Touch inlaying process in ancient picture repair

Abstract

The invention discloses a touch inlaying process in ancient picture repair, which is characterized in that a damaged ancient picture core is cut in a wet square manner and then is subjected to small support soft discharge, and during inlaying, a mounting material is pasted on a small support piece local strip and is seamlessly butted with the edge of the picture core. By means of the process, the damaged ancient picture can be exposed in a heart-soft mode, and the ancient picture is protected to the maximum extent; the repaired ancient picture mounting piece is consistent with an ancient picture mounting piece with an original format of forward inlaying or reverse inlaying in appearance, and the original appearance is not changed. When the original format is hard inlaying or soft inlaying, only a certain distance needs to be reserved between the picture center and the mounting material during inlaying on the basis of the touch inlaying process, and the method can keep consistent with the mounting format of hard inlaying and soft inlaying in appearance, so that the requirement of keeping the original appearance of the ancient picture is met. According to the technology, the ancient picture is protected to the maximum extent, the original appearance of the ancient picture is kept, and a new method is provided for the ancient picture repairing technology.

Description

Technical Field

[0001] The invention belongs to the technical field of restoration of old paintings, and in particular relates to a bumping and inlaying process in restoration of old paintings. Background Art

[0002] Paintings and calligraphy are artistic mediums for Chinese people to express their feelings and ideas, and they contain a wealth of excellent traditional Chinese culture. However, the materials of paintings and calligraphy are fragile and easily damaged, so people often protect them by mounting them. Among them, mounting, as an indispensable process in mounting, plays an indispensable role in protecting and beautifying paintings and calligraphy.

[0003] Inlay usually refers to the process of surrounding paper, damask or silk mounting materials around the small support of the painting, and gluing them together with glue. Traditional inlays are divided into positive inlay, reverse inlay, hard inlay and soft inlay. Positive inlay refers to the method of applying glue to the four sides of the front of the small support, and superimposing the mounting materials with the front side facing up on the glued part of the painting (see Figure 1 a). After mounting, the mounting material is higher than the small support piece of the painting, and the whole is in a "concave" shape, which prevents the painting from rubbing when rolling up, and plays a role in protecting the painting. However, it is easy to cause damage to the four edges of the painting when remounting. Reverse mounting refers to the method of applying paste on the four edges of the back of the small support piece of the painting, and superimposing the mounting material with the back side facing up on the back of the small support piece (see Figure 1 b). Although reverse mounting avoids the technical defects of positive mounting, the small support piece of the painting center is higher than the mounting material, and the whole is in a "convex" shape, which is easy to cause repeated friction when the painting center is rolled up, blurring the picture information and damaging the painting center. Hard mounting refers to using hard mounting to stick the small support piece of the painting center and the mounting material on hard strips (paper strips cut after the double-layer paper mounting is dried, with the same thickness as the small support piece), leaving a distance of 2 to 10 mm between the painting center and the mounting material to protect the painting center. A method to make the three into one (see Figure 1 c). Although hard mounting avoids the technical defects of positive mounting and reverse mounting, hard mounting is to cut the small support into squares and then bond them to the hard strips. At this time, a paste with a higher concentration is required, and the bonding part is relatively hard. In addition, hard mounting is to bond the small support, hard strips and mounting material together, which has poor integrity and is prone to stress differences that lead to strip breakage. Soft mounting refers to the method of bonding the mounting material to the strips with the help of soft mounting, and also leaving a distance of 2 to 10 mm between the center of the painting and the mounting material to make the two become one (see Figure 1 d). Soft mounting is to wet the center of the painting and paste a paper strip (soft mounting strip) with the same thickness as the center of the painting on the back of the paper. At this time, the small mounting piece is in a wet state, the slurry is thin, and the bonding part is soft. And soft mounting is to bond the small mounting piece with the mounting material. It has good integrity and is not prone to stress difference, which is conducive to the protection of calligraphy and painting. From the above, it can be seen that from the perspective of protecting calligraphy and painting, positive mounting and reverse mounting have the worst effects, hard mounting is better, and soft mounting is the best. Therefore, soft mounting is often used to protect precious calligraphy and painting.

