My system is not decent

For small fragments during bonding, use "502" for bonding.

Larger sections are bonded with epoxy adhesive.

When applying glue, try not to let the glue overflow the surface, so as not to pollute the mirror body.

When joining, it is divided by the midline, half and half are bonded, and finally the two parts are bonded.

After finishing, use washi tape to tie it tightly in the shape of "m".

Since the epoxy adhesive is not a quick-drying type, in order to prevent the mirror body from warping and deforming during the curing process of the glue, it is necessary to press an object of appropriate weight on it to make it flat.

After the glue is completely cured, remove the weight and carefully peel off the washi tape.

After gently shoveling off a small amount of glue marks at the seams with a scalpel, and taking a cotton ball dipped in acetone solution to wipe off the glue marks, the bonding step is over.

Of course, what can be bonded must be bonded, but for the missing part, the copper mirror can only be filled.

For the filling of vacancies, the principle of restoration of cultural relics is that the materials used should be as close to the original as possible.

The lead-tin alloy method is usually used in the selection of filling materials for copper mirrors.

However, due to the serious crisping of this mirror, the lack of concentrated pieces, and the difficulty in making molds, we gave up this method.

According to the later technical conditions and level, epoxy resin materials are generally used to fill the gap.

Among them, SV427+HV427 is mainly used, which is a kind of epoxy-based resin and is a synthetic material of epoxy-based resin.

This material is provided by foreign museums. Its main features are high hardness, good coloring, strong plasticity, long-lasting preservation, and not easy to deform.

It is made by blending the main agent and the hardener in a ratio of 1:1.

After synthesis, it is dark red mud, which slowly solidifies after six hours.

Although the hardness is high after curing, it is easier to show various patterns on the surface with a carving knife or a scalpel.

At the same time, it has strong adhesiveness while hardening, and can be firmly connected with the section after curing.

As for this copper mirror, its characteristics can be better utilized to reinforce and fill the cracks and bonding seams on the surface of the mirror body to make it stronger.

During operation, weigh out the main agent and curing agent of the same quality on the balance.

Then mix the two evenly, and then carefully wipe it on the gap of the mirror body with a scalpel, and be careful not to hurt the mirror body when wiping.

After wiping it and waiting for it to dry slowly, you can fill in a large area.

The operations of filling gaps and caulking are basically the same, but due to the adhesiveness of SV427+HV427 itself, a thin white paper must be laid on the operating platform when filling gaps.

This is to prevent it from sticking to the operating platform.

Apply the material so that it is slightly higher than the back of the mirror.

After drying, it is ready for engraving.

Pay attention to smoothing the surface and let it dry naturally for six hours. After it is completely cured, use a pencil to draw incomplete patterns on its surface according to the previous drawing.

Then use a carving knife to carefully carve according to the painted pattern.

After the engraving is completed, it is time to replenish the remaining beads.

A total of 9 beads are missing from the mirror, and the beads are supplemented with this material. After rubbing out the shape, they can be glued to the incomplete place.

After all the vacancies are filled, the final process is to color and restore the restoration materials.

For the selection of colored materials, use lacquer flake alcohol solution to mix natural mineral pigments for coloring.

Because SV427+HV427 has good colorability, it can be directly painted on its surface.

After the color tone is adjusted, the repaired surface is made layer by layer by painting, painting, etc. until it is consistent with the original color of the utensil and integrated into one.

After the restoration is completed, the last job is to seal and protect the bronze mirror.

A good sealant can prevent harmful substances in the air from corroding the mirror body.

In addition, this isolation layer can also prevent fading and peeling of the old color.

As the sealing agent here, the internationally popular and recognized Paraloid-72 can be used.

This is a polyacrylic resin, which is a copolymer of ethyl methacrylate and methyl ester.

It has the characteristics of anti-acid, anti-corrosion, anti-aging and so on.

Bronze ware treated with it can be kept at room temperature for more than five years.

The restoration of this bronze mirror cannot be completely restored due to the damage of the mirror itself.

Because there are 20 beads on the mirror body, only 4 are inlaid with gold leaf.

However, from the analysis of the remaining 4 pieces of gold leaf, it is impossible to judge the law of the gold leaf.

Therefore, in the end, the beads can only be completed, but the gold leaf can no longer be restored as it was.

Therefore, the restoration of cultural relics must respect the objective reality of the utensils, and do not rely on one's own subjective judgment to determine the original appearance of the utensils in vain.

In the restoration of cultural relics, incompleteness is also another form of beauty.

However, if imagination is used to arbitrarily create and superimpose, the value and artistic charm of the cultural relics themselves will be distorted.

If you want to complete it, you must have a basis, otherwise you will prefer to lack it. Even if you don’t make repairs, you can’t create arbitrarily and change the shape, color and decoration of cultural relics in order to pursue visual effects.

For small and medium-sized museums, the materials and techniques used to restore cultural relics must be determined according to their own technical capabilities.

Due to the non-renewability of the cultural relics themselves, if the level is not up to or the technology is immature, do not try it, so as not to damage the cultural relics again due to human reasons.

When determining the restoration plan, first of all, it must be based on the museum's own capabilities, and then choose a restoration method with complete safety guarantees to ensure that the museum's preservation of cultural relics is foolproof.

"Huh? This broken bronze mirror is interesting!"

Because there are many bronze mirrors in this museum, including antique bronze mirrors and many restored treasures of damaged bronze mirrors, Chen Wenzhe did not stay here for a long time.

Unexpectedly, this time I saw a damaged bronze mirror after restoration, and unexpectedly discovered it.

This bronze mirror is related to a cellar. Of course, what Chen Wenzhe found must not be this cellar, because this cellar has already been excavated.

What he discovered was a bronze mirror manufacturing factory behind the cellar. Although it was a fully manual workshop, there should still be many ancient bronze mirrors there.

This discovered cellar contains the largest number of bronze wares since the founding of the People's Republic of China, and most importantly, it also contains a national treasure.

It was December 1976, 12, and a strange thing happened in Bai Village, Baojizhuang, Xishan.

At noon that day, a farmer in the village was working in the field. When he was leveling the land, he made an unexpected discovery.

At that time, the hoe he held up high suddenly plunged into the soil.

There was only a sound of clang, and the crisp sound came from the soil, which made the farmers' hands numb.

The farmer dug the soil and saw a corner of a bronze vessel sticking out.

Since the farmer had received education in cultural relics protection in his early years, he knew that this was a national treasure, so he sent someone to call over the Zhouyuan archaeological team that had been stationed in the village all year round.

The archaeological team rushed to dig, and found that this was a large-scale bronze hoard, and it was also the first hoard discovered by the archaeological team at the Zhouyuan site.

Later, this cellar was named Zhuang Bai No. 1 cellar.