Jianbao life

Chapter 932 Exposing the Second Floor (Continued)
When Chu Chen saw the painting in front of him, although he was quite shocked, he remained calm on the surface. Therefore, everyone didn't find anything wrong from Chu Chen's expression.

Seeing Chu Chen's cautious appearance, Lao Chang was very proud. When Chu Chen raised his head, he asked with a smile:
"Boss Chu, can this painting catch your eye?"

Considering that he came here today to be a palm eye master, Chu Chen said bluntly: "Old Chang, as for me, to be honest, my master also has this "Picture of Song and Crane", and apart from a few inconsistencies Other than that, everything else is exactly the same.”

"What?! Boss Chu, you can't make a mistake, right?"

When Lao Chang heard this, he immediately showed an expression of disbelief, and the others also felt disbelief.

Chu Chen shook his head: "Sorry, that's the truth, and the titles and the positions of the bell seals of the two paintings are the same."

Hearing this, everyone looked at each other in blank dismay. After a while, Xiang Facai frowned and asked, "Is this painting a photocopy? It doesn't look like it!"

"It's right to say it's copying, but it's much more complicated than copying." Speaking of this, Chu Chen looked at Lao Chang.

Based on old Chang's experience, when he heard Chu Chen say this, he couldn't imagine what Chu Chen was talking about. He frowned and said, "Boss Chu, you said this painting is 'exposing the second floor'?"

"'Exposing the second floor'? What do you mean?" Xiang Facai asked with some doubts after hearing the words.

"'Exposing the second floor' is actually a method of fraud..." Chu Chen explained the meaning of 'exposing the second floor' to everyone.

"No way, one painting can be uncovered into two paintings. What kind of skill is required to do this?" After hearing Chu Chen's explanation, Wu Ke and the others showed quite shocked expressions on their faces.

Chu Chen said: "It's certainly not easy to 'reveal the second layer'. Forgers need to go through quite complicated steps such as unmasking, repairing, and full coloring to produce a painting that is enough to be fake..."

Generally speaking, if you want to "reveal the second layer", the required steps are very similar to the "revealing the old" in the restoration of ancient calligraphy and painting. You must first observe the damage degree of old calligraphy and painting, the characteristics of the times, etc., and then go through the process of picking stains and cutting the painting. Heart, cleaning, exposing, repairing, full color and other processes.

To pick and scrape the stains and draw the center of the square, firstly, some frivolous stains on the surface such as dust, mildew, black spots or water marks on the screen are gently picked up and scraped off with the tip of the knife.Generally use a sharp corner knife or a horseshoe knife. Be very careful when operating, apply light and even force, and scrape gradually along the edge of the stain.Then, cut off the dilapidated surroundings, and trim the edges of the painting heart.

After that is cleaning.At this time, boiling water is generally used, because if it is a calligraphy and painting of a relatively recent age, the ink may run away when using cold water.But for ancient paintings, its color will not be easily washed and dropped by water.

Since rice paper and ink have very strong adhesion, first soak the paper with boiling water, and then soak the paste in the rice paper.After soaking in boiling water, attach a layer of plastic film to the heart of the painting, then pour boiling water on it, spread it out with a towel and press it well, and pour it every few days.

In summer, the interval between watering will be longer, but it is necessary to prevent the calligraphy and painting from getting moldy.According to a framer who was once well versed in "exposing the second layer", it sometimes takes half a month to repair some old paintings, but its color will not fall off.

After cleaning, it is the key step of "exposing the second layer".

"Uncovering" refers to removing the backing paper and painting center paper of the original mounted piece.Usually, to remove the old ones, after soaking the calligraphy and painting in water, rub off the backing paper and the painting center paper little by little, almost all in small pieces.But to uncover the second floor, the entire sheet must be uncovered.The more layers you uncover, the lighter the brush and ink.

In the restoration of ancient calligraphy and painting, "replenishing" is to match the incomplete part of the historic site with suitable materials, but in "revealing the second layer", it is a major repair and repair of the second layer of fake works.

This step is very important. Calligraphy works can be confused with real ones. It depends on this step. Forgers must first choose the paper with the closest texture and color to the original calligraphy and painting paper; The pen should be kept in mind to ensure that the artistic effect of the repair is not the same as the original.

For example, when repairing ancient calligraphy and painting, although it is coloring, this process cannot be completed overnight.If you only draw quickly, it will often result in a patch of dark and light color blocks in the repaired ancient painting, and it is difficult to fade back, which will most affect the effect of the painting.

