Damaged ricepaperplant pith painting repairing technology

Abstract

The invention discloses a damaged ricepaperplant repairing technology which comprises the following specific steps: (1) selecting a stem of a ricepaperplant, peeling and airing, and then cutting the stem into a proper length to form ricepaperplant stem pith / ricepaperplant sticks; (2) then, the medulla tetrapanacis stem pith is cut into slices with uniform thickness, and the slices at the moment are tetrapanacis tetrapanacis slices; (3) flattening and shaping the cut tetrapanax papyriferus pieces, and airing for later use; (4) accurately collecting defect data of the clear ricepaperplant pith picture to be repaired; (5) repairing the damaged position of the Qingfeng ricepaperplant pith painting; and (6) repairing and finishing the clear generation ricepaperplant pith painting at the repaired position. The method has the effect of being good in effect after repairing.

Description

Technical Field

[0001] The present invention belongs to the technical field of restoration of paper-cutting paintings, and in particular relates to a restoration technique for damaged paper-cutting paintings of the Qing Dynasty, which have incomplete pictures, cracks, and breaks. Background Art

[0002] Tongcao paintings, also known as rice paper paintings, tongpaper paintings, and tongcao watercolor paintings, emerged in Guangzhou in the early 19th century and have a history of more than 200 years. They are the product of the collision and integration of Chinese culture, local Guangdong culture, and Western culture under the background of Guangzhou's trade with foreign countries. The unique feature of tongcao paintings is the painting substrate - tongcao slices, which are made from the pith of the plant Tetrapanax papyriferus, cut into slices of uniform thickness similar to paper. Painting on tongcao slices is a handicraft that emerged in Guangzhou more than 200 years ago and was exported to Europe, America, and other countries via the Maritime Silk Road. It records the various aspects of life in Guangzhou or Lingnan in the 18th and 19th centuries, including the Thirteen Hongs trade, water city culture, festival folk customs, and birds, flowers, insects, fish, and animals. In an era when communication channels were limited, Westerners visiting or doing business in Guangzhou were eager to bring back real and objective visual materials of what they saw and heard in the East. Tongcao paintings thus took on the mission of spreading Chinese stories and local products and were known as the "Oriental postcards" and "Guangzhou souvenirs". The carrier of tongcao paintings, tongcao slices, support colors and beautiful images with their original ecological plant cell structure, but are also prone to cracking, breaking, and disappearing due to external forces and the natural environment. Many Qing Dynasty tongcao paintings preserved in China or returned from abroad have varying degrees of damage. Therefore, the restoration technique for damaged tongcao paintings refers to the old-fashioned repair and bonding of missing, broken, or cracked parts of the paintings to restore them to a similar original appearance. In addition, the restoration period being the Qing Dynasty specifically refers to the year when tongcao paintings emerged, around 1820, for the restoration of damaged tongcao paintings from a long time ago. Among them, the tongcao slices used in the restoration process are mainly made from the pith of the plant Tetrapanax papyriferus of the Araliaceae family. They are the carrier for painting and restoration of Qing Dynasty tongcao paintings. Their production involves directly cutting the pith of the plant Tetrapanax papyriferus into slices of uniform thickness similar to paper, which can be used both for painting and as a restoration material. Compared with paper produced by modern papermaking techniques, due to significant differences in production methods and material structures, the expansion and contraction rates of paper and tongcao slices are different under different conditions. Moreover, under the same dry conditions, tongcao slices are more fragile and prone to cracking than some papers produced by modern papermaking techniques; under the same moist conditions, tongcao slices are more flexible and wear-resistant than some papers produced by modern papermaking techniques. However, during the collection of tongcao paintings, as soon as shrinkage cracks appear in the tongcao slices, the cracking range will gradually increase naturally, eventually leading to the fragmentation of the painting or the disintegration of the artwork. Therefore, the material characteristics of tongcao slices result in the restoration technique for tongcao paintings being different from that of traditional Chinese calligraphy and painting restoration or ancient book restoration. Thus, the restoration of Qing Dynasty tongcao paintings has always been a major challenge for major museums and the collection circle at home and abroad. The restoration technique for damaged tongcao paintings can solve the problems commonly seen in Qing Dynasty or modern tongcao paintings, such as easy breakage, natural shrinkage cracks, or damage caused by the breakage of the tongcao slices in the painting.

[0003] At present, in order to solve the problem of damaged and cracked rice paper paintings, some methods of repairing rice paper paintings have emerged at home and abroad: (1) Mounting repair - simply mounting the rice paper paintings in accordance with the traditional Chinese calligraphy and painting mounting method, that is, directly pasting the rice paper paintings on rice paper using the mounting method (some are mounted by hand, and some are mounted by machine). This repair method has problems: this method will cause the rice paper paintings to have cracks in the center of the painting, secondary cracks in the original cracks, and the picture to warp. This is due to the inconsistent shrinkage force between the rice paper and the supporting paper. It also causes the rice paper paintings to lose their original natural three-dimensional effect after being mounted as a whole. (2) Pasting repair - directly pasting new rice paper pieces on cardboard or paper, and then directly filling in the color on the paper. This repair method has problems: it does not repair the rice paper paintings, but simply directly collages the rice paper fragments together, and simply mechanically solves the problem of preventing the rice paper pieces from continuing to crack. It is not a long-term and unsafe repair method, and it also brings greater trouble to the work of reversing and repairing the rice paper paintings in the future.

[0004] (3) Cutting-type restoration refers to directly cutting or digging out the damaged paper-cutting painting, cutting the corresponding simple shapes with new paper-cutting paper, and then patching them into the original painting. This restoration method is extremely harmful and destructive to the Qing Dynasty paper-cutting painting, and does not conform to the principle of minimal intervention in cultural relics restoration. Blindly cutting the damaged parts of the paper-cutting painting is a secondary damage to the painting, and the new paper-cutting paper is not selected as the restoration material based on the thickness, performance, and texture characteristics of the original paper-cutting paper. It cannot solve the problem according to the restoration principles of "maintaining the original appearance" and "repairing the old as it was." Summary of the Invention

[0005] In view of the above problems, the purpose of the present invention is to provide a technique for repairing damaged paper-cut paintings with good repair effects.

