Riding the wind of rebirth

"That is to say, the mainland actually has hard yellow paper." An Zhaiyingyi murmured.

"Yes." Zhou Zhi nodded, "Besides, the "Orchid Pavilion" and "Quick Snow and Sunny Posts" hidden in the Palace Museum are also filled with hard yellow double hook ink."

"There is a problem." Xu Zhantang was a little puzzled: "If the painting is painted with wax on paper, it can certainly increase the transparency, luminosity and toughness of the paper, but how to apply ink? Also, it will be difficult to mount it?"

"This question..." Zhou Zhi said with a smile, "In fact, there is a traditional craft that has already given us the answer."

"what?"

"The traditional craft I'm talking about is called mounting." Zhou Zhi smiled and said, "There is a special craft in mounting, which is pasting."

"For some precious ancient calligraphy and paintings, future generations want to add appreciation seals on them. They don't directly stamp them with the seals directly, but first stamp the seals on rice paper, and then cut out the seals and paste them on the calligraphy and paintings. Then use special techniques to remove the white paper area without the printed text, so that the printed text can be transferred to the calligraphy and painting."

"In ancient ink pads, wax oil minerals were also used. If there is no special process for painting, this printing paper will not be able to stick to calligraphy and painting. This process is called 'dewaxing'."

"Similarly, this problem also exists in calligraphy and painting. Ancient paintings, especially fine brushwork, often have to go through five renderings and nine dyeings. Every time a color is applied, glue alum is used to reinforce it. In the second layer, there are often more than a dozen processes before and after. , to complete a painting.”

"After the painting is finished, a lot of water will be used for mounting. At this time, the color has solidified on the paper fiber. As long as you pay attention to the technique, you only wash off the excess glue, and it will not cause harm to the painting."

"After that, there is a whole set of procedures such as re-consolidation and mounting. It is this set of calligraphy and painting preservation methods that allow us to restore the thousand-year-old scrolls many times without harming the artwork itself."

"And the so-called 'wax' of hard yellow wax paper is not a simple wax, but a complex formula, which belongs to a water-soluble resin, and its effect is similar to that of glue alum. Influencing calligraphy and painting ink."

"In this way, Mr. Zhou is very familiar with hard yellow wax paper, so he believes that "Da Nikkei" is an authentic work?"

"Yes, the Tang Dynasty paper that can survive is very precious. This remnant scroll is a standard Tang style in terms of calligraphy style, and the paper is also a precious paper of the Tang Dynasty. Therefore, I think it must be authentic. As for other identification basis, Sister Wanqiu must be clearer."

"For the identification of calligraphy and painting, we generally use two identification methods, carbon [-] identification and spectral identification." Lin Wanqiu said with a smile: "Carbon [-] identification is to take some trace characteristics on calligraphy and painting, such as ink, paper, and inkpad, to measure the carbon [-] attenuation. Spectral identification is to use spectral analysis equipment to check whether there are traces of modern chemicals on the scroll."

This is also a commonly used method after the technologicalization of the cultural and entertainment industry. The former is used to determine the age of artworks, and the latter is used to determine whether it is a fake.

"According to the identification results, there are no modern chemical agents on this volume, and its chemical element composition is consistent with the chemical characteristics of known Tang scroll artworks that have been repaired in ancient times."

"Judging from the identification of Carbon [-], the earliest date of the scroll is the Tang Dynasty, and then it underwent two restorations in the Song and Ming dynasties."

"Is it possible that this is a counterfeit made by Song or Ming people using paper and ink from the Tang Dynasty?" Hou Zhongjin thinks this is also a question worth considering.

Unexpectedly, both Lin Wanqiu and Zhou Zhi laughed, Lin Wanqiu said: "Zen Master Kukai's status in the island country is certainly lofty, but in China at that time, then..."

"Judging from the lack of inscriptions before and after this long scroll, and only a few lesser-known private collection chapters, this work may not have received much attention at the time."