[0004] From the perspective of beautifying calligraphy and painting, when the composition of the picture is complex, the positive and reverse mounting techniques are generally used, and the contrast method of "complex painting and simple style" is used to highlight the painting meaning; when the composition of the picture is simple, the hard and soft mounting techniques are often used to achieve the local lines, and the contrast method of "simple painting and complex style" is used to highlight the painting meaning. When mounting a new painting, the painting core is intact, and the above four mounting methods can be flexibly selected according to the actual situation of the calligraphy and painting. However, when the old and damaged calligraphy and painting need to be remounted, the restoration personnel generally need to wash and peel the damaged calligraphy and painting first. In actual operation, the mechanical strength of the damaged painting core is poor, and the traditional mounting technology cannot square the painting core. Therefore, soft removal cannot be achieved, and soft mounting technology cannot be used. On the other hand, with the development of calligraphy and painting protection in recent years, "maintaining the original appearance" has gradually become an industry consensus. Therefore, how to achieve the maximum protection of calligraphy and painting in the mounting process while maintaining the original appearance of calligraphy and painting is a technical problem we need to face and solve. Summary of the invention

[0005] In view of the problems existing in the above-mentioned existing technologies, after long-term research and exploration, we have innovatively proposed a technique for inlaying damaged old paintings, which is to cut the damaged old paintings into squares and then softly cut them out with small supports. When inlaying, the mounting material is pasted on the soft strips of the small supports and seamlessly connected with the edge of the painting. This technique can achieve the soft cutting of the damaged old paintings, which not only protects the old paintings to the greatest extent, but also maintains the original appearance of the paintings and calligraphy, providing a new method for the restoration of old paintings.

[0006] The inlay process for restoration of old paintings provided by the present invention comprises the following steps:

[0007] Step 1: Lay the auxiliary paper with the glossy side facing up on the workbench and spray water to smooth it out. Place the old painting to be restored with the center facing down on the auxiliary paper and spray water to smooth it out. Then wash, peel off and splice the center of the painting, and then place it on a small support.

[0008] Step 2: Brush paste on the paper of the small support in step 1, 2mm outward from the edges of the painting center, and stick the soft strip on the paper along the paste marks, making sure that the soft strip fits the paper completely and overlaps with the long side of the painting center by 1mm and the short side by 2mm, and the soft strip is completed.

[0009] Step 3: Fill the holes in the small support in step 2, add folding strips, and let it dry naturally.

[0010] Step 4: Lay the auxiliary paper with the smooth side facing up on the operating table, spray water to smooth it, place the small support piece in step 3 with the front side facing down on the auxiliary paper, spray water to smooth it, and then cut it into a square shape, leaving a soft strip of 3 to 8 mm around the small support piece.

[0011] Step 5: Take a new piece of paper with the glossy side facing up and lay it flat on the workbench, spray water to smooth it out, then take another piece of paper with the rough side facing up and lay it flat on the previous paper, spray water to smooth it out and compact it, then roll the latter into a roll and set it aside for later use;

[0012] Step 6: Lay the small support pieces cut in step 4 and the prepared edge materials and top and bottom materials flat on the auxiliary paper smoothed in step 5, spray water to smooth them, then unfold the auxiliary paper rolled into a tube in step 5 with the smooth surface facing down to cover the small support pieces, edge materials and top and bottom materials, and spray water to smooth them.

[0013] Step 7: Peel off the auxiliary paper on the small supporting pieces, edge materials and top and bottom materials in step 6, apply slurry on the soft strip at the edge of the painting core, and stick the edge materials and top and bottom materials on the soft strip with the front side facing up. If the original format of the old painting is positive or negative inlay, the edge materials, top and bottom materials should be seamlessly connected with the edge of the painting core. If the original format of the old painting is hard inlay or soft inlay, keep a distance of 2 to 10 mm between the edge materials, top and bottom materials and the edge of the painting core, and the inlay is completed.

[0014] Furthermore, the soft strips are rectangular strips cut from any one of raw rice paper, bird's-eye paper, and mulberry paper.

[0015] Furthermore, the auxiliary paper is any one of various non-coated machine-made papers, one side of which is smooth and flat, and the other side is rough, and the paper thickness is 1 to 3 mm.

[0016] The beneficial effects of the present invention are as follows:

[0017] 1. The present invention cuts the damaged old painting center into squares and then performs a soft mounting to prevent the damage to the painting center caused by positive mounting, reverse mounting and hard mounting techniques, thus protecting the old painting to the greatest extent.

[0018] 2. The present invention can flexibly exclude or exclude according to different painting and calligraphy situations. When the original format is positive mounting or reverse mounting, the appearance of the restored old painting mounting is consistent with the original old painting mounting, and the original appearance remains unchanged, which perfectly achieves the effect of mounting and beautifying painting and calligraphy; when the original format is hard mounting or soft mounting, it is only necessary to keep a certain distance between the center of the painting and the mounting material when mounting on the basis of the inlay process of the present invention to achieve the local line. This method is consistent with the hard mounting and soft mounting of old paintings in appearance, meets the requirement of maintaining the original appearance of old paintings, and is conducive to the study of the value of painting and calligraphy.