[0006] To achieve the above-mentioned purpose, the present invention provides a technique for restoring damaged paper-cut paintings, wherein the specific steps are as follows:

[0007] (1) The stems of the tongcao plant are peeled and dried, and then cut into appropriate lengths to form tongcao stem pith / tongcao sticks;

[0008] (2) Afterwards, the stem pith of the tongcao is cut into thin slices of uniform thickness, which are now called tongcao slices;

[0009] (3) Flattening and shaping the cut pieces of tongcao and drying them for later use;

[0010] (4) Accurately collect missing data of Qing Dynasty paper-cut paintings to be restored;

[0011] (5) Repair the damaged parts of the Qing Dynasty paper-cut paintings;

[0012] (6) Repair and organize the Qing Dynasty paper-cut paintings at the repaired locations;

[0013] The accurate collection of defective data in step (4) adopts the MiG zoning positioning method; the MiG zoning positioning method collects the position and shape information of the defective image;

[0014] The damage repair in step (5) is performed by using a dovetail-type repair method; the dovetail-type method is to make a matching patch of rice paper according to the shape of the defective position of the defective rice paper painting of the Qing Dynasty, and inlay it on the damaged position, so as to achieve a smooth and seamless connection between the rice paper painting of the Qing Dynasty and the patch of rice paper.

[0015] In some embodiments, the production process of the thin slices in the above step (2) is manual cutting and requires the cooperation of both hands. The specific steps are as follows: use the left hand to take the pith of the Tongcao stem, place it on the stone chopping board, and roll the Tongcao stem pith to the left in a balanced manner. Use the right hand to hold a sharp flat-bladed long knife about 40 cm long and push the knife up and down along the rolling direction of the Tongcao stem pith until the pith core is cut and the Tongcao stem pith is produced in the form of thin slices.

[0016] In some embodiments, the sheet is 1 to 2 mm thick.

[0017] In some embodiments, the front and back sides of the tongcao slices in step (3) need to be distinguishable, the thickness needs to be uniform, and the surface needs to be flat without large fluctuations, small cracks, breaks, or insect bites.

[0018] In some embodiments, the thin slices of the stem pith of the tongcao (Tongcao) are sequentially divided into tongcao skin slices, tongcao tongcao tongcao slices, and tongcao core slices. Tongcao slices at different locations have different cell structure distribution, texture, color, thickness, and toughness. When repairing a Qing Dynasty tongcao painting, it is necessary to find the appropriate tongcao slices according to the different locations of the tongcao slices to make the patch.

[0019] In some embodiments, the MiG zoning positioning method includes the following steps:

[0020] (1) Confirmation of the work, taking photos of the work, overview of the condition inspection, and registration of information; using a digital camera to take high-definition, 300 dpi, well-colored photos of damaged Qing Dynasty paper-cut paintings;

[0021] (2) Print multiple photos of damaged Qing Dynasty paper-cut paintings on ordinary paper with a 1:1 ratio;

[0022] (3) Measure the dimensions and position the four sides of a 1:1 scale photograph of a damaged Qing Dynasty paper-cut painting. Use centimeters as the unit and divide it into 1 cm*1 cm grids. Mark the coordinates of the damaged locations and number them to accurately determine the vertical and horizontal coordinates of the restoration.

[0023] (4) Collect data to determine the plan, count the number of defect points, the size, shape and thickness of each defect point, the cell structure of the picture, and other data, and formulate a repair plan for each defect location;

[0024] (5) Produce a patch drawing, and accurately depict the shape and area of the defect points on the photo and blank paper with a 0.3 black gel pen to form a patch drawing.

[0025] In some embodiments, the specific steps of the dovetail repair method are as follows:

[0026] (1) Prepare a ricepaper patch. According to the shape, area, thickness, and cell structure of the defect position, select a suitable ricepaper according to the patch drawing. The ricepaper machine should be in a flat and dry state. Customize a ricepaper patch with a 1:1 ratio that has a matching shape seam, consistent thickness, and similar cell structure texture.

[0027] (2) Inspect and trim the shape of the ricepaper patch. Place the made ricepaper patch on the "patch drawing" to check the suitability of the patch. Appropriately make flexible reduction and modification with a tool in a timely manner to make the patch fit the "patch drawing". If the ricepaper patch is not suitable, it needs to be remade.

[0028] (3) Try patching. Inlay the ricepaper patch at the defect position of the damaged Qing dynasty ricepaper painting. After passing the pre - repair test, then carry out the repair and finishing.

[0029] (4) Implement inlay and filling. Require the ricepaper patch to align with the vertical and horizontal directions of the cells of the painting. There should be no overlap or gap at the joints around the damaged position. Apply an appropriate amount of paste for calligraphy and painting repair around the damaged position, inlay it into the damaged position of the Qing dynasty ricepaper painting, and use a clean cotton swab to remove the excess paste on the ricepaper patch.

[0030] In some embodiments, the specific steps of the repair and finishing in step (6) are as follows:

[0031] (1) Press and smooth. After filling the defect of the damaged Qing dynasty ricepaper painting, first place the painting on the oiled paper, and cover the painting with a clean oiled paper to dry. After the paste on the painting dries and solidifies, remove the upper and lower oiled papers to make it flat and smooth;

[0032] (2) Reinforce. Make a 0.5 - centimeter - wide folded strip with thin ricepaper similar in color to the ricepaper, brush with thin paste, stick the folded strip on the painting and the ricepaper patch, press it firmly by hand, and reinforce the damaged part of the painting from the back of the damaged Qing dynasty ricepaper painting;

[0033] (3) Take pictures and file. Take pictures and file them before full - color restoration, and print them for reference;

[0034] (4) Full - color restoration. Repair the missing color from the front of the damaged Qing dynasty ricepaper painting;

[0035] A. First, it depends on whether the ricepaper patch is suitable. In terms of quality, texture, color, and thickness, it should strive to be consistent or similar. Secondly, the gap for filling the defect should be flat, clean, and without gaps;

[0036] B. Next, mix the colors. Compare the original color of the damaged rice paper painting from the Qing Dynasty with the damaged rice paper patch and then blend the colors. After blending the colors, dip a brush in the color and first apply it on the rice paper. Mix until the colors are consistent, then apply it to the damaged patch. Because the painting has a variety of colors, and the same color has different shades, the color matching must also be mixed. The painting has changes in depth and rhythm, so the color matching should also be based on the changes in the painting's intention, flexibly adding and subtracting colors.

