Wet square cutting method in ancient picture repair

Abstract

The invention discloses a method for wet square cutting in ancient picture repair, which is characterized in that an explosion-proof glass is used as an operation table, a flaw detection lamp and thick auxiliary paper with one smooth and flat surface and the other rough surface are used for accurate square cutting by adopting a ruler method under the state that a picture center, a small support piece and a mounting material are wet and flat. According to the method, a wet square cutting mode is adopted, the problem that the damaged ancient painting center cannot be cut in a square mode is perfectly solved, and soft inlaying (soft drawing) is achieved; the risk that the small supporting piece is cut on the wall and cracks is avoided; and glue alum water is not used for mounting material wet square cutting, so that the strip folding disease caused by acidification embrittlement is avoided, and the storage time of the ancient picture is prolonged. The method is simple in step and safe to operate, improves the safety of the ancient picture, improves the repairing efficiency, ensures the repairing effect, provides an evidence for a glue-free alum water repairing and mounting technology for the ancient picture cultural relics, ensures that the picture is regular through wet square cutting, improves the artistry of the ancient picture work, lays a foundation for subsequent repairing and mounting, and is suitable for popularization and application. And a new repairing thought 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 wet square cutting method in restoration of old paintings. Background Art

[0002] In the mounting and restoration of calligraphy and paintings, square cutting is an indispensable basic craft. Square cutting refers to the method of using a knife to cut calligraphy and paintings into squares. It can regulate the picture and improve the artistic quality of calligraphy and painting works. It is the basis for small, inlaid and large brackets for calligraphy and paintings. Square cutting ensures the smooth progress of subsequent processes and achieves the overall regular beauty of the mounted piece.

[0003] New painting square cuts are generally divided into painting core square cuts, small support square cuts and mounting square cuts (such as Figure 1 a). When the painting core is intact, the overall mechanical strength of the painting core is high, and the sealing process can be used to flatten it on the wall, and then cut it off the wall after drying, that is, the painting core is square cut. This method is mostly used for precious calligraphy and paintings that require soft mounting (soft mounting); if positive mounting, reverse mounting or hard mounting (hard mounting) is required, the painting core can be placed on a small support, dried and flattened on the wall, and then cut off the wall, that is, the small support piece is square cut. When mounting, the waste edges (remaining edges) of the ingredients and mounting materials are square cut, that is, the mounting materials are square cut. The above-mentioned square cutting methods are all carried out in a dry state, which we call "dry square cutting".

[0004] When the core of an old painting is severely damaged and needs to be remounted, the overall mechanical strength of the core is poor and cannot be mounted on the wall. Therefore, square cutting of the core cannot be achieved in the restoration of old paintings. Therefore, traditional painting and calligraphy mounting techniques often use small support pieces for square cutting, that is, by placing the damaged core of the painting on paper, flattening the small support piece on the wall, and then cutting it. In order to reduce the risk of cracking on the damaged core of the painting, glue alum water should be applied in advance to improve the overall mechanical strength of the small support piece; glue alum water also ensures that the small support piece after square cutting has the same wet expansion rate as the mounting material, and the dry mounting piece is conducive to spraying water and leveling, so that the large support process can be smoothly implemented.

[0005] However, since the damaged painting core cannot be cut into squares in a dry state, soft mounting cannot be achieved in the repair and mounting of old paintings, and it is difficult to restore the original soft mounting style of precious old paintings. In addition, in the traditional repair and mounting of old paintings, the small support pieces and the mounting materials are cut into squares by the use of glue alum water, and this practice has not been broken through so far. However, the side effects of glue alum water are huge, which is the root cause of the serious damage to old paintings. Therefore, how to simultaneously achieve the cutting of the damaged painting core, small support pieces and mounting materials of old paintings, and how to not use glue alum water in the entire repair and mounting process is a technical problem that needs to be solved. Summary of the invention

[0006] Based on the problems existing in the prior art, we have developed a set of wet square cutting methods for the restoration of damaged old paintings without the use of glue and alum water after continuous attempts and explorations. This method perfectly solves the problem that the core of damaged old paintings cannot be square cut, making it possible to achieve soft mounting (soft removal) of old paintings; it avoids the risk of small brackets bursting when square cut on the wall; and the wet square cutting of mounting materials does not use glue and alum water, avoiding the folding disease caused by acidification and embrittlement, and extending the preservation time of old paintings. This method has simple steps and is safe to operate. It improves the safety of old paintings while improving the efficiency of restoration and ensuring the restoration effect, providing a new solution for the restoration of old paintings and cultural relics without glue and alum water.

