Chapter 1533 Details and Differences
As soon as Zhou Zhi heard this, he couldn't help but roll his eyes secretly in his heart. Old man Xu really has the character of an old boy, and he was clearly here to guide him in the production of retro silk materials. , making it old, but the other end didn’t talk to his students at all, and just hung them up like this.
The students couldn’t help but calm down. This is the most famous painting of Tang Bohu among the four Ming dynasties. After Zhou Xingxing’s new version of “Tang Bohu Spots Autumn Fragrance” became popular in the Chinese world, the auction prices of his calligraphy and painting works also increased. A step.
This may also be done deliberately by Xu Bangda to stimulate the enthusiasm and initiative of the students, but the effect seems to be pretty good. In any case, at least a thick repair plan has been worked out.
Zhou Zhi had no choice but to take over the plan first, but he did not open it to look through it. Instead, he said to the staff: "Why don't you just go ahead and tell me about your preliminary treatment and repair plan."
"Ah, it's like this. The painting core of this Tang Yin landscape painting is made of silk. Due to the weaving of fibers, the surface of the painting core has been stained to varying degrees over time due to the weaving of the fibers. Also, because the painting is very damaged and has aged and become fragile, so Under the guidance of Mr. Xu, we first used a soft brush to gently remove the dust on the surface. For some stubborn stains, we used a sharp knife to gently scrape them off. After completing this process, we started the pre-cleaning work. ”
“Because we were worried about the retention of the ink color on the silk, we first used a brush dipped in water to do a stability test on the local ink color to ensure that the ink color was stable and would not become ink when exposed to water, and then started cleaning the painting core.”
Zhou Zhi nodded, this is also the detailed difference between paper and silk. The strength of silk is much stronger than that of paper in a certain period of time, and the effect of the scroll is worse than that of paper. However, the retention is far lower due to the material. Not as good as paper.
This is why silk books pay special attention to the use of vitriol. This is actually a curing process. However, as time goes by, this process can easily cause degumming and discoloration. Calligraphy is not bad, especially silk books with fine brushwork and heavy colors. In paintings and calligraphy works made of raw silk, the ink and pigment are very unstable. Smearing, running, falling off, and falling off are almost common problems.
Therefore, the retention test is a necessary process before silk restoration. If it is found that the retention is not good, it is necessary to add a process of curing the color ink before cleaning.
In fact, the curing method is simple to say, it is just glue, vitriol, slurry and water, and water and oil paper.
However, each company has its own unique skills in terms of the specific ingredient concentration and usage techniques. In this regard, Rongbaozhai can almost be regarded as the industry leader.
During the cleaning process, some accumulated dust and local stains can be washed away, making the picture clean and bright. Another function is to allow the painting core and supporting paper to encounter water, which reduces the viscosity of the original paste. Easy to separate, ready for subsequent mounting.
At the same time, potions should be used to remove local color contamination of the picture caused by insects, bacteria and other biological acid corrosion degradation. After removing these stains, use a dry towel to gradually absorb the water from the picture.
After the painting core is cleaned, it is necessary to prepare water-oil paper and grout.
The function of the water-oil paper is to prevent the broken silk painting core from moving. The thickness of the water-oil paper pulp is determined according to the degree of wear and tear of the picture. Mastering the thickness of the water-oil paper pulp is the key to various framing schools. This special skill is also one of the processes that most tests the craftsman’s skills in the mounting process.
Because silk material and water-oil paper have different toughness and tensile strength, in order to prevent cracking, two layers of rice paper must be added for protection.
This is also the difference between silk and paper.
Water oil paper is pasted on the front of the painting core. After holding the painting core, turn it over and put the back side up on the mounting table. Use a brown brush to smooth it. The next step is The core of the painting can be revealed. In the restoration work of ancient calligraphy and paintings, uncovering the core of the painting is a very important task. There is even a saying in the industry that whether the life of an old calligraphy and painting can continue depends entirely on the uncovering work.
If the calligraphy and painting are not revealed properly, such as making mistakes such as uncovering the flaw or removing the meaning of the painting, the calligraphy and painting will lose its vitality and vitality.
The so-called uncovering means overdoing it. The original purpose of uncovering is to remove the back frame. If the painting's heart is hurt in the process, it is called "revealing".
As for the so-called "removing the meaning of the painting", the result is even more serious than unmasking, that is, the process of removing the frame not only damages the core of the painting, but even damages the important information components in the painting, such as the important elements in calligraphy. The composition of the brushwork, the important characters in the picture, the core landscape part, and the visual center part destroy the local or even global composition, aesthetics, and charm. Such a problem is terrible.
The reason why it is called a "problem" rather than a "mistake" is because sometimes such things are simply unavoidable.
For example, the famous silk painting "Five Cows" by Han Huang, a painter of the Tang Dynasty. When he returned to his motherland after half a century of displacement, the scroll was already scarred, corroded, and moldy. There are spots all over the body of the five cows in the painting. Many places on the body of the five cows in the painting have been replaced with paper and brushes that have changed color, and there are obvious empty shells in the center of the painting.
After removing the supporting paper, it was discovered that the predecessors had left forty-one holes during the re-mounting process. In terms of the meaning of the painting alone, there were fifty-five holes that appeared on the bodies of the five cows. The largest number on a cow is fifteen, and the smallest number is four.
It was entirely thanks to the National Palace Museum ancient calligraphy and painting restoration team led by Sun Chengzhi, the top domestic restoration expert at the time, that the "Five Cows" was restored after more than eight months of careful repair.
The expert group who inspected and accepted the work spoke highly of the restoration work. They believed that the painting was in full color at the replacement parts and did not show any trace of the brush connection. It remained unified with the original painting and was almost seamless.
Later people learned that it took Sun Chengzhi five full days just to remove the old supporting paper from the center of the painting.
Although Tang Yin's landscape lenses cannot be compared with "Five Bulls" in terms of value, size, or damage, they still need to be operated with great care. When unveiling the life sheet, you will often encounter various "surprises", that is, damage and injuries that cannot be seen in advance suddenly appear in front of everyone. In this case, you need to hold a meeting to study and revise the plan at the same time.
"After peeling off the two layers of backing paper, there was still a layer of supporting paper left on the supporting silk. Since we had previously observed that the painting core was hollowed out in many places, our original plan was to remove the entire supporting silk and place a layer of supporting paper on the painting core. After filling the pulp, restore the supporting silk." The staff introduced to Zhou Zhi: "When it was uncovered, a single piece of silk was found. It was too thin, and the longitude and latitude lines of the silk, especially the longitude and latitude lines near the wound that had been damaged before the old mounting was repaired, were very easy to move, so we had to modify the plan and keep the supporting paper layer on the silk and not remove it yet. This can also play a role in fixing the silk support."
"That's it. The paper separator needs to be replenished. "Zhou Zhi is an expert. As soon as the staff said it, he thought of a solution: "Start from the empty space of the painting, separate the supporting paper and silk from the painting core, and use a syringe to fill the painting core. Apply the prepared thick paste, and then slowly brush down the support silk to restore it."
"Wait until it's done. After the initial rough fixation, start to remove the supporting paper from all sides, and at the same time use a brush to fill in the pulp to ensure that the supporting silk and painting core are fixed and do not move.”
“Remove the supporting paper and then carefully remove it. Holding the silk, only the painting core is left.”
(End of this chapter)