The "Moire Pattern Copper Forbidden" before and after restoration, and the dilapidated lake floor.
To restore a national treasure of this level, the craftsmanship must not be bad.
With Wang Chen's technology back then, it definitely wouldn't work.
Therefore, some tempering is definitely required before repairing the moiré copper ban.
This means that the function of the Sui Marquis Pearl has become even more powerful, otherwise Chen Wenzhe would not be able to see what happened before the moiré copper ban was repaired.
It was 1979. Wang Chen, who graduated from high school, entered the Nanhe Provincial Museum at that time and took over his father's work, engaged in the restoration of cultural relics.
But in Wang Chen's view, this cannot be regarded as a succession, at most it is just a job replacement.
Because in his mind, his business ability at that time was far from that of his father.
At that time, he was still young and a little underdeveloped.
In the early 1980s, Wang Changqing was hired back to his employer due to work needs and his skilled skills.
The first is to continue to do some work on restoring cultural relics, and the second is to provide careful guidance to the various cultural relics that Wang Chen is restoring.
As a father and a master, I am always critical and cannot make the slightest mistake.
This is an old man's principle, and principles cannot be negotiated.
In January 1981, Wang Chen began to restore two of the seven heavy bronze tripods, the "Prince Wu Tripod", unearthed from the Spring and Autumn Chu Tombs at Xichuan Temple in Nanhe Province.
During the restoration process, after one of the "Prince Wu Tripods" was repaired and replaced, it was necessary to carry out decoration and engraving on the new copper piece.
Because the decoration was too complicated and absent-minded, it interrupted the already carved decoration on the replacement parts, which made Wang Changqing very dissatisfied.
According to the old rules, let him stand in the corner and re-create the broken decoration.
At that time, he was already in his 20s and was no longer a child, but he was still punished to stand like a child.
I didn't quite understand it at the time, but I gradually understood it later.
The restoration of cultural relics must not be careless. A slight negligence may cause irreparable losses to the cultural relics being restored.
The old man hates iron for not becoming steel, but this kind of harshness is very beneficial to his growth and skill training.
The restoration experience of the "Prince Wu Tripod" tempered Wang Chen's skills, making Wang Chen's cultural relic restoration skills even more sophisticated.
Soon he worked with his father to restore a large cultural relic.
This is the repair of the moiré copper ban, and in this process, more techniques can be learned.
In October 1981, the Nanhe Museum organized manpower to restore the Spring and Autumn "Moire Pattern Bronze Ban" unearthed from the Chu tomb in Xiasi, Xichuan, Henning Province.
The cloud pattern copper ban is a kind of bronze ritual vessel. Such a heavy vessel must be repaired, no matter how difficult it is, it must be repaired.
When the "Moiré Copper Ban" was transported to the restoration room, it was packed in two sacks.
When I opened the sack and took a look, it really took my breath away.
The forbidden body was broken into more than ten large pieces, and the panels were severely deformed, with numerous moiré patterns peeling off and missing.
Not only are all the 12 dragon-shaped possessed beasts and 12 seated beasts freed from their forbidden bodies, but most of them are incomplete.
In general understanding, the restoration of cultural relics means repair and repair. The large frame of the cultural relics should still be there, but the cloud-patterned copper ban in front of us can only be described as broken.
Faced with such a pile of broken pieces, Mr. Wang Changqing and Wang Chen carefully compared the forbidden sections.
Connect the copper stem and ballast mouth, and conduct detailed observation and analysis of the positions of the attached beast and the seated beast.
They figured out the entire structure and casting method, and then began the restoration.
They use a variety of repair methods such as shaping, reinforcement, plaster molding, filling parts, carving, welding, casting, bonding, coloring, and rusting.
In the end, it took nearly four years to complete the restoration of the "Moiré Copper Forbidden City".
In September 1984, the "Moire Pattern Copper Forbidden" finally appeared in front of the world in its original appearance.
After it was restored, what we see now is 124 cm in length, 68.3 cm in width, 29.5 cm in height, and weighs 191 kilograms, in a rectangular shape.
And among such a large figure, there are layers of hollow patterns.
In particular, there is a plane in the middle, and the surrounding area and body of the plane are composed of hollow and layered cloud patterns.
Finally, there are 12 monsters under the device with their heads raised and their tongues sticking out, and their chests and waists raised.
The body of the vessel is decorated with 12 dragon-shaped monsters with long tongues sticking out from their mouths, curled tails, and climbing up the wall, forming a scene of dragons defending it.
The "Moiré Copper Ban" is cast using the lost wax process, and is reinforced with four layers of copper stems of different thicknesses within the surface of the vessel.
This is the earliest lost-wax casting found in our country.
The unearthing of the "Moiré Pattern Copper Forbidden" pushed forward the history of my country's lost wax casting process by 1,100 years.
On the occasion of the 80th anniversary of the founding of the Nanhe Museum, experts unanimously recommended the "Moiré Copper Ban" as one of the "Nine Treasures of the Town" of the Henan Museum.
During those years, Wang Changqing and his son often forgot the time to get off work.
Sometimes when the restoration of the "Moire Copper Forbidden" reaches a critical stage, the father and son will stay in the restoration room for a day.
I bring food from home in the morning and have lunch in the restoration room.
Normally, my father would walk to and from get off work by himself, but in winter, Wang Chen would have to ride a bicycle with him to and from get off work.
Because Mr. Wang has asthma, what he fears most is winter.
Sometimes Wang Chen also advised his father to rest for a few days, but his father always said it was okay.
Whenever Wang Chen recalls this past event, he always admires his father's work attitude.
Therefore, Mr. Wang’s seriousness and persistence in the restoration of cultural relics deeply influenced Wang Chen.
Like their older generation, their greatest wish is to have a successor.
As the saying goes, "If you don't have diamonds, don't do porcelain work."
The work process of cultural relic restoration is complicated, the technical requirements are high, and it is quite difficult.
Take the restoration of the "Double Ring Pattern Fu" bronze ware unearthed in the Spring and Autumn Period as an example. It has to go through many procedures before the restoration can be completed.
Such as ballast cleaning, shaping, plate making and mold turning, filling missing parts, grinding the curium mouth, and making copper curium are all indispensable.
After that, welding, flux cleaning, rust removal, gap filling and polishing, internal glue application, pattern drawing, pattern engraving, glue removal, cleaning, coloring, rusting, etc. are required, a total of 17 procedures.
If you encounter items with more serious defects and deformations, such as gilt and silver, gilt inlaid with turquoise, gold and silver wire and gold and silver flakes, lacquer inlaid with gold and silver wire and gold and silver flakes, copper inlaid with copper, turquoise inlaid utensils, etc., you will need more than 20 to 30 yuan.
Tao program.
Compared with the older generation of restoration experts, today's cultural relic restoration uses high technology, such as machine rust removal.
Through review, Chen Wenzhe really learned a lot, such as using some modern tools.
There is nothing you can do about it, after all, modern tools are easier to use.
Also, there are quite a few workers involved in restoring bronzes. With so many people, there is always a division of labor.
He could see various strange-shaped small machines in the cabinets of the workbench during the repair work.
For example, there is a medical scaler, which is divided into two types: flat head and pointed head.
The flat-headed one can be used to remove large areas of copper rust, while the pointed-headed one can remove rust in decorative seams.