In addition, the paper of the old calligraphy and painting needs to be aged, so that when facing the light, the reflection of the two paintings and calligraphy is basically the same.Counterfeiters generally use a horseshoe knife to trim the edge of the patched hole into a bevel, or scrape the paper thinner, and also trim the edge of the patched paper to a bevel or scrape it thinner. It's almost invisible.

"Comprehensive" refers to the damage, loss of color, supplementary color at the strokes of the old calligraphy and painting, and the pick-up of the brush. It is a comprehensive inspection of the previous processes and a concentrated expression of the level of exposing and mounting.

Because every piece of calligraphy and painting and even parts will have changes in depth and charm with the passage of time, and even small parts will have multiple color factors in it, which is the trace left by the years.Therefore, the complement needs to control the depth of the color, and even the water should be paid attention to,

Also, in the panchromatic ring, we should consider both the whole of painting and calligraphy and pay attention to the parts.If you pay too much attention to local colors, there will be obvious color blocks after full color, which will affect the overall effect and unity of the picture.If you only do a large area of ​​single-color full-color, the full-color part will appear duller than other parts, which will also affect the picture effect.

In order to solve the above problems, ancient calligraphy and painting restorers and counterfeiters use the same method, which is to make three to four layers of background color for the whole part, and more layers for local colors, as few as four or five layers, and as many as eight or nine. ten floors.Therefore, even a painting and calligraphy with a size of one square foot must be adjusted dozens of times, and the color difference of each full color should be different.

The last important point is that if there is a defect in the painting during restoration, you need to pick up the brush. This requires you to be quite familiar with the characteristics and style of the original author's brushwork and complete it. ".For the lines of characters, rocks, trees, etc., it is not simply to add ink or color, but to connect the charm of the painting.

After more than [-] processes such as unmounting, repairing, and full coloring, a completely disfigured and dilapidated painting and calligraphy will become complete, harmonious, and firm. Although this is more conducive to the preservation of ancient calligraphy and painting, this method also becomes a Cheats for those who "reveal the second layer".

Therefore, in order to do a good job of "exposing the second layer", in addition to having considerable skills, the selection of works is also very important. Therefore, among the "Shanghai School" painters in the late Qing Dynasty, those who like to use thick ink and heavy colors are included in those forgers. vision.

In addition to Xu Gu, the author of the painting in front of me, Wu Changshuo's works are generally easy to be "revealed" because he likes to use thick ink and heavy brushwork, so as long as the second layer can be uncovered, the fake works will definitely get good results. Effect.

Zhao Zhiqian is also good at calligraphy, with precise grasp of lines, and the outline of the picture with rich stone style brushwork, which is extensive, thick and full of wit and wit.At the same time, he also likes to use raw paper to paint, and the colors are quite strong and gorgeous.Although this kind of calligraphy and painting is not easy to imitate, it gives counterfeiters a chance to uncover the second layer.

After listening to Chu Chen's detailed explanation, Xiang Facai seemed quite surprised, and said, "I'll go, those people are responsible for such complicated steps. I don't think it's so difficult to create a painting, right?"

"It's really not easy." Chu Chen said, "Like this painting, in addition to possessing superb painting skills, you also need to have quite superb painting skills. It is difficult for ordinary painters to include Xu Gu in this painting." The artistic conception displayed can be portrayed.”

"During the period of the Republic of China, the prevalence of fraud was mostly related to the 'Jie Er Layer'. Many re-publications were made very carefully. From the outside, it was a very thin sheet, but after touching the water, it turned out to be two sheets. Use "Jie Er "Copying ancient calligraphy and paintings requires a high level of unmasking. Because if there is a little slack, it will be self-defeating. Not only will the exposed calligraphy and paintings lose their charm, but even the original traces may be destroyed once, and the gains outweigh the losses."

Xiang Facai was a little unbelievable when he heard the words: "Since his painting skills and unframed level are so superb, why are you still pretending that you can't draw it yourself, or relying on his unframed level, you can make a living. "

"Aren't you talking nonsense!" Duan Xuefeng said with a smile: "Not all painters have the reputation of Xugu, and now, there are even fewer painters with the same reputation. In addition, some people have skills without corresponding skills. Character, what's so strange about doing this kind of thing for money?"