[0037] C. For full-color application, after the brush is fully dipped in color, the color water contained in the brush hair should be full and even, not too wet. When applying full color, the brush should not be held too straight, but tilted slightly outward. This will not only allow you to see the position of the brush and control the direction of the brush tip, but also prevent the color water from sinking too quickly, making it easier to control;

[0038] D. Full color step: First fill in small defects, then fill in large defects; for each paper patch, first fill in the edges and then fill in from one side to the center. When filling in very fine cracks and tiny holes, use the tip of the pen to fill in the color;

[0039] E. Full color position and light: When painting in full color, the damaged paper-cut painting from the Qing Dynasty should be placed straight, and the center of the painting should be flat. The position should also be correct, so that the light comes from the left side, and the lower end of the painting is close to the person. The color will be more accurate when the light is in the direction of the light.

[0040] F. Full color effect. The repaired color should be so that the repaired hole is not easily visible when viewed from the front, two sides, or upside down. That is, four-sided light is the most ideal full color repair effect. When repairing the color, it is absolutely forbidden to modify or destroy the original appearance of the damaged Qing Dynasty paper-cut painting. If the damaged Qing Dynasty paper-cut painting has some missing artistic conception, it is required to be repaired. If there is a clear break, it can be filled in according to the original brushstroke characteristics and style. The principle is not to affect the artistic conception.

[0041] (5) After the supplementary period, take a photo and keep it on file for the final examination.

[0042] In some embodiments, the preparation of the tongcao sheets is carried out in a room with a room temperature of 22 to 28 degrees Celsius and a humidity of 40 to 70%; each tongcao sheet is promptly stacked and neatly pressed with a stone bar after it is produced to ensure the flatness of the tongcao sheet and prevent the tongcao sheet from being scattered, stained, or broken by the wind.

[0043] In some embodiments, the restoration environment is controlled at a temperature of 18-22°C and a relative humidity of 45-55%, and remains stable; in actual applications, it needs to be flexibly adjusted based on the state of the paper-cut painting to be restored, the restoration materials, and the environmental equipment.

[0044] The beneficial effect of the present invention is that it has a good effect after restoration. Since the technical solution mainly includes three parts: first, accurately collecting the defect data of the Qing Dynasty paper-cut painting to be restored; second, repairing the damaged Qing Dynasty paper-cut painting; third, repairing and arranging the Qing Dynasty paper-cut painting (i.e. gluing and full color); different from the "piecemeal patching method", "whole support method" and "inlay patching method" of the traditional Chinese calligraphy and painting mounting hole repairing technology, especially the "inlay patching method" and "piecemeal patching method" of the traditional Chinese calligraphy and painting mounting are based on the destruction of the original to be repaired, so the traditional calligraphy and painting "have to use this method (inlay patching method)". The "paper-cut painting defect repairing technique" is a unique Qing Dynasty paper-cut painting non-destructive repair technology that breaks through the traditional Chinese calligraphy and painting mounting and is inspired by the mortise and tenon joint technique of Chinese furniture making. It can be applied to the restoration of Qing Dynasty and modern paper-cut paintings, and has the scientific and restorative nature of reversible restoration. Features: (1) Original ecological restoration. The damaged paper-cut painting is filled with paper-cut pieces in a natural way, so that it fully matches the damage of the original work, showing the original state of the work without damage, and fitting perfectly. (2) Follow the principle of reversibility and minimum intervention in restoration. After the damaged paper-cut painting is restored, the work can be separated from the original work to restore its original appearance before restoration. (4) This technique is equipped with the corresponding paper-cut painting technique of color filling and full color steps. The restored picture is harmonious and unified, and it is almost difficult to distinguish the damage. The main techniques for repairing damaged paper-cut paintings are "Mig zoning point method" and "dovetail tenon repair method". The technical implementation is effective, meticulous and orderly. It is different from the simple and crude repair methods such as "cutting" and "tape pasting" that appeared in the paper-cut paintings of the Qing Dynasty, and it also breaks through the traditional Chinese calligraphy and painting mounting methods. This patented technology customizes the repair plan for each damaged ancient or modern Qing Dynasty paper-cut painting, using a tailored, "one-case-per-person" approach to repair the damaged portion. Inspired by the dovetail joint structure and mechanical principles of Chinese furniture mortise and tenon joints, Qing Dynasty paper-cut paintings restored using this method have withstood the effects of time, space, and weather conditions. Recent research, as of 2021, shows that the restored paintings remain intact and smooth, overcoming the difficulty of restoring Qing Dynasty paper-cut paintings and achieving excellent results. BRIEF DESCRIPTION OF THE DRAWINGS

[0045] Figure 1 Schematic diagram of the pith stick of the tongcao stem and the tongcao slices after manual dissection;

[0046] Figure 2 Schematic diagram of different parts of Tongcao slices;

[0047] Figure 3 is a flow chart of the repair process of the present invention;

[0048] Figure 4 A damaged Qing Dynasty paper-cut painting (left) and a photograph showing the location of the damage using the "MiG zoning method" (right);

[0049] Figure 5 The right picture is a magnified view of the damaged area and shows the damaged area repaired using the "dovetail tenon" repair method. DETAILED DESCRIPTION

[0050] The invention will be further described in detail below with reference to the accompanying drawings.

[0051] The stems of the Tongcao plant are collected, peeled and dried and are called "Tongcao sticks" (i.e. the pith of the Tongcao stems); the thin slices of material that have not yet been cut and classified are called "Tongcao slices"; the material that has been selected, cut and flattened and can be used for painting is called "Tongcao paper"; and the works that are drawn into pictures are called "Tongcao paintings".

