随着时间的流逝，古旧字画会出现自然老化、破损等现象，为再现原作的艺术风采，需进行修复。字画收购今天为大家分享修复字画的几种方法。
With the passage of time, ancient calligraphy and painting will be naturally aged and damaged. In order to reproduce the artistic style of the original work, it needs to be repaired. Calligraphy and painting acquisition today shares several methods to repair calligraphy and painting.
古旧字画修复分为4个步骤，下面逐个叙述。
The restoration of ancient calligraphy and painting is divided into four steps, which are described one by one below.
1、去污：画心因烟熏尘染，质地变黄变黑，如画面颜色稳固，可将画心放入清水内浸泡，隔时换水，即可明净。污迹较重，可用热水浸泡，或缓缓浇淋开水。画面颜色受潮返铅的，可用双氧水涂抹。画心生霉，有黑有红，黑霉易涂，红霉可用高锰酸钾溶液涂在霉处，稍时再涂双氧水和淡草酸水，如霉不严重，一次即可除掉。用药物去污后，务必用清水冲淋画心，免蚀纸绢。
1. Decontamination: the painting heart turns yellow and black due to smoke and dust. If the color of the picture is stable, soak the painting heart in clean water and change the water every other time. If the stain is heavy, soak it in hot water or slowly pour boiling water. If the picture color is affected with moisture and lead, it can be eliminated by smearing with hydrogen peroxide. The painting heart is moldy, black and red. The black mold is easy to apply. The red mold can be applied to the mold with potassium permanganate solution, and then coated with hydrogen peroxide and light oxalic acid water later. If the mold is not serious, it can be removed at one time. After decontamination with drugs, be sure to rinse the painting heart with clean water and remove the corrosion-free paper silk.
2、揭旧：揭前在画心正面用排笔蘸清水或温水刷湿，并覆盖新纸一张，反置案上待揭。古旧字画多有断裂，如在揭心之前，不附加垫纸，揭托之后，不易起案。画心局部颜色不稳定的，应稍施淡胶矾水，干后，再行闷水。有些残破糟朽的画心，当日揭不完时，应在已揭过的部位，均匀地放置些湿纸团，然后覆盖一层塑料薄膜，以防画心干裂错位。揭画心上的旧纸，一般应根据字画的薄厚、残状、颜色以及质地的具体情况制定揭旧方案。
2. Uncovering the old: before uncovering, wet the front of the painting center with a brush dipped in clean water or warm water, cover it with a new piece of paper, and put it on the reverse case to be uncovering. Many ancient calligraphy and paintings are broken. For example, before uncovering the heart, there is no pad paper. After uncovering the support, it is not easy to start a case. If the color of part of the painting center is unstable, light glue alum water shall be applied slightly, and then stuffy water shall be applied after it is dry. When some broken and decadent painting centers cannot be completely uncovered 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 centers from cracking and dislocation. For uncovering the old paper on the heart of the painting, generally, the uncovering scheme shall be formulated according to the specific conditions of the thickness, residue, color and texture of the calligraphy and painting.
3、托补：已揭好的画心，如完整，可调兑稀糊，托一层比命纸命绢稍浅的旧色纸。如有残缺，可用手将画心残处边际揉出薄口，选好补纸，端正纹理补上，并在补口边际搓出薄边。使接缝处厚度适宜。补缀残缺的绢本字画，一种方法是揭毕待干，用刀将残处刮成薄口，上糊补绢，浆口干后再修刮补绢边际，使补口相合。另一种方法是托上一层与原命绢质地、丝纹相近的薄绢。正面如有残缺，可用素纸补在托绢的背面，使画心薄厚统一，干后再用刀修磨画面残缺处的边际。托旧绢画心时，要用干纸吸去正面的溢糊，以免留有浆迹，影响古旧作品的“褒光”.
3. Supporting and Mending: if the exposed painting heart is complete, it can be adjusted and mixed with thin paste, and a layer of old colored paper slightly lighter than life silk. If there is any defect, you can knead the edge of the residual part of the painting heart by hand, select the filling paper, correct the texture, fill it, and knead a thin edge at the edge of the filling. Make the thickness of the joint appropriate. One way to repair the incomplete silk calligraphy and painting is to remove it and wait for it to dry, scrape the residue into a thin mouth with a knife, paste it and make up the silk, and then repair and scrape the edge of the silk after the pulp mouth is dry to make the joint match. Another method is to support a layer of thin silk with similar texture and silk grain to the original silk. If the front is incomplete, plain paper can be used to fill the back of the supporting silk to make the painting center thin, thick and uniform. After drying, use a knife to polish the edge of the incomplete part of the picture. When holding the heart of old silk paintings, dry paper should be used to absorb the excess paste on the front, so as not to leave pulp traces, which will affect the "praise" of ancient works
4、全色：字画经揭托，待干后，务使补纸补绢的矾性适度。否则，矾轻则透色，矾重则滞笔。全色时，应将颜色调兑得浅些，复次全就，使颜色渗进纸纹纤维，取得画面色调统一的效果。画心有缺笔的，补全时，需先审视画心气韵及用笔特点，然后轻勾轮廓，调兑颜色，进而全之，力求使补全的一笔一点、一墨一皴均与原画浑然一体。对于一些具有重要学术研究价值的经卷、书籍、契证等文物，经过洗污补托，如有残缺，不必求其复原，只把残缺处的色调全补得与通幅基本一致即可。
4. Full color: after calligraphy and painting are uncoated and dried, make sure that the alum of paper and silk is appropriate. Otherwise, if alum is light, it will show color, and if alum is heavy, it will lag the pen. In full-color, the color should be mixed lighter and repeated to make the color penetrate into the paper grain fiber and achieve the effect of uniform picture tone. If there is a lack of pen in the heart of the painting, when completing, you need to first examine the charm of the heart of the painting and the characteristics of the pen, then gently draw the outline, adjust the color, and then complete it, so as to make the completed pen, ink and texture integrated with the original painting. For some scriptures, books, deeds and other cultural relics with important academic research value, after washing and supporting, if they are incomplete, they do not need to be restored, but only the color of the incomplete parts can be basically consistent with the whole width.