"That's true." Xiang Facai nodded. As a businessman and a former poor man, he knew that once a person is driven by profit, he can do anything. Otherwise, there wouldn't be so many criminals in the world.

"uh-huh!"

At this time, Lao Chang coughed lightly, and when everyone looked at him, he said: "Boss Chu, I don't mean to be disrespectful to Mr. Liu, even if this painting is 'Exposing the Second Floor', how do you judge?" What about my picture of 'Hunzi'?"

"As the old saying goes, there is no basis for empty words. I think there is a basis for it to be a 'hustler'."

Chu Chen explained: "Old Chang, I think you also know that when the second floor is broken, there will always be various problems for the forger, so it needs to be repaired to make the two paintings and calligraphy feel almost identical. Ink running, patching of holes, handling of floating hairs after the second layer was removed, etc.”

"Once the ink runs out, no matter whether it is a fake or the original, it is considered a catastrophe, and it is difficult to repair. It is easier to repair leaks and deal with floating hairs. I don't need to go into details about repairing leaks. I have already said it. Dealing with floating hairs is done on the second layer of paper. When it is dry, lay it upside down on a table or glass and brush it firmly, and it will be completely flat."

"I admit that this painting has done a good job in this aspect, but it has not done a good job in repairing it. For example, in these few places, it cannot reach the level of Xugu, and the use of pens is also very awkward. This point, compared with these places, everyone should be able to see it..."

While speaking, he pointed out some flaws of the painting one by one, looking downcast on his face.

At this time, Xiang Facai asked: "Mr. Chu, this painting skill can be cultivated, but what about the seal?"

"It is difficult for the inkpad to penetrate into the second layer. For example, after soaking and flattening the original work, the seal is faintly visible on the second layer, but the color is light, and the inscriptions can hardly be discerned. This is indeed the congenital deficiency of "exposing the second layer" .Therefore, imitation seals are needed.”

Chu Chen nodded and said: "This kind of thing was considered a difficult problem in the past, but now with high technology, forgers can almost make seals as they are. In addition, old ink pads are used for old calligraphy and paintings, because it is only more than a hundred years old. It can still be found now. Therefore, the seal will no longer be the bottleneck of 'uncovering the second layer'."

Seeing Xiang Facai nodding repeatedly to express his understanding, Lao Chang who was standing aside felt very uncomfortable. He thought for a while and said, "Although exposing the second floor is a method of forgery, the exposed painting cannot be denied as the original painting." Did the author draw it?"

Everyone understands the meaning of the old saying, and it just means that even if his painting is to expose the second floor, it is also from Xu Gu's pen, and its value is not low.

Xiang Facai chuckled, but with disdain in his smile: "Old Chang, if your painting is on the first floor, then I don't object to you saying that, but your painting is on the second floor, and it has been repaired. Can it be compared with Xu Gu's own painting? At most, it can be regarded as a half-finished painting!"

Lao Chang opened his mouth, wanting to make an excuse but couldn't find a corresponding reason.If it hadn't been repaired, then at this time, he could still confidently say that even if the price of this painting didn't have the price of the real one, it would be almost the same.

At this time, Xiang Facai looked at the time, and it was almost eleven o'clock. He said impatiently: "Old Chang, although your painting is indeed valuable, I won't want this kind of thing. You If there are any good things, take them out, we still have things to do, so we don’t have time to waste them here.”

After hearing what Xiang Facai said, Lao Chang felt relieved, because Chu Chen could see that the painting was "revealing the second floor", and the original servant could not see it, but if Xiang Facai insisted on this He couldn't refuse even a painting, and since Xiang Facai didn't want it now, it was in his favor.

But then, Lao Chang started to worry again, he couldn't come up with any good things to compensate Xiang Facai, what should he do?
After thinking about it, Lao Chang could only say: "Mr. Xiang, I really don't have any good things here. If you don't believe me, I can take you to my collection room."

"Then have a look!"

After Xiang Facai heard this, he immediately waved his hand. The result of these two things before made him feel that Lao Chang's eyesight is really not good, and maybe he missed something among the things left by Lao Chang. It happened that the sharp-eyed Chu Chen could help find out.Of course, even if he didn't, he wouldn't just let Lao Chang go.

"This fat man moves very fast."

Chu Chen muttered to himself that he originally wanted Xiang Facai to keep the painting and buy it for Mr. Liu to see, but Xiang Facai's response was so quick that he didn't even have a chance to wink.That being the case, he can only wait for a chance to speak.

(End of this chapter)