Tong Dawei experienced the restoration of cultural relics in the Forbidden City
In the program " Legend of Craftiness " that was broadcasted on Jiangsu TV every Thursday night, Tong Dawei walked into the Forbidden City as the ingenuity ambassador. At the invitation of curator Yang Lan, he was in the Forbidden City to experience the royal style. His first task was to find a brocade bag to solve the mystery of ingenuity. After collecting four brocade bags, he could summon the relic doctor of the Forbidden City's wood restoration team. After entering the " Cultural Relics Hospital," he saw the different " departments " and restorers set up to protect cultural relics. Tong Dawei was very interested in wooden objects. He stared at the lifelike dragon carvings without blinking. He was shocked by the ancient artifacts in the Palace Museum, such as the large cabinet that was as tall as the room and carved from a whole piece of yellow pear wood. He also discussed with the wood repairmen about self-made tools and personally tried to polish them. It took him several hours to grind a wooden plate, and this spirit was praised by the repairmen. Read more exciting novels for free
Restoration of cultural relics
Cultural relic restoration qualifications were divided into movable cultural relic restoration qualifications and immovable cultural relic restoration qualifications. The movable cultural relic restoration qualification could be used to restore cultural relics in the collection, including works of art, documents, manuscripts, books, porcelain, bronze, silk, glass, calligraphy, paintings, ancient books, etc. The immovable cultural relic restoration qualification was mainly used to repair ancient buildings, traditional settlements, ancient streets, archaeological sites, and other historical and cultural relics. If an enterprise applies for the qualification of cultural relic restoration, it can apply for an administrative license if it meets all the following conditions: 1. ** Requirements for Level 1, 2 and 3 Relic Restoration **: - The restoration plan of cultural relics shall be prepared by a qualified unit; - The restoration of cultural relics belongs to the business scope of the qualification unit; - The cultural relic information, the necessity of restoration, and the work objectives were clear; - The repair procedures and repair technical routes are scientific and reasonable; - Clear preventive measures; - Comply with the relevant laws and regulations. 2. ** Requirements for copying and rubbing Level 1, 2 and 3 cultural relics in the collection **: - The plans for the reproduction and rubbing of cultural relics shall be prepared by qualified units; - The copying and rubbing of cultural relics belong to the business scope of the qualification unit; - The copying and rubbing of cultural relics shall not cause damage to cultural relics; - Cultural relics that are not classified according to law shall not be copied or printed; - If it is not suitable for copying or rubbing due to the preservation status of the cultural relics and the characteristics of the cultural relics, it shall not be copied or rubbed; - If it is necessary to copy cultural relics, the copies before the Yuan Dynasty should be copied and copied. After the Yuan Dynasty, the original cultural relics can be used for rubbing. For rubbing on the original cultural relics, it is forbidden to use sharp and hard tools to beat them. Mass production of cultural relics replicas and rubbing cannot use the original cultural relics. - The principle of using the original cultural relics for copying and rubbing should be adhered to, and the number of replicas and rubbings should be strictly controlled. The replicas of cultural relics should have a mark indicating the copying, and the rubbings of cultural relics should indicate the unit, time and number of rubbing; - Comply with the relevant laws and regulations. The materials required to apply for the qualification for the restoration of cultural relics included the restoration, replication, rubbing plan, and application documents. The process was as follows: 1. "Request: The applicants can apply on the spot and submit the application materials according to the requirements. 2. Accepting: The handling authority will make a decision to accept or reject the application within 5 working days after receiving the application materials. If the materials are incomplete or do not conform to the legal form, the handling authority will inform the content that needs to be corrected at one time. If the application is not accepted, the handling authority will explain the reasons and inform the rights of the applicants. There were also the following requirements for the qualification of movable cultural relics restoration (Level 2 and Level 3 cultural relics): 1. ** Personnel requirements **: There must be at least 7 cultural and cultural experts with more than 5 years of experience in the restoration of cultural relics, who have presided over or mainly participated in the protection and restoration of more than 50 precious cultural relics (6 on-the-job experts + 1 retired expert). 2. ** Requirements for providing commercial sites **: The site meets the standard conditions and functions of a regional technical center or above as stipulated in the Basic Requirements for the Construction and Equipment of Mobile Cultural Relics Protection and Restoration Rooms (GB/T30238 - 2013). 3. ** Repair site requirements **: Each business scope of the application should be equipped with an independent repair site, equipped with qualified technical equipment, and there must be a corresponding expert in the field. 4. ** Safety Requirements for Storage of Places **: The safety conditions of the cultural relic storage place shall comply with the Regulations on the Level of Danger and Safety Protection of the Cultural Relic System Museums (GA27 -2002). <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
