CFIC Introduction
Today, people can see this national treasure in a variety of ways: from extremely detailed electronic pictures for study and research, to the Lotus Crane Square Pot refrigerator magnet produced by the Forbidden City, and even on the National Treasure (Enlightenment Foundation) gold and silver commemorative coins issued by the People's Bank of China this year. Wang Youliang, who was in the year of the sixtieth year, still adhered to the post of bronze restoration, and took his apprentices to treat every cultural relic he handled.
"This picture must be 50 years old, right? The Xinhua News Agency reporter took a picture of us, and Master took me to make a copy of the lotus crane square pot. Looking at a black-and-white photo, 78-year-old Cao Jinglou, former deputy director of the Department of Cultural Conservation Science and Technology of the Palace Museum, was full of emotion.
Workers from the bronze group of the Palace Museum's Cultural Relics Restoration Factory are replicating the bronze lotus crane square pot from the Spring and Autumn period. The one on the left is the original, and the one on the right is a copy (issued on June 5, 1978). Photo by Xinhua News Agency reporter Han Juce
The photo Cao Jinglou saw was on display at the Xinhua News Agency's "Mirror of the National Society· Century Light and Shadow" photojournalism exhibition. In the photo, the young man on the left is Cao Jinglou. Sitting on the right is the one who makes the replica of the lotus crane square pot to make floating rust, is his master, Zhao Zhenmao, an expert in bronze restoration at the Palace Museum.
At that time, in order to better protect and research the cultural relics, the Palace Museum planned to make replicas of the national first-class cultural relics in the museum's collection, and the lotus crane square pot was one of them.
"At that time, the copper casting process was more complicated, so we used a low melting point alloy as an alternative material to make the body of the pot. First, assemble and weld the finished parts, polish them smoothly and then make floating rust. Cao Jinglou describes doing floating rust as painting oil paintings, patiently modulating the colors, and using brushes, small shovels and other tools to color layer by layer until the reproduction is consistent with the original appearance.
Day after day, Zhao Zhenmao took Cao Jinglou and another colleague in charge of welding to complete this "identical" copy of the original in more than a year. When the Xinhua News Agency reporter took the photo, there was still nearly half a year before the end of the work.
In 1988, the Palace Museum's Cultural Relics Restoration Factory, Replication Factory, and Laboratory were merged to form the current Department of Cultural Conservation Science and Technology. The combination of traditional cultural relics restoration techniques and modern science and technology has made the protection of cultural relics more advanced.
Cao Jinglou said that later, the protection of bronzes was mainly based on restoration, and reproductions were rarely carried out. Even if it is copied, the ingredients will be tested with an instrument first, and the same raw materials will be used to make it, not to mention that new technologies such as 3D printing can make it possible.
"One of our simple wishes back then was to hope that the cultural relics could be passed on forever. After many years, future generations will be able to see the original appearance of the artifact with the help of our replicas. He said.
In 2006, Wang Youliang, a restorer from the Department of Cultural Conservation Science and Technology of the Palace Museum, was restoring the lotus crane square pot. (Photo provided by the interviewee)
The story behind the black-and-white photos continues.
In 2006, the lotus crane pot was handed over to Wang Youliang, a restorer of the Department of Cultural Conservation Science and Technology of the Palace Museum and another apprentice of Zhao Zhenmao, and the national treasure ushered in an important restoration.
"When I first sent it, there were cracks in the body, and there were also fallen parts. It took my colleague and I two weeks to fix it. Wang Youliang recalled that because the cultural relics had been repaired once in the war years, the damaged parts needed to be repaired again.
After the restoration was completed, an expert in cultural relics said that if nothing else, the bronze would be at least 100 years old and would not need to be repaired.
Today, people can see this national treasure in a variety of ways: from extremely detailed electronic pictures for study and research, to the Lotus Crane Square Pot refrigerator magnet produced by the Forbidden City, and even on the National Treasure (Enlightenment Foundation) gold and silver commemorative coins issued by the People's Bank of China this year.
Wang Youliang, who was in the year of the sixtieth year, still adhered to the post of bronze restoration, and took his apprentices to treat every cultural relic he handled.
"If you ask me what's changed, the instruments, tools, and materials are much better than they used to be. But the crafts and concepts taught to us by Master have not changed in my generation, and neither have the skills and concepts I taught to my disciples. Wang Youliang said.
Source: Xinhua News Agency
Author: Yang Zhanfei
WeChat editor: Gu Shuxu
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