[0052] A technique for restoring damaged paper-cut paintings, wherein the specific steps are as follows:

[0053] (1) The stems of the tongcao plant are peeled and dried, and then cut into appropriate lengths to form tongcao stem pith / tongcao sticks;

[0054] (2) Afterwards, the stem pith of the tongcao is cut into thin slices of uniform thickness, which are now called tongcao slices;

[0055] (3) Flattening and shaping the cut pieces of tongcao and drying them for later use;

[0056] (4) Accurately collect missing data of Qing Dynasty paper-cut paintings to be restored;

[0057] (5) Repair the damaged parts of the Qing Dynasty paper-cut paintings;

[0058] (6) Repair and organize the Qing Dynasty paper-cut paintings at the repaired locations;

[0059] The accurate collection of defective data in step (4) adopts the MiG zoning positioning method; the MiG zoning positioning method collects the position and shape information of the defective image; the specific steps of the MiG zoning positioning method are as follows:

[0060] (1) Confirmation of the work, taking photos of the work, overview of the condition inspection, and registration of information; using a digital camera to take high-definition, 300 dpi, well-colored photos of damaged Qing Dynasty paper-cut paintings;

[0061] (2) Print multiple photos of damaged Qing Dynasty paper-cut paintings on ordinary paper with a 1:1 ratio;

[0062] (3) Measure the dimensions and position the four sides of a 1:1 scale photograph of a damaged Qing Dynasty paper-cut painting. Use centimeters as the unit and divide it into 1 cm*1 cm grids. Mark the coordinates of the damaged locations and number them to accurately determine the vertical and horizontal coordinates of the restoration.

[0063] (4) Collect data to determine the plan, count the number of defect points, the size, shape and thickness of each defect point, the cell structure of the picture, and other data, and formulate a repair plan for each defect location;

[0064] (5) Make a patch drawing, focusing on using a 0.3 black gel pen to accurately depict the shape and area of the defect on the photo and blank paper.

[0065] The damage repair in step (5) is performed using a dovetail-type repair method. The dovetail-type method is to make a matching patch of rice paper according to the shape of the defective position of the damaged rice paper painting, and then inlay it on the damaged position, so that the rice paper painting and the patch of rice paper are smoothly and seamlessly connected. The specific steps of the dovetail-type repair method are as follows:

[0066] (1) Prepare the tongcao patch. Select the appropriate tongcao paper according to the shape, area, and thickness of the defect and the shape of the patch drawing. The tongcao paper machine should be flat and dry. Custom-made tongcao paper patches with matching shape, uniform thickness, and similar cell structure and texture should be made in a 1:1 ratio.

[0067] (2) Check and adjust the shape of the rice paper patch. Place the prepared rice paper patch on the "patch drawing" to check the fit of the patch. Use a knife to flexibly reduce and modify the patch to match the "patch drawing". If the rice paper patch is not suitable, it needs to be remade.

[0068] (3) Trial repair. The rice paper patch is inlaid on the defective position of the damaged rice paper painting of the Qing Dynasty for trial. After the preliminary repair test is passed, the repair and finishing can be carried out.

[0069] (4) Inlaying and filling. The tongcao patch should be aligned with the vertical and horizontal directions of the cells of the painting. The seams around the damaged area should not overlap or leave any gaps. Apply an appropriate amount of calligraphy and painting repair paste around the damaged area and inlay it into the damaged area of the Qing Dynasty tongcao painting. Use a clean cotton swab to remove excess paste on the tongcao patch.

[0070] The specific steps of repairing and finishing in step (6) are as follows:

[0071] (1) Pressing and leveling: After the damaged paper-cut paintings of the Qing Dynasty were repaired, the paintings were pressed onto oil-water paper, and clean oil-water paper was covered on top of the paintings to dry. After the paste on the paintings dried, the upper and lower oil-water papers were removed to make them smooth and clean;

[0072] (2) Reinforcement: Use thin rice paper with a color similar to that of the tongcao paper to make a 0.5 cm wide folded strip, apply a thin paste, and stick the folded strip on the painting and the tongcao patch. Press firmly with your hands and reinforce the damaged part of the painting from the back of the damaged tongcao painting from the Qing Dynasty;

[0073] (3) Take photos for archiving. Take photos before full color and keep them for reference after printing.

[0074] (4) Full color, repairing the missing color from the front of a damaged Qing Dynasty paper-cut painting;

[0075] A. First, the appropriateness of the paper patch should be considered. The texture, grain, color, and thickness should be consistent or similar. Secondly, the opening of the patch should be smooth, clean, and without gaps.

[0076] B. Next, mix the colors. Compare the original color of the damaged rice paper painting from the Qing Dynasty with the damaged rice paper patch and then blend the colors. After blending the colors, dip a brush in the color and first apply it on the rice paper. Mix until the colors are consistent, then apply it to the damaged patch. Because the painting has a variety of colors, and the same color has different shades, the color matching must also be mixed. The painting has changes in depth and rhythm, so the color matching should also be based on the changes in the painting's intention, flexibly adding and subtracting colors.

[0077] C. For full-color application, after the brush is fully dipped in color, the color water contained in the brush hair should be full and even, not too wet. When applying full color, the brush should not be held too straight, but tilted slightly outward. This will not only allow you to see the position of the brush and control the direction of the brush tip, but also prevent the color water from sinking too quickly, making it easier to control;

[0078] D. Full color step: First fill in small defects, then fill in large defects; for each paper patch, first fill in the edges and then fill in from one side to the center. When filling in very fine cracks and tiny holes, use the tip of the pen to fill in the color;

[0079] E. Full color position and light: When painting in full color, the damaged paper-cut painting from the Qing Dynasty should be placed straight, and the center of the painting should be flat. The position should also be correct, so that the light comes from the left side, and the lower end of the painting is close to the person. The color will be more accurate when the light is in the direction of the light.

[0080] F. Full color effect. The repaired color should be so that the repaired hole is not easily visible when viewed from the front, two sides, or upside down. That is, four-sided light is the most ideal full color repair effect. When repairing the color, it is absolutely forbidden to modify or destroy the original appearance of the damaged Qing Dynasty paper-cut painting. If the damaged Qing Dynasty paper-cut painting has some missing artistic conception, it is required to be repaired. If there is a clear break, it can be filled in according to the original brushstroke characteristics and style. The principle is not to affect the artistic conception.

[0081] (5) After the supplementary period, take a photo and keep it on file for the final examination.

[0082] The production process of the thin slices in the above step (2) is made by manual cutting and requires the cooperation of both hands. The specific steps are as follows: take the pith of the tongcao stem with the left hand, place it on the stone chopping board, and roll the tongcao stem pith to the left in a balanced manner. Hold a sharp flat-bladed long knife about 40 cm long in the right hand and push the knife up and down along the rolling direction of the tongcao stem pith until the pith core is cut and the tongcao stem pith is produced in the form of thin slices. The slices are 1 to 2 mm thick. The front and back sides of the tongcao slices in step (3) must be distinguished, the thickness must be uniform, and the surface must be flat without large fluctuations, small cracks, breaks, or insect bites.

