Chapter 422 Full Color
“Elbow’s luck is indeed good.” The fourth aunt said with emotion: “Look, first there is Shi Yannian’s “Caibi Yi Poem”, and then there is the “Sitting Dragon Picture” passed down by a monk... ..."
The fourth cousin and Zhou Zhi looked at each other, and both of them suddenly thought of a question.
The blind box was opened twice, once it was the calligraphy of a famous Song Dynasty artist, and once it was the painting of a famous Song Dynasty artist...
I am afraid this is not good luck, but maybe there is something in that box. All are carefully selected collections!
Such a probability of finding a treasure can only mean one thing - this big box is definitely a big treasure!
Zhou Zhi is an expert after all, and knows that there is no rush. He can only repair the same thing with one thing, so as not to cause more damage to the baby.
"How about I do this?" He rolled his eyes and said thoughtfully.
The current "Sitting Dragon Picture" has progressed to the repair stage, which is to use small strips of paper to stick to the cracks and incomplete parts of the painting, and then rely on the original traces of the work to try to remove the excess. Remove part of it to make the repaired area as small as possible, and restore the strength of the heart of the painting.
This job usually won’t hurt Hua Xin, Zhou Zhi dares to do it.
"Don't be cowardly!" The fourth cousin smiled and said: "Sooner or later, sooner or later, you have to get over it! Taking the teachings of famous Song Dynasty masters as a disciple, can there be anything more perfect than this?"
"Perfect premise It's because my craftsmanship is not slippery..." Zhou Zhi was still uneasy.
"Stop talking nonsense! Hurry up!"
"Oh..."
Seeing that he couldn't shirk it, Zhou Zhi had no choice but to pick up the brush and began to write the "Prepare the Brush" Yi Shi" to operate.
The procedure is actually very cumbersome. Although nominally it only uses color to cover up the cracked lines and lack of ink on the screen after repair, the technique is also very particular.
The first step is to fill in the back color, that is, apply a base color to the repaired painting heart and erase the splicing traces between the fragments of the painting heart.
Since Fourth Biaojiu deliberately preserved some of the old traces to give the calligraphy works an antique feel, those natural old traces became the difficulty of complementing the colors.
The trace colors can be dark or light. When complementing colors, it is necessary to retain the effect of light and dark and make it invisible to the viewer, which requires some ability.
Fortunately, Zhou Zhi often does this job. At the beginning of traditional Chinese painting and calligraphy, he often lays down the background color first, especially for traditional Chinese painting. He also often brushes color and alum on the front and back of the painting, and sprinkles it with alum crystals. Create a natural effect of ink color smearing and separating in water on paper.
My fourth cousin often asked Zhou Zhi to do these operations for him, so Zhou Zhi was no stranger to him.
After carefully filling in the background color, the entire Dharma sticker can be basically seen.
The second step is to refill the ink.
Ink filling is to fill in the breaks and defects in the strokes with ink.
For the same reason, the ink must be made by traditional hand, and in theory it is best to use the same ink as the original work.
But that is impossible. Famous calligraphers and painters in the Song Dynasty generally liked to use Tinggui ink and Pangu ink. These were hard-to-find items when calligraphy and painting were created more than a thousand years ago, let alone now.
So it can only be done in modern times, such as Qing ink, or even modern hand-made ink, based on the "recipe" that the restorer has collected and tested repeatedly, adding isinglass, borneol, dragon musk deer, and even rosin. and other additives to adjust the color, shade, and gel feel of the complementary ink as close as possible to the ink used at the time.
The remaining skill is the timing of complementary colors.
The adhesive used in the entire process of repairing and mounting Chinese calligraphy and paintings is a paste, a special paste.
After this paste is diluted with water, it can be used as a lubricant, impurity removal solvent, cleaning agent, adhesive, fixative... In short, it is all the same, but the concentration of the paste is different in each process. , the roles they play are just different.
After adding the heart of the painting and new life paper to the wall, remove the tissue paper and the rest is the drying process.
This process is not a one-time process. Due to gravity, the moisture in the painting center collects less at the top and dries quickly, while it accumulates more at the bottom and dries slowly.
Therefore, during the drying process, the tension on each part of the painting center is different.
In order to make the tension uniform, the restorer will repeatedly wet some parts of the center of the painting to achieve uniform tension throughout the painting during the drying process.
This process is very strange. Zhou Zhi once asked why not lay the wall flat, so that the drying process of the painting center can allow the moisture to get rid of the adverse effects of gravity?
This question really confused my fourth cousin. He just said that it is not easy to operate, and it is not easy to monitor the status of the painting heart. It is also troublesome to replenish water.
The key is that ordinary workshops don’t have such a big space.
My fourth cousin has already mixed the ink for touch-up. The repair method is naturally the "double hook method".
The principle of the double hook method is to first outline the outer edge of the stroke with a thin line, which is also the origin of the name "double hook", and then fill in the outlined inner range with ink.
Before getting started, Zhou Zhi was noisy and did not dare to mess around, but once he got started, he became calm and serious.
I quickly entered a state of immersive restoration.
The fourth cousin held a long and thin bamboo stick similar to a mutton skewer and did not speak. He only silently pointed out the order of careful repair.
Theoretically, it should be from the big to the small, from the center to the periphery, from the whole to the parts, from the key to the details.
But because Zhou Zhi was a little timid after all, the fourth cousin adjusted the order and wanted Zhou Zhi to "practice" at a few unimportant positions in the corners. After he gradually found the feeling and confidence, before moving back to the correct order.
Gradually, Zhou Zhi entered a state of selflessness, and the guidance from his fourth cousin became less and less, and eventually there was no more.
Zhou Zhi also completely ignored these. He held a small plate with ink in one hand and a brush in the other. He felt the continuous translation of Shi Yannian's calligraphy, rich and dark, and adjusted the brush in his hand in time. Drawing ink, gathering and dispersing the strokes of the brush, and turning the wrist back and forth, one by one the places that need to be filled in the work are filled in.
After completely repairing this long work, Zhou Zhi discovered that the light in the room had turned into a warm yellow.
It was already dark, and it was all illuminated by warm incandescent lamps.
Zhou Zhi stiffened his neck and upper limbs, looked at the silent electronic clock on the small tea table, and realized that it was already two o'clock in the middle of the night.
"Huh..." Zhou Zhi let out a long breath. How long has it been since he experienced this kind of mental state of forgetting things and myself?
Close your eyes, and there are still those complicated lines in your mind, flying white, dancing like gossamers, or flashing like flying stars, and they can't stop for a moment.
Zhou Zhi quickly opened his eyes, readjusted the ink, took a piece of rice paper, and started writing in his familiar cursive.
Throw away Nanyang as the main worry, and march north to the east to get all the good chips.
Every time comes, heaven and earth work together, and the heroes are not free.
Thousands of miles of mountains and rivers look down upon the child, and the swords of the two dynasties hate Qiao Zhou.
Only the sentimental water under the rock still flows next to Yiliu every year.
(End of this chapter)