My system is not decent

Use the method of brushing the mud to make it old. After the mud is brushed, according to the leather shell exposed by the surrounding utensils, adjust the knife again to flick the mud on the toothbrush, so as to make the rust layer fall off.

After the mud is dry, use mineral pigments to sand green, bean green, add a little fine sand, loess, add shellac, and use a toothbrush to dip in the prepared color juice.

In this way, go to the place where the color is made, and pluck the granular rust color.

Wait for the first coat of color to dry before applying the next coat of paint.

Color repeatedly to coordinate with surrounding colors.

After the color is dry, wash off the mud spots on the surface of the utensils with clean water, so that the sense of layering will come out.

If the desired effect is not achieved, you can repeat the above steps to make a perfect rust color.

The last process is corrosion inhibition sealing, and the restoration of bronze dowry will use corrosion inhibitors.

This kind of thing will do corrosion inhibition for bronze dowry.

The surface of the utensils should be sealed with a protective agent, and the surface sealing treatment of the bronze dowry utensils of the Western Han Dynasty is an important protection work.

It is a protective treatment for rust removal, infiltration reinforcement, welding, filling, and coloring during the restoration process to allow it to be preserved for a longer period of time.

It is to prevent harmful substances, gases and moisture in the air from corroding the body of cultural relics, thereby creating a relatively small environment for protecting the bronze dome.

This kind of sealing adopts polyvinyl butyral which is colorless, transparent, anti-air pollution, strong permeability, chemically stable and anti-aging.

At this point, a bronze ware is truly repaired.

And this is just a little-known ordinary bronze ware, like some bronze ware of heavy treasure level, it is more difficult to repair.

For example, the Siyang Fang Zun that Chen Wenzhe had seen before, although what he saw was a fake, he didn't know that the real one was a restored one.

Among the most difficult cultural relics to restore is the Siyang Fangzun, which was broken into more than 20 pieces at that time.

In fact, this national treasure is relatively easy to repair, because the two national treasures that were not easy to repair were broken into more than a thousand pieces, and it took eight years to restore them.

For conservationists, the discovery of new cultural relics is quite a surprise.

Not only because this cultural relic is priceless, but also because it also contains rich history and culture.

But if it is found that this cultural relic has been broken into slag when it was unearthed, the experts will die of heartache.

Damage to cultural relics is an inevitable thing, because environmental self-damage and man-made damage are everywhere.

Is it impossible to save it if it is damaged?of course not.

Cultural relic experts with superb restoration technology can restore them to their original state in most cases.

Among the rare national treasures collected in our country today, some of them are restored.

From the fragments of the place to the complete world, the painstaking efforts and efforts of the experts are immeasurable.

The most representative restored cultural relic is the large-scale bronze ritual vessel of the Shang Dynasty, the Siyang Square Zun.

It is more than half a meter high and weighs about 70 kilograms. It is cast in one piece and has an exquisite and gorgeous shape. It is the top grade among bronze wares.

During the Anti-Japanese War, Nanhu farmers dug it up when they were reclaiming wasteland, and later sold it to a businessman as a treasure for 400 yuan.

The businessman wanted to resell it, but it was confiscated by the Shachang County Government.

During the Shachang Anti-Japanese War, the Siyang Fangzun was lost, and when it was rediscovered, it was blown into more than 20 pieces by Japanese artillery shells.

The national treasure was destroyed, and countless people were heartbroken.

Fortunately, there is no shortage of masters in our country, and the Siyang Fangzun was finally successfully restored by Zhang Xinru, a master of cultural relics restoration, in just over two months.

The fact that the Siyang Fangzun can be restored to its original state is not only due to the master's superb skills, but also because of its relatively mild fragmentation.

Reorganizing more than 20 fragments is relatively easy.

In contrast, the bronze chariots and horses of the Qinhuangling Mausoleum that were broken into thousands of pieces are really difficult to repair.

After the Qin Shihuang Mausoleum was excavated, many rare cultural relics were unearthed, including two luxurious bronze chariots and horses.

However, when the two cars were unearthed, they were seriously damaged. One was broken into 1325 pieces and the other was broken into 1685 pieces.

It is really broken into slag, and it is conceivable how difficult it is to repair.

Fortunately, with the joint efforts of several experts, the two bronze chariots and horses were restored and exhibited one after another, which took a total of eight years.

Also difficult to restore is the tiara of Tang Dynasty Princess Li Ji.

The princess was buried with rich money, and the most precious thing was the tiara on her head. Almost all the jewelry decoration materials that Datang could find were used.

Since her tomb had been flooded, the crown was unrecognizable when it was unearthed, leaving only a pile of parts.

In order to restore the original state to the greatest extent, our country specially invited German experts to restore it together. After one and a half years, it finally made it shine again.

It can be seen that although the ancient craftsmen were highly skilled and the things they made were exquisite and meticulous, modern experts are not far behind.

Thanks to them, those rare cultural relics can reappear in the world.

The restoration of these treasures is actually not the longest time-consuming.

Because Chen Wenzhe knew another thing, but it took 15 years.

It was a bronze mirror 2000 years ago, and it took 15 years to restore it successfully, because the 12 procedures in the restoration process were extremely difficult.

In the 90s, the former curator of the Maritime Museum rescued a 2000-year-old bronze mirror from Xiangjiang.

Compared with the two Wu Wang Fuchai mirrors already collected by Shanghai Bo, this bronze mirror is larger.

It is 45 cm high, 79 cm in diameter and 39 cm in base diameter.

The curator Ma, who has a unique vision, found it among the crowd, and immediately decided that this dusty antique was unique in terms of historical value, artistic value, and research value.

Due to the age of the bronze mirror, the damage caused by nature and man-made is extremely serious, and the restoration work has been very difficult from the beginning.

Moreover, the complex procedures involved in turning an unearthed cultural relic into an exhibit in a museum showcase are beyond the imagination of outsiders.

The restoration work of the bronze mirror is intermittent due to various technical problems that cannot be solved.

It was not until recently that the leader of the bronze ware restoration team of Shanghai Bo finally devoted 15 years to complete this difficult work.

Shangbote held an exhibition for the bronze mirror, allowing the audience to have the honor to touch the civilization of China 2000 years ago.

A person and an antique have known each other for 15 years.

Anyone who knows it will be amazed at the ruggedness and length of this experience.

Of course, I will also be curious about the anecdotes that happened at each time node during this period of togetherness.

There are 12 extremely difficult procedures, each of which is a difficulty.

Since accepting the task of restoring the bronze mirror in 1996, this treasure has entered the life of the restoration master.

For 15 years, he observed it, pondered it, and tried his best to conquer it.

The restoration of cultural relics is actually a confrontation between human intelligence and time.

This bronze mirror is considered to be the most severely damaged and most difficult to repair since the bronze restoration work began.

Such bronzes are very rare no matter which museum they are in.

Generally, when encountering this kind of bronze wares, they give up. Where can it be repaired?