Relic Restoration Ability
The ability to restore cultural relics refers to the ability to restore damaged, incomplete, or ancient cultural relics that have lost their original appearance to their original state as close as possible. This involved many aspects of skill, knowledge, and patience. From the fact that the 2479 pieces of cultural relics unearthed from the Sanxing Dui took 10 years to recover, it reflected the tenacity and professionalism of the cultural relic restoration workers in the face of complex broken conditions. The restoration of this cultural relic was extremely difficult, but the restorer gradually restored it with superb skills and respect for the value of the cultural relic. In the production of the multi-treasure cloud shoulder (which could be regarded as a special cultural relic restoration), many complicated and traditional technological steps were involved, such as the application of many national intangible cultural heritage technologies such as mulberry paper making, plant dyeing techniques, antler glue making techniques, etc. These technical steps not only required precise operation, but each step was crucial to the successful "restoration" of the final cloud shoulder. It reflected the ability to combine multiple processes and inherit traditional techniques in the process of restoring cultural relics. As for the painted terracotta warriors and horses unearthed from the tomb of Emperor Qin Shihuang, due to the characteristics of the raw lacquer at the bottom of the painting and the violent reaction to environmental changes, the painting quickly curled up and fell off when it was unearthed. Through the development of new materials and the combination of specific reinforcement technology, the terracotta warriors and horses were able to appear closer to their original state. This showed the importance of modern technology in the restoration of cultural relics, that is, the need to rely on scientific research results to overcome the difficulties in the protection of cultural relics. In the excavation of the medical slips from the Han Dynasty tomb in Laoguan Mountain, Chengdu, modern technology played a great role in the preservation of bamboo slips and the identification of handwriting. This was also part of the resilience of cultural relics, that is, the use of modern technology to protect fragile cultural relics and restore information. The Han costume enthusiasts in Luzhou City successfully restored the singing and dancing figurines in Luxian Stone Carving Museum and the costumes of the characters painted by Cai Han of the Qing Dynasty in Luzhou City Museum by in-depth study of museum materials, verification of ancient costume shapes, drawing design drawings, self-made props and costumes. This showed that the restoration ability of cultural relics not only relied on professional cultural relics restorers, but also folk enthusiasts could play an active role in researching and spreading the original features of cultural relics through their own efforts. In general, the restoration ability of cultural relics included the inheritance of traditional crafts, the application of modern technology, the in-depth study of the cultural relics themselves, and the patience and carefulness of the restorers. Read more exciting novels for free
Relic Restoration Zanniang
Relic restoration hairpin ladies referred to those female craftsmen who restored ancient hairpins or cultural relics that contained hairpin elements through their own skills. For example, a netizen named "Jingnu"(Hu Jing) successfully restored the bone hairpin of the Shang Dynasty from 3200 years ago with stewed beef bones. There was also the hairpin designed by the hairpin lady. The hairpin carved according to the design draft was very stunning and elegant. With their love for cultural relics, these hairpin ladies used their own craftsmanship to revive ancient hairpin ornaments or cultural relics that contained hairpin elements after passing through research and other work. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
3dmax Relic Restoration
3dsmax had its own specific steps in the restoration of cultural relics. First, they had to collect digital high-precision images on the spot, including three images at a 45-degree angle, a front angle, and a side angle of 90 degrees. Then, he transferred the three images into the computer, used Photoshop to remove the saturation, adjust the color level, increase the contrast, change the format to rmb, and adjust the resolution to 300dpi before import it into 3dsmax, the 3D modeling software. Finally, with the imported original image of the existing grotto as the topographic map, digital modeling and other operations were carried out in the four views of bird's eye view, head-up view, test view and three-dimensional view. These operational procedures helped to restore the cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic restoration camera
In the restoration of cultural relics, cameras could be used to collect basic information about cultural relics. For example, in the Cultural Protection Laboratory Building of the Cultural Protection Department of the Nanjing City, high-definition cameras were like "doctors" taking the pulse of cultural relics. The staff would use them to take photos and record the damaged forms of the original cultural relics. In the cultural relic restoration hall of the Sanxing Dui Museum, the Central Radio and Television Station set up an intelligent robot camera that could shoot from multiple angles to show the beauty of the revival of newly unearthed cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Relic restoration jade bracelet