[0007] The wet square cutting method for the restoration of old paintings provided by the present invention is performed in sequence according to the following steps:

[0008] Step 1: Draw the heart wet square cut

[0009] S1: Place the auxiliary paper with the glossy side facing upwards on the explosion-proof glass table and spray water to level it. Place the old painting to be restored with the center facing downwards on the auxiliary paper and spray water to level it. Then wash, peel and splice the center of the painting.

[0010] S2: Turn on the flaw detection light, drain the moisture from the edge of the long side of the center of the painting in S1, cover the long side of the center of the painting with a dry auxiliary strip, press the dry auxiliary strip with a transparent ruler, use the flaw detection light to determine the position of the center of the painting, move the transparent ruler to make it coincide with the edge of the center of the painting, and cut it into a square along the straight edge. After cutting the long side, align it with the tape measure with a triangle ruler, and then use the same method to cut the remaining three sides into a square, so that the two long sides are parallel and perpendicular to the two short sides. The wet square cutting of the center of the painting is completed.

[0011] Step 2: Wet-cut the small support piece

[0012] S3: Mount the new paper support on the back of the wet square cut in S2 to complete the small support. Brush paste on the paper support piece, position it 2mm outward from the edge of the painting, and stick the strip on the paper along the paste marks, making sure the strip fits the paper completely and overlaps with the long side of the painting by 1mm and the short side by 2mm. Place it on felt to dry naturally to complete the small support.

[0013] S4: The small support in S3 is patched with holes, folded with strips, and then dried naturally.

[0014] S5: Place the auxiliary paper with the glossy side facing upward on the operating table and spray water to level it. Place the small support piece processed in S4 with its front side facing downward on the auxiliary paper and spray water to level it. Drain the water from the strips on the small support piece, cover the dry auxiliary strips on the strips on the small support piece, press the dry auxiliary strips with a transparent ruler, turn on the flaw detection light, determine the exact position with the help of the flaw detection light, move the transparent ruler so that it is located at the strip 1.5 to 2.5 mm outward from the center of the picture, and cut it into squares along the straight edge. The wet square cutting of the small support piece is completed.

[0015] Step 3: Cut the mounting material into wet squares

[0016] S6: Take a new piece of auxiliary paper and place it flat on the operating table with the smooth side facing up and spray water to smooth it. Then take another piece of auxiliary paper and place it flat on the previous auxiliary paper with the rough side facing up. After spraying water to smooth it and compact it, roll the latter into a tube and place it aside for use.

[0017] S7: Place the small support pieces cut in S5 and the prepared edge materials and top and bottom materials on the auxiliary paper smoothed in S6, spray water to smooth them, and then use the auxiliary paper rolled into a tube in S6 to cover the small support pieces, edge materials and top and bottom materials with the smooth side facing downwards, and spray water to smooth them.

[0018] S8: Peel off the auxiliary paper on the small supporting pieces, edge materials and top and bottom materials in S7, apply slurry to the soft strips on the long edge of the painting core, stick the edge materials on the strips with the front side facing up, so that the edge materials and the edge of the painting core are seamlessly connected, turn on the flaw detection light, cover the dry auxiliary strips on the position where the edge materials exceed the small supporting pieces, press down the dry auxiliary strips with a transparent ruler, straighten the triangle plate and cut off the excess part of the edge materials, and then use the same method to glue and cut the top and bottom materials, so that the edge materials and the top and bottom materials are regular squares, and the wet square cutting of the mounting material is completed.

[0019] 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.

[0020] Furthermore, the dry auxiliary strips are paper strips cut from auxiliary paper, and the width of the paper strips is 3 to 5 cm.

