Chapter 1760 is very complicated to say.
“We have to wait until we get the picture to decide whether it is a mother model.” The fourth cousin said: “Is this painting still being repaired now?”
"Why don't you repair it?" Zhou Zhi felt strange. Do you have too few ancient paintings in your hands?
“Have you ever thought about elbows?” The fourth cousin pointed to the edge of the world where the scroll was already somewhat broken: “This inner palace has apricot yellow ribbons, chicken wing wood shafts, enamel lotus pendants, and even heaven and earth. There are fewer and fewer silk brocades used in the Forbidden City now. The Cultural Relics Law has been promulgated, so According to the law, shouldn’t even these materials be considered cultural relics now?”
Zhou Zhi thought that this was really the case, and he had discussed this matter with Mr. Qi and Mr. Wang. There are fewer and fewer materials used for framing in the palace collections from the original dynasty.
Not only the brocade paper, wooden scrolls, pearls and jade used in the restoration of calligraphy and paintings, but also the wallpaper and the underlay under the wallpaper used to repair the rooms in the Forbidden City are now in worrying stock. Moreover, according to the current definition of cultural relics, these preserved from the third dynasty of the Qing Dynasty are of great significance to Things that are of great value for cultural and historical research should certainly be counted as cultural relics.
Since it is a cultural relic, cutting it, even if it is actually to repair more important cultural relics, is actually an act of destruction.
This is an endless loop.
That’s why Zhou Zhi began to sponsor the Academy of Agricultural Sciences to develop “antique silk”, and then sponsored Master Yang to engage in antique Shu brocade. The purpose was actually for this, to obtain new antique materials that were realistic enough to fill the gap for the restoration of important cultural relics. Material blank.
"Let's repair it." Zhou Zhi said: "Even if it is sent to the National Museum, won't it have to be taken back in the end?"
"This time I came back with paintings, originally for the two elders to enjoy. If the three of us didn't cultivate, there would be no one better than us in the whole country, right?"
"I said this with a bit of pride. "Ah!" Although the fourth aunt was criticizing, she His tone was full of smiles: "Even if it needs to be repaired, we have to discuss a plan. I have an idea. Since your fourth cousin has said that the mounting materials for these paintings must be considered cultural relics, then we Do I need to use a different repair method than before? "
"Huh?" Zhou Zhi said in surprise: "Is there anything else you two are hiding from me?"
"Nonsense!" said the fourth cousin with a smile. "What your aunt means is that we can't be as arrogant as before this time. The craftsman's method is to only repair the heart of the painting, and replace the rest of the sheets with new ones."
"That's it..." Zhou Zhi said: "That's at least the edges of the sky and the ground, as well as the tapes and water-proof damasks. Brocade, must it be repaired?”
"Well, are you confident?"
"There is no problem with confidence." Zhou Zhi said: "But in this case, the scroll may be thicker than the original one."
"Also It's not much thicker." The fourth cousin nodded and said, "Actually, it's just as thick as a layer of silk. We only keep the superficial things, and we will replace them with new ones wherever they don’t affect the visual effect.”
“Okay, then I’ll call Mr. Wang and the others to communicate. Please come up with a repair plan and leave the physical work to me," Zhou Zhi said.
When I called the phone, I heard that a copy of Lu Tanwei's "Seven Sages of the Bamboo Forest and the Seven Sages in the Bamboo Grove" copied by Li Zhaoqing, a master of the Northern Song Dynasty, was discovered, which was suspected to be the same as the masonry murals in the four Southern Qi tombs in the Danyang area of Jinling. "Rong Qiqi Picture", they were all excited.
Li Zhaoqing was a native of Fengcheng, Jiankang, or Jianning in central Fujian. He first served in the Southern Tang Dynasty as a member of the Imperial Academy and waited for imperial edicts. At the end of Kaibao, he followed Empress Li to the Song Dynasty and was awarded the title of Marquis of the Painting Academy.
He is particularly good at painting Buddhist statues, especially Guanyin. When painting ancient and modern figures, he can distinguish between raw and familiar clothing patterns, which is inferior to his predecessors. Every time before I want to write, I have to find a very clean and quiet room, cover it on all sides, and only then start to conceive. This is how I concentrate.
