Amid everyone's applause, Zhou Zhi gave up his position and invited everyone to come closer and appreciate the restored painting.
This painting is mounted with strict reference to the mounting description in "Zhi Long Wu Zhi" written by Wen Zhengming's great-grandson Wen Zhenheng. Wen Zhenheng came from a cultural family, and his aesthetics in framing were relatively "retro". Therefore, although he was from the south, what he described in "Long Wu Zhi" was the standard "assembly" of the north.
Zhou Zhi is the successor of Yanggong, but it does not mean that he cannot "Jinghuo". On the contrary, the predecessor of Jinghuo is the famous "Xuanhe costume", and Xuanhe costume is the most popular style in the framing world. A monument that cannot be passed.
So the current portrait of Lady Shexiang faithfully reflects the pursuit of Xuanhe costumes in the early Ming Dynasty.
So in the world above and below, Zhou Zhi gave up the flowers and the two colors of green and moon white, adopted the soap damask with the pattern of clouds and cranes, and abandoned the hanging belt that appeared in the middle and late Ming Dynasty.
In front of the Yuchi, use an inch-wide white silk and two black ribbons as two boundaries to separate the Yuchi and Tiantou.
Because this is a large painting, the more expensive ancient 'dig and inlay' technique was abandoned, and the two colors of flowers, scallion white and moon white were used.
The same is true for the original painting, which reflects the "simple" feeling that still existed in the early Ming Dynasty.
The four sides of the heart of the painting are made of white silk, inlaid with golden silk strips, about half an inch wide. In terms of Xuanhe mounting method, "Jade Pond" needs to be added here. The Jade Pond is a place for inscriptions. On the white silk On the side is a piece of paper with the words "Portrait of Mrs. Shunde, Regent Shuixi Xuanwei Envoy of the Ming Dynasty" written in neat small regular script. The words are exactly the same as the painting, and no additions or subtractions can be made.
According to the rules, if there are inscriptions and postscripts by old people on the painting, you must not cut them out, because they are important cultural and historical materials. This painting does not have them, so you can omit them, but you must introduce " "Stay out.
The header was originally a blank piece of paper, which was left for those who admired the painting to write poems. However, this painting was not a private collection and could not be messed with according to Zhou Zhi's whim, so it could only be left empty.
The paper used for the introduction is very particular. Traditionally, Song Jing Jian, Bai Song Jian and Song and Yuan Jinhua Jia are used. Sometimes Goryeo cocoon paper and Japanese painting paper are also used.
Zhou Zhi used the Song Dynasty scriptures that were restored with the help of the Yutang Foundation. This is a kind of antique bamboo paper. It was originally used to repair precious ancient books in the Song Dynasty. Because people after the Song Dynasty Due to the admiration for Song paper, this kind of paper also became the paper used for calligraphy and painting in subsequent dynasties, so it was also used when restoring ancient paintings.
Because Mrs. Shexiang looks like a large painting, a standard large-scale header is used, which is five inches wide and four inches below the header.
In this way, the entire scroll, the distance from the upper axis to the center of the painting, has a clear height of two feet, and the lower part of the scroll, excluding the axis, has a clear height of one foot and five inches, which fully meets the standards of the front.
The scrolls are all made of original scrolls, which is a bit funny, because Wen Zhenheng hated this very much, and specifically pointed out in the book that "it cannot be made with red sandalwood, rosewood, or blue."
In his research, the ancients Generally, carved agarwood and sandalwood are used as the shaft, and they are decorated with gold, gilt, white jade, crystal, amber, agate, and miscellaneous treasures. They are valuable and can be used to cleanse and remove insects. The body has the most profound meaning."
If the financial strength is not enough, then only use fir as the axis. Three types of rhinoceros, elephant and horn are used, carved as in the old style, and decorated at both ends.
Red sandalwood, rosewood, and French blue were emerging materials in the Ming Dynasty. In Wen Zhenheng's eyes, they were just one word - vulgar.
However, the level of cultural accomplishment of the previous owners of this portrait of Lady Shexiang was far from Wen Zhenheng. Not only did it use red sandalwood as the shaft, but also used a whole piece of aged wood. The excessive red sandalwood shows the importance paid to Mrs. Shexiang, and also illustrates another problem, that is, the cultural level in the early Ming Dynasty has not yet fully recovered, the level of mounting work in the palace is still relatively poor, and the research on mounting methods is not enough. Profound reasons.
