There are three main reasons for the cracking of the guqin panel: because the climate is dry, the guqin panel itself has internal damage, and the panel processing is not in place.

How to repair small cracks on guqin:

1. Glue

Degumming and cracking or loose attachments, no other common problems, first glue.

Method: remove the floating ash by brushing, tickling, blowing, etc. (the old ash in the piano cavity does not need to be removed). Use a knife, thin steel sheet, and fine wood sand to remove the old glue. Apply the isinglass evenly to the glue surface while it is still hot (it is best to use the glue on a sunny day when the temperature is 15°C to 25°C. In summer, the glue can prevent the glue from corrupting. In winter, the cold penetration of glue is not good to reduce the bonding strength), and tie it with a rope. Of.

Note: When using a clip, it must be lined with a rubber block to prevent the body from sinking in the stress part, and a rope must be lined with a lining to prevent rope marks. Glue to repair the old piano with loose texture, after the rope clip is put on, it is most likely to have lacquer sag (the lacquer layer is concave) and dents. It must be checked very carefully in advance, and marked on the weak parts, and special treatment to prevent the above symptoms.

2. The piano body is damaged and split

If it is damaged by splitting or incomplete, it is necessary to find wood with similar texture, wood grain, and age from old materials, and patch and glue it according to the method of yin and yang. The principle of repairing is to keep the original body as much as possible, but sometimes the damaged part will get bigger and bigger due to loose rot, and even cause an unmanageable situation. The loosened parts must be reinforced first and then reinforced in the order.

3. Bottom ash repair

In the restoration practice, it was found that the main components of the bottom ash applied on the qin before the Ming Dynasty were mostly antler ash or eight-treasure ash, and tile ash was rare. In the Ming and Qing dynasties, the tile-ash bottom was the mainstream, and the production technology and sound quality were mostly poor. Relatively speaking, the qin was easy to repair before the Ming Dynasty, and difficult to manage after the Ming Dynasty, because the tile ash could not withstand the raw lacquer process.

Gray repair method: The antler gray piano with peeling paint layer is treated differently according to the thickness of the paint layer. Thick base ash: The ancients divided them into three layers: coarse, medium and fine. Today, it is still better to operate according to the ancient method. On the one hand, it is in line with the raw lacquer process, and on the other hand, it is beneficial to the sound quality.

Use antler ash, coarse ash with a fineness of 60 mesh, medium ash with 80 mesh, fine ash with 100 mesh, and ultra-fine ash with 120 mesh (no medium-coarse ash or impurities should fall into the ultra-fine ash, otherwise the final fine-grained scraping Easy to get scratches. Thin bottom ash, make up with fine ash. The tile gray piano can be filled with ordinary magnetic powder and mineral powder.

The principle of ash-filling work is to keep the original work as much as possible. Try not to expand the repair area, so you should have a variety of gray knives (gray scrapers), and sometimes dozens of different sizes and types are needed. The focus of repair is on the parts within the string road and above the four emblems, as long as they keep their original appearance and are no longer damaged. Repairs other than the string road should also be treated differently, because it is not the finger contact part, the repair principle is the same as the above four emblems.

Common woodcarving works on ancient buildings, with the thickening of the so-called cultural relics protection paint every year, the characters' eyebrows, the landscape and the context are gradually buried, and the spirit of the works is lost. This can be cited as a ring for the restoration of the guqin.

4. Topcoat repair

The topcoat complements the lacquer color of the handed down Shiqin. It is very difficult for the restoration of lacquerware to achieve the harmony between the new and the original color. Even in the lacquer industry, although the masters with rich practical experience can achieve the harmony between the old and the new lacquer, the refraction observation shows that the new and the old are still clear at a glance. The unity of color and luster is so difficult, how to start with the guqin finish? It is better to refer to the basic tone of the piano being repaired for the repairing color.

Generally speaking, to coordinate the color of the topcoat, firstly, there must be a base ash that is in harmony with the original color, and then there can be harmony between the old and new paints. For black-colored pianos, the primers are mostly dyed black with raw lacquer. The vermilion qin is mostly made of cinnabar. After continuous comparison, it is found that these two colors are the closest to the two colors of Xuanzhu of the old qin.

The final process of topcoat repair is to wipe off. The traditional method is to use silk or old cotton balls, etc., and the effect is excellent.