My system is not decent

Through complex restoration methods, the value of the rejuvenated bronzes will undoubtedly be greatly improved.

From the perspective of museums, only perfectly restored bronzes are more valuable for exhibition, appreciation and research.

These experts are like lonely masters in martial arts, with unique skills and calm mind, quietly hiding in the rivers and lakes.

After restoring a bronze ware, they often have a short-term sense of accomplishment and joy.

But when the work was taken away and exhibited, when I sat in front of a dusty bronze vessel again, I felt great loss and exhaustion "spontaneously".

Concentration has long been professional. Anyone who has been with bronzeware for 37 years can gain something, right?

Just like Chen Wenzhe, he has gained 37 years of experience from others. Up to now, when a bronze ware is brought over, he can distinguish its authenticity from a distance with just a glance.

After the simple words, it is the profound vision and skill, and the integration of people and cultural relics is already natural.

This is already a great master-level skill that is naturally obtained without cheating.

Of course, these are some restoration techniques of Dahai City and the Beijing School, but this time in this antique bronze museum, what Chen Wenzhe saw was the techniques of the Southern School.

Especially in the restoration of bronze mirrors, Chen Wenzhe has increased the breadth of his skills.

Because he saw the top restoration skills on one of the antique bronze mirrors.

And this imitation broken bronze mirror is still a familiar thing, because Chen Wenzhe knows that his treasures should be hidden in the Yangluo Museum.

In 1998, when the Yangluo Museum was preparing for the "Exhibition of the Essence of Yangluo Cultural Relics", a batch of bronze mirrors was transferred by the Municipal Cultural Relics Task Force.

Among them is a bronze mirror inlaid with Jinshan characters from the Warring States Period. Its shape and decoration are extremely rare in the local area, and it is of great value for viewing and research.

However, due to the long-term burial, 51 pieces of the mirror were unearthed.

The largest fragment was 10 centimeters long and 5 centimeters wide.

The smallest fragment, only 1 cm long.

Due to serious damage, the mirror can no longer be displayed normally, which also seriously affects its research and preservation.

In order to reproduce its shape truly and completely, it must be completely restored, so as to fully reflect its value and truly reflect its extraordinary artistic charm.

To restore a precious cultural relic, we must first carefully analyze and study its fragments, and make a comprehensive judgment based on the actual situation.

Based on the judgment results, a detailed repair plan is formulated.

The restoration plan should try to take into account the situation that will occur at each step in the restoration process of cultural relics.

The methods adopted must be effective and reliable, and must not have any negative impact on cultural relics.

It is even more forbidden to use cultural relics as experimental products to try some methods that do not have complete safety guarantees.

The restoration of this bronze mirror must be based on its own technical level and its broken condition, as well as the status quo of the fragments, and formulate a plan that respects objective facts.

Only in this way can the cultural relics be successfully restored under an absolutely safe restoration plan.

Before the restoration of cultural relics, the first thing to do is to clean the dirt on the surface.

Among the remaining 51 fragments of this bronze mirror, most of them are covered with rust.

Moreover, the copper is damaged and mineralized seriously, and the surface is covered with deep tortoise cracks.

Fragments run the risk of breaking again if not handled properly.

So, be extra careful when handling it.

When cleaning, first use absorbent cotton dipped in 95% ethanol to continuously soak the rusty parts.

After loosening, gently pick it off with a scalpel, and finally wipe it clean with a wet cotton ball.

Treat each fragment in this way, and carefully observe whether each fragment is infected with powdery rust during the treatment.

Powdery rust is called the "terminal disease" of bronze ware. It is the chloride in bronze ware, and it is the product of corrosion after a certain humidity environment.

After being infected by it, the corrosion site will continue to expand and deepen until the whole vessel is perforated, rotted, and finally decomposed.

On the surface of the bronze ware, it appears as light green loose and expanded powder.

After careful observation, fortunately, no signs of infection were found on the mirror, and the next step of repair can be carried out.

After cleaning and testing the fragments, it is necessary to put them together initially.

According to the consistency of the fracture and the decoration on the surface of the bronze mirror, after careful docking on the operating platform, it was found that six fragments did not belong to this mirror.

And these six fragments made up a quarter of the outline of another bronze mirror.

After careful checking and confirmation, the six fragments were separated for further processing.

And after the remaining 45 fragments of the confirmed mirror are put together, its preliminary features will emerge.

About one-third of the mirror body is missing, and it is made into a circle, a round button, and a round button seat.

There are four "mountain" characters on the periphery of the seat, and 20 beads inside and outside the word "mountain", 4 of which are inlaid with gold foil.

After mastering its preliminary shape, it is necessary to draw its appearance carefully.

The ratio of the drawing is 1:1, so that the decoration of the missing piece can be correctly inferred based on the remaining decoration, and the exact position of each fragment can be confirmed.

In this way, it can be joined.

There are generally two methods for joining mirrors.

One is the welding method, that is, the solder we usually use now for welding;

The other is the gluing method, which is to bond the sections with an adhesive.

After comprehensive consideration when determining the restoration plan, the glue method was selected.

Because if the welding method is used for welding, with so many sections of the mirror and the poor copper quality, the mirror body may be damaged if the welding is not good.

And it is also difficult to achieve, very satisfactory welding strength;

If adhesives are used and suitable filling materials are used to repair the mirror body, and the cracks on the surface are filled and reinforced, it can not only ensure the bonding quality, but also greatly increase the firmness of the mirror body.

More importantly, the bonding method is simple and reliable, and if the material is selected properly, it can also ensure long-term shape change.

After the adhesive method is established, it is very important to choose which adhesive to use to join these fragments, and to achieve a satisfactory bonding strength after bonding so that the mirror can be preserved for a long time.

After a comprehensive review of various adhesives, the epoxy adhesive produced in Guangdong Province and "502" glue were finally selected for bonding.

The epoxy adhesive is packaged in two-component tubes, evenly prepared when used, and cured after six hours.

It is characterized by convenient and firm bonding. In recent years, this kind of adhesive has been used on many small cultural relics, and the bonding effect and strength are particularly outstanding.

"502" glue is a kind of a-cyanoacrylate adhesive among acrylic adhesives.

It has the characteristics of fast bonding, easy setting, and good permeability. It is suitable for fast bonding of small fragments. It is also the most commonly used and most convenient to use in the restoration of cultural relics.

When bonding, first place each fragment on the operating platform, and roughly arrange them according to their respective orientations. Pay attention to the specific conditions of each bonding surface when bonding.