巧手匠心，彌合歷史縫隙

文／刁艷杰 圖／何延海

山東博物館內(nèi)的“80后”文物保護(hù)修復(fù)團(tuán)隊(duì)，用匠心讓文物重現(xiàn)光華。The “Post-80s” heritage conservation and restoration team in the Shandong Museum reproduce the brilliance of cultural heritage with their ingenuity.

對于文物修復(fù)師，人們總是充滿好奇。在大多數(shù)人的印象里，他們是藏于“深宮大院”的老者，遠(yuǎn)離大眾的日常生活，充滿神秘感。其實(shí)，這群身懷絕技的人，離我們并不遙遠(yuǎn)，也并不老邁。

從山東博物館的北門進(jìn)入，行至四樓的文物保護(hù)修復(fù)實(shí)驗(yàn)室，一群“80后”文物修復(fù)師正用技藝彌合歷史的縫隙，讓沉睡千百年的文物漸次蘇醒，重獲“新生”。他們雖分工不同，但都對文物的保護(hù)修復(fù)持有一份熱愛。

任偉是山東博物館一名青銅器修復(fù)師，入行9年來，他參與修復(fù)的文物有1000余件。青銅器是金屬器類藏品之一，它們由于長期埋藏在地下，與土壤中的水分、氧氣、各類鹽類發(fā)生緩慢的化學(xué)反應(yīng)，表面形成各類銅銹。據(jù)任偉介紹，青銅器上的“銹”有好壞之分，并不需要都去除。文物修得好看不是目的，如何分辨這些“銹”，進(jìn)而最大程度地保護(hù)文物才是宗旨。

馬瑞文正在用超景深顯微鏡觀察文物微觀形貌。Ma Ruiwen is using an ultra-depth-offield microscope to observe the microscopic appearance of the cultural relics.

李晶正在檢測博物館展廳內(nèi)的環(huán)境指標(biāo)。Li Jing is testing the environmental indicators in the exhibition hall of the museum.

經(jīng)紡織品修復(fù)師的巧手縫補(bǔ)，千年紡織品得以“化腐朽為神奇”。Mended by textile restorers, millennia-old textiles have been transformed from “Rotten to Rare”.

排筆是文物修復(fù)師刷宣紙、漿糊的好幫手，毛要軟且細(xì)膩。The combined brush (comprising a row of brushes) is a good helper for heritage restorers to brush rice paper (Chinese art paper) and paste. Its bristles are required to be fine and soft.

紙張修復(fù)對干濕度要求嚴(yán)苛，如何用水成為修復(fù)的關(guān)鍵。Paper restoration has a strict requirement for dryness and humidity. How to use water is the key to restoration.

如青銅器怕濕一樣，紙張怕干、彩繪怕光照……每一種文物都有自身適宜的保存環(huán)境。文物保護(hù)，預(yù)防為先。穩(wěn)定、適宜的環(huán)境指標(biāo)能夠顯著減緩文物的老化速度，減少病害的發(fā)生?，F(xiàn)在大家普遍認(rèn)同環(huán)境對文物的重要性，預(yù)防性保護(hù)意識有很大提高。

走進(jìn)李晶所在的實(shí)驗(yàn)室，山東博物館各個展廳的溫濕度、二氧化碳、二氧化硫、光照度、揮發(fā)性有機(jī)化合物等各項(xiàng)數(shù)據(jù)，在環(huán)境監(jiān)測平臺上實(shí)時跳動。從微環(huán)境到小環(huán)境，從大環(huán)境到室外環(huán)境，覆蓋全館的230個傳感器，連接著一臺黑色的數(shù)據(jù)庫應(yīng)用控制器，有任何異常，李晶都會在第一時間知道。

同時，伴隨著科技的進(jìn)步，各種光譜及顯微技術(shù)應(yīng)用于文物信息提取、組成成分及病害成因分析等方面，讓文物修復(fù)變得更加精準(zhǔn)高效。作為文化傳承保護(hù)的重要方式，文物修復(fù)是一場穿越千年的對話，文物修復(fù)師在對話中敬畏，修復(fù)技藝在對話中傳承。

文物修復(fù)師許剛正在對書畫進(jìn)行吸塵。Heritage restorer Xu Gang vacuums calligraphy and painting works.

魯元良正在將書畫進(jìn)行上墻平整，一幅書畫作品的修復(fù)至少需要上墻三次。Lu Yuanliang is putting paintings and calligraphy on the wall and leveling them. The restoration of a painting and calligraphy work needs to be on the wall at least three times.

在任偉看來，文物修得好看不是目的，最大程度地保護(hù)文物才是宗旨。In Ren Wei’s view, the goal is not to restore cultural relics beautifully, but to protect them to the maximum extent.

Entering from the north gate of the Shandong Museum, walking into the Laboratory of Cultural Heritage Conservation and Restoration on the fourth floor, you will see a group of “Post-80s” heritage restorers using their techniques to bridge the gap of history, to awaken those cultural relics sunk in sleep for thousands of years, and to make them come to life again. Assigned to different posts, they maintain a passion for heritage conservation and restoration.

Ren Wei is responsible for restoring the metal ware in the museum. Engaged in the profession for nine years, he has participated in the restoration of more than 1,000 cultural relics. In his view, the goal is not to restore cultural relics beautifully, but to identify “Rusts” and protect cultural relics to the maximum extent.

With the development of society and the progress of science and technology, more new elements have been integrated into traditional heritage restoration, which has gradually become part of the concept of “Heritage Conservation”. Now, the importance of the environment to cultural heritage has been widely recognized, the awareness of preventive conservation has been greatly improved.

In restorer Li Jing’s laboratory, all data of each exhibition hall, including temperature, humidity, carbon dioxide, sulfur dioxide, luminance, and volatile organic compounds, is flashed on the environmental monitoring platform in real time. From the microenvironment to the small environment, from the big environment to the outdoor environment, 230 sensors covering the entire museum are connected to a black database application controller, which will immediately inform Li Jing of any abnormality.

Meanwhile, with the progress of science and technology, and the application of various spectroscopic and microscopic techniques to heritage information extraction, composition and disease cause analysis, and so forth, heritage restoration has become more accurate and efficient. As an important way of cultural inheritance and conservation, heritage restoration is a dialogue across millennia. In the dialogue, heritage restorers hold heritage in awe, and pass on restoration techniques.