English for cultural relics in the Forbidden City
"Cultural Relic in the Forbidden City" or "Cultural Relic in the Palace Museum". In international exchanges and exhibition situations, these expressions can be used to introduce the cultural relics collected by the Forbidden City. For example, in the relevant exhibition of the China-France Cultural and Cultural Year, when it comes to the cultural relics of the Forbidden City and the Palace of Versailles, such English expressions may be used to convey relevant information to the international audience. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Order of restoration of cultural relics
The order of restoration was as follows: First, the cultural relics would be sent from the archaeological site museum to the Cultural Relics Protection and Restoration Center for registration. At this stage, photos and documents would be collected and the information of the cultural relics would be registered. Then, a team composed of conservation experts, restorers, and archaeologists conducted a "consultation"(diagnosis stage). Different experts put forward different needs according to the problem. Then, according to the preliminary diagnosis results, they formulated a test analysis plan, carried out the necessary scientific tests on the cultural relics, and then the professionals analyzed the final results. Then, the restorers and archaeologists would work together to formulate a protection and/or restoration plan based on the analysis results, and the cultural relics would be handed over to the restoration laboratory for the final "surgery." Finally, 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. In addition, in some specific types of cultural relics restoration, such as the restoration of porcelain, there were also restoration steps such as pre-assembling, sticking, turning over the mold, filling in the gaps, rough grinding, and fine grinding, and color restoration was also one of them. In the entire restoration process, drawing the disease map of the pottery cultural relics was also a key step, because only by drawing the disease map could the protection and restoration be "tailored to the case." <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Enjoying the sight of the cultural relics in the Forbidden City
The Forbidden City had a rich collection of cultural relics. For example, when the cultural relics of the Forbidden City moved southward, there were many types of cultural relics involved, including more than 9000 paintings and calligraphy, more than 7000 porcelain, more than 2600 bronzes, bronze mirrors, bronze seals, jade articles, documents, etc. The documents included the archives of the Qing court collected by the imperial historian and the inner government, the imperial records of the Ming and Qing Dynasties, the daily life notes, and the archives and historical materials of the Taiping Heavenly Kingdom. There were also the Siku Quanshu and various rare and engraved copies, such as the five generations of the Dharani Sutra, one of the earliest printed works discovered in China. The oldest stone inscriptions in the country, such as the Qiyang Stone Drum. In addition, the Palace Museum also collected many cultural relics related to the zodiac, such as the dragon offering auspicious--the dragon year cultural relics, the jade rabbit welcoming the spring--the rabbit year cultural relics, the auspicious tiger welcoming the auspicious--the tiger year cultural relics,"Hundred Oxen Celebrating the New Year"--the "cow" cultural relics in the Forbidden City, the Yin Ruins oracle bone inscriptions collected by the Palace Museum, etc. There was also "Palace Museum Calendar·2025·Innocent Version" that explored the colorful stories of 100 cultural relics in the Palace Museum from the perspective of innocence. It told the stories of 100 selected cultural relics in the Palace Museum. You could learn about the Palace Museum's cultural relics from these stories. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
New collection of cultural relics in the Forbidden City
The Palace Museum in Shenyang has launched a variety of new creative products, such as the "Begonia Palace Magpie" fruit tea from Yongfu Tea Restaurant, the "Taro Crisp Cheese from the West Garden of the Forbidden City, the Mousse Cake of Dazheng Hall, Desheng Castle, Peach Cheese Bun, etc. In terms of creative products, there are woodblock dragon-shaped seals, metal refrigerator sticker of Wensu Pavilion, metal bookmark of Dazheng Hall," Dragon "metal refrigerator sticker, etc. In addition, the Gulangyu Foreign Cultural Relics Museum of the Forbidden City welcomed the exchange of 32 foreign cultural relics collected by the Palace Museum, including 29 pieces of lacquer ware and 3 diplomatic friendship gifts. Among the newly arrived lacquer ware cultural relics, there were unique gold-painted geometric patterns. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Restoration of cultural relics and ancient paintings
