RepAiRing pROject : Tian-Tsui hairpin, the beads。點翠髮簪，紀錄（四）。

There are loops and wires at the back of the hairpin. They are not only the structure for the hairpin layers but also how the beading is set on the hairpin. In addition, there are threads in different colour as well - the evidence that shows the hairpin owner(s) had done many repairs.

To repair the beading, the beads should be removed from the hairpin and cleaning is certainly needed.

髮簪的狀況分析大致告一段落了，接下來是各部位的拆解。

珠簾的狀況很單純：必須拆下來清洗、補齊遺失的珠子、重新編串。在髮簪的背面可以看見，珠簾是用棉線穿過已經固定在髮簪上的細金屬線所繞成的圈（細金屬線也是金屬花片的連接與固定支架），再以纏繞或打結的方式定位。看得出來它被修補過很多次⋯⋯除了已經散落的部份是原版棉線，還有其它顏色的線，包括用紅線包覆的、更細的金屬絲⋯⋯應該是覺得棉線容易斷，所以用金屬絲；但是為什麼要用棉線再包覆⋯⋯也許是因為金屬線很細＋與金屬花片是相同顏色，如果是兩種顏色的線，可以讓修補工作比較容易？

是謎。

The loops are still there but some wires are broken or detached from the hairpin. There are wires that wrapped with thread and I have no idea about the reason for doing this.... maybe it is because the wires are so thin and the colour is the same as the hairpin layers, so it would make the repair much easier if there are two colours. There are also broken hoops that connecting to the loops and could be from earlier repairs.

把線拆下來之後看得更清楚，有些可能是更早的修補痕跡，也都已經斷裂。小心卸下。

All the threads and wires are removed and the beading is detached. Ready for cleaning. I did it with sodium bicarbonate.

鏘鏘（髒髒～）

本來打算用無患子，但是沒有了／改用小蘇打。先用筆毛輕刷。看得出來清洗前後的差別嗎（下左一的綠色石頭）？

百年塵埃落定，進行第二次的清洗⋯⋯換個盤子，對石頭與眼睛都好U///U

清洗前清洗後完全判若兩珠。我想起「一束白花」的故事。

They are in proper colours now!

下一步就是尋找補的珠子了。嗯⋯⋯接近一世紀之前的珠子嗎？（沈思）

RepAiRing pROject : Tian-Tsui hairpin, the beading。點翠髮簪，紀錄（三）。

There are two parts of the beading on this hairpin: bead net and bead fringe, and two beads in different colour and shape are used: white beads are used for both the net and the fringe, and green beads are used only at the end of each string/fringe as a decoration.

Half of the beading is almost destroyed and the beads are gone, whereas the other half is in good condition so I could use it as a reference.

可能因為年代略早，也可能因為它沒有被好好地對待，髮簪的狀況除了金屬的部份損壞、珠簾串繩鬆脫，珠簾也散落了一半，珠子都不見了。幸運的是，另一半的珠簾完好依舊，所以看得見珠簾原本的模樣。把髮簪立起來看得更清楚些：

There are ten green beads. According to the good beading part I know there are five green beads on each side of the hairpin, and for the white beads, I will have to find out how the beading was made, then I should know how many white beads there are.

數學課開始了。

珠簾用了綠色與白色的兩種珠子，其中綠色的有十顆；對照完好的另一半珠簾與串繩固定的位置，可以得知綠色珠子沒有遺失／一邊五顆。白色珠子的數量則必須對照各分段的長度，重新計算。

 

It's not difficult but time and patience are needed. I was marking and making a diagram while counting and calculating so everything is easier.

這個步驟比較繁瑣，需要一段段數，找出它們排列與編織的邏輯，然後註記。一一標示之後再掛起來，畫結構圖，就一清二楚了。白色珠子至少有三百顆。

There are more than three hundred white beads are used for the beading, and about sixty beads are missing.

To be continued.

待續。

RepAiRing pROject : Tian-Tsui hairpin, the body。點翠髮簪，紀錄（二）。

Apart from the feather, a bit of the left part of the hairpin body was also detached and only connected with few wires. I presume that this is one of the reason that the beading part is broken too therefore some beads are missing.

這支老髮簪損壞的狀況，大致分成三個部份。第一個當然是點翠，已經幾乎全部消失，只剩下還殘留在夾層之間的極少幾片。

第二個是珠簾。從髮簪的背面可以看見，珠簾串繩斷裂、有一半的珠簾幾乎脫落、珠子也遺失了許多。其中還有應該是原持有者的修補痕跡，但是狀況也不太好。

第三個是髮簪本體，其中一邊的金屬花片斷裂了，推測這可能也是造成珠簾脫落、損壞的原因之一。

I suppose that this is how it looked like:

與狀況比較好的另一邊對照，原本的樣子應該是如此：

Let's have a closer look.