[0083] The thin slices of the pith of Tongcao stem cut from the outer stem to the stem core are Tongcao skin slices, Tongcao tube slices and Tongcao core slices respectively.

[0084] The preparation of tongcao sheets is carried out indoors at a room temperature of 22 to 28 degrees Celsius and a humidity of 40 to 70%. After each sheet is made, it is promptly stacked and pressed neatly, and the paper head is pressed with a stone strip to ensure the flatness of the sheet and prevent the sheet from being scattered, stained, or broken by the wind.

[0085] The restoration environment is controlled at a temperature of 18–22°C and a relative humidity of 45–55%, and remains stable. In actual application, it needs to be flexibly adjusted based on the condition of the paper-cut painting to be restored, the restoration materials, and the environmental equipment.

[0086] Tongcao sheets, which resemble paper but are not, possess a unique quality. During the restoration process, they are used as a key material to repair damaged, cracked, or broken pieces of the painting. Patented restoration techniques and other auxiliary materials are used to repair damaged areas of Qing Dynasty paintings. Over time, some Qing Dynasty paintings have lost their original appearance due to damage from bookworms, natural cracking from improper storage, or human damage. These paintings require restoration to ensure their proper preservation.

[0087] The applicant for this invention patent is a inheritor of tongcao painting, having been engaged in research on this technique for over a decade. He frequently encounters damaged Qing Dynasty and modern tongcao paintings, and has found that paintings held by cultural institutions and private collectors at home and abroad suffer varying degrees of damage. Many of his colleagues, in their own work, are often troubled by these damages and breakages, and often seek help from their clients. Therefore, based on the applicant's practical experience and applied knowledge, he has developed a personal, innovative invention and research findings for the restoration and preservation of tongcao paintings. After summarizing these findings, he has filed a patent application. This invention patent can be applied to the restoration of both Qing Dynasty and modern tongcao paintings.

[0088] like Figure 1 As shown, when applied, the Tongcao slices used in this technical solution are a kind of special thin slices, which are very different from those made by ordinary modern papermaking technology. Tongcao slices are thin slices of plant cell tissue similar to paper. They are made by directly cutting the stem pith of the Tongcao plant into thin slices of stem pith cell structure with uniform thickness, about 1 to 2 mm thick. Each Tongcao slice is made by hand-cutting, and the left and right hands need to be coordinated during the production. First, take the Tongcao stem pith with your left hand, put it on the stone chopping board, and roll the Tongcao stem pith to the left in a balanced manner. Hold a sharp flat-bladed long knife about 40 cm long in your right hand and push the knife up and down along the rolling direction of the stem pith until the pith core is cut and the Tongcao slices are produced in sheets. The cut Tongcao slices are completed after being flattened and dried. Tongcao slices need to be cut into different specifications and different parts before they can be used to repair Tongcao paintings. Such as Figure 2As shown, tongcao sheets are sliced from different parts of the stem to the core of the tongcao stick. They are further divided into tongcao skin sheets, tongcao ... Tongcao Sheet Properties: Tongcao Sheet retains the cellular structure of the pith rods of the tongcao stem. It feels spongy and soft when lightly pressed, and is 0.4-2 mm thick. Tongcao cells resemble irregular hexagonal spheres interconnected by cell membranes. When viewed against the light, the sheet appears translucent and has a frosted texture. Once flattened and shaped, the sheet is pure white and has a relatively brittle texture. Avoid folding or rubbing, as this will easily cause it to crack. Therefore, Tongcao paper is not as strong as finished pulp paper, and its shrinkage and expansion rate is greater than that of ordinary calligraphy and painting paper or rice paper. Therefore, Tongcao Sheet is the primary material used in restoration. Paper Cutting Tools: Tongcao Sheet processing requires a 35 cm x 60 cm, 5 cm thick masonry cutting board, two 25 cm long, 1 cm wide steel blades for positioning, and a 50 cm long, 8 cm wide, flat-bladed sharp knife. Craftsmanship: Tongcao Sheet production is primarily manual, with no machine production currently available. Cutting the pith of tongcao stems into slices requires very high processing skills. The skill of the craftsman lies in using the knife with appropriate weight and depth, and the speed and strength of both hands must be coordinated rhythmically to achieve skilled craftsmanship. The knife must not be slowed down when moving, otherwise the thickness of the tongcao slices will be uneven. The material and color of the tongcao slices must be strictly controlled during preparation.

[0089] How to achieve this requirement?

[0090] Before restoration, the front and back of the tongcao sheet, the vertical and horizontal structure of its cells, and its color must be identified. Tongcao sheets are cut manually from right to left with a knife. This creates a difference in texture density, resulting in distinct differences in the front and back textures. The front of the sheet is smooth and delicate, while the underside has noticeable knife marks and a looser texture, requiring careful identification. The cut tongcao sheet retains the vertical and horizontal morphology of its cells, requiring careful identification to ensure that the cell texture matches that of the damaged or missing sections of the Qing Dynasty tongcao painting being restored. Tongcao sheets are generally off-white or pure white. Before use, select the appropriate color for your application. If there is a significant color difference, dyeing is required. Tongcao sheets are not smoked with sulfur to ensure a pure, white color. They are then stored in sealed boxes to prevent discoloration, yellowing, and insect infestation over time.

[0091] How to use prepared tongcao paper to restore tongcao paintings of the Qing Dynasty

[0092] like Figure 3 As shown in the figure, using rice paper as the main raw material, combined with the restoration technology of this technical solution, the restoration of Qing Dynasty rice paper paintings is completed by gluing and repairing. It mainly includes three parts: first, accurately collecting the defect data of the Qing Dynasty rice paper paintings to be restored; second, repairing the damaged areas of the Qing Dynasty rice paper paintings; and third, repairing and finishing the Qing Dynasty rice paper paintings (i.e. gluing and full color).