Zhou Zhi fully retained this point. It was also vulgar in the Ming Dynasty. Today, you still dare to say that the old red sandalwood is stable and solid and has been aged for hundreds of years.
The rest of the painting, such as the decoration of the pool and the front page, is made of brocade.
The brocade needs to use "Xuanhe Brocade", which is the ones carefully selected by the Xuanhe Painting Academy of the Song Dynasty by Song Huizong, including Pu Brocade, Pavilion Brocade, Purple Camel Brocade, Orioles and Magpies Brocade, and Zhuque Brocade. Brocade, Phoenix Brocade, Walking Dragon Brocade, Fanhong Brocade. These are the patterns of old items from the imperial palace of the Southern Song Dynasty.
In addition, there are seahorse brocade, turtle pattern brocade, millet ground brocade, and leather ball brocade. These are also new types of Xuanhe silk, which were newly produced in the Southern Song Dynasty.
Of course, there is a more expensive kind, that is, embroidery, which directly uses the flowers and birds and landscape embroidery preserved in the Song Dynasty as the front page, which has the most "antique flavor". However, these are at least national second-class cultural relics today, so this kind of decoration Dharma is a luxury that only belongs to the wise.
Fortunately, the restoration of damask brocade from the Song Dynasty is also a project sponsored by Zhou Zhi. With the assistance of computer jacquard software, Sanmian Silkworm retro Song silk and computer-controlled retro jacquard machines, in addition to the fake Shu brocade Except for the longitude and latitude, which are too neat, the rest is almost unreal.
For this purpose, Zhou Zhi also invented a trick, which is to cut the strips before repairing, leave them wider, put them on the edge of the wooden strips, scrape, stretch, fold and rub them. This will not only give it an old look. As a result, the warp and weft of the brocade strips can be made unevenly dense. After doing this, it will be no different from real Song brocade.
It is certainly not worth mentioning after breaking the window paper, but even the experts will be disappointed with the things made by this trick. Zhou Zhi does not dare to spread it randomly. It will be bad for counterfeiters to get the antique silk and then make fakes. .
Now Mr. Wang is holding a magnifying glass and carefully observing the border of the Orioles and Magpies brocade: "Are you really not using Song silk? There are no imitations of this pattern in the National Museum of China. I know you kid sometimes My brain will get hot..."
"I'm really useless. This is a new thing made by Master Yang. I brought it with me when I returned to Shu this time."
"Then what's the matter with this meridian texture? It's hand-woven by Master Yang Come out?”
“This is a secret method.”
6◇◇书◇
“Why?”
"It's a secret method." Zhou Zhi was still figuring it out: "Of course it should be kept as a family heirloom..."
Mai Xiaomiao was originally following the old man to listen to the lecture, but now he was leaning into the ear of Mr. Wang: "I You know how to make elbows. There are a lot of people at the moment. I’ll tell you how to make them when I get back.”
“Hey!” The old man beamed with joy: “Xiao Miao is still good! I saw you playing with grandpa’s small copper stove for a long time yesterday. I think you like it. Grandpa will give it to you when you get home!”
"Hey! You can't give away that bowl stove!" Zhou Zhi was startled.
The bowl-type stove looks like a chicken heart when viewed from the side, and also looks like a rice bowl used by monks for alms. It is large at the top and small at the bottom, with beautiful proportions.
Most of Mr. Wang's incense burners were given to Zhou Zhi, and now he only has a few pieces left in his hands, and this bowl-type burner is one of them.
The bowl-type stove is a rare type of stove that still exists in the world. The top is large and the bottom is small, which is the style of the Ming Dynasty. By the Qing Dynasty, it was almost round.
Xuande incense burners are currently just a general term for imitating Xuande products from the Ming and Qing Dynasties. The real Xuande incense burners made from overseas wind-milled copper tribute materials have long been lost in the long river of history. Even the Forbidden City only has one. It is signed "Made in the Xuande Year of the Ming Dynasty" and is actually an imitation of the bowl-type stove in the late Ming Dynasty.
The one the old man has is from the mid-Ming Dynasty. It can be said that among all the furnaces, it is closest to the Xuande era. Although it may not be made from that batch of wind-milled copper, at least it is the remaining material from that batch. leftovers. (End of this chapter)