People asked him why he did this, and he said that he was following the example of Gu Kaizhi, the former national player of the dynasty, who "climbed the stairs and took off the stairs." Therefore, the pen can keep its color and luster as new for a long time.
The allusion of climbing up the stairs was first recorded in Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties" in the Tang Dynasty: "Gu Jun tasted the structure of high-rise buildings and thought he was a painting studio. Every time he climbed up the stairs, his family members rarely saw each other. If the scenery was harmonious, , then hold the hair in your mouth, and the world is gloomy, then you will not Painting. Today's painters' brushes and ink are mixed with dust, and the paint and mud are only stained with silk. How can we call it painting? Since ancient times, those who are good at painting must not be distinguished by their clothes and nobles. Sacrifice is not what Lu Yan can do.”
What is said here is that painting requires a dedicated attitude. This attitude is also a major difference between a painter and a painter.
Li Zhaoqing has no works handed down to this day, except for the one in front of Zhou Zhi.
Therefore, it is possible that Li Zhaoqing’s last work of exploring the mainland and the Song Dynasty copy of the brick paintings on the tombs of dignitaries of the Southern Qi Dynasty have been handed down, which is of course a great deal.
This is no less than Gu Kaizhi's "Luo Shen Fu Tu" and "Lienv Zhuan Renzhi Tujuan", both of which were copied from the Song Dynasty. Moreover, Gu Kaizhi's copy was from the Southern Song Dynasty, and if this volume of "Seven Sages of the Bamboo Forest and Rong Qiqi Pictures" was really written by Li Zhaoqing, it would have been from the late Five Dynasties to the early Song Dynasty.
The only copy with a similar signature is Zhang Sengyao's "Five Stars and Twenty-eight Constellations Divine Shape Picture Scroll" hidden in Osaka.
That picture scroll was signed by the Tang Dynasty painter Liang Lingzhan. There are two theories about this painting. One is that it was a painting by Zhang Sengyao with an inscription by Liang Lingzhan, and the other is that it was a copy by Liang Lingzhan.
With the deepening of research, the academic community is now increasingly leaning towards the latter.
As for the restoration plan formulated by Zhou Zhi and the others, the two elders in the capital also approved it, and then reminded Zhou Zhi that after the painting is repaired, it can be brought to the capital to show it to the elders. As for the rest, There is no need to worry about mounting accessories, as the Forbidden City and the National Museum of China can provide some assistance with materials.
Although materials are becoming increasingly scarce, if this painting is authentic, it will be worth the effort to restore it.
In the afternoon, Zhou Zhi had already received the faxed picture of the brick painting. Mr. Wang directly asked the Jinling Museum to send it to him, because that is where the brick tomb was excavated, and the most in-depth and detailed research was done.
The brick painting is divided into two parts, the upper and lower parts. The scales are also marked on the side of the faxed picture. They are about 244 centimeters long and 88 centimeters wide. Each is composed of more than 300 bricks.
Obviously, this has been enlarged, because Zhou Zhi has already measured the painting in his hand. It is 420 centimeters long and 35 centimeters wide, which is about the same size as a traditional scroll.
The production methods of brick paintings are very sophisticated, the paintings are large in size, and the craftsmanship is complex. They are more difficult than the common stone and brick paintings of the Han Dynasty. They can be called the "sacred products of the Six Dynasties".
The paper also mentioned the production method, which is to enlarge the original work to a certain proportion and make a huge white-drawing pink book on paper, and then cut the pink book into one sheet according to the different arrangements of the brick wall. Then, write "codes" on these small papers according to the upper and lower positions and the plane side of the brick where the picture is located, and then paste them on the wooden mold paper to make a brick mold.
Number the bricks according to the picture, then stamp the wooden mold on the bricks, mark the code on the back of the bricks, and put them in the fire to make bricks.
After all the bricks are fired, they can be embedded on the tomb wall one by one in the order on the back of the bricks, and finally a complete picture will be formed.
It is so complicated to say it, but you can imagine how difficult it is to do it.