Chapter 1535: Can’t go too far is not enough
This is a myth in the Chinese cultural circles. Chinese culture developed independently in the Song Dynasty and reached its peak. In addition to freehand brushwork, splashing ink and heavy colors have not yet reached its end, and later absorbed the West The "Shanghai-style painting style" produced by techniques such as composition and perspective, as well as various newly discovered glazes, have almost exhausted their potential in metal processing, porcelain, calligraphy and painting.
In addition, Chinese art itself is an art of "dancing in shackles". Although it emphasizes breakthroughs, it emphasizes breakthroughs based on rules and regulations. If there are no rules and regulations, it will really be like a child's graffiti.
This is a problem in the category of aesthetics. Just like Xu Zhimo's "Farewell Cambridge" itself is beautiful, but if you throw it into the Song Dynasty or Ming Dynasty, the Song Dynasty and Ming Dynasty people will only say " What the hell?"
The reason is not that "Farewell Cambridge" is not beautiful, but that it deviates too much from the basic aesthetic stereotypes of people in the Song and Ming Dynasties when they wrote poems.
As the saying goes, one step ahead is a genius, two steps ahead is a lunatic, and it is very appropriate to apply it here.
So the aesthetics of the Song Dynasty became the benchmark for ancient Chinese culture, and in subsequent dynasties, culture moved closer to it.
For example, porcelain, in order to produce the "iron foot and purple mouth" of the Song kiln, the craftsmen in Jingdezhen obviously had better porcelain clay and technology, and they had to use purple and black glaze to imitate the white bottom of the porcelain. A circle of "decorative glaze" is painted on it to simulate the characteristics of Song porcelain.
The same is true for paper for calligraphy and painting. Zhezong and Huizong of the Song Dynasty spent a lot of money in order to imitate the side-aligned paper of the Jin Dynasty; while Emperor Qianlong of the Qing Dynasty imitated the Jilin paper and Jinsushan sutra paper of the Song Dynasty. The same is true for the Yuan Dynasty Akihito palace paper.
The funniest thing is the Chengxintang paper. This paper was first used by the imperial government in the Southern Tang Dynasty in the Five Dynasties. The romantic emperor Li Yu built a palace and hid it.
During the Shenzong period of the Song Dynasty, they began to imitate, and finally obtained paper for calligraphy and painting with similar paper quality, also known as "Chengxintang". When scholar-bureaucrats received royal rewards, they often wrote poems to congratulate them.
In the Qing Dynasty, the imitation of "Chengxin Hall" also became one of the major cultural projects of the imperial government. The resulting paper was far removed from the Five Dynasties and was similar to the imitation of Song Dynasty. It was finally named "Chengxin Hall" Hall".
This is the emphasis on the treasures of the study room in ancient China, and the same is true for the silk used in calligraphy and painting. Fortunately, the process of promoting the four sleeping silkworms from south to north took a long time, until the Qing Dynasty. You can also find suitable silk for making silk.
This also led to the fact that the cost of painting silk after the Song Dynasty became more and more expensive, and the selection became more and more stringent. After being woven into finished products, especially for the high-end materials used by celebrities, there was actually no What a huge difference.
“How is this done?” The disciple’s eyes were full of surprise: “Where did you find this kind of silk that is one-third thinner than modern silk?”
"The key is the quality." Another staff member said: "A fabric with such regular warp and weft can only be modern woven, but how come the color and appearance of this woven silk are so similar to old silk? Well...it seems to be It’s even better in terms of cleanliness.”
“Yes,” the disciple just nodded: “This is used to make it look old. The method is quite perfect, almost reaching the quality of Song Dynasty silk."
"This is the result of the combination of modern technology and traditional craftsmanship." Zhou Zhi was quite proud." Thanks to the formula preserved by Mr. Xu.”
The so-called quality and appearance of silk actually come from four aspects.
The first is the weaving process. This can be imitated by asking Master Yang to analyze the characteristics and then use computer control.
The second step is drug tanning. This is the specialty of the masters of calligraphy and painting forgery in the past dynasties. They should not be taught lightly and should not be taught lightly. Xu Bangda has never been able to find a successor worthy of his trust, so he has never mentioned this to outsiders. Now it is finally Having handed over this big stone in my heart, I felt really relaxed.
The third step is the aging effect of many years. It is difficult to deceive experts with the effect obtained purely by drug tanning. They have to be really subjected to some oxidation, corrosion and friction in order to remove the "thief" on the surface. Light” to achieve an aged effect. What makes outsiders unbelievable is that this step was actually completed with the help of Saturday Food Group.
Sister Xiao Juaner is a master of biological fermentation technology and acidolysis protein technology. Fermentation is actually a kind of degradation, and acidolysis of vegetable protein is also an important process in the large-scale production of soy sauce. Silk is also a kind of protein, so this method is also suitable, which solved the problem of this step for Zhou Zhi.
The last step is the lighting time. This was done in the Physics Laboratory of Shu University. The method is so simple that it is to coat the antique silk with a special reagent and then illuminate it with ultraviolet light.
After the process has reached this stage, in theory, if Zhou Zhi uses ancient handicrafts from reeling to weaving to make silk for calligraphy and painting, the uneven thickness and uneven density distribution of hand-woven silk can be brought into the antique silk. It can almost reach the level of being fake and real.
But if we really do that, it is very likely to cause the kind of "systemic disaster" that happened to the Tang Sancai collection in the ancient calligraphy and painting collection world.
Three-Colored Artworks from the Northern and Southern Dynasties to the Tang Dynasty were once highly sought-after collections by many overseas collectors, and were once speculated to extremely high prices.
However, the tricolor art itself is a funerary object, and the production process is actually not that complicated. The clay used is the soil on the Loess Plateau. As a result, a group of counterfeiters represented by Gao Huowang emerged, and The things that came out made it difficult for the collectors to distinguish the authenticity from the fake ones, and finally made collectors fearful of the tri-color paintings of the Tang Dynasty.
Without the willing buyer, the market price of Tang Sancai suddenly plummeted.
Therefore, this imperfect antique silk cannot be faked. It is perfect for repairing calligraphy and painting, but it has flaws when used for forgery. This is in line with Zhou Zhi and Xu Bangda's pursuit, otherwise it would be too much.
“Let’s get started.” Xu Bangda looked at Zhou Zhi with a smile: “Don’t you want to practice? Give it a try.”
As for the restoration of paper books, Zhou Zhi is definitely among the top level in the country. , but for silk, there are still some shortcomings.
Although the two programs are similar, the details are completely different.
For example, what we have to do now is to use a blade to carefully trim off the "burrs" caused by the missing longitude and latitude lines around the cracks, then cut appropriate repair materials from the antique silk, and refill the missing parts. Then connect the longitude and latitude lines of the two together and fix them with water to achieve a seamless effect.
Of course, this only refers to the direction of the fibers. Afterwards, it needs to be repaired in the same way as the paper. After removing the water-oil paper, when the painting core is completely dry, you can stick the painting core on the board, perform full color and brush strokes, and draw ideas. Patched.
Those who are lively and thoughtful are already at the level of instructors. Now they just need to make up for the shortcomings in the lesson of revealing the truth in silk.
Already with rich experience in calligraphy and painting restoration, now we have materials that are suitable for us, experts in the industry can observe, and top instructors provide careful guidance. After a while, Zhou Zhi can operate independently. , even in terms of speed, they can catch up with the staff of Rongbaozhai who are doing it together.
This made Xu Bangda sigh with emotion. This kid's understanding in this industry is really not very strong, and he should be classified as a genius.
(End of this chapter)