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Text Chapter 964: Uncovering the Second Floor (Continued)

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    When Chu Chen saw the painting in front of him, although he was quite shocked, he remained calm on the surface. Therefore, no one noticed anything wrong from Chu Chen's expression.  Lao Chang felt very proud when he saw Chu Chen's cautious look. When Chu Chen raised his head, he smiled and asked: "Boss Chu, can this painting still catch your eye?" Considering that he came here today,  As a palm-eye master, Chu Chen said straightforwardly: "Old Chang, I will tell you the truth. My master also has a picture of this "Pine and Crane Picture", and except for a few parts that are inconsistent, other parts are inconsistent.  They're all exactly the same." "What?! Boss Chu, you're not mistaken, are you?" Lao Chang had a look of disbelief on his face immediately after hearing this, and others were also in disbelief.  Chu Chen shook his head: "Sorry, that's the fact, and the titles and bell seals of the two paintings are in the same position." Hearing this, everyone looked at each other. After a while, Xiang Facai frowned and asked: "  Is this painting a photocopy? "It doesn't look like it!" "That's right, but it's much more complicated than a photocopy." At this point, Chu Chen looked at Lao Chang.  Based on Lao Chang's experience, when he heard Chu Chen say this, he still couldn't imagine what Chu Chen was talking about. He frowned and said, "Boss Chu, you said this painting is 'revealing the second layer'?" "'Revealing the second layer'  What do you mean?" Xiang Facai asked with some confusion.  "'Revealing the second layer' is actually a method of forgery" Chu Chen explained the meaning of 'revealing the second layer' to everyone.  "No, one painting can be revealed into two paintings. How much skill does it take to do this?" After listening to Chu Chen's explanation.  Wu Ke and others had quite shocked expressions on their faces.  Chu Chen said: "'Removing the second layer' is of course not easy. The forger needs to go through quite complicated steps such as peeling off the frame, repairing, and full coloring to create a painting that is enough to be fake" Generally speaking, if you want to "  "Uncovering the second layer" requires steps that are very similar to "uncovering the old" in the restoration of ancient paintings and calligraphy. You must first observe the degree of damage, characteristics of the times, etc. of the old calligraphy and painting.  Then it goes through the processes of picking out stains, square-cutting, cleaning, uncovering, repairing, and full coloring.  To pick and scrape stains and square the center of a painting, first use the tip of a knife to gently pick up and scrape off the dust, mildew spots, black spots or water marks that are superficial on the surface.  Generally, use a sharp angle knife or horseshoe knife. You need to be very careful when operating, apply light and even force, and gradually scrape along the edge of the stain.  Then, cut off the remaining edges.  Trim the edges of the heart of the painting.  After that comes cleaning.  At this time, boiling water is generally used, because if it is a relatively recent calligraphy and painting, using cold water may cause ink to run off.  But for ancient paintings, their colors will not be easily washed away or fallen off by water.  Since rice paper and ink have very strong adhesion properties, the paper needs to be soaked in boiling water first.  Then soak the paste in the rice paper.  After soaking it in boiling water, put a layer of plastic film on the center of the painting, pour boiling water on it, spread it around with a towel and press it, and water it every few days.  In summer, the watering time interval will be longer, but it is necessary to prevent the calligraphy and painting from getting moldy.  According to a framer who has mastered "peeling off the second floor", repair some old paintings.  Sometimes it takes half a month to soak, but the color will not fall off.  After cleaning, it is the key step of "removing the second layer".  ¡°Removing¡± means removing the backing paper and center paper of the original mounting piece.  Usually uncover the old.  The method is to soak the calligraphy and painting in water and then rub off the backing paper and the center paper little by little, almost in small pieces.  But to uncover the second layer, the whole thing must be uncovered.  The more layers are uncovered, the lighter the ink will be.  "Repairing" in the restoration of ancient calligraphy and painting means to add appropriate materials to the damaged parts of the monuments, but in "removing the second layer" it means overhauling the pen and ink of the second layer of forgeries.  This step is very important. The ability of calligraphy works to look fake depends on this step.  The forger must first choose paper that is closest to the texture and color of the original calligraphy and painting paper; secondly, he must have a full grasp of the shades of ink, especially some dry pens.  To ensure that the artistic effect of the repair is exactly the same as the original one.  For example, when repairing ancient calligraphy and painting, although it is coloring.  But this process cannot happen overnight.  If you only draw fast, it will often result in the repaired ancient painting having a dark and light color patch, and the fade is difficult to achieve, which will also affect the effect of the painting.  