As a cultural relic, the restoration process of a jade bracelet was rather complicated. First of all, a preliminary analysis must be done before the repair. For example, if there are any impurities or residue on the surface of the jade bracelet, it must be extracted and analyzed to determine whether the impurities are silk, hemp, cotton, etc. Then, under the condition that there is no damage to the jade bracelet, choose the appropriate cleaning method and materials to clean it. After cleaning, if the jade bracelet was in a broken state, the pieces would have to be pieced together. For a pile of fragments, it was necessary to determine which fragments belonged to the same jade bracelet according to the material, arc, color, and so on. First, all the fragments were grouped, and then they were pieced together. Even the smallest fragment the size of a pinky fingernail had to spend a lot of time to identify which piece it belonged to. After the grouping was completed, they were pieced together. In addition, during the repair process, suitable repair materials and tools must be selected to ensure that the repair effect is consistent with the material of the jade bracelet. After the repair is completed, it needs to be polished and polished to make the repair part coordinate with the other parts of the jade bracelet, and the repair part is smooth and flat. Cultural relic restorers like Tang Jie would also carry out jade bracelet restoration work. She had been entrusted by an old grandmother to repair the broken jade bracelet left behind by her husband after his death. She regarded the restoration of cultural relics as a historical mission. In the process of repairing jade bracelets, she not only repaired the "object" but also the "emotion". <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic restoration process
Different types of cultural relics had different restoration procedures. ** 1. Bronze Vessel Repairing Steps ** 1. ** Piece Finishing Spell ** - According to the principle of going from big to small, from the whole to the parts, the big shape of the object was first pieced together, and then the remaining pieces were filled and pieced together. The objects with similar shapes were pieced together first, and the irregular ones were pieced together later. 2. ** Rust removal ** - Before welding, remove the unnecessary rust on the bronze ware, as well as the rust and dirt on the broken stubble. Both physical and chemical rust removal methods can be used. 3. ** plastic surgery ** - Using various tools such as a vice, the deformed pieces of bronze were restored to their original shape as much as possible. 4. ** Welding, Bonding Work ** - The traditional method of repairing bronzes was tin welding. The temperature required for welding was low, and the heat had little effect on the weldment. When there was a "mineral" problem with the bronze ware, it would be repaired by using the glue method. 5. ** Joining ** - After sorting out the pieces of the bronze artifact, he reconnected them and put them together. 6. ** Spare Work ** - The traditional method was to hammer out the shape of the missing part of the object on the copper plate, and then carve it. At present, the parts needed for the replacement could also be obtained through chemical and 3D printing methods. 7. **** - He used absolute alcohol to mix the shellac paint and added the required mineral paint to adjust the color to match the rust on the surface of the bronze ware. The color of the repaired parts was similar to the original rust color. ** 2. Painting and Calligraphy Restoration Steps ** 1. ** Cleansing ** - Generally, it was washed with hot water or a solution of potassium Permanganate to remove stains such as moldy spots on the surface due to age or improper storage. 2. ** Exposing my heart ** - Remove the backing paper from the painting and try to keep the original paper as much as possible. During the process, he moistened the painting with water and carefully removed the painting heart in the same direction. He needed to be especially careful. 3. ** Patching work ** - After the heart of the painting was taken out, the damaged parts were repaired with the same kind of paper. 4. ** Living with my heart ** - He pasted Xuan paper on the back of the heart of the painting to strengthen it. If the painting core is cracked after the drying process, a folding strip needs to be pasted on the broken part. If the color tone of the old painting heart is not consistent, it needs to be full color. Before the full color, it needs to be mixed with a suitable amount of glue and water according to the different conditions of the painting heart, and then brushed on the back of the painting heart to facilitate the full color. 5. ** Full color and pen work ** - Full color was to use paint to fill in the basic color of the heart of the painting on the damaged patch paper or silk. Experts had to achieve "four-sided light", which meant that the patch could not be seen from all four angles. The next step was to add lines and colors to the missing parts according to the painting intent. Finally, he framed it. ** III. General procedure for the protection and restoration of cultural relics (from "admission" to "discharge")** 1. ** Registration Stage ** - The cultural relics were sent from the archaeological site museum to the cultural relics protection and restoration center for photo collection and registration of cultural relics information. 2. ** Inquiry (diagnosis) Stage ** - A team composed of conservation experts, restorers, and archaeologists conducted a "consultation". Based on the preliminary diagnosis results, a test analysis plan was formulated. The necessary scientific tests were carried out on the cultural relics, and then the final results were analyzed by professionals. 3. ** Planning Stage ** - Restorers and archaeologists would work together to develop a conservation and/or restoration plan based on the analysis results. 4. ** Repair Stage ** - In the end, it was handed over to the restoration laboratory for the final "surgery" on the cultural relic. 5. ** Delivery Stage ** - After the restoration or protection of the restoration laboratory, the cultural relics were handed over to the museum, and the documents were handed over to the archives management staff. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic digital restoration