[0093] Among them, the "MiG zoning positioning method" accurately collects the defective data of the Qing Dynasty paper-cut paintings to be restored; in order to accurately collect the damaged position of the damaged Qing Dynasty paper-cut paintings, I created the "MiG zoning positioning method" to collect the damaged position and shape information of the picture. The steps are as follows:

[0094] (1) Confirmation of the work, taking photos of the work, overview of the condition inspection, and registration of information. Use a digital camera to take high-definition photos of damaged Qing Dynasty paper-cut paintings with 300 dpi pixels and good color reproduction;

[0095] (2) Print multiple photos of damaged Qing Dynasty paper-cut paintings on ordinary paper with a 1:1 ratio;

[0096] (3) Using the "Metering Division Positioning Method" to measure the dimensions and position the four sides of a 1:1 scale photograph of a damaged Qing Dynasty paper-cut painting, divide it into 1 cm*1 cm grids in units of "cm", mark the coordinate symbols and numbers of the damaged locations, and accurately determine the vertical and horizontal coordinates of the restoration;

[0097] (4) Determine the plan based on data. Count the number of defect points, the size, shape, thickness of each defect point, the cell structure of the picture, and other data, and formulate a "one-to-one" repair plan for each defect location.

[0098] (5) Make a “patch drawing”. Focus on using a 0.3mm black gel pen to accurately depict the shape and size of the defect on the photo and blank paper to create a “patch drawing”.

[0099] Among them, the "dovetail tenon" method of repairing damaged Qing Dynasty rice paper paintings is used to fill gaps. This patented technique for repairing damaged Qing Dynasty rice paper paintings is my original "dovetail tenon" method for repairing damaged rice paper paintings. The "dovetail tenon" method involves creating a matching patch of rice paper, based on the location and shape of the damaged Qing Dynasty rice paper painting, without further damage. This patch is then inlaid over the damaged area, achieving a smooth, seamless connection between the Qing Dynasty rice paper painting and the patch. The "dovetail tenon" structure of rice paper paintings refers to the irregular fractures of the damaged rice paper paintings, resulting in uneven edges. The convex portions are called tenons, and the concave portions are called mortises. The irregularly fractured rice paper paintings mimic the dovetail tenon of a mortise and tenon structure, acquiring a suitable fit and combining them into a relatively adaptable, integrated structure. The unique feature of this method is that the properties of rice paper, which expand when wet and contract when dry, allow for a flexible, appropriately tight connection. The paper also possesses a certain degree of self-healing ability, allowing the entire structure of a damaged rice paper painting to be restored to its original state. The difficulty of this repair technique lies in the fact that restorers must precisely create the rice paper patch using a tool, following the "Miguel zoning and positioning method," and meticulously hand-fit the patch to the damaged area of the painting. Because the fracture edges of damaged Qing Dynasty rice paper paintings are often irregular, custom-made patches are suitable. Once the patch is fitted into the damaged area of the painting, it interlocks, creating a seamless, secure connection. This is similar to the form and function of the dovetail joint in the mortise and tenon joint structure used in Chinese furniture making.

[0100] The steps for the "dovetail tenon" defect repair method are as follows:

[0101] (1) Prepare the tongcao patch. Select the appropriate tongcao paper according to the shape, area, and thickness of the defect and the shape of the patch drawing. The tongcao paper machine should be flat and dry. Custom-made tongcao paper patches with matching shape, uniform thickness, and similar cell structure and texture should be made in a 1:1 ratio.

[0102] (2) Check and adjust the shape of the rice paper patch. Place the prepared rice paper patch on the "patch drawing" to check the fit of the patch. Use a knife to flexibly reduce and modify the patch to match the "patch drawing". If the rice paper patch is not suitable, it needs to be remade.

[0103] (3) Trial repair. The rice paper patch is inlaid on the defective position of the damaged rice paper painting of the Qing Dynasty for trial. After the preliminary repair test is passed, the repair and finishing can be carried out.

[0104] (4) Inlaying and filling. The tongcao patch should be aligned with the vertical and horizontal directions of the cells of the painting. The seams around the damaged area should not overlap or leave any gaps. Apply an appropriate amount of calligraphy and painting repair paste around the damaged area and inlay it into the damaged area of the Qing Dynasty tongcao painting. Use a clean cotton swab to remove excess paste on the tongcao patch.

[0105] Among them, the Qing Dynasty paper-cut paintings were restored and sorted out (i.e. gluing and full color).

[0106] (1) Pressing and leveling. After repairing the damaged paper-cut paintings of the Qing Dynasty, the paintings were pressed onto oil-water paper and covered with clean oil-water paper to dry. After the paste on the paintings dried, the upper and lower oil-water paper were removed to make the paintings smooth and clean.

[0107] (2) Reinforcement. Use thin rice paper with a color similar to that of tongcao paper to make a 0.5 cm wide folded strip, apply a thin paste, and stick the folded strip on the painting and the tongcao patch. Press it firmly with your hands and reinforce the damaged part of the painting from the back of the damaged tongcao painting from the Qing Dynasty.

[0108] (3) Take photos for record. Take photos before printing in full color and keep them for reference after printing.

[0109] (4) Full color. Repair the color loss from the front of the damaged Qing Dynasty rice paper painting. First of all, it depends on whether the rice paper patch is suitable. The texture, texture, color and thickness should be consistent or similar. Secondly, the gap of the patch should be smooth, clean and without gaps. The main tools for repairing the color of the damaged Qing Dynasty rice paper painting are: color palette, small and medium-sized wolf hair brushes, clothing line brushes, sheep hair small white cloud brushes, brush washers, and pigments. Commonly used pigments include gamboge, ochre, indigo, cinnabar, old ink, as well as vermilion, rouge, stone blue, stone green, bowl gold, white powder, etc. Mix the color. Compare the original color of the damaged Qing Dynasty rice paper painting with the damaged rice paper patch and mix the color. After mixing the color, dip the brush in the color and try it on the rice paper first. Mix until the color is similar, and then apply it to the damaged patch. Because the picture has various colors, and the same color has different shades, the color matching also needs to be mixed accordingly. The painting exhibits shifts in depth and aura, and the color scheme should also adapt to the changing mood of the painting, flexibly adding and subtracting colors. Full-color application techniques. After dipping the brush in color, ensure the color within the brush hairs is full and even, not too wet. When applying full color, don't hold the brush too upright; tilt it slightly outward. This allows for a clearer view of the brush tip, making it easier to control the direction, and prevents the color from sinking too quickly, making it easier to control. Full-color steps. Fill in small damaged areas first, then larger ones. For each patch of rice paper, fill in the edges first, then work your way toward the center. Use the tip of the brush to fill in fine cracks and tiny holes. Full-color position and lighting. When applying full color, straighten the damaged rice paper painting from a Qing Dynasty and ensure the center of the painting is flat. Position the painting correctly, with the light coming from the left, and the bottom of the painting close to the figure. Filling in the color along the light will produce a more accurate color. A full-color effect. The color should be filled in so that the hole is not easily visible when viewed from the front, sides, or upside down. In other words, the ideal full-color repair effect is achieved by four-sided light. When filling in the color, it is absolutely forbidden to modify or destroy the original appearance of the damaged Qing Dynasty paper-cut painting. Some damaged Qing Dynasty paper-cut paintings have lost their artistic conception and require to be filled in. If there is a clear break, the filling can be done according to the characteristics and style of the original brushstrokes. The principle is not to affect the artistic conception. (5) After the filling, take a photo and archive it for verification.

