Chapter 1078 Monument
After finishing the noodles, he moved his wrists and neck for a while, and turned on the air conditioner to 26 degrees to prevent himself from hypothermia and stiffness.
After doing this, I poured water on the painting and began to use the accumulated water to separate the painting with tweezers and bamboo pieces.
Pull off a little of the edge of a large piece of debris, carefully separate the stuck together pieces with bamboo pieces, press the clear painting back to its original position, and lift up the clear painting a little more, just like this a little bit Carefully peel off the first large fragment of "Ink Bamboo Picture".
Similarly, I still use the tension of water to spread the painting on the white paper support on one side, adjust the position, and the work has taken the first step.
Just to reveal the easiest part, Zhou Zhi checked the time and it took him more than half an hour.
I breathed a sigh of relief, taking this first step, it seems that it is not too difficult...
Indeed, I am afraid that the professional staff in the Forbidden City are responsible for restoring paintings, regardless of the number or size. It's so precious that many people don't even get a fraction of it from Zhou Zhi, but this skill is definitely something you've mastered.
The main reason is that I was too nervous before, so I changed my mind to reveal the painting heart. Even though it is a work of the Eight Eccentrics of Yangzhou, the pressure is much less.
Once you focus on it, you won’t be able to feel the passage of time. Now Zhou Zhi can’t help but feel proud that the improvements he made to the workbench based on his repair experience are now of great use.
This is a workbench over two meters long, about the size of a large double bed, with an epoxy resin spray-painted polished top. The difference from my fourth cousin’s old-fashioned lacquered workbench is that this workbench imitates Xu Anran’s drawing machine. The tabletop is covered with various rulers and divisions.
The epoxy resin itself is transparent, and the resin layer is very thick. A light strip is added to the edge. When lit, the countertop can also produce the effect of a window transmitting light.
The ancients used the double hook method to copy paintings, which was to hang the original work on the window, cover it with white paper, and trace it using the principle of light transmission.
Nowadays, the habit of writing has changed, and everyone writes while sitting. This tabletop with a light strip can also achieve the same effect.
Of course, Zhou Zhi’s restoration work also played a big role. Compared with the fourth cousin’s table that relied entirely on the framing master’s vision, Zhou Zhi’s table with scales made him more Precise assistance.
Pretending to be public but private, Zhou Zhi's first funding from the Three Gorges Cultural Preservation Fund was to replace all the workbenches of the Ancient Book Restoration Research Institute with this patented countertop.
Although the model is much smaller, Director Yuan was so happy that he praised Zhou Zhi as a flower. Such a workbench with its own internal light source is really important to everyone.
There are many similar improvements. For example, the lighting above the work table has been changed to shadowless lighting for the operating table. It can also move and adjust the brightness as the work area changes.
For example, various repair tools have been remade, from being able to work with a hard brush, a soft brush and a pot of paste, to being upgraded to a wall with various tools.
Even when making a paste, Zhou Zhi introduced measuring cups and electronic scales. The fourth cousin made a table of the paste concentration in various working scenarios, printed it out and posted it on the wall.
If a worker wants to do his job well, he must first sharpen his tools. These little tricks are all learned from cousin An Ran, and they are quite easy to use.
Large pieces are sticky and hard to remove, while small pieces are easy to pick up and hard to stick. Each piece must be returned to its original place, and the brushstrokes and paper fibers must be able to be connected. The seam in the middle must be Whether it should be left to make up for it or whether it should be put together directly. These are the difficulties in this work process.
But fortunately, it is like playing a slightly more complex puzzle, which requires the restorer to have a considerable reserve of calligraphy and painting skills. For Zhou Zhi, there is no problem with technique, the main thing is physical strength and patience. This process is extremely helpful in deepening your understanding of the painter's brushwork. It is equivalent to having a master demonstrate it to you in detail, allowing you to understand how each stroke and every point is formed on the paper. .
Even if I post and shadow on a daily basis, due to the influence of personal will, I often cannot understand the original work in such detail.
But restoration is different. All your own things will be discarded. The highest goal of everything is to restore the essence of the original work. The research will naturally be more in-depth than copying and shadowing.
It's as if the original author has come back to life, grabbing your hand and making sure you write and draw exactly like him.
Of course, you have to have a very high pursuit of this industry and someone who is determined to become a master to torture yourself like this.
For most craftsmen who complete work tasks and receive wages to support their families, this level is not exposed at all.
Gradually, "Mumei Tu" was uncovered bit by bit and moved to the white xanthan paper on the other side. The landscape, flowers and birds album on this side revealed its true colors bit by bit.
The Wu School of painting has been in the same vein for thousands of years. Chen Chun painted landscapes, imitating Mi Youren and Gao Kegong, and his ink paintings are full of spirit. Then he jumped out of the box and created the technique of splashing ink, expressing the color of smoke, clouds and water, which is indescribably wonderful.
He is also unique in the field of freehand flowers. His brushwork is free and smooth, with a sparse and light grace. The brushwork is like seal script and grass, and there is no illegal calligraphy. The use of ink and color is like that of later generations. As Qin praised, "the traces of light color and light ink have all disappeared!"
And Xu Wei took the strengths of each school without being limited and made bold changes. Whether it is flowers or flowers and birds, they are all created with one stroke, using various ink forms such as hooks, dots, splashes, and chaps, rich movement trajectories, and ink traces with different shades, speeds, sizes, dryness, and density. The rhyme fully demonstrates what "dancing in shackles" means, the improvisation and non-repeatability of Ji Shu, and the strongest abstract expressionism in Chinese painting, giving it inner temperament and spirit, and enabling the viewer to It feels like being there.
The ink is like clouds, and the momentum is compelling. Just as Zhang Dai said: "Today I see the paintings of Ivy, which are bizarre and transcendent, with a graceful and vigorous appearance, which is similar to the wonder of his calligraphy. In the past, people called Mojie's poems, there are paintings in the poems, and Mojie's paintings, in the paintings. There are poems; I said that there are paintings in the books of Ivy, and there are books in the paintings of Ivy."
This. It is the "big freehand". The two people worked together to push Chinese painting to an unprecedented peak. Chinese freehand painting has since moved towards the highest state of writing to express strong thoughts and emotions, and the freehand flower and bird painting technique of freely controlling pen and ink on raw rice paper to express emotions has been brought to the forefront. , raised to unprecedented heights. It became a milestone in the development of Chinese freehand flower-and-bird painting.
This also opened up a broad space for development for literati painting, which had struggled to make progress after the era of Wen Zhengming and Tang Bohu.
The Bada Shanren, Shi Tao, and the Eight Eccentrics of Yangzhou followed closely. In modern times, Wu Changshuo, Qi Baishi, and even all Chinese painters have had a positive and far-reaching influence.
This is why Wen Zhengming commented that Chen Chun was "not my disciple" and why Zheng Banqiao called himself "the lackey of Ivy League".
Literati painting must "use calligraphy into painting", "use poetry as painting", and bring the aesthetic system of poetry and calligraphy into painting.
Both Chen and Xu were poets and masters of cursive calligraphy at that time. One calligrapher was evaluated as the "Flying General in Mo", and the other dared to call himself "the first in calligraphy, the second in poetry, and the third in writing. "The fourth painting", some people even praised his cursive writing as "a clear person".
It's a pity that among the painters of later generations, no one's calligraphy level can reach the height of these two, and the level of poetry is nothing like that. When projected onto painting, no matter how sophisticated the technique is, in terms of the so-called "literary spirit", it will always be A thin layer is missing.
The two monuments of Daxiyi directly make future generations look up to them and are almost impossible to surpass.
(End of this chapter)