In addition, the paper of old calligraphy and painting needs to be aged, so that the reflectivity of the two paintings and calligraphy can be basically the same when facing the light.  Counterfeiters usually use a horseshoe knife to trim the paper at a bevel around the edge of the patched hole, or scrape the paper to make it thinner. They also trim the edge of the later patched paper into a bevel or scrape it thin. The holes repaired after gluing will show up under backlight.  It's basically invisible.  "Complete" refers to repairing the damage, loss of color, adding color at the beginning of the strokes, and connecting the strokes of old calligraphy and painting. It is a comprehensive treatment of the previous processes.?Inspection is also a concentrated expression of the level of mounting.  Because every calligraphy and painting, and even parts of it, will have changes in shades and charm as time goes by, and even small details will have a variety of color factors in them, which are traces left by the years.  Therefore, when completing the painting, you need to control the depth of the color, and even pay attention to the water content. In addition, in the full-color process, you must consider both the overall painting and calligraphy and pay attention to the local part.  If you pay too much attention to local colors, obvious color blocks will appear after full color, affecting the overall effect and unity of the picture.  If you only make a large area of ??single color full color, the full color part will look duller than other parts, which will also affect the picture effect.  In order to solve the above problems, restorers of ancient calligraphy and paintings use the same method as forgers, that is, the background color of the overall part is generally made into three to four layers, while the local color is made into more layers, as few as four or five layers, as many as ten layers  .  Therefore, even a one-square-foot calligraphy and painting needs to be colored dozens of times, and the color difference of each full-color piece should be different.  The last important point is that if you encounter defects in the painting during the restoration, you need to take over the brush strokes. This requires you to be very familiar with the characteristics and style of the original author's brush strokes to complete the work. In addition, "revealing the second layer" of the fake work also needs to "replenish the spirit"  ".  The lines of characters, rocks, trees, etc. are not simply added with ink or color, but connected with the charm of the painting.  After more than twenty processes such as unmounting, repairing, and full coloring, a painting and calligraphy that was originally completely unrecognizable and dilapidated will become complete, harmonious, and solid. Although this is more conducive to the preservation of old calligraphy and painting, this method has also become a  Secrets for those who "unveil the second layer".  So, if you want to "reveal the second layer", do it well.  In addition to having considerable skills, the selection of works is also very important. Therefore, among the "Shanghai School" painters in the late Qing Dynasty, those who like to use thick ink and heavy colors.  It fell into the sight of those fakers.  In addition to Xu Gu, the author of the painting in front of me, Wu Changshuo's works are generally easy to be "revealed" because he likes to use thick ink and heavy brushwork, so as long as the second layer can be removed, the fake work will definitely get a good reputation.  Effect.  And Zhao Zhiqian is good at calligraphy and has a good grasp of lines.  The brushwork rich in gold and stone outlines the picture, which is rough, thick and full of fun.  At the same time, he also likes to use raw paper to draw, and the colors are quite rich and bright.  Although this type of calligraphy and painting is not easy to imitate, it gives forgers an opportunity to uncover the second layer.  After listening to Chu Chen¡¯s detailed explanation.  Xiang Facai looked quite surprised and said: "I see, even those people can't do such complicated steps. I think it's not that difficult to create a painting, right?" "It's really not easy." Chu Chen said:  "Just like this painting, in addition to being skilled in the art of uncovering paintings, you also need to have very superb painting skills. It is difficult for ordinary painters to portray the artistic conception shown by Xu Gu in this painting." "Republic of China.  Period. The prevalence of counterfeiting is mostly related to "revealing the second layer". Many of the reprints are very delicate and appear to be very thin on the outside, but after being exposed to water, you will find that they are actually two sheets.  Copying old calligraphy and painting requires high standards of mounting, because if you are a little slack, it will be self-defeating. Not only will the uncovered calligraphy and painting lose their charm, but the original work may also be destroyed, and the gain will not be worth the loss. ¡± Xiang Facai News.  Yan was a little unbelievable: "Since his painting skills and mounting skills are so superb, why would he still fake it? Just draw it yourself, or rely on his mounting skills. You can make a living." "You  Isn't this nonsense?" Duan Xuefeng said with a smile: "Not all painters are as famous as Xu Gu, and now there are even fewer painters with the same reputation. In addition, some people have only limited skills and no corresponding character.  "What's weird about doing this kind of thing for money?" "That's right." Xiang Facai nodded. As a businessman and a former poor man, he knew that people can do anything if they are driven by profit.  Come out, otherwise there wouldn't be so many criminals in the world.  "Uh-huh!" At this time, Lao Chang coughed lightly, and when everyone looked at him, he said: "Boss Chu, I don't mean to be disrespectful to Mr. Liu, even if this painting is 'revealing the second layer'  , then how do you judge that this painting of mine is a 'bastard'?" "As the old saying goes, there is no basis for it. I think it is a 'bastard', but there is a basis for it." Chu Chen explained: "Lao Chang, I must.  You also know that when the second layer is cut, forgers will always have various problems, which require repairs to make the two paintings and calligraphy have almost the same feeling, such as repairing and processing of ink leaks and missing holes.  The floating hair that appears after the second layer is peeled off, etc. " "Once the ink leaks, whether it is a fake or the original, it is a disaster. It is difficult to repair the leaks and deal with the floating hair. There is no need to go into details about repairing the leaks.  To deal with the floating hair, when the second layer of peeling paper is half dry, spread it on the table or glass and then brush it firmly, and it will be completely flat.?, this painting is quite good in this aspect, but the repair work is not in place. For example, in these few places, it cannot reach the level of Xugu, and it is also very awkward to use the pen.  , Comparing these places, everyone should be able to tell" As he spoke, he pointed out some of the flaws in the painting one by one, making Lao Chang look dejected. At this time, Xiang Facai asked.  Said: "Teacher Chu, this painting skill can be cultivated, but how to deal with the seal?  " "It is difficult for the ink pad to penetrate into the second layer. For example, after the original work is soaked and flattened, the seal is vaguely visible on the second layer, but the color is light and the inscriptions are almost unclear. This is indeed the "revealing of the second layer"  Innate deficiencies.  Therefore, there is a need to imitate the seal.  " Chu Chen nodded and said: "This kind of thing was a problem in the past, but now with high technology, forgers can make the seal almost as it is.  In addition, old calligraphy and painting uses old ink pads, which can still be found today because they are only more than a hundred years old.  Therefore, the seal will no longer become the bottleneck of ¡®uncovering the second layer¡¯.  " Seeing Xiang Facai nodding his head to express his understanding, Lao Chang who was standing aside felt very uncomfortable. He thought for a while and said: "Although the uncovering of the second floor is a method of forgery, it cannot be denied that the paintings revealed are  Was it drawn by the original artist?  "Everyone understands the meaning of the old saying. It just means that even if his painting has only two layers, it is also written by Xu Gu and its value is not low." Xiang Facai smiled, but there was a hint in his smile.  Contempt: "Old Chang, if your painting is the first layer, then I don't object to what you say, but your painting is the second layer, and it has been repaired. Can it be compared with Xu Gu's own painting?  At most, it can be considered a semi-finished painting!  " Lao Chang opened his mouth, wanting to defend but couldn't find a corresponding reason. If it had not been repaired, at this time, he could still confidently say that even if the painting was not authentic, the price would be almost the same, but not  No way, who told him that this "revealing the second floor" was inherently deficient? At this time, Xiang Facai looked at the time and saw that it was almost eleven o'clock. He said somewhat patiently: "Old Chang, although your painting does have some flaws."  It's valuable, but I don't want this kind of thing.  Do you have any good things? If so, bring them out. We have other things to do and don¡¯t have time to waste them here.  " After hearing what Xiang Facai said, Lao Chang felt relieved because Chu Chen could tell that the painting was "revealing the second layer". The original servant couldn't see it, but if Xiang Facai insisted,  He couldn't refuse this painting. Now that Xiang Facai didn't want it, it suited him. But then, Lao Chang began to worry again. He couldn't give Xiang Facai anything good to compensate. What should he do?  After thinking about it, Lao Chang could only say: "Mr. Xiang, I really don't have anything good here. If you don't believe it, I can take you to my collection room.  " "Then let's take a look!  " After Xiang Facai heard this, he immediately waved his hand. The results of these two things made him feel that Lao Chang's eyesight was really not very good. Maybe there was something left by Lao Chang that he had missed.  , just enough for the sharp-eyed Chu Chen to help find it. Of course, even if he didn't, he wouldn't just let Lao Chang go. "This fat man is very fast.  " Chu Chen muttered to himself. He originally wanted Xiang Facai to accept the painting and buy it for Mr. Liu to see, but Xiang Facai's response was so quick that he didn't even have a chance to wink. Since  In this case, he can only wait until he has a chance to talk about it (To be continued)
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