[0110] Example

[0111] like Figure 4 As shown in the figure, the "Meige Zoning Positioning Method" is a method for collecting data on damaged Qing Dynasty paper-cut paintings. It primarily involves measuring the dimensions of the four sides of a 1:1 scale photograph of a damaged Qing Dynasty paper-cut painting. This method then divides the damaged painting into 1cm x 1cm grids, using 1cm as the unit. This serves as a vertical and horizontal positioning method. Coordinates can be assigned using numbers or letters, and the damaged locations are marked with symbols and numbers. This allows for precise determination of the vertical and horizontal coordinates of the repaired areas, as well as the number and area of repair required. This method provides a more accurate and detailed way of collecting information on the location and shape of the damaged area.

[0112] like Figure 5As shown, the "dovetail joint" repair method involves creating a matching piece of tongcao paper to fit the damaged area of a Qing Dynasty paper-cut painting without further damage. This piece of paper is then inserted into the damaged area, creating a smooth, seamless connection between the painting and the paper. The dovetail joint structure of a tongcao painting is derived from the irregular fractures of the damaged painting, resulting in uneven edges. The convex parts are called tenons, and the concave parts are called mortises. This method, modeled on the mortise and tenon joint technique of Chinese furniture construction, where "the tenon fits into the mortise, and the two pieces of wood become one," mimics the dovetail joint of the mortise and tenon structure. The irregularly fractured tongcao painting achieves a suitable fit, forming a relatively cohesive and adaptable structure. The unique properties of the tongcao paper, which expands when exposed to water and contracts when dry, allow the repair to create a flexible connection with just the right amount of tension. The tongcao paper also possesses a certain degree of self-healing ability, allowing the entire structure of the damaged tongcao painting to be restored to its original state. The difficulty of this repair technique lies in the fact that restorers must precisely create a patch using a tool, following the "Miguel zoning and positioning method." These patches are then meticulously hand-assembled to the damaged area of the painting. Since the fractured edges of damaged Qing Dynasty paintings often have irregular shapes, custom-made patches are suitable. Once the patch is inserted into the damaged area, it interlocks seamlessly, creating a secure fit. This is similar to the dovetail joint structure used in Chinese furniture making. This "dovetail joint" technique for restoring damaged Qing Dynasty paintings is crucial. The patch and the patch are seamlessly joined to prevent them from separating under tension. The irregular fractures of the painting serve as the "tenon," and the patch is crafted to create the negative shape of the "tenon." The dovetail joint, derived from the mortise and tenon joint in carpentry, is a millennia-old traditional method of connecting wood structures. Known as the "mother of all joints," it is used to repair damaged paper-cut paintings. This method, connecting the painting to the paper-cut patch, creates a near-perfect joint with a seamless fit, high mechanical strength, and tensile strength. After gluing, it is virtually indestructible, making it the most robust method currently available. This restoration method not only achieves a high degree of restoration but also creates a beautiful, elegant image. Once fully colored, it is virtually indistinguishable. This restoration combines the scientific integrity of pictorial restoration with the aesthetic needs of society.

[0113] The above are only some embodiments of the present invention. For those skilled in the art, several modifications and improvements can be made without departing from the inventive concept of the present invention, and these all fall within the scope of protection of the invention.

Claims

1. A restoration technique for damaged Tongcao paintings, wherein, The specific steps are as follows: (1) The stems of the tongcao plant are peeled and dried, and then cut into appropriate lengths to form tongcao stem pith / tongcao sticks; (2) Afterwards, the stem pith of the tongcao is cut into thin slices of uniform thickness, which are now called tongcao slices; (3) Flattening and shaping the cut pieces of tongcao and drying them for later use; (4) Accurately collect missing data of Qing Dynasty paper-cut paintings to be restored; (5) Repair the damaged parts of the Qing Dynasty paper-cut paintings; (6) Repair and organize the Qing Dynasty paper-cut paintings at the repaired locations; The accurate collection of defective data in step (4) adopts the MiG zoning positioning method; the MiG zoning positioning method collects the position and shape information of the defective image; The damage repair in step (5) is performed by using a dovetail-type repair method; the dovetail-type method is to make a matching patch of rice paper according to the shape of the defective position of the defective rice paper painting of the Qing Dynasty, and inlay it on the damaged position, so as to achieve a smooth and seamless connection between the rice paper painting of the Qing Dynasty and the patch of rice paper.

2. The restoration technique of damaged Tongcao paintings according to claim 1, characterized in that, The production process of the thin slices in the above step (2) is done by manual cutting and requires the cooperation of both hands. The specific steps are as follows: use the left hand to take the pith of the tongcao stem, place it on the stone chopping board, and roll the tongcao stem pith to the left in a balanced manner. Use the right hand to hold a sharp flat-blade long knife about 40 cm long and push the knife up and down along the rolling direction of the tongcao stem pith until the pith core is cut and the tongcao stem pith is produced in the form of thin slices.

3. A restoration technique for damaged Tongcao paintings according to claim 1 or 2, characterized in that, The thickness of the slice is 1 to 2 mm.

4. The restoration technique of damaged Tongcao paintings according to claim 2, characterized in that, The front and back sides of the tongcao slices in step (3) must be clearly distinguished, the thickness must be uniform, and the surface must be flat without large fluctuations, small cracks, breaks, or insect bites.