The restoration of cultural relics and ancient paintings was a complicated and delicate work. There were mainly the following methods: ** 1. Traditional restoration method ** 1. ** Cleansing the heart of the painting ** - This was a very important step in the restoration of ancient paintings. Add an appropriate amount of pure water into the basin. The temperature should not exceed 60 degrees Celsius. Turn the heart of the painting (the work completed by the painter on paper or silk) face up. Dip the brush in the water and gently wash the heart of the painting one by one. Repeat 2 - 3 times. 2. ** Reveal the heart of painting ** - Uncovering the heart of the painting meant removing the back paper and support paper (also known as the "life paper") that the heart of the painting was originally mounted on. This was a crucial process that determined the fate of the ancient painting. During the operation, you should peel off the paper according to the lines of the paper. Starting from the places where it is easy to peel off the pieces, you should lay your index finger and middle finger flat on the paper and rub them back and forth in one direction. It is better to be slow than urgent, light than heavy, and the strength should be uniform. Keep observing the subtle changes after rubbing down, so that the thickness of the peeled layer is consistent, so as to avoid rubbing the heart of the painting. 3. ** With the heart of a painter ** - After the heart of the painting was cleaned and exposed, it was placed on the heart. Brush the back of the heart of the painting with thick water, cover it with a pre-dyed paper (dyed according to the color of the heart of the painting), and brush it. The silk painting heart should pay attention to make the silk pattern horizontal and vertical, the edge and seal should not be slanted, and the brushing strength should be moderate to prevent the broken part of the painting heart from being brushed open. 4. ** Sticking folding strips, adding drawing heart ** - The broken and creased areas of the heart of the painting need to be supported by the heart of the painting and pasted with a strip of rice paper on the back. According to the thickness of the heart of the painting, choose a suitable leather paper and cut it into a folding strip about 0.3 cm wide. The center of the painting was laid flat on the copying table with the front side down, and the paste was brushed on the folding strip. The center was pasted on the broken or creased place. If the length was not enough, it was connected with the stubble to avoid overlapping. For the missing parts of the painting heart, choose materials that are as consistent with the texture and color of the original work, especially the surrounding painting heart as much as possible to make up for it. Before making up for it, gently scrape a slope of 0.1 - 0.2 cm along the edge of the defect, apply thin paste with a brush, place the patch paper flat on the defect with the curtain pattern, pad the paper firmly, and scrape off the excess while it is wet. 5. ** Full Color ** - After the heart of the painting had been repaired, in order to achieve a complete unity of the painting, the color differences needed to be filled with full color. Bone glue and mineral water were mixed according to an appropriate proportion, and then evenly brushed on the back of the part to be filled with full color. The appropriate ancient ink and traditional Chinese painting paint were selected to carry out full color on the incomplete parts, and the missing parts were only filled with the base color without the brush. ** 2. Artificial Intelligence Restoration of Ancient Paintings ** 1. ** Meaning ** - ** Assist in the restoration of traditional ancient paintings **: The artificial intelligence virtual restoration of ancient painting images can provide restoration workers with a variety of visual virtual restoration results as a reference for restoration in a short period of time, reducing the investment in restoration preparation work and improving the efficiency, accuracy, and reliability of the restoration of real ancient paintings. - ** Supporting the protection of ancient paintings and cultural relics **: The virtual restoration of digital images does not touch the original works to avoid damage to the cultural relics. The restoration reports and annotations completed during the restoration process can be used as academic materials for the protection of cultural relics. - ** Serve the promotion of our country's excellent traditional culture **: Through digital restoration, ancient Chinese paintings with broken auras will be transformed into images that meet the aesthetic preferences of the public, which can be more widely disseminated and displayed. 