After repairing a bronze vessel, since it needs to be rusted, the rust must also be removed during the repair process.
The rust of bronze ware can be roughly divided into several types according to its shape: rust, glaze rust, bone rust and floating rust.
The rust expands, the glaze rust is hard and brittle, the bone rust adheres to the ground, and the floating rust is loose. Rust is harmful to bronze, and is generally removed with a chisel or carving knife.
Then mix the paint with adhesive and seal it.
For other rust, the method should be selected according to the specific situation. Generally, the rust that has expanded in the tire body cannot be removed.
The rust on the copperware is generally removed by tapping with a small hammer with a carving knife, shaking, dialing, and carving.
Then you can apply it with sour plum mud or red fruit mud to loosen the rust, and then use a carving knife to pick it off to remove the rust.
This way the rust will be removed without damaging the ground, and the copperware will have clear patterns.
For Shang and Zhou bronzes, ammonium carbonate can be used to remove rust, except for bronzes impregnated with mercury and bronzed with copper.
Acetic acid water coating liquid can also remove rust, but it must be strictly controlled.
Bronze vessels from the Shang, Zhou, Spring and Autumn Period should not be soaked, otherwise the bronze vessels will lose their beautiful appearance and turn into a red brick color.
This method is suitable for objects with hard patina, such as mercury-impregnated, black lacquered, green lacquered and other copper objects.
In addition, chemical reagents can also be used to remove rust. Chemical reagents should be selected according to the specific conditions of copper corrosion.
Finally, in order to protect the bronze, a wax seal can be used.
Ancient Chinese bronzes are historical relics dating back thousands of years. After being stored underground, they were corroded and damaged by nature. The unearthed bronzes are often broken and incomplete.
Therefore, most bronzes have undergone extensive repair work to facilitate their long-term preservation and better demonstrate their historical, artistic and scientific value.
A complete cultural relic restoration process is itself an important research work.
Studying the characteristics of the times, plastic arts, and casting techniques of the artifacts has become an important reference for modern casting techniques, so restoration work is an important and meaningful task.
my country's traditional bronze repair and reproduction techniques have a long history.
The epigraphy of Song Dynasty led to the rise and development of this technique.
Later, different technical schools gradually emerged in different regions.
This technology was included in the "Bronze Restoration and Reproduction Technique" of the fifth batch of national intangible cultural heritage representative projects.
Of course, these techniques generally have significant regional characteristics.
Traditional bronze restoration techniques include more than ten steps such as cleaning, dismantling, rust removal, correction, splicing, matching defects, turning over molds, engraving, casting, polishing, and color replenishment.
Each of these processes has very high technical requirements.
The restoration skills Chen Wenzhe learned before mainly came from Dahai City, because his main living area is there.
The restored antiques he saw were all from the maritime area, so he naturally learned the techniques there.
Moreover, the technique he learned came from a famous family and can even be traced back to the Qing Palace Building Office.
Long before the founding of New China, the level of bronze restoration and reproduction skills in the Dahai area had already enjoyed a high reputation throughout the country.
Its history can be traced back to the Bronze Bureau established by the Manufacturing Office of the Ministry of Internal Affairs in the late Qing Dynasty. Among them was a skilled craftsman named "Waizuiyu" who repaired and copied many ancient bronzes for the palace.
His disciple Zhang Taien inherited the mantle and was known as "Bronze Zhang" by the world.
From 1919 to 1937, Zhang Taien accepted a total of 11 disciples, and 7 of them established their own schools after becoming disciples.
Among them, Wang Deshan has the most exquisite restoration skills. During his heyday, he passed down his craftsmanship to his apprentice Wang Rongda.
After Wang Rongda became a master, he came to Dahai City to repair bronzes for an antique shop.
He is extremely talented, has an in-depth study of the patterns and shapes of bronzes, is extremely accomplished in restoration, has innovated and improved many technical aspects, and is quite famous in the industry.
The art of bronze ware restoration and reproduction was nurtured and developed in the sea before liberation, thanks to the geographical and cultural advantages of this metropolis at that time, which embraced hundreds of rivers.
At that time, a large number of precious cultural relics and related talents gathered here, allowing the cultural relic restoration industry to flourish.
After the founding of New China, all walks of life have stood at a new starting point.
The Dahai Museum established a cultural relic restoration workshop in 1958 and was one of the first cultural and museum institutions in China to set up a cultural relic restoration and reproduction team.
Through recruiting talented people, we can bring together the talented and skilled craftsmen who are scattered among the people.
Wang Rongda, the third generation descendant of "Bronze Zhang", as one of the masters in the industry, was hired by the Shanghai Museum in the same year.
Since then, he has become the first generation founder of Dahai Museum's bronze restoration and reproduction techniques with distinctive technical characteristics.
Calculated in this way, Chen Wenzhe can be regarded as the successor of "Gu Tong Zhang", and he must be the direct descendant, but he is a successor who has no clear path, so he learned the skills from his master.
This is also the first time that Chen Wenzhe has systematically learned the art of antique restoration.
The bronze restoration and reproduction techniques of the Dahai Museum mainly include more than ten process steps such as cleaning, rust removal, shaping, splicing, engraving, turning over molds, casting, fitting, polishing, coloring, and distressing.
Scientific and reasonable methods and materials are used in every link to extend the life of cultural relics.
In the process of cultivating inheritors, it is required to fully understand the shape and decorative characteristics of the bronze ware itself, its historical development and manufacturing technology.
On the basis of in-depth study of the original equipment, all processes are repeatedly refined and fully mastered.
The restorers who grew up in this atmosphere of high standards and strict requirements not only take the inheritance of complete skills as their bounden duty, but also follow the research spirit of their predecessors as a model and strive to improve and perfect every link.
And Chen Wenzhe learned their final results, because only the best and top technical achievements can be used on the top ancient bronzes.
The craftsmanship that Chen Wenzhi learned about was produced on a national treasure-level bronze vessel, which was a dowry.
The reason why I remember this thing is because I was in the Bronze Mirror Museum at this time.
So what does the Bronze Mirror Museum have to do with the box? This is a big relationship!
A dowry refers to an ancient utensil for holding toiletries.
Because the mirrors used by ancient women to dress up at that time were made of bronze.
In order to prevent oxidation and blackening in the air, the mirror is packed in a box.
Because a mirror is an indispensable item for dressing, the dowry that has the function of dressing is also called a mirror dowry or mirror box.
The earliest document recording the dowry can be found in "Shuowen" written by Xu Shen of the Eastern Han Dynasty.
"Jing Xian. "Li Jian" Qie Yinlian, this is a dossier."
The annotation is: "Mirror box."
The dowry has been used as a dressing utensil for women for thousands of years, and its shape and decoration also evolved with the social consciousness and social productivity of the time.
Different forms of boxes demonstrate to us the aesthetic consciousness and social concepts at different stages from a subtle perspective.
In particular, this bronze box is from the Western Han Dynasty. Also, this bronze box is an alloy made of tin and copper or lead and other elements, which are melted and cast in a certain proportion.