Chapter 1429: Don’t be superstitious about science
The dragons of the Song Dynasty are also very distinctive. The dragon head is three-dimensional, with spiny gills, thick beards but no hair. The dragon body has no twists and turns, the four legs are fat, and the claws are divided into four fingers. , no elbow hair, no tail hyena, the tail is snake-tail shaped.
In the center of the painting, above the waves, is a poem inscribed by Emperor Qianlong and stamped with a large seal.
Chen Rong's own poems and water-honey seals fell to the end of the painting, and were overtaken by Qianlong.
Behind the center of the painting, there is another section of water, followed by the "vice tail". Like the deputy head, the vice tail is also a place for sealing, with eight seals on it.
Then there is the secondary water barrier, and then a long "positive tail".
The "trail" is made of rice paper and is left for the appreciator to write an inscription. It is generally very long and often requires three pieces of rice paper to be glued together.
On the front and tail of "Six Dragons" are the respectful poems written by Yu Minzhong, Liang Guozhi, Wang Jie, Dong Gao, Jin Shisong and Chen Xiaoyong, several great scholars of Qianlong.
After that, the silk brocade forms the ground and the wenge wood axis, and the hand-scroll is not complete until this point.
Thus, although the height of hand scrolls is generally only thirty or forty centimeters, they are very long when unfolded. The length of "Six Dragons" is actually more than 440 centimeters, which is very long.
Therefore, the method of appreciating hand scrolls is different from other paintings, and the perspective relationship is also different from ordinary paintings. Scattered perspective is used to create the feeling of "one scene per step" and "one scene at a glance".
The heart of the painting "Six Dragons" is from the Southern Song Dynasty. It dates back a long time. The last time it was framed was during the Qianlong Dynasty. The same year is not new. Moreover, the mounting method and materials used in the hand scroll are also the most complex among all the mountings. , damask, silk, paper and brocade are all used. For example, "Six Dragons Picture" is a standard "Xuanhe decoration", with hand-rolled head, water-proof, secondary water-proof, and multi-silk lenses. The head is made of brocade, the heart is made of paper, and the tail is made of silk.
Because they are often placed on the desk and turned over for appreciation, hand scrolls are more susceptible to damage than other forms of mounting. Moreover, due to the comprehensive nature of the mounting materials and the storage environment, they are more likely to be damaged by oxidation, hydrolysis, etc. destroyed. It is also more likely to be exposed to factors such as temperature and humidity, light, dust gas pollution, and microorganisms that cause fiber lesions.
Because the paintings and calligraphy were afraid of getting damp, the Fujiwara Art Museum adopted a "scientific" method, which was to wrap them in their original packaging, vacuum wrap them in fresh-keeping bags, and put them in a constant-temperature cabinet.
However, this not only failed to protect the paintings and calligraphy well, but also caused damage to the collection.
After careful analysis, there are many reasons for the damage to these hand rolls, but the sealed preservation method is definitely the biggest reason.
The sealed preservation method is not impossible, but there is a prerequisite, that is, before sealing, the humidity and cleanliness of the collection need to meet standards.
In addition, in order to maintain the flexibility of the fiber, it is also a problem to store it rolled up for a long time. It needs to be stretched out regularly to release the "stress".
Although it is protected from light and cool, there is no ventilation. The dust, oil, sweat, and the most terrifying thing on the previous paintings are microorganisms and molds, which can easily lead to disease.
There is also a large amount of silk fabrics on the hand rolls. The gaps created by weaving are very easy to retain these things, and then they are involved in the painting. Even if the vacuum is drawn, there is not completely no oxygen. The air remains in the gaps between the fabrics. Enough for them to be useful.
After the action is completed, the remaining anaerobic bacteria can start to act again, and long-term absolutely consistent humidity will also cause a big problem for the hand roll. Once the hand roll is untied, the hand roll will be rapidly destroyed due to sudden environmental changes. Many murals in ancient tombs, paintings on the Terracotta Warriors and Horses in Xi'an, and bamboo slips that have been soaked in water for a long time will be destroyed for this reason.
So the ancients’ method of preserving calligraphy and paintings was actually the most ideal.
The first thing is to pay attention to cleanliness. Before appreciating treasures, ancient people often burned incense and bathed, fasted and washed their hands. In addition to the sense of ritual, it cannot be said that there is no such reason.
In modern times, when viewing hand scroll works, you should wear masks and gloves. Because no matter how clean your hands are, they still contain contaminants such as grease, sweat, dust, and mold, and nails can scratch collections.
When viewing, keep a distance of about one and a half meters from the calligraphy and painting. It is best to have a physical separation between the two to prevent saliva from splashing on the calligraphy and painting when speaking.
The ancients used letter covers and picture boxes for daily collection. The material of the painting box is also very particular. Oily wood such as pine needs to be treated to prevent oil from contaminating the paper.
The ancient painting boxes were usually composed of multiple layers of materials. The outer layer was insect-proof camphor wood, and the middle layer was fine and dense nanmu. The innermost layer was lined with fine silk, and the hand scroll itself was also made of Wrapped in brocade.
The traditional mounting adhesive material is paste. The raw materials of the paste are flour and water, so preventing mildew and insect infestation is the key. When collecting, you need to put the works in a box or cabinet with good sealing performance to prevent insects from entering. At the same time, put insect-repelling camphor and other medicinal fragrance products at the corners of the box to prevent insects from being eaten, and then put in dried soil with good water absorption properties. paper to adjust the relative humidity of the small environment.
Even so, books, calligraphy and paintings should be dried regularly, preferably in the cool autumn season.
The ancients often took out their collections of paintings, calligraphy, and books at this time, dusted them, and aired them to let the absorbed moisture evaporate before storing them again.
This is often a large-scale event in key book collection areas, such as the royal family. At this time, the emperor will come forward and bring important cultural figures in the court to appreciate and study calligraphy and paintings, recite poems and compose poems, and hold a grand ceremony outside the library pavilion. Literary meeting.
The Fujita Museum of Art is somewhat superstitious about modern science and does not believe in the "cocktail therapy" in the preservation of cultural relics. In other words, it does not pay attention to the six-hand scroll. It believes that the preservation method of constant temperature and light-proof vacuum is the best, which has consequences. A little serious.
But fortunately, it is not that it cannot be saved. What looks like a very serious loss in the eyes of outsiders, but in the eyes of an expert like Zhou Zhi, it is just partial pollution, plus later dehydration, layer separation and other problems that are relatively easy to solve. .
The "Six Dragons Picture" is the longest volume, and its problems can be solved. Wang Mian's "Snow Plum Picture" and Li Gonglin's "Bridge Alliance Picture" are both easy to solve.
However, Zhao Lingran's "Picture of Geese", Zhao Mengfu's "Picture of Washing Horses", and Han Qian's "Picture of Horse Nature" are all on silk. Silk is much more troublesome to process than paper. Although the careful mounting technology is already very sophisticated, On silk, I am not as confident as on paper.
"You should ask Mr. Xu for this matter." Ma Ye reminded Zhou Zhi: "He has been making imitations in the Forbidden City for a long time to deceive the audience. Every detail of the ancient paintings has to be carefully considered. Even the paintings have to be faked. Those old people... they are really not good at playing tricks on the tip of a needle. It's built!"
"Then I'll ask him for more advice when I get back." Zhou Zhi nodded and repaired the work of the old Samsung president. At that time, Mr. Xu was quite satisfied, and the friendship was established. Except for the calligraphy, which is a bit Su and a yellow, which are a bit incompatible, everything else is easy to talk about.
(End of this chapter)