[0021] Furthermore, the operating table is an explosion-proof glass table with a thickness of 1 to 3 cm.

[0022] Furthermore, the above-mentioned flaw detection lamp is a cold and warm two-color flaw detection lamp, which uses the different color differences between cold and warm light and the old painting materials to determine the square cutting position, thereby facilitating accurate straight cutting.

[0023] The beneficial effects of the present invention are as follows:

[0024] The present invention uses an explosion-proof glass operating table, a flaw detection lamp, and auxiliary paper with one side smooth and the other side rough to accurately cut the painting center, small support pieces, and mounting materials in a wet and flat state by using a ruler. Among them, the explosion-proof glass operating table has high hardness, can cut without marks, and can be reused. At the same time, it prevents the glass from bursting during the cutting process, ensuring the safety of old paintings; the rough side of the thick auxiliary paper is easy to adsorb on the operating table, which is convenient for positioning old paintings. The old paintings are not easy to move during square cutting. The smooth side fits the old paintings, which is convenient for removing the old paintings. At the same time, the thick auxiliary paper has a large wet mechanical strength, which supports the painting center with low wet mechanical strength, and is not easy to cause problems such as the cutter tearing fibers, scratching, and fluffing; at the same time, the glass operating table is equipped with cold and warm color flaw detection lamps, which determine the position of the painting center through the color difference between different light and the painting center, and accurately cut the painting center. Compared with the prior art, the wet square cutting of the center of the painting of the present invention perfectly solves the problem of broken center of the painting of old paintings, realizes the soft removal of the small support of the old painting, avoids the damage of the center of the painting, and effectively protects the old painting; the small support piece does not need to be flattened on the wall, avoids the risk of the small support piece bursting on the wall, and ensures the safety of the old painting; the wet square cutting of the mounting material does not use glue alum water, avoids the damage to the old painting caused by acidification and embrittlement, simplifies the process and improves the restoration efficiency. The wet square cutting process of the present invention makes the picture regular, improves the artistry of the old painting works, lays the foundation for subsequent restoration and mounting, and provides a new restoration idea for the restoration of old paintings. BRIEF DESCRIPTION OF THE DRAWINGS

[0025] Figure 1 It is a comparison chart of three different operation processes of new painting, traditional ancient painting and the ancient painting square cutting of the present invention. DETAILED DESCRIPTION

[0026] 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.

[0027] Comparative Example 1

[0028] In traditional restoration of old paintings, it is impossible to dry-cut the center of the painting, so only the small support and mounting materials are dry-cut. The specific operation flow chart is as follows: Figure 1 As shown in b.

[0029] Step 1: Cut the small support into squares

[0030] S1: Spread thin silk, tung oil paper or plastic cloth on the workbench, place the old painting with the center facing downward on the thin silk, tung oil paper or plastic cloth, spray water and smooth it, then wash, peel and splice the center of the painting, and then place it on a small support.

[0031] S2: Fill the holes and add folding strips to the small support in S1, and let it dry naturally.

[0032] S3: Place the small support in S2 face down on the workbench, apply the prepared alum water on the back of the small support, let it stand for a while, cover it with paper, and place it on felt to dry naturally.

[0033] S4: Spray the front side of the small support piece coated with alum water in S3 with water facing downward to level it, apply slurry on the waste edge of the small support piece to the wall, and after it is dry and leveled, perform full color treatment.

[0034] S5: Put the fully colored small support piece in S4 down against the wall, place it on the cutting table with the front side facing up, and use a ruler to cut along the edge of the center of the painting so that the two long sides are parallel and perpendicular to the two short sides. This completes the square cutting of the small support piece.

[0035] Step 2: Cut the mounting material into squares

[0036] S6: Cut the side materials and top and bottom materials for later use; glue the small support piece cut in S5 to the prepared side materials, use the cutting board to cut off the excess side materials, and use the same method to glue and straighten the top and bottom materials to make the mounting material into a regular square, thus completing the dry square cutting of the mounting material.

[0037] Traditional mounting of old paintings cannot square the center of the painting, so soft mounting is not possible. Only positive mounting, reverse mounting and hard mounting are possible.

