At this time, Xu Wen was in a stagnant space, and Lian Tianqing stood next to him, guiding him to repair a calligraphy scroll in the box of the Four Seasons Hall.

At that time, Rong Xian asked him to draw the pattern, saying that he would frame it well and put it away.

Xu Wen originally planned to directly ask him to find someone to arrange by himself, but Lian Tianqing suddenly spoke up and asked him to come by himself.

So far, Xu Wen has not been formally exposed to the study and work of painting and calligraphy restoration and mounting, and in recent years, his main study and research direction has been architecture, and it can be seen that he will focus on this aspect for a period of time in the future. He has always felt that learning is not expensive, and it is best to continue to study in one direction, but he didn't expect Lian Tianqing to put forward new requirements for him.

But it's okay, just learn, with the support of Xu Zhai's special environment, he just spends more energy.

Lian Tianqing considers himself a restorer, of course, teaching will not be so simple.

The art of framing is special, and from the very beginning, it has been closely related to restoration.

It can be said that a good framer must be an excellent master of painting and calligraphy restoration.

The written name of mounting is "mounting", also known as "mounting", which refers to the process of attaching paper or silk to the upholstery for reinforcement or display.

Its biggest use is to strengthen calligraphy and painting, so that it can be preserved for a long time, and aesthetics is its second need.

There are more than 10 kinds of framed styles, vertical scrolls, middle halls, couplets, horizontal drapes, strip screens...... There are many different types of materials used, such as silk and silk.

It's very simple to say, it's nothing more than to paste the painting heart into the background, but in fact, when you study it carefully, you pay a lot of attention.

For example, if a new painting needs to be mounted, it depends on what kind of paper it is used on, what is the intensity of the ink, and how is it distributed?

Because paper is easy to absorb water and moisture, and the ink itself is liquid, the ink hits the paper and then dries thoroughly, and the water absorption of the paper has changed.

If the mounting is improper, you don't notice the different drafts and shrinkage of each part of the paper, and then when you get wet, it is easy to tear on the background, and even cause damage to the heart of the painting.

At the same time, calligraphy and painting are works of art, and the surrounding silk color patterns, length and size, etc., must match the calligraphy and painting itself to play a role in foiling.

This requires the framer to have a good aesthetic and know how to appreciate calligraphy and painting. Many times, even calligraphers and painters themselves will learn to frame, and Xu Wen has seen many times with his own eyes that after Wu Keming finished painting, he was busy framing it in the house.

But whether it is silk or paper, calligraphy and painting are works of art that are easily damaged, and it appeared very early, and there have been famous and outstanding calligraphers and painters in all dynasties.

As a result, for a long time, there will always be damaged ancient books and paintings that need to be disposed of, and the mounting has been indissolubly linked to restoration from the beginning.

In fact, although the restoration is divided into different categories, the process is generally the same.

First, understand the material and structure of the item and disassemble it; second, clean up the dirt on the surface and parts, remove the damaged part; third, complete the damaged part; fourth, combine the cleaned part with the supplementary part to form a whole.

This is true of wood, and the essence of calligraphy and painting is also like this.

But the first item alone is actually not simple.

Paper and silk are the most commonly used materials for calligraphy and painting, and these basic materials are actually constantly changing with the times.

And since ancient times were basically handicrafts, quality control has always been a big problem.

Take paper as an example, the paper produced in each batch may be different, not to mention the paper like Xue Taojian, which is characterized by personalization and private customization, and can no longer be repeated after it appears.

In detail, the properties of these papers are different, and they are all different when they are framed and repaired.

Then Xu Wen and Lian Tianqing discovered one thing, in the rockery secret room of Xu's house, there were a large number of paper patterns and cloth patterns!

These papers included almost all the types that even Tianqing knew, and even some he had only heard of or seen in books, and there were also here, exactly the same characteristics as the ones he had heard of, and they were exactly the same.

"This house...... It's remarkable. Lian Tianqing raised his eyebrows and said.

With these, Lian Tianqing is of course better explained.

And then as they talked, they discovered another thing.

Compared with other works of art, calligraphy and painting are more content-oriented.

And its content is closely related to its historical background.

As far as calligraphy is concerned, the Jiajin seal is subordinate to Kai Caoxing, and there is an era of fonts, and they have a clear inheritance relationship, and even closely related to the carrier they bear, and the context is very clear.

Calligraphers throughout the ages have a common view on calligraphy: no innovation can be separated from the inheritance of tradition.

Therefore, calligraphy is very about inheritance, talking about tracing the ancients, almost all beginners begin to learn calligraphy, and they have to stick to the ancients, even if they are modern primary school students.

As far as ancient calligraphers are concerned, Wang Xizhi's lineage, he inherited Mrs. Wei, Mrs. Wei passed on from Zhong Xuan, and Zhong Xuan passed on from Cai Wenji. Further down, Wang Xizhi passed on Wang Xianzhi, Wang Xianzhi passed on Yang Xin, and then Ouyang Xun, Zhang Xu, and Yan Zhenqing passed it on in order, all of which have a beginning and an end, and the records are very clear.

In this way, the problem comes, here and the Banmen world are two different worlds, although Xu Wen has not understood the history over there, he also knows the difference just by looking at Da Zhou.

Two different worlds, can the historical heritage be the same?

The inheritance of calligraphy and painting, can it be the same?

Did those great calligraphers and painters ever exist in the world of Banmen?

When even Tianqing was explaining the difference between the production method and material of paper, Xu Wen thought of this and had doubts.

That's because he thought of something.

When he was first accepted as an apprentice by Lian Tianqing, Lian Tianqing picked up a pen holder that he turned out from the old wood yard and showed him.

The boxwood pen holder, on which is written Du Fu's Song of the Eight Immortals in Drinking, is covered with Dong Qichang's seal, which is his calligraphy work.

Du Fu and Dong Qichang are both historical celebrities, and history textbooks say that you will hear their names if you have not been exposed to traditional skills.

Why are there the same historical figures in different worlds?

Did they ever appear too?

What is the history of Banmen like, and what does it have to do with the world?

At the same time, Xu Wen raised his head and looked at Si Shitang.

The first set of official hat chairs he took out and restored from the Four Seasons Hall was recognized by Luo Yifan as the work of Master Huang Yunxiang, a genuine masterpiece.

This shows that the things in the Four Seasons Hall also have a history and inheritance.

So, what about other antiquities?

Is it a pure work of art, or is it an antique that truly has history?

How did Xu Mansion exist, how did it inherit, and how did it collect them?

"What?" Xu Wen was distracted and was discovered by Lian Tianqing, who looked up and asked.

"Ouyang Xun, Shi Ling, Yu Shinan, Wang Xizhi, Wang Xianzhi...... Did all these people ever exist?" Xu Wen asked with a deep breath.

"Yu Suiliang?" Lian Tianqing reacted quickly, and these three words had already answered Xu Qian's question!