Chapter 451 Single-character posthumous title
“This posthumous title has its origin, because in addition to his excellent knowledge, Wang Zhu also made great contributions to the compilation, restoration and collection of ancient books. He was also one of the best book collectors in the Northern Song Dynasty.” Fourth cousin uncle Continue to explain.
“There are forty-three thousand volumes recorded in his family’s collection of books alone, and there are so many volumes of similar books, such as "Taiping Guangji", that they are not among them."
"The most commendable thing is his collection method. It is said that 'for every book he gets, he must ask for another copy, and there is no need for reference." After the mistakes were made, they were copied into books on cotton paper from Puqi County, Ezhou. Each volume was no more than forty pages thick, specifically for the reading of the borrower and his children."
"Then another book was copied. This one was mounted on yellow silk and placed in the library, called the "Zhenku Book".
"The number of books copied in this way alone totals more than 5,000 volumes."
"He also had a close personal relationship with another great book collector in the Northern Song Dynasty, Song Shou, who was also a Hanlin scholar. The method of restoring ancient books that he developed was taught to Song Shou, and other bibliophiles rushed to imitate him."
“After knowing these backgrounds, it will be interesting to go back and read the messages left by the two of them.”
Mei Yaochen is a person who loves to visit antique markets. He once wrote a poem, It is recorded that he found an unknown jasper poppy in the antique market of Bianjing City and picked up a big leak.
This poem tells another story. It 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, I bought it. When I got there, I found out that my friend Wang Zhu was a master at repairing ancient paintings, so I sent it over specially.
After this painting was restored, it became extremely valuable. Fan Kuan, a famous landscape painter, could not learn Jing Hao's magic brush until he died. Another painter, Li Cheng, could only inherit part of Jing Hao's skills in painting the distant scenery. .
But I don’t want to exchange money for this painting. I just ask Wang Gongyun to give it to me as a reward.
Finally, I couldn't help but praise Wang Zhu - Lao Wang, you are simply omnipotent. This craftsmanship in restoring ancient paintings makes "gold and white jade not as valuable"!
Wang Zhu’s postscript records Jing Hao’s biography.
"Jing Hao, a native of Hanoi, calls himself Hong Guzi. He is liberal and fond of antiquity, and specializes in landscapes, which is quite interesting.
It is said that "Wu Daoxuan has a pen but no ink, and Qingrong has ink but no pen".
Hao is the director of his two sons. If there is a pen but no ink, the path of the pen will be less natural; if there is ink but no pen, the marks of the ax and chisel will be removed and the result will be abnormal.
For Wang Qiazhi's paintings, he first splashed ink on the silk, and then took the natural trend of high and low.
Now that Hao is introduced between the two, people think that they are made in heaven and get the best of both worlds.
Therefore, it can please everyone’s eyes and make it easy for viewers to see.
At that time, people with the same name were able to draw, and Shihao was his disciple.
What Hao Hao can do is valued by the moment.
Later, he wrote a volume of "Landscape Jue", which he then listed and hid in Yi Pavilion. "
Zhou Zhi pointed to the end of the article: "This "Landscape Jue" is probably Jing Hao's landscape painting theory. "
"It's a pity," the fourth cousin also pointed to Mei Yaochen's poems: "In history, there are only "Landscape Jue" by Wang Wei and Huang Gongwang's "Landscape Jue", and even this ' But Li Cheng, who was the leader of Pingyuan Gong, also retained his "Landscape Jue". ”
"But Jing Hao's "Landscape Jue" has been lost, and its content is unknown."
Zhou Zhi looked at the painting that was full of repairs and couldn't help but sigh: "This restoration is really great." It’s so tiring.”
“ But it's worth it." The fourth cousin couldn't help sighing: "You have learned everything."