[0038] Example 1

[0039] The method provided in this embodiment can realize the wet square cutting of the center of the painting, the wet square cutting of the small support and the wet square cutting of the mounting material in the restoration of old paintings. Figure 1 As shown in c.

[0040] Step 1: Draw the heart wet square cut

[0041] S1: Place the auxiliary paper with the glossy side facing upwards on the explosion-proof glass table and spray water to level it. Place the old painting to be restored with the center facing downwards on the auxiliary paper and spray water to level it. Then wash, peel and splice the center of the painting.

[0042] S2: Turn on the flaw detection light, drain the moisture from the edge of the long side of the center of the painting in S1, cover the long side of the center of the painting with a dry auxiliary strip, press the dry auxiliary strip with a transparent ruler, use the flaw detection light to determine the position of the center of the painting, move the transparent ruler to make it coincide with the edge of the center of the painting, and cut it into a square along the straight edge. After cutting the long side, align it with the tape measure with a triangle ruler, and then use the same method to cut the remaining three sides into a square, so that the two long sides are parallel and perpendicular to the two short sides. The wet square cutting of the center of the painting is completed.

[0043] Step 2: Wet-cut the small support piece

[0044] S3: Mount the new paper support on the back of the wet square cut in S2 to complete the small support. Brush paste on the paper support piece, position it 2mm outward from the edge of the painting, and stick the strip on the paper along the paste marks, making sure the strip fits the paper completely and overlaps with the long side of the painting by 1mm and the short side by 2mm. Place it on felt to dry naturally to complete the small support.

[0045] S4: The small support in S3 is patched with holes, folded with strips, and then dried naturally.

[0046] S5: Place the auxiliary paper with the glossy side facing upward on the operating table and spray water to level it. Place the small support piece processed in S4 with its front side facing downward on the auxiliary paper and spray water to level it. Drain the water from the strips on the small support piece, cover the dry auxiliary strips on the strips on the small support piece, press the dry auxiliary strips with a transparent ruler, turn on the flaw detection light, determine the exact position with the help of the flaw detection light, move the transparent ruler so that it is located at the strip 1.5 to 2.5 mm outward from the center of the picture, and cut it into squares along the straight edge. The wet square cutting of the small support piece is completed.

[0047] Step 3: Cut the mounting material into wet squares

[0048] S6: Take a new piece of auxiliary paper and place it flat on the operating table with the smooth side facing up and spray water to smooth it. Then take another piece of auxiliary paper and place it flat on the previous auxiliary paper with the rough side facing up. After spraying water to smooth it and compact it, roll the latter into a tube and place it aside for use.

[0049] S7: Place the small support pieces cut in S5 and the prepared edge materials and top and bottom materials on the auxiliary paper smoothed in S6, spray water to smooth them, and then use the auxiliary paper rolled into a tube in S6 to cover the small support pieces, edge materials and top and bottom materials with the smooth side facing downwards, and spray water to smooth them.

[0050] S8: Peel off the auxiliary paper on the small supporting pieces, edge materials and top and bottom materials in S7, apply slurry to the soft strips on the long edge of the painting core, stick the edge materials on the strips with the front side facing up, so that the edge materials and the edge of the painting core are seamlessly connected, turn on the flaw detection light, cover the dry auxiliary strips on the position where the edge materials exceed the small supporting pieces, press down the dry auxiliary strips with a transparent ruler, straighten the triangle plate and cut off the excess part of the edge materials, and then use the same method to glue and cut the top and bottom materials, so that the edge materials and the top and bottom materials are regular squares, and the wet square cutting of the mounting material is completed.

[0051] The auxiliary paper of this embodiment 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.

[0052] The dry auxiliary strips of this embodiment are paper strips cut from the auxiliary paper mentioned above, and the width of the paper strips is 3 to 5 cm.

[0053] The operating tables of the present embodiment are all explosion-proof glass tables with a thickness of 1 to 3 cm.

[0054] The flaw detection lamp of this embodiment is a cold and warm two-color flaw detection lamp, which uses the different color differences between cold and warm light and the old painting materials to determine the square cutting position, thereby facilitating accurate straight cutting.