髮簪全貌。

當初在介紹這支髮簪的文字中有提到：不可以違背文物修復倫理／不能破壞它。關於古／文物的修復，我大概有一些基本概念，但是並不完全，於是稍微做了一下功課。後來與館主碰面的時候，她說：其實這支髮簪，已經殘破到我可以不必理會是不是會違背修復倫理的程度了，就把它當成材料吧，讓它再美一次就行。

既然她都這麼說了，我當然就⋯⋯盡量朝著不違背的方向前進。

To be continued.

RepAiRing pROject : Tian-Tsui hairpin, intro。點翠髮簪，紀錄（一）。

Hairpins have been one of my favourite ornament because of the elegance, fineness, and the most important character: feminineness. I have got an old hairpin recently from my friend, who is hairpin collector and researcher. If you are interested in hairpins visit her online museum and you will see everything about hairpins.

髮簪一直是我很喜歡的飾物之一，覺得它是最女人的飾品，尤其步搖。好幾年前由於各種因緣際會發現／認識了髮簪博物館－一位因為「很喜歡髮簪」所以蒐集、學習、研究各種與髮簪相關的一切人事物，並且前往世界各地進行調查與交流的奇妙女子所成立的。在她分享的文字與相片之中，可以感受得到一個人熱愛一件人事物的心。作品是藏不住人的。

I found this hairpin in her collection / online shop few months ago. This is a Tian-Tsui piece but there is only a little feather left, since it is an old one (1900s) and might not be treated very well. Some parts of its body are broken too. The condition of the hairpin is poor.

之前在她的相簿裡發現了這件老髮簪。它是點翠髮簪，大約是清末民初的物件；但是年代久遠，現在只剩下髮簪的夾層之間，還有一點點殘餘的羽毛。她告訴我：「會買它是因為它快壞了，想把它修好。」。

I like creating, and I like repairing as well. They seem to be two very contrasting ideas, however, they could be one thing as they are having same steps but going different directions.

修復對我來說是一件非常有趣的事情。某方面來說它也是一種創作，而且是必須結合邏輯推理的創作，才能讓物件回復到它應該有的模樣與氣質，無論是日常用品的修復，或是創作、訂製物件回廠的保養與修復。但是面對㊣古物，我是（還）沒有經驗的。於是，當我看見這支髮簪在尋求修復的時候，猶豫了非常久，終於鼓起了勇氣說：我想挑戰。

待續。

I have finally volunteered for repairing this hairpin, and asked my friend for more details about the hairpin itself, and about conservation. This is new to me, and all I could do is doing my best.

Thanks to my friend, Miss Hairpin.

Carol and Stephen。貝樂一家。

'Kan-chiu', ring design for couples. Kan-chiu means 'holding hands', and the name for wife in Taiwanese.

牽手，執子之手，與子偕老。

這款設計是大學時期的創作，也是難得很喜歡的作品之一，因為它讓我經歷了：當想要將腦中的靈感與概念，畫／化為2D的想像、再製作成實體3D物件，應該如何思考與克服的問題點們，讓它能真正成為陪伴著・互相陪伴的人們的信物。謝謝超級好朋友對它的喜愛，讓我迠次是用自己的手將它化做真實！看見她／他們幸福真的讓我很開心💝💝我知道你們倆一定會像這組指戒一般，交錯著交疊著的手，一起守，一起走。

HAppiLy eveR AfteR tO Carol and Stephen💝💝

Gem SHIHlica。石．寶。

Gem silica ring, re-design and make, again.

再次改款。

戒圍漸鬆，以致於佩戴的時候寶石會往兩邊滑動。然而直接縮小戒圍，是適合指根與指關節直徑相近的解決方案；對於指根與指關節直徑有些差距的手，我選擇了一個略瘋狂的做法：將戒環的寬度，減到盡可能窄。

戒環寬度改變，款式也得跟著調整，否則未必適合／好看。順應著「窄戒環」這條主軸，我將所有線條簡化、纖細，同時也降低寶石鑲座的高度，使它更貼近主人纖細的手指，並在細節部份做了修飾，讓寶石看起來更圓潤可愛也優雅。

https://hsusharol.blogspot.com/2014/09/gemshihlica.html

Moo0on。朤。

The moon of hers.

The moon of hers.

The moons of yours.

The moon for her.

The moon for her.

The moons for you.