[0019] 3. The process of the present invention not only protects the old paintings to the greatest extent, but also maintains the original appearance of the old paintings, and provides a new idea for the inlay process in the restoration of old paintings. BRIEF DESCRIPTION OF THE DRAWINGS

[0020] Figure 1It is a cross-sectional view of an insert using a forward setting process (a), a cross-sectional view of an insert using a reverse setting process (b), a cross-sectional view of an insert using a hard setting process (c), a cross-sectional view of an insert using a soft setting process (d), a cross-sectional view of an insert using a bump setting process according to the present invention (without local lines) (e), and a cross-sectional view of an insert using a bump setting process according to the present invention (with local lines) (f). DETAILED DESCRIPTION

[0021] The present invention is further described in detail below in conjunction with examples and drawings, but the embodiments of the present invention are not limited thereto. Any other changes, modifications, substitutions, combinations, and simplifications that do not deviate from the spirit and principles of the present invention should be equivalent replacement methods and are included in the protection scope of the present invention.

[0022] Comparative Example 1

[0023] The specific steps of the traditional inlay technique for the restoration of old paintings are as follows:

[0024] Step 1: Spread thin silk or tung oil paper on the workbench, place the old painting center down on the workbench, spray water to flatten it, then wash, peel, place on a small tray, etc. and let it dry naturally.

[0025] Step 2: Fill the holes and add folding strips to the small support in step 1, and let it dry naturally.

[0026] Step 3: Place the small support in step 2 face down on the workbench, apply the prepared alum water on the back of the small support by brush, let it stand for a while, then pad it with oil paper to compact it, and place it on felt to dry naturally.

[0027] Step 4: Place the small support piece coated with glue and alum water in step 3 with the center of the painting facing downward, spray water and smooth it on the workbench, and brush slurry on the waste edges around the paper and apply it to the wall.

[0028] Step 5: Flatten the small support piece on the wall in step 4 and then apply full color treatment.

[0029] Step 6: Put the small support piece in step 5 on the wall, cut the edges around the center of the painting into squares, and cut the mounting materials (edge ​​materials and top and bottom materials) into squares for later use.

[0030] Step 7: Place the small support with the front side facing up on the workbench, apply paste at 1.5-2.5mm on the edge of the painting center, and stick the mounting material with the front side facing up on the paste area on the edge of the painting center. At this time, the mounting material is overlapped on the painting center, which means it is mounted correctly.

[0031] Comparative Example 2

[0032] The specific steps of the reverse inlay process in the restoration of traditional old paintings are as follows:

[0033] Steps 1 to 6 are the same as those in comparative example 1. In step 7, the small support is placed on the operating table with the back side facing upward, slurry is applied at 1.5 to 2.5 mm from the edge of the paper, and the mounting material is pasted face down on the edge of the paper. At this time, the painting core is superimposed on the mounting material, i.e., reverse mounting.

[0034] Comparative Example 3

[0035] The specific steps of the hard inlay process in the restoration of traditional old paintings are as follows:

[0036] Step 1 to step 5 are the same as those in Comparative Example 1.

[0037] Step 6: Put the small support piece in step 5 on the wall, cut the edges around the center of the painting into squares, and cut the mounting material into squares for later use.

[0038] Step 7: Take two pieces of rice paper and make them small. After flattening the upper wall, cut the lower wall into hard strips with a width of 5 to 15 mm.

[0039] Step 8: Place the small support piece cut in step 6 on the workbench with its back facing upwards, apply slurry at 1.5-2.5mm from the edge of the paper, stick the hard strip in step 7 on the applied area, and let it dry naturally to make it hard.

[0040] Step 9: Turn the small support piece dried in step 8 over together with the hard strip so that the front side faces upwards, apply paste at 1.5-2.5mm on the other side of the hard strip, and stick the mounting material with the front side facing upwards on the hard strip where the paste was applied. At this time, keep a distance of 2-10mm between the center of the painting and the mounting material, which is called hard mounting.

[0041] Example 1

[0042] The specific steps of the inlay process in the restoration of old paintings in this embodiment are as follows:

[0043] Step 1: Lay the auxiliary paper with the glossy side facing up on the workbench and spray water to smooth it out. Place the old painting to be restored with the center facing down on the auxiliary paper and spray water to smooth it out. Then wash, peel off and splice the center of the painting, and then place it on a small support.