The digital restoration of cultural relics was the process of using modern technology to restore the former appearance of cultural relics. When the technicians restored the cultural relics, the work process was rigorous and meticulous. First, relying on high-precision Beidou satellite remote sensing positioning and drone tilt shadow point cloud collection technology, the site's geographical location, latitude, latitude, altitude and other accurate information were obtained to generate a point cloud model. Then, the on-site information and the literature research materials were combined and transformed into digitized information. Then, through the calculator containing a variety of parameters, high-precision, high-quality parametrized dynamic and precise modeling was carried out on this information. It could vividly restore the details such as the external pillars of the building and the internal arch, presenting the shape and texture of the cultural site. Finally, the rendering process was done in the post-visualization way, so that the parametrized ancient building components could form a link with the historical scene, completing the panoramic presentation of the restoration of the cultural heritage. For example, the Northern Wei Dynasty's Empress Wen Zhao's Painting of Ritual to Buddha was restored through the new cultural relic protection mode of Longmen Grottoes Research Institute, and the Hunan Museum used modern digital technology to restore the face of Mrs. Xin Zhui through data such as skull structure, facial features ratio, and simulated skin texture, hairstyle, etc. There was also the "Digital Cultural Relics" column that restored the Nanzuo ruins in Gansu Province through the above-mentioned technical processes, including the buildings of Nanzuo and the living scenes of the ancestors, vividly showing the prosperity of 5000 years ago. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic restoration method
According to the information provided, the restoration methods of some cultural relics were as follows: - For the restoration of bronzes, taking the Qin Mausoleum bronze carriage as an example, the team of experts had to carefully clean up and collect the fragments. Due to the large number of fragments and the fact that many of them were damaged or even missing due to age, experts had to repeatedly compare and experiment to find the necessary fragments, piece together the outline of the object, and then gradually complete the restoration of the entire cultural relic according to the outline. - The digital restoration method mentioned in the exhibition of cultural relics protection technology and equipment, such as the cultural relics protection of the cave temple in Dunhuang Mogao Grottoes as an example, using high-precision instruments to protect the ancient murals to show the historical elegant demeanor; The use of wearables to experience movie-level digital restoration of CG images to reproduce the gorgeous and solemn murals of the years; There is also the use of holographic projection, virtual reality, light and shadow special effects technology to transform the "Thousand Miles of Rivers and Mountains Painting" into the "Rhythmic Rivers and Mountains" experience scene. - In the aspect of cultural relic restoration experience, there was the process of touching the screen in the inscription recognition, experiencing the virtual restoration and Optical Character Recognition of the Jingyun Stone Stele of Qu Ren Ling in Bajun of the Eastern Han Dynasty, and watching the process of restoring Han brocade through the interaction device. However, different types of cultural relics may adopt different restoration methods due to factors such as their material and preservation state. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Revealing the Relic Restorer's Relic Restoration process
The difference between cultural relic restoration and traditional painting restoration
The restoration of cultural relics was a comprehensive subject that included many disciplines and practical techniques. Its disciplines included history, archaeology, museum studies, appraisal, epigraphy, metal technology, chemistry, art appreciation, etc. Its practical techniques involved sheet metal, casting, gilding, painting, porcelain, paper making, electric welding, stone carving, color, etc. Its restoration objects included calligraphy and painting, bronze ware, porcelain and other cultural relics. Traditional calligraphy and painting restoration was part of the restoration of cultural relics, but it was more focused on the restoration of calligraphy and painting cultural relics. In addition to the introduction of advanced science and technology, the job also relied on knowledge of painting and calligraphy, including the development of China painting and calligraphy, the basic introduction of famous painters, and the artistic achievements and artistic styles of past painters and painters. In terms of restoration requirements, they had to try their best to restore the original appearance of the painting. Moreover, the choice between integrity and authenticity was more inclined to authenticity, and the principle of repairing the old was emphasized. Generally speaking, the traditional painting restoration profession was a specific field in the field of cultural relics restoration. It mainly focused on the restoration of painting and calligraphy cultural relics. The scope of cultural relics restoration was wider and involved the restoration of many types of cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>