朤ㄌㄤˇ

字義：音、義與「朗」同。

部首：「月」。

總筆畫：16。

讀音：「ㄌㄤˇ」「ㄓㄠˋ」「ㄧㄠˋ」「ㄩㄝˋ」。

http://chardb.iis.sinica.edu.tw/char/13130

朗。照。耀。月。

It's her.

AnnyGood。安．好。

Have you found the secret that is hidden in the logo behind the coffee shop 'Anygood' on the 2nd floor at Ren'Ai Market, in the city centre of KeeLung, Taiwan?

她是個笑容爽朗、心思細膩的女子，純粹只為傳遞家鄉的、咖啡的、生活的，種種美與好，回到基隆，在最基隆的地方﹣嵌仔頂旁的仁愛市場，開了一攤小小的咖啡舖「Anygood」，多好咖啡。攤位後方的標準字招牌，藏著兩粒水滴。那是基隆的雨、是咖啡的液，也是滋潤著Anny與這個地方的水滴。

咖啡好喝。有多好喝，去趟多好就知道了。

If not, find the shop and the barista girl would tell you the story about the secret, and the story of anything about KeeLung.

my kintSUgi / kintSUkUROi pRActiceS02。金継ぎ／金繕い，練習（二）。

After asking bakers and pâtissiers, I bought three - very high-gluten, bread, and cake flours for my kintsugi / kintsukuroi practices, for the reason of different texture and water-absorbency.

在練習（一）裡提到過，在問過糕點師傅們之後，我買了日本的特高筋、高筋、低筋三種粉進行實驗。不同筋度的麵粉吸水性不同，麵糊／麵糰的質地、黏性也都不一樣；另外，也許這聽起來偏執了些，但我是認真地認為麵粉的顆粒越小的越好（日本製的麵粉顆粒最小），越能細柔地填滿每一絲縫隙。

For the proportion of the flour and water, I thought that it doesn't have to be 1:1 (as in the DIY video) as long as the paste has a good texture (then makes a good mixture with lacquer), but I think that I was wrong: the mixture was getting weak after a period of time as it has lost the elasticity and became watery; as a result, the mixture couldn't hold the broken pieces nicely (I believe it's not only the lacquer to join the pieces together but also the flour - at beginning). So I go back to the proportion of the flour and water again.

關於麵粉：水的比例，在練習（一）裡的幾次實驗都是以1：1的比例調製，粗略得到了「粉與水的比例不是那麼重要／加水的速度與攪拌才是重點」的心得；然而，在修復過程中，放置一段時間的麵糊筋度會開始消退（好像是因為澱粉老化造成的？），導致黏著劑的黏合力減弱（直覺認為在修復的時候並非完全是以生漆黏合，麵粉的黏性也略有影響），於是我想：也許影片中使用粉：水＝1：1的比例是有其道理的，否則應該不必特別註明比例，只要說明麵糊的濃稠度就可以了？

The result was good. The 1:1 paste made a much better mixture as the texture stayed in a good condition even after a period of time (and until I finished it), neither became watery nor too dry.

因此我又回到粉：水這個步驟，以與麵粉等量的水，一滴滴加入、攪拌成適當的濃稠度，再加入生漆調製黏著劑。幾次的實驗結果都是相同的：以粉：水＝1：1調製的黏著劑即使放置、使用經過一段時間，依然維持著濕度、黏度適當的狀態（直到使用完畢）。

關於筋度。越高筋的麵粉吸水性與黏性都比較強，質地略粗，乾得也比較快（麵糊階段）；低筋麵粉的吸水性略弱，質地細緻，乾燥速度也比較慢。以等量的水調製麵糊的時候，低筋麵粉要以特別慢的速度加水，否則比起特高筋與高筋，不小心一次加太多水的結果⋯⋯洗掉重來會比較快（特高筋與高筋麵粉，多攪拌幾次就救回來了）。

Last but not least, the differences between the three flours are:

Very high-gluten flour: water-absorbency is high, therefore it dries fast, and the paste has a rough texture;
Bread flour: water-absorbency is medium and dries slower than very high-gluten flour; the texture of the paste is medium too.
Cake flour: water-absorbency is low, therefore it dries (very) slow, and the paste texture is fine / smooth.

