This work began in the late Qing Dynasty. Many painters do this work out of hobby or sense of responsibility. Even in the turbulent political situation, chaotic current affairs, even warlords' melee, and foreign enemy invasion, this work There are people who insist on doing things.
Before the founding of New China, countless genuine products were swept away to the island, but many of these imitations survived among the people.
Many are only partially completed.
Many painters donated these imitations.
But for a long period of time, the country did not have the energy or the will to restore these imitations. Many of the paintings donated by the painters were unframed painting cores. In this state, naturally It cannot be displayed to the outside world.
It was not until 1992 that the two sides of the Taiwan Strait began to communicate again, and it was finally put on the agenda to re-copy the "Images of the Qianlong Emperor's Collection in Nanxun Hall".
After cleaning, continuation, revisiting, etc., and thanks to the strong support of the National Palace Museum in Taiwan, the painting heart creation of this batch of 121 imitations was finally completed half a year ago.
The next step is to frame it, which is also a big problem.
The format of "Portrait of Lady Shexiang" is the original style of the portraits of wise ministers in the Ming Dynasty. Qianlong made a major restoration of the images in the Nanxun Hall, and there were also losses in the process of the restoration. It contains information about many Ming Dynasty paintings, and "Portrait of Lady Shexiang" fills this gap in some respects.
But now Zhou Zhi wants to take action on it again. If these blanks are not left carefully, people in the future may lose some information again.
So when Zhou Zhi called the capital and found an original palace painting from the early Ming Dynasty, Mr. Wang immediately made a bunch of requests, asking Zhou Zhi to bring the painting to the capital for appraisal and restoration.
But we can only stop here tonight. Everyone began to discuss the restoration plan. Zhou Zhi also followed the project progress deduction table produced during the project commissioning deduction by the information engineering management, and compiled every detail of the painting restoration. Tiny steps are detailed into a long timetable.
This is another example of using science to support liberal arts.
This gift from Zhou Zhi made several elderly people even more satisfied. Until now, the restoration industry still retains a strong old tradition. This is a bit like old skills such as Peking Opera and cross talk. There is still a master-disciple inheritance. , oral and hand-taught inheritance methods.
When it comes to restoration, it is also "with a clear plan in mind", and the plan is often in the mind of the master.
This method of inheritance also has its practical significance. In fact, for all things that cannot be written down through written records alone, passing them on in this way is actually far more effective than "modern education".
Of course, there are many problems with this method. The biggest one is that it is not widely spread and easy to break.
The birth of modern photography technology has added an extra layer of insurance to this kind of inheritance method. However, how to transform restoration techniques into scientific and modern restoration techniques has always been the work of the National Palace Museum and the National Museum. Topics to explore.
The thoughtfully designed "Restoration Project Roadmap" is also a very good management method and can be regarded as a good supplement to this topic.
In the next two days, the two of them answered inquiries from experts at the Haiying Building during the day, and at night they repaired the statue of Lady Shexiang in the calligraphy and painting restoration room of the National Museum. Later, Mai Xiaomiao was taken Go to the branch to participate in the grid-connected design of computing power equipment to facilitate the operation of the branch The institute monitors the experiments through the blockchain mechanism and also trains the experimental personnel of the Ship Power Research Institute. In the future, they will have a group in the Clover Group to be responsible for program calculations. At the same time, there will be another group in the headquarters to work with the scientific branch. Together they are responsible for monitoring experimental data. At this time, Zhou Zhi was no longer needed, so the two began to act separately. Zhou Zhi participated in the restoration and taught the design and use of the "Repair Project Roadmap" at the National Expo, integrating the two concepts of "process standardization" and "action standardization" Bring it into the restoration of cultural relics and complete the first step in the transformation from "craft" to "craft".
In the evening, the driver and soldier took Mai Xiaomiao back to the National Museum of China, where he and Zhou Zhi had dinner together, and then watched Zhou Zhi edit his paintings, and also walked around many places in the National Museum of China.
The collection of the National Museum has now reached more than 1.2 million pieces, which can be said to be full of treasures. As for the exhibits for the same period, when everyone went to the National Museum, they were shocked by the quantity and quality of the exhibits. , actually? Not even a fraction of the total collection.
This is like an iceberg. Only one-tenth of it is exposed on the sea, and the more nine-tenths are in places where no one can come.
Mai Xiaomiao can see much more than tourists, and many of them are in strange and primitive states.
There are imitation bronzes here. After the bronzes are imitated according to the prototypes, the shiny bronzes need to be aged so that the imitations have the same visual effect as the originals.
Of course, this kind of thing cannot be touched or touched. Some surfaces are just a layer of paint. This is not even the same category as the counterfeiting in the cultural and entertainment market that requires hands-on experience. Therefore, it cannot be said that fakes can be confused with real ones at the National Expo. Teachers who deceive visitors can have their products put to the test in the market.
Of course Mai Xiaomiao doesn't care about whether such fakes can be put on the market to deceive people. She just thinks the projects here are too fun.
There are many ways to play with bronze ware. In addition to treating it as imitations, there is also a way to retain the information of bronze ware, called "shadow extension".
Intuoso is a method of transferring the full shape of bronze ware using ink before the invention of photography. In order to spread the research on bronze ware widely, the wise Chinese invented it.
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Shadow rubbing, also known as full-shape rubbing and three-dimensional rubbing, is a special technique that is completed with ink rubbing and transfers the original appearance of the object onto flat rubbing paper.
According to legend, Ruan Wenjiangong, a scholar during the Daoguang period of Jiaqing in the Qing Dynasty, acquired four kinds of Yi wares from three generations. Famous epigraphers at home and abroad wanted to see them, but he was tired of dealing with them. He copied them, carved them on wood, and gave them to his friends. Monk Liuzhou, a monk from Jiaoshan Temple in Zhenjiang, Jiangsu Province, felt that the woodcut had lost its original shape, so he studied with him to engrave the full shape by hand.
At first, we used a lamp to take the shape. We measured the size of the original and drew the outline. Then we used thick paper to make the leak, and used extremely thin Liuji cotton paper to spread the ink on it. Before making the extension, we had to use Bletilla striata. Apply water with a brush, then use wet cotton to cover the paper. After the paper dries, use silk-wrapped cotton to make a spread.
The rubbing obtained in this way is like a black and white photo on rice paper, the size is the same as the original. It can be said to be an excellent way to preserve, disseminate and study epigraphy.
This is the full-shaped Tuo created by Monk Liuzhou.
Afterwards, this technique developed more. Techniques such as line drawing, painting, mounting, and paper-cutting were all used. By the time of Tongzhi and Guangxu, Chen Jieqi, a collector of epigraphy and stone, used "paper-cut rubbing" "Dharma, put the body, ears, belly, and Cut out the patterns and inscriptions on the feet and other parts, then use a pen dipped in water to tear off the excess white paper, and glue the completed rubbings together according to the needs of the previously drawn drawings. Because the drawings are accurate , using appropriate shades of ink, further developing the full-shape rubbing technique.
During the modern Republic of China, Zhou Xiding and others applied techniques such as perspective and sketch introduced from the West to full-shape rubbings. The ink color was even more exquisite, with alternating shades of ink, which greatly enhanced the three-dimensionality of the images of the objects being rubbed. Enhance. (End of this chapter)