Lin Wanqiu is from Hong Kong Island. During this period of time, she returned to China and traveled around. She probably received some education, and now she is secretly mocking the islanders.

But what she said is correct, if the Song and Ming people were to make fakes with precious hard yellow paper from the Tang Dynasty, it would have to be Zhang Zhi and Zhang Xu Huai Su's grandson who went to court, and how stupid would they be to make fakes of Monk Kukai !

Coupled with these two identifications, it can be sure that the authentic product is undoubtedly.

Lin Wanqiu said with a smile: "Your article is well written, Elbow. Just now, you can come up with an appraisal for the pot with the dragon pattern just now, so I can use it tomorrow."

"Don't wait for tonight." Zhou Zhi took over Lin Wanqiu's notebook and pen, and began to write:
Ming Dynasty Xuande Kui Dragon Jar.

The tank has a straight mouth, round shoulders, a bulging belly, and a flat bottom.The whole body is decorated with blue and white patterns, the neck is decorated with Ruyi cloud head patterns, the shoulders are decorated with flowers and cloud patterns, and the belly is painted with the pattern of Kuilong holding lotus. The Kuilong has an elephant trunk, two wings, and a curly tail. .The regular script inscription "Made in Xuande, Ming Dynasty" inside the blue and white double circle on the bottom.

The blue-and-white hair color of this utensil is rich and bright, the carcass is firm and white, the painting is full of wit and wit, the layout is comfortable and elegant, and the subject matter is extremely rare. It is the best blue-and-white utensils in the early Ming Dynasty.

After thinking about it for a while, Zhou Zhi wrote below:

Xuande Porcelain with Kuilong patterns, the theme is derived from the Hindu Capricorn fish. The Sanskrit name "makara" originally refers to "sea dragon", which is the mount of the goddess of Ganges and Varuna, the sea god.

Believers regard the goddess as the embodiment of purity and forgiveness.Varuna, the god of the sea, represents justice and truth. According to Hinduism and Buddhist statue rituals, Capricornus is responsible for guarding the passages and entrances of palaces and temples.

Therefore, from the Yuan Dynasty onwards, the Kuilong pattern in Chinese artistic themes should have been gradually incorporated into Chinese artistic themes with the popularization of Buddhism, and it was first used as the main pattern on porcelain in the Xuande Dynasty.

Compared with the Kuilong of Shang and Zhou bronzes, it is quite different.

Return the notebook to Lin Wanqiu: "Sister Wanqiu, what do you want to see?"

Lin Wanqiu looked at it, and said with a smile: "Very good, that's it, then let's go to the banquet right away, let's have a good chat?"

The specifications of the banquet were quite high, and Lin Wanqiu booked a large restaurant at the five-star Regent Hotel on Hong Kong Island as the venue for the reception.

There were a lot of guests, and this was actually a promotion meeting. Zhou Zhi was lucky enough to sit in the front row with the bosses, and met many celebrities and big stars who came to help.

The stars are about to go to the mainland for a charity performance, and the charity performance is organized by Li Qiyan, and the most important collection of this auction is also Li Qiyan's, so you taste, you carefully...

It was very simple for Zhou Zhi to understand. In his heart, Hong Kong Island was similar to Jiachuan. Everyone looked up but didn’t look down. There were only a few people who came and went, and what was involved was a person who knew the world...

The famous short and fat host was co-hosting with Lin Wanqiu, who was in an evening dress, and his witty humor made the guests rock and roll.

But Zhou Zhi felt that it was necessary to remind Lin Wanqiu and Li Lehai that this guy seemed to be a pervert.

After the ceremony was the dinner party. In fact, it was a social gathering. After a while, they made an appointment to chat with some circles, and Lin Wanqiu and Li Lehai acted as introducers wearing flowers and butterflies.

These have nothing to do with Zhou Zhi anymore, he is now sitting obediently behind Director Wang and Li Qiyan with Li Lehai, not daring to sit on the table, afraid of being photographed by the media and arousing everyone's curiosity.