2. ** Difficulty ** - ** High-definition image restoration **: The current technology is mostly targeted at low-resolution photos, and the images scanned or taken by ancient paintings are of higher resolution and larger files. - ** Large-area image restoration ability **: The restoration algorithm needs to be able to understand the image information of the whole picture and achieve accurate filling of large-area defects. - ** Better representation of the artistic features of ancient China paintings **: The restoration algorithm should be able to better represent the texture, texture, and color transition of the picture. The line restoration should conform to the strokes of traditional Chinese painting, and the restoration area should be able to represent the artistic features of ancient China paintings. - ** The objectiveness of the repair result **: Whether the data used for training is sufficient, professional, and converged will directly affect whether the repair result is better than manual judgment objectively. - ** Arithmetic process optimization **: The calculation process requires high efficiency and resource optimization to avoid problems such as long calculation time and excessive use of calculation resources. - ** Simple and easy to operate **: The restoration process should be easy for non-computer technicians to learn and use. Only then can it be promoted and used by cultural relics protection and art researchers. 3. ** Repair Method System Construction ** - ** Data preparation ** - ** Data collection and establishment of a data set **: Ancient China paintings were selected as the basis for data training. For example, more than 20,000 ancient China painting images were sorted out, and the images were split into 300,000 ancient painting images through customized software, and they were continuously updated. - ** Data classification processing **: Divide all the data into six sub-libraries, and compare the data with the image group so that the algorithm can converge more easily. - ** Restoration process design **: refer to the manual restoration process and principles of traditional ancient paintings, and design a complete algorithm restoration process or software tool. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Restoration of cultural relics monthly salary
The monthly salary of cultural relic restoration workers was as follows: junior restoration workers 'monthly salary was 2500 - 3800 yuan, intermediate restoration workers' monthly salary was 3500 - 8500 yuan, and senior restoration workers 'monthly salary was 8000 - 15000 yuan. The salary for those with less than five years of work experience was 5000 yuan, and the average monthly salary for those with more than five years of work experience was more than 10,000 yuan. In addition, 49.7% of the positions had a monthly salary between 4.5K and 8K yuan, with an annual salary of about 50,000 to 100,000 yuan. In 2023, it was 4% lower than 2022, which was 8.7% lower than the local area. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Restoration of cultural relics and ancient paintings
The restoration of ancient paintings and cultural relics had many methods and important meanings. ** 1. Traditional ancient painting restoration method ** 1. ** Cleaning segment ** - For ancient paintings with damaged pictures and crispy paper, warm water of 50 degrees Celsius should be used to wash them and sprinkle them on the surface of the ancient paintings with a watering can. The amount of water and the degree of infiltration depended on the experience of the restorer. Under the effect of water, the hard drawing paper became soft and docile. 2. ** Remove the blackened part of the ancient painting (for the color change of lead paint)** - Using the special skill of "paper fire". The Xuan paper was made into strips, dipped in water, and placed around the blackened parts of the ancient painting. White wine was poured into the middle and ignited. The lead powder was burned by the fire to achieve the purpose of removing the black color. However, this process required the restorer to closely observe the changes in the moisture on the ancient painting and carefully control the burning time. 3. ** The heart of the painting is separated from the paper on the back ** - Using tweezers to separate the heart of the painting from the backing paper required the restorer to be very careful, because a slight shake of the hand would cause irreversible damage to the ancient painting. The entire process was long, tense, and full of risks. 4. ** Framing and drying ** - After the paper backing was successfully removed, he pasted the heart of the painting on a new paper backing and mounted it on the wall to dry naturally. 5. ** Picture content repaired ** - This required the restorer to be familiar with the style and brush and ink characteristics of the past painters, and also to repair the old painting as it was. Not only must the charm of the ancient painting's history be preserved, but the ancient painting must also be renewed. This was a great test of artistic cultivation. ** 2. Artificial Intelligence Restoration of Ancient Paintings ** 1. ** Meaning ** - ** Assist in the restoration of traditional ancient paintings **: The artificial intelligence virtual restoration of ancient painting images can provide a variety of visual virtual restoration results as a reference for restoration in a short period of time. It can make the abstract restoration target specific and clear, effectively reducing the investment in restoration preparation work and improving the efficiency, accuracy, and reliability of the restoration of real ancient paintings. - ** Ancestors for the protection of ancient paintings and cultural relics **: The virtual restoration of digital images does not touch the original works, which can avoid contact and damage to cultural relics. Moreover, the restoration reports and annotations during the virtual restoration process can be used as academic materials for the protection of cultural relics. - ** Serve the promotion of our country's excellent traditional culture **: Through digital restoration, ancient Chinese paintings with a dilapidated atmosphere will be transformed into images that meet the aesthetic preferences of the public. They can be more widely disseminated and displayed, which will help to inherit the excellent traditional Chinese culture. 