[0044] Step 2: Brush paste on the paper of the small support in step 1, 2mm outward from the edges of the painting center, and stick the soft strip on the paper along the paste marks, making sure that the soft strip fits the paper completely and overlaps with the long side of the painting center by 1mm and the short side by 2mm, and the soft strip is completed.

[0045] Step 3: Fill the holes in the small support in step 2, add folding strips, and let it dry naturally.

[0046] Step 4: Lay the auxiliary paper with the smooth side facing up on the operating table, spray water to smooth it, place the small support piece in step 3 with the front side facing down on the auxiliary paper, spray water to smooth it, and then cut it into a square shape, leaving a soft strip of 3 to 8 mm around the small support piece.

[0047] Step 5: Take a new piece of paper with the glossy side facing up and lay it flat on the workbench, spray water to smooth it out, then take another piece of paper with the rough side facing up and lay it flat on the previous paper, spray water to smooth it out and compact it, then roll the latter into a roll and set it aside for later use;

[0048] Step 6: Lay the small support pieces cut in step 4 and the prepared edge materials and top and bottom materials flat on the auxiliary paper smoothed in step 5, spray water to smooth them, then unfold the auxiliary paper rolled into a tube in step 5 with the smooth surface facing down to cover the small support pieces, edge materials and top and bottom materials, and spray water to smooth them.

[0049] Step 7: Remove the paper from the small supports, edge materials, and top and bottom materials in step 6, apply sizing to the soft strip at the edge of the painting, and stick the edge materials face up on the soft strip. Then apply sizing to the edge materials, and stick the top and bottom materials face up on the edge materials. If the original format of the old painting is positive or negative mounting, the edge materials, top and bottom materials are seamlessly connected to the edge of the painting (such as Figure 1 e), if the old painting is mounted in the original format, the edge material and the top and bottom material should be kept 2 to 10 mm away from the edge of the painting (as shown in Figure 1 f), the inlay is completed.

Claims

1. A process for inlaying in the restoration of old paintings, characterized by: The process comprises the following steps: Step 1: Lay the auxiliary paper with the glossy side facing up on the workbench and spray water to level it. Place the old painting to be restored with the center facing down on the auxiliary paper and spray water to level it. Wash, peel off and splice the center of the painting. Then place a small support. Step 2: Apply paste on the paper of the small support in step 1, 2mm outward from the edge of the painting center, and stick the soft strip on the paper along the paste marks, making sure that the soft strip fits the paper completely and overlaps with the painting center by 1mm on the long side and 2mm on the short side, and the soft strip is now done; Step 3: Fill the holes in the small support in step 2, add folding strips, and let it dry naturally; Step 4: Lay the auxiliary paper with the smooth surface facing upward on the operating table and spray water to smooth it. Place the small support piece in step 3 with the front side facing downward on the auxiliary paper and spray water to smooth it, then cut it into squares, leaving a 3-8mm soft strip around the small support piece. Step 5: Take a new piece of paper with the glossy side facing up and lay it flat on the workbench, spray water to smooth it out, then take another piece of paper with the rough side facing up and lay it flat on the previous paper, spray water to smooth it out and compact it, then roll the latter into a roll and set it aside for later use; Step 6: lay the small support pieces cut in step 4 and the prepared edge materials and top and bottom materials flat on the auxiliary paper smoothed in step 5, spray water to smooth them, then unfold the auxiliary paper rolled into a tube in step 5 with the smooth surface facing downward to cover the small support pieces, edge materials and top and bottom materials, and spray water to smooth them; Step 7: Peel off the auxiliary paper on the small supporting pieces, edge materials and top and bottom materials in step 6, apply slurry on the soft strip at the edge of the painting core, and stick the edge materials and top and bottom materials on the soft strip with the front side facing up. If the original format of the old painting is positive or negative inlay, the edge materials, top and bottom materials should be seamlessly connected with the edge of the painting core. If the original format of the old painting is hard inlay or soft inlay, keep a distance of 2 to 10 mm between the edge materials, top and bottom materials and the edge of the painting core, and the inlay is completed.

2. The inlay technique for restoration of old paintings according to claim 1 is characterized in that: The soft strip is a rectangular paper strip cut from any one of raw rice paper, bird's-eye paper and mulberry paper.

3. The inlay technique for restoration of old paintings according to claim 1 is characterized by: The auxiliary paper is any one of various non-coated machine-made papers, one side of which is smooth and flat, and the other side is rough, and the paper thickness is 1 to 3 mm.

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