Claims

1. A method for wet cutting in the restoration of old paintings, characterized by: The method operates in the following steps: Step 1: Draw the heart wet square cut S1: Place the auxiliary paper with the glossy surface facing upwards on the explosion-proof glass table and spray water to level it. Place the old painting to be restored with the center facing downwards on the auxiliary paper and spray water to level it. Then wash, peel and splice the center of the painting. S2: Turn on the flaw detection light, drain the moisture from the long edge of the center of the painting in S1, cover the long edge of the center with a dry auxiliary strip, press the dry auxiliary strip with a transparent ruler, determine the center position with the help of the flaw detection light, move the transparent ruler to make it coincide with the edge of the center of the painting, and cut it square along the straight edge. After cutting the long edge, align it with the tape measure with a triangle ruler, and then use the same method to cut the remaining three sides square, so that the two long sides are parallel and perpendicular to the two short sides. The wet square cutting of the center of the painting is completed; Step 2: Wet-cut the small support piece S3: Mount the new paper on the back of the wet square cut painting in S2 to complete the small support. Apply paste on the paper for the small support, 2mm outward from the edge of the painting, and stick the strip on the paper along the paste marks to ensure that the strip fits the paper completely and overlaps with the long side of the painting by 1mm and the short side by 2mm. Place it on felt to dry naturally, and the small support is ready. S4: patching holes and adding folding strips to the small support in S3 and then letting it dry naturally; S5: Place the auxiliary paper with the glossy surface facing upward on the operating table and spray water to level it. Place the small support piece processed in S4 with the front side facing downward on the auxiliary paper and spray water to level it. Drain the water from the strips of the small support piece, cover the dry auxiliary strips on the strips of the small support piece, press the dry auxiliary strips with a transparent ruler, turn on the flaw detection light, determine the exact position with the help of the flaw detection light, move the transparent ruler to make it located at the strips 1.5 to 2.5 mm outward from the center of the picture, and cut it into squares along the straight edge. The wet square cutting of the small support piece is completed. Step 3: Cut the mounting material into wet squares S6: Take a new piece of auxiliary paper with the smooth side facing upwards and lay it flat on the operating table, spray water to smooth it, then take another piece of auxiliary paper with the rough side facing upwards and lay it flat on the previous auxiliary paper, spray water to smooth it and make it compact, then roll the latter into a roll and place it aside for use; S7: the small support pieces cut in wet squares in S5 and the prepared edge materials and top and bottom materials are laid on the auxiliary paper smoothed in S6, sprayed with water to smooth them, and then the small support pieces, edge materials and top and bottom materials are covered with the auxiliary paper rolled into a tube in S6 with the smooth surface facing downward, and sprayed with water to smooth them; S8: Peel off the auxiliary paper on the small supporting pieces, edge materials and top and bottom materials in S7, apply slurry to the soft strips on the long edge of the painting core, stick the edge materials on the strips with the front side facing up, so that the edge materials and the edge of the painting core are seamlessly connected, turn on the flaw detection light, cover the dry auxiliary strips on the position where the edge materials exceed the small supporting pieces, press down the dry auxiliary strips with a transparent ruler, straighten the triangle plate and cut off the excess part of the edge materials, and then use the same method to glue and cut the top and bottom materials, so that the edge materials and the top and bottom materials are regular squares, and the wet square cutting of the mounting material is completed.

2. The wet square cutting method for restoration of old paintings according to claim 1, characterized in that: 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.

3. The wet square cutting method for restoration of old paintings according to claim 1 or 2, characterized in that: The dry auxiliary strips are paper strips cut from auxiliary paper, and the width of the paper strips is 3 to 5 cm.

4. The wet square cutting method for restoration of old paintings according to claim 1, characterized in that: The operating table is an explosion-proof glass table with a thickness of 1 to 3 cm.

5. The wet cutting method for restoration of old paintings according to claim 1, characterized in that: The flaw detection lamp is a cold and warm two-color flaw detection lamp, which uses the different color differences between cold and warm light and the old painting materials to determine the square cutting position, thereby facilitating accurate straight cutting.

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