if relics could talk

The weather is starting to heat up, and the cultural relics restoration room has high requirements for air and light. In many cases, for example, the air humidity is too high, the light is not good enough, or it is too dry, which may cause different degrees of damage to the cultural relics. It cannot be repaired for a long time.

Xiaobai has a sweaty physique and is very afraid of heat. It has just entered summer, and when it was still a bit chilly in the morning and evening, he put on short sleeves. After he carried the machine to the designated place and set it up, he was already covered in sweat.

At the beginning, he really wanted to help his uncle and Qin Yi reconcile, but later he also really liked photography, and he is still shooting in the most comfortable state. It is impossible for him to choose a particularly hot or sunny time to go out to take pictures.

But now he realizes that most of the time, photography is really physical work. No matter what you shoot, you don’t want to shoot it when you want it.

Although Xiaobai has been moving the machines, Qin Yi is not idle. He and Xiaobai are busy in and out together. Finally, after all the machines on the camera positions are set up, the teachers from the cultural relics restoration room gradually start to come in.

In other words, they need to be arranged much earlier than the normal working hours of the teachers, and their normal working hours and progress must not be delayed.

Zhu Jiaxin's restoration progress this time is not bad, but in the eyes of laymen, this progress does not seem to have changed much.

For example, when this bronze ware first arrived in her hands, it was still incomplete, and a piece was missing. Zhu Jiaxin first put paper behind the missing piece, scratched the same shape and size of the paper sample, and then pasted the paper sample on the same thickness and original piece. A copper plate similar to the utensil, and then cut it with a steel chisel.

Later, Zhu Jiaxin explained to them that this process is called Tuoyang.

"The expanded copper plate is processed into a shaped patch after being beaten, thrown, and collected," Zhu Jiaxin showed them, "just like this."

Zhu Jiaxin had already completed these processes, and they were also recorded by Qin Yi's camera.

Hitting is to use a flat hammer to thin a piece of copper plate to achieve a suitable thickness; throwing is to hammer the cut flat copper patch into a drum shape with a round head and convex surface to meet the shape requirements of the original object; if the throwing is too thick It can also be collected on a round-headed iron rod and anvil, and it can be thrown and collected until it meets the requirements of the original shape.

This process is quite complicated, but Zhu Jiaxin has always enjoyed it very much throughout the process.

Zhu Jiaxin is not fighting alone, she also has a partner, who is about the same age as her, a relatively taciturn man, and she is in the same family as Zhu Bingcheng.

The two of them cooperated with each other and had a clear division of labor. In the process of chiseling flowers, Zhu Bingcheng took the lead and Zhu Jiaxin cooperated.

Chiseling is now a technique of engraving patterns on copper plates with steel chisels.

Because Zhu Bingcheng didn’t speak much, Zhu Jiaxin responded to Qin Yi’s invitation and introduced to the audience outside the camera: “There are many patterns on ancient bronzes, and some have inscriptions. The missing pieces of broken bronzes are only inlaid with flowers. The copper plate is not ideal yet, and it should be carved with patterns and inscriptions in the same style as the original, which requires chiseling.”

In fact, in addition to mastering the engraving technique, it is important to be familiar with and master the styles of bronze decorations in different periods in ancient times. At the same time, you must also make various straight blades by yourself according to the depth, width and changing form of the patterns. , curved blade, shovel, ditch, flat, step, pick, wipe, eye and other steel chisels.With two hands, a hammer, and several steel chisels, it is a skill to carve a variety of smooth patterns.

Now Zhu Bingcheng is on the patch of the plain copper plate, continuing to draw the pattern that needs to be carved according to the original pattern.

This process alone took a lot of time.

After drawing the pattern of the engraving, use chisel glue to glue the patch or finished piece to the glue board firmly.

After carving, the edges, corners and edges are sharp and must be polished, and finally smoothed with charcoal.After heating, take out the chiseled glue, and a bronze patch is completed.

Zhu Jiaxin introduced: "There is another method of supplementary matching, but we don't need it this time, and we can show it to everyone next time we have a chance."

Qin Yi outside the camera gave her a hint: "Can you briefly introduce another method?"

"Old Zhu, let me introduce you."

Zhu Jiaxin deliberately guided Zhu Bingcheng to speak. Although he is not a good talker, he is very professional in his work.

Zhu Bingcheng said: "Another method of supplementary matching is overcasting. When the missing piece of the utensil can still find its corresponding shape and decorative part on the original, overcasting can be performed on the original."

After he started this, Zhu Jiaxin continued to explain: "In the past, the traditional craft was to use soil molds to move sand and sand to model, but later it was changed to use gypsum and red brick powder to remake the mold. The mixture of gypsum, red brick powder and refractory materials is used. Turn over the corresponding part of the original, and then burn it red in the oven, take it out and pour copper water to form it. The shape block is then filed according to the size of the original, and the pattern can be connected with the original after carving to become a complete piece. Bronze patches. This is our teacher Zhu Bingcheng's special skill."

The working hours of the day are very limited, and a small progress is enough to satisfy the cultural relic restorers.

When they got off work that day, Qin Yi and the others were still moving machines, and Tao Le came over.

Zhu Jiaxin didn't expect her to come, and when she saw Tao Le, she stopped Zhu Bingcheng: "Old Zhu, don't hurry, let's have a meal together."

Tao Le stepped over at this time, of course he wanted to make an appointment for dinner.

She smiled and said, "Yes, I also made an appointment with Brother Xu, and we haven't had dinner together for a long time."

As soon as Zhu Jiaxin heard this, she understood: "It seems that your stage play is making progress."

Tao Le couldn't hide her happy expression: "Yes, that's why I came here today to report our progress to the teachers!"

Qin Yi packed up the equipment and came out just in time to meet Yi Xuzhi who was walking over.

The two men nodded at each other as a greeting.

Tao Le was talking to Zhu Jiaxin, and Zhu Bingcheng was standing beside them listening. He saw Yi Xuzhi first, and raised his hand to say hello, Tao Le noticed.

She greeted Yi Xuzhi with a happy face, and first said hello to Yi Xuzhi: "Brother Xuzhi, why do you look thinner?"

Yi Xuzhi also smiled: "Then should I reciprocate the courtesy and praise you for losing weight?"

Tao Le played with Tao Lao in their unit since she was a child, and she became used to acting like a baby with many uncles and aunts. In her eyes, she probably felt that Yi Xuzhi was also considered an "elder" in her father's unit besides his age, so she told him When we get along, we are not much different from Li Bocai and the others.

At this time, she winked at him mischievously: "Brother Xu, when you praise a girl for being thin, you should be careful and be sincere!"

Before Yi Xuzhi could answer, Qin Yi at the side suddenly put his arms around Tao Le's waist.

But he quickly let go, as if he just measured her waist with his hands.

"It's thin." After Qin Yi confirmed it in this way, he immediately said, "I need to make up more, I can't lose any more weight."