothes, use a small brush to wash them gradually with water.

If the color of the original patch on the painting core is close, the latitude and longitude of the silk are correct, and the brush is still good, you can keep the original patch.If there are any bad ones, the patch should be removed and refilled.

Fortunately, "Shu Mountain Picture" still uses "thick silk". If it is thin silk, the number of meshes is relatively low. Therefore, silk and support paper are common components of the painting paper, so that even the support paper cannot be removed, otherwise the painting core will be lost. It will be eclipsed and distracted, and it will be more difficult.

In the process of gradually emptying the painting core, it is also reinforced by the rolling method, that is, some thin paste is applied on the front side to make the silk and the backing paper firmly bonded.

At the same time, brush some thin paste on the hole where the old support paper was removed to prevent the hole from becoming warped. The hole can only be filled after the picture is completely dry.

At this point, no actions that could harm the original painting have occurred, the subtraction has been completed, and Huaxin's back is completely exposed.

Then the addition process begins, at least I can breathe a sigh of relief.

The third step is to repair the hole.It is necessary to carefully repair all the large and small holes and damages on the painting core after peeling off the supporting paper.

The requirement of this step is fine, fine, and fine.

Before filling the gap, first scrape off the excess monofilaments and miscellaneous filaments beside the hole with the tip of a sharpened knife. The wires must be aligned and cannot be bent.

After mending the silk, apply thick paste water with a small brush, and then gently touch it with your fingers. After it dries, use a sharpened knife to flatten the excess silk around the hole and scrape it off gently. As long as it feels flat to the touch, use a small brush to apply slurry filling water to make the filling silk adhere to the surroundings of the hole.

After the big and small holes are filled, the remaining cracks and small sesame holes must be pasted with colored fine mesh silk with a small brush and water strips, so that they cannot be missed.

This step of the project is complicated and trivial and must be meticulous and conscientious. It can be said to be exhausting to the extreme. After this step is completed, the most cumbersome process of restoration is completed.

Up to now, the restoration of "Shu Mountain Picture" has only completed this step. What needs to be done today is the step of "holding the core of the painting", which is "upper the wall" in the jargon.

The meaning of wall painting is to cover the painting heart with the backing paper, turn it over and remove the front protective rice paper and water oil paper, so that the painting heart is exposed, and then paste it on the wall and wait for it to dry before full-color mounting.

It's so simple to say, but it's so complicated to do.

First of all, stand up the painting core with the hole patched intact on the mounting table, and trim the painting core according to the routine.

Pay attention to stamps and inscriptions when cutting the core, and prepare the supporting paper size at the same time.

Since the silk painting has been flattened for a period of time, it has already stretched a lot, so after stepping off the stage, it should be placed for a while to let it shrink naturally, and then moisten the center of the support to avoid excessive stretching of the silk, which will affect the shrinkage of the mounted piece in the future Deformation, or walking on the wall or cracking during the mounting process.

After that, you can use clear water to evenly water the support paper with a brush, and then brush the side of the painting core with water and oil paper paste evenly with a clear water brush.

Then brush the moderately adjusted grout directly on the back of the painting core.

Finally, flatten the supporting paper on the mounting table, level the painting core on the supporting paper, turn over and brush flat again, and cover the white support paper.

In this way, the pasted water-oil paper and the two layers of protected rice paper have completed their mission and can be removed.

You have to be careful in this step, if there is not enough draft, or if you encounter a broken core, it is easy to peel off the fragments of the original painting when peeling off the oil paper.

Therefore, the movement must be flexible and careful. If you find that the painting core silk is stuck to the water oil paper, stop immediately and change the direction of removal.

If this still doesn't work, you can only tear the water-oiled paper into small pieces and peel it off little by little.

Then use a small clear water brush to smooth out the raised silk, exposing the front painting core.

Compared with paper books, silk books have one more step - desizing.

There is still a residue of water-oil paper on the front, and it needs to be wiped off gently when the painting core is half dry.

This is an essential process. If the remaining pulp on the surface of the picture is not removed, it will affect the next full-color process at the hole, and there will be a reverse color phenomenon, so that the repaired part cannot be integrated with the original painting, or It looks abrupt and has no sense of softness.

Similarly, in order to prevent the core of the silk painting from cracking, the back of the core also needs to be pasted flat with two layers of rice paper.

Today, the four uncles are directing and operating thoughtfully.

(End of this chapter)