"Nothing else, it's just too much effort..." Zhou Zhi recalled this. Yue's "hell mode" makes everyone feel frightened. "Yes, thanks to Wang Zhu's use of the official repairing technology of the Hanlin Academy of the Northern Song Dynasty," the fourth cousin said: "This technology later traveled south with the canal and was perfected in the Hangyang generation, and eventually became our Yangbang calligraphy and painting mounting sect."
"Since they are from the same origin, even if they are familiar with the road, they have gained a lot. Fortunately, fortunately."
The restoration of silk books is another level of difficulty compared to paper copies.
Old calligraphy and painting silks have different levels of wear and tear due to different years, and there are many types of silks. Therefore, sufficient preparations must be made before cleaning. The first thing to do is to select appropriate repair silks. and supporting paper.
The requirements for patching up silk must be "three close", that is, the texture of the silk patching the hole is close to that of the painting core, the color of the patching silk is close to the color of the painting core, and the natural glow of the patching silk is consistent with the painting core. itself is close.
The patching silk used for repair may itself be an old item. Therefore, if there are traces of mildew, stains, water stains and other slightly darker colors, chemicals such as potassium permanganate, oxalic acid and other solutions should be used. Decontamination wash until clean.
After dealing with the patching silk, you also need to deal with the supporting paper.
The supporting paper must be of a suitable color for the painting core. Because the silk painting core itself is thick and dark in color, it is better to choose thin cotton for the supporting paper.
The slurry used to support the painting core should also be thicker than the paper.
The color of the supporting paper should be slightly lighter than the painting core. However, the texture of some painting cores is sparse and not so dense. If the supporting paper is too light, the bottom will be exposed and the color effect on the front of the painting core will be affected. Therefore, there is still a problem of grasping the degree.
And because the color of ordinary replenishment paper and supporting paper cannot be exactly the same as the old one, there is also a dyeing process.
Generally, traditional Chinese painting pigments are used: ocher, garcinia, and ink. The lightest part of the painting core shall prevail. Sometimes, the texture of the painting core shall be referred to and the preparation shall be flexibly made.
After the preparation work is completed, it is time to work on the heart of the painting.
Similar to paper restoration, the first step is cleaning.
In this step of fixing, if the silk painting core is torn or broken, first brush it flat with paper and pulp on the back of the painting core to fix it.
What needs to be paid attention to in this step is that the painting is spliced correctly, and there is no need to appear in a pretentious manner.
Then use the tip of a sharp knife to gently scrape off any stains such as insect droppings, black spots, mildew stains, water marks, etc. that can be removed from the screen.
Due to age, natural destruction, and poor preservation techniques, some silk painting cores are seriously damaged. To clean such silk painting cores, you must first spread the painting cores flat in a special painting pool, and use Rinse the pen with water, scald it with boiling water more than twice, and then rinse it slowly with clean water several times.
If the silk painting core is firm and the color is not affected, it will need to be soaked in the pool for a long time.
This has two effects. First, after the silk painting core is scalded with boiling water, the slurry between the original paper and silk will be swollen, the viscosity will be weakened, and it will be easy to separate, which can be used for the following In one step, remove the original supporting paper to prepare.
The second is to scald the silk painting core with boiling water, and the yellow water flowing out will be like soy sauce soup. This is the process of removing the accumulated dust, which can make the painting much fresher.
Then use a clean towel to gradually dry up the water on the screen. If there are mold stains and other stains on the screen, deal with them at this time.
Generally, when boiling water cannot remove the mildew, chemicals will be used for further removal. However, this method is strictly prohibited for precious paintings and calligraphy such as "Shu Mountain Pictures".
Because if it is not cleaned properly, chemicals will damage the fibers and old air of the core texture.
In addition, when using chemicals to wash old painting cores, if you are not careful, you will make mistakes, and once you make a mistake, it will be irreparable.
Similarly, you have to be careful when dealing with lead on the picture. It is best to use the fire method, because hydrogen peroxide can damage the painting core too easily.
(End of this chapter)