5. The restoration technique of damaged Tongcao paintings according to claim 2, characterized in that, The thin slices of the pith of the tongcao stem cut from the outer stem to the stem core are tongcao skin slices, tongcao shaving slices and tongcao core slices in sequence.

6. A restoration technique for damaged Tongcao paintings according to claim 1, characterized in that, The specific steps of the MiG partition positioning method are as follows: (1) Confirmation of the work, taking photos of the work, overview of the condition inspection, and registration of information; using a digital camera to take high-definition, 300 dpi, well-colored photos of damaged Qing Dynasty paper-cut paintings; (2) Print multiple photos of damaged Qing Dynasty paper-cut paintings on ordinary paper with a 1:1 ratio; (3) Measure the dimensions and position the four sides of a 1:1 scale photograph of a damaged Qing Dynasty paper-cut painting. Use centimeters as the unit and divide it into 1 cm*1 cm grids. Mark the coordinates of the damaged locations and number them to accurately determine the vertical and horizontal coordinates of the restoration. (4) Collect data to determine the plan, count the number of defect points, the size, shape and thickness of each defect point, and the cell structure of the picture, and formulate a repair plan for each defect location; (5) Make a patch drawing, focusing on using a 0.3 black gel pen to accurately depict the shape and area of the defect on the photo and blank paper.

7. A restoration technique for damaged Tongcao paintings according to claim 1, characterized in that, The specific steps of the dovetail repair method are as follows: (1) Prepare the tongcao patch. According to the shape, area, and thickness of the defect, select the appropriate tongcao paper according to the shape of the patch drawing. The tongcao paper machine should be in a flat and dry state; customize the tongcao paper patch with the same shape, seam, thickness, and similar cell structure and texture in a 1:1 ratio; (2) Inspect and trim the shape of the rice paper patch. Place the made rice paper patch on the "patch drawing" to check the suitability of the patch, and flexibly reduce and modify it with a cutter in a timely manner to make the patch fit the "patch drawing". If the rice paper patch is not suitable, it needs to be remade. (3) Try patching. Inlay the rice paper patch at the damaged position of the damaged Qing dynasty rice paper painting for comparison. After passing the pre-repair test, then carry out the restoration and finishing. (4) Implement inlay and filling. It is required that the rice paper patch is aligned with the vertical and horizontal directions of the cells of the painting. There is no overlap or gap at the joints around the damaged position. Apply an appropriate amount of paste for calligraphy and painting repair around the damaged position, inlay it into the damaged position of the Qing dynasty rice paper painting, and use a clean cotton swab to remove the excess paste on the rice paper patch.

8. A damaged Tongcao painting restoration technique according to claim 2, characterized in that, The specific steps of the restoration and finishing in step (6) are as follows: (1) Press and smooth. After the damaged Qing dynasty rice paper painting is filled, first press the painting on the oiled paper, and cover the upper part of the painting with clean oiled paper to dry. After the paste on the painting dries and solidifies, remove the upper and lower oiled papers to make it flat and smooth; (2) Reinforce. Make a 0.5 cm wide folded strip with thin rice paper similar in color to the rice paper, brush it with thin paste, stick the folded strip on the painting and the rice paper patch, press it firmly by hand, and reinforce the damaged part of the painting from the back of the damaged Qing dynasty rice paper painting; (3) Take pictures and file them. Take pictures and file them before full-coloring, and print them for reference; (4) Full-coloring. Repair the missing color from the front of the damaged Qing dynasty rice paper painting; A. First, it depends on whether the rice paper patch is suitable, and it should strive to be consistent or similar in terms of quality, texture, color, and thickness. Secondly, the gap for filling the defect should be flat, clean, and seamless; B. After that, prepare the color. Compare the original color of the damaged Qing dynasty rice paper painting with the damaged rice paper patch to prepare the color; after preparing the color, dip the brush in the color and first apply it on the rice paper for testing, adjust the color until it is appropriate, and then apply it on the damaged patch; because there are various colors on the painting surface and the same color also has different shades, several colors need to be prepared accordingly; there are changes in the shades and rhythms of the painting, and the color preparation should also be adjusted flexibly according to the changes in the artistic conception of the painting, adding or subtracting colors; C. Full-color coating. After the brush is dipped in the full color, the color water contained in the brush hair should be full and uniform, not too wet. When full-coloring, the brush should not be held too straight, but should be tilted outwards a little. In this way, not only can the position of the brush be seen clearly, which is convenient for controlling the direction of the brush tip, but also the color water will not sink too fast, making it easy to control; D. Full-color steps. First, full-color the small damaged positions, and then full-color the large damaged positions; for each rice paper patch, first full-color the edge and then fill it from one side to the middle. When filling the extremely thin cracks and small holes, use the tip of the brush to fill the color; E. Full-color position and light. When full-coloring, place the damaged Qing dynasty rice paper painting correctly, and make the painting heart flat; the position should also be correct, so that the light comes from the left side, and the lower end of the painting is close to the body. The color filled under the direct light is more accurate; F. Full-color effect. The filled color should be such that it is not easy to see the filled holes from the front, two sides, and when looking at it upside down, that is, the four-sided light is the most ideal full-color repair effect; when filling the color, it is strictly forbidden to modify or damage the original appearance of the damaged Qing dynasty rice paper painting; for some damaged artistic conceptions in the damaged Qing dynasty rice paper painting, it is required to fill them in; for obvious breaks, they can be filled in according to the pen path characteristics and styles of the original work; based on the principle of not affecting the artistic conception; (5) Take pictures and file them after patching for future reference and correction.

9. The restoration technique of damaged Tongcao paintings according to claim 2, characterized in that, The preparation of the Tetrapanax papyriferus slices is carried out for cutting and processing indoors at a room temperature of 22-28 °C and a dry and wet degree of 40-70%. Immediately after each Tetrapanax papyriferus slice is made, it is stacked neatly and pressed with a stone strip on the paper head to ensure the flatness of the Tetrapanax papyriferus slice and avoid being scattered by the wind, contaminated, or cracked.

10. A restoration technique for damaged Tongcao paintings according to claim 2, characterized in that, The restoration environment is controlled at a temperature of 18-22 °C and a relative humidity of 45-55% and kept stable; in actual applications, it needs to be flexibly adjusted in combination with the state of the Tetrapanax papyriferus painting to be restored, restoration materials, and environmental equipment.

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