當初會買三種筋度的麵粉⋯⋯其實只是好奇心＋強迫症的性格使然，想知道 每 一 種 結 果⋯⋯。在實際使用上的差別並不大，關鍵點還是麵糊的狀態；不過個人習慣是會搭配天氣濕度使用⋯⋯持續實驗ing（說不定根本沒差別）。

It's not too different either using very high-gluten, bread, or cake flour to make the mixture as long as the paste texture is good. I am using all of them depending on the weather though. Experiment continues.

my kintSUgi / kintSUkUROi pRActiceS01。金継ぎ／金繕い，練習（一）。

I have fallen in love with kintsugi (golden joinery) / kintsukuroi (golden repair) for a while, not only because of the idea of wabi-sabi, but also behind this, I see the concept of 'respect' - well, it might not be very precise, but it is the closest word to my thoughts.

不記得是什麼時候對金繼／金繕開始有興趣，只是漸漸察覺，每次看見那些「線條」，就感到⋯⋯很放鬆，彷彿被帶進另一個空間；更進一步，開始對「修復」這件事情感興趣；再退一步看它，除了殘留缺．美，是「惜物」的概念讓我著迷。

Recently I have found a short video that showing the kintsukuroi  / kintsugi techniques. It looks not too difficult, so I start doing research and studying it myself. Firstly, I have to get the ingredients for the 'glue'.

前陣子在網路上看見一段金繼／金繕DIY的影片，決定自己先來研究一下。整段影片都是日文說明（文字），沒有中文翻譯；不過示範得很詳細，不難理解。以漢字的線索，可以得知影片中的修復者所使用的黏著材料之一是麵粉。

但是使用哪一種麵粉呢？問了糕點師傅們的意見，我買了日本的特高筋、高筋、低筋三種粉，進行實驗。

I bought three flours with different gluten content: very high-gluten flour, bread flour, and cake flour. See the thickness experiments (basic, flour and water only) below:

cake flour

低筋

bread flour

高筋

very high-gluten flour

特高筋

第一次的實驗，麵粉：水的比例都是1：1。很明顯地，以等量的水調低筋麵粉會太稀，完全無法當黏著劑使用；高筋麵粉也是，不夠OK；只有特高筋勉......強......稠一些。

The proportion of the flour and water is 1:1 (for all three flours), but it is too much for cake flour and bread flour, and still thin for very high-gluten flour. To have the best result, the crucial point is to add water slowly, bit by bit until it reaches the appropriate texture; in addition, flour with higher gluten content absorbs more (and quicker) water than lower one, therefore I would wash away a NG texture and redo a new one if I was using low-gluten flour, whereas if I was using a higher one, I would add more flour (bit by bit) to fix it up. Higher is easier.

以粉：水是1：1的比例為基準，經過幾次的實驗與推翻發現，其實粉與水的比例不是那麼重要（當然也不能太離譜），因為重點在於加水的速度與攪拌。不過筋度高的麵粉吸水性比較好，所以如果一開始不小心加了略多的水，越高筋的麵粉比較不受影響，也比較容易救；筋度低的不是不能救，但是洗掉重來會比較快。當然，如果真的加太多了，無論是哪一種麵粉，還是洗掉重新調吧。

有機會也試一下糯米粉。

Golden Age－Joint Exhibition of LOHAS Creators Achievements and Gold Museum Collection 黃金歲月－駐館樂活創意家成果 暨 黃金博物館典藏品 聯展

Rescheduled: until 2016Sep25Sun. Come and see the old and new talents!

快來，看 古 與 今 的創意與手藝。

時間：2016／02／26（五）～2016／09／25（日）

地點：新北市立黃金博物館 金水特展室＋煉金樓特展室

Golden Age－Joint Exhibition of LOHAS Creators Achievements and Gold Museum Collection 黃金歲月－駐館樂活創意家成果 暨 黃金博物館典藏品 聯展

Open。

時間：2016／02／26（五）～2016／05／29（日）

地點：新北市立黃金博物館 金水特展室＋煉金樓特展室

Under the Mt. Teapot。茶壺山下。

Under the mountain. Cats. JinGuaShi.

Under the mountain, there are cats in JinGuaShi.

Under the mountain, there are cats and JinGuaShi. Under the Mt. Teapot.

茶壺山下。貓。金瓜石。

在祈堂路176號。

Aggie and David。艾姬與大衛。

My special friends. A set of two. Very special wedding rings.

非常特別的結婚對戒，屬於一對特別的朋友。

一定特別幸福。

Happy marriage！

My dear necklace。

Refilled.

PH 〇。智。

大環也是小鐶。

A bangle. A big ring. A big huan. Another little HUAN.

The little HUANs, grandma's children.

小鐶系列，是阿嬤的孩子。

- Like。如。

Rong's daughter. Grandma's grandchildren.

 月，

 柚，

與桐。

The little HUANs, grandma's children.

小鐶系列，是阿嬤的孩子。