2. ** Difficulty ** - ** High-definition image restoration **: The current technology is mostly targeted at low-resolution photos, and the images scanned or taken by ancient paintings are of higher resolution and larger files. - ** Large-area Image Restoration Ability **: The restoration algorithm needs to be able to understand the image information of the whole picture, instead of deducing the defect based on a small number of the surrounding defects. Only then can it achieve accurate filling of large-area defects. - ** Better representation of the artistic features of ancient China paintings **: The restoration algorithm should be able to better represent the texture, texture, and color transition of the picture. The line restoration should conform to the strokes of traditional Chinese painting, and the restoration area should be able to represent the artistic features of ancient China paintings. - ** The objectiveness of the repair result **: Whether the data used for training is sufficient, professional, and converged will directly affect whether the repair result is better than manual judgment objectively. - ** Arithmetic process optimization **: The calculation process requires high efficiency and resource optimization to avoid problems such as long calculation time and excessive use of calculation resources. - ** Simple and easy to operate **: The restoration process should be easy for non-computer technicians to learn and use. Only then can it be promoted and used by cultural relics protection and art researchers. 3. ** Method System Construction ** - ** Data preparation ** - ** Data collection and establishment of a data set **: Ancient China paintings were selected as the basis for data training. For example, more than 20,000 ancient China painting images were sorted out, and the images were split into 300,000 ancient painting images through customized software, which were continuously updated. - ** Data classification processing **: Divide all the data into six sub-libraries. The sub-libraries all involve data comparison image groups so that the algorithm can converge more easily. - ** Restoration process design **: refer to the manual restoration process and principles of traditional ancient paintings, and design a complete algorithm restoration process or software tool. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Focus on the protection and restoration of cultural relics
Now he is repairing cultural relics in the Forbidden City
Nowadays, repairing cultural relics in the Forbidden City was a meaningful job that combined traditional and modern technology. The Palace Museum Cultural Relics Hospital gathered a professional team that mastered various restoration techniques. The restoration technicians regarded cultural relics as their lives and treated each cultural relic with the benevolence of doctors. They restored a wide variety of cultural relics, such as ancient paintings, pottery, clocks, bronzes, palace embroidery, and so on. The restoration work not only used ancient traditional restoration techniques, but also combined modern science and technology. For example, in the restoration of bronze ware, from the initial gilding technique to the current gilding technique, from manual polishing to the application of transparent photography techniques; In the restoration of porcelain, some people introduced the concepts of materials science and plastic medicine, which made the restoration of cultural relics more precise and efficient, so that ancient cultural relics could be reborn and continue historical memory. The staff who repaired the cultural relics in the Forbidden City included the older generation of masters who passed down their skills, such as Wang Youliang, who had more than 40 years of experience in bronze restoration, and the younger generation of restorers who paid attention to the combination of technology and art, such as Gao Fei and Ji Dongge. There was also a strong culture of inheritance between master and disciple. The older generation of masters carefully taught, and the new generation continued to pass on and carry forward. Moreover, in recent years, the Palace Museum had launched a World Cultural Heritage monitoring project system, including cultural relics buildings, outdoor furnishings, ancient and famous trees, and other heritage elements and influencing factors into the monitoring scope. At the same time, it was also actively protecting and inheriting traditional craftsmanship such as tile, wood, stone, tile, soil, paint, color painting, and paste. In addition, the related documentary " I Repair Cultural Relics in the Forbidden City " also allowed the public to see the daily work of the cultural relics restoration technicians in the Forbidden City and their persistent attitude. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>