With the passage of time, the ancient calligraphy and painting will appear natural aging, damage and other phenomena, in order to reproduce the original artistic style, need to repair. Today, I'd like to share with you several ways to repair calligraphy and painting.

古舊字畫修復(fù)分為4個步驟，下面逐個敘述。

The restoration of ancient calligraphy and painting is divided into four steps, which are described one by one below.

1、去污：畫心因煙熏塵染，質(zhì)地變黃變黑，如畫面顏色穩(wěn)固，可將畫心放入清水內(nèi)浸泡，隔時換水，即可明凈。污跡較重，可用熱水浸泡，或緩緩澆淋開水。畫面顏色受潮返鉛的，可用雙氧水涂抹。畫心生霉，有黑有紅，黑霉易涂，紅霉可用高錳酸鉀溶液涂在霉處，稍時再涂雙氧水和淡草酸水，如霉不嚴(yán)重，一次即可除掉。用藥物去污后，務(wù)必用清水沖淋畫心，免蝕紙絹。

1. Decontamination: the texture of the painting center turns yellow and black due to smoke and dust. If the color of the picture is stable, you can soak the painting center in clean water and change the water every other time to make it clear. If the stain is heavy, it can be soaked in hot water or poured slowly with boiling water. If the color of the picture is affected by damp and leads back, it can be eliminated by applying hydrogen peroxide. Black mold is easy to be coated. Red mold can be coated with potassium permanganate solution, and then coated with hydrogen peroxide and light oxalic acid. If the mold is not serious, it can be removed at one time. After decontamination with medicine, be sure to wash the painting heart with clean water, and make sure that the paper and silk are free from corrosion.

2、揭舊：揭前在畫心正面用排筆蘸清水或溫水刷濕，并覆蓋新紙一張，反置案上待揭。古舊字畫多有斷裂，如在揭心之前，不附加墊紙，揭托之后，不易起案。畫心局部顏色不穩(wěn)定的，應(yīng)稍施淡膠礬水，干后，再行悶水。有些殘破糟朽的畫心，當(dāng)日揭不完時，應(yīng)在已揭過的部位，均勻地放置些濕紙團(tuán)，然后覆蓋一層塑料薄膜，以防畫心干裂錯位。揭畫心上的舊紙，一般應(yīng)根據(jù)字畫的薄厚、殘狀、顏色以及質(zhì)地的具體情況制定揭舊方案。

2. Uncovering the old: before uncovering, wet the front of the painting center with a paibi dipped in clean water or warm water, and cover it with a new piece of paper, and put it on the reverse side to be uncovering. For example, before uncovering the heart, there is no additional pad paper. After uncovering the support, it is not easy to start a case. If the local color of the painting center is not stable, light glue alum water should be applied slightly, and then the water should be stuffy after drying. When some broken and decadent painting hearts cannot be completely removed on the same day, wet paper balls should be evenly placed on the uncovered parts, and then covered with a layer of plastic film to prevent the painting hearts from cracking and dislocation. To remove the old paper from the heart of a painting, a scheme should be made according to the thickness, shape, color and texture of the painting.
         

3、托補：已揭好的畫心，如完整，可調(diào)兌稀糊，托一層比命紙命絹稍淺的舊色紙。如有殘缺，可用手將畫心殘?zhí)庍呺H揉出薄口，選好補紙，端正紋理補上，并在補口邊際搓出薄邊。使接縫處厚度適宜。補綴殘缺的絹本字畫，一種方法是揭畢待干，用刀將殘?zhí)幑纬杀】冢虾a絹，漿口干后再修刮補絹邊際，使補口相合。另一種方法是托上一層與原命絹質(zhì)地、絲紋相近的薄絹。正面如有殘缺，可用素紙補在托絹的背面，使畫心薄厚統(tǒng)一，干后再用刀修磨畫面殘缺處的邊際。托舊絹畫心時，要用干紙吸去正面的溢糊，以免留有漿跡，影響古舊作品的“褒光”.

3. Tuobu: the uncovering heart of the painting, such as complete, adjustable blending paste, supporting a layer of old color paper slightly lighter than life paper life silk. If there is any defect, you can use your hand to rub the edge of the heart of the painting out of the thin edge, select the filling paper, correct the texture, and rub the thin edge at the edge of the filling. Make the thickness of the joint suitable. One way to mend the incomplete silk calligraphy and painting is to peel it off and wait for it to dry, scrape it into a thin mouth with a knife, paste the mending silk on it, and then scrape the edge of the mending silk after the pulp mouth is dry to make the mending match. Another method is to put on a layer of thin silk with similar texture and texture to the original silk. If there is any defect on the front, plain paper can be used to fill the back of the supporting silk, so that the thickness of the painting center is uniform. After drying, the edge of the incomplete part of the picture can be polished with a knife. When supporting the old silk painting heart, dry paper should be used to absorb the overflow paste on the front, so as to avoid leaving slurry marks and affecting the "praise light" of ancient works

4、全色：字畫經(jīng)揭托，待干后，務(wù)使補紙補絹的礬性適度。否則，礬輕則透色，礬重則滯筆。全色時，應(yīng)將顏色調(diào)兌得淺些，復(fù)次全就，使顏色滲進(jìn)紙紋纖維，取得畫面色調(diào)統(tǒng)一的效果。畫心有缺筆的，補全時，需先審視畫心氣韻及用筆特點，然后輕勾輪廓，調(diào)兌顏色，進(jìn)而全之，力求使補全的一筆一點、一墨一皴均與原畫渾然一體。對于一些具有重要學(xué)術(shù)研究價值的經(jīng)卷、書籍、契證等文物，經(jīng)過洗污補托，如有殘缺，不必求其復(fù)原，只把殘缺處的色調(diào)全補得與通幅基本一致即可。

4. Panchromatic: after the calligraphy and painting are uncoated and dried, make sure that the alum of paper and silk is moderate. Otherwise, the light alum is transparent, and the heavy alum is stagnant. When full-color, should mix the color lighter, repeat all, make the color infiltrate into the paper grain fiber, achieve the effect of unified picture tone. If there is a lack of strokes in the heart of painting, it is necessary to first examine the charm of the heart of painting and the characteristics of the brush, then gently tick the outline, adjust the color, and then complete it, so as to make the completed strokes, ink and texture integrate with the original painting. For some cultural relics with important academic research value, such as scriptures, books, deeds and so on, if they are incomplete after washing, it is not necessary to recover them. Only the color of the incomplete part is basically the same as the width.