How to protect the home collection of calligraphy and painting?

The art of Chinese calligraphy and painting has a long history. A history of the development of Chinese calligraphy and painting is accompanied by the development process of Chinese history, therefore, people identify calligraphy and painting, need to master more history and professional knowledge than the identification of artifacts, there is no doubt about it. Painting is the second language for human beings to describe the natural world and to express their thoughts, emotions and aesthetics. The paintings on Neolithic pottery show us the paintings of ancient mankind, through which we intuitively understand the production and living conditions of mankind at that time, especially interpreting the content of human social life which is difficult to be shown by mere artifacts.

On the contrary, the mastery of history and professional knowledge, also has an important role in the identification of painting and calligraphy. To identify ancient paintings and calligraphy, it is also very important to know the characteristics of paintings in various periods in history, the schools of various masters, and the painters of various schools. If the works do not conform to the school and painting techniques of the painter, the possibility of counterfeiting is very high; there are other methods of counterfeiting, such as printing and painting to fill in the ink, unmasking the life of the paper and re-mounting to fill in the ink, filling in the mark without the mark and adding the false inscriptions to imitate the famous paintings, using the old paper and old ink to paint the old paintings, there are new imitations and old imitations, etc., and there are many methods of using the old brocade and other old decorations, etc., which are necessary to learn from the old and experienced connoisseurs. On the appreciation of the main points, ancient and modern dynasties have a lot of book reviews, the collection of appreciation is very helpful. Here mainly on the protection of painting and calligraphy to talk about personal experience. The protection of painting and calligraphy of cultural relics, is the premise of identification and appreciation. It is the careful protection of the predecessor, so that many of the ancient paintings have been passed down to the present day, to satiate the eyes of our present, so that we have the culture of the predecessor. Well, in view of the special nature of the texture of the painting and calligraphy, in terms of protection we should pay attention to the following matters.

Cleaning treatment

Dirt on the artifacts is harmful to the artifacts themselves, before the collection should be properly cleaned. The cleaning treatment of calligraphy and painting cultural relics to over wind shaking and drying mainly. In the dry and humidity phase appropriate house, the calligraphy and painting exhibition release, axial painting can be hung, by the breeze blowing, the surface moisture and dust blown away. Using this method, to choose a clear and mild good weather, neither in windy days, nor in cloudy days. Windy and dry, will make the paper artifacts brittle and broken, cloudy and cold will increase the dampness caused by mold and other damage. In the north, generally choose a high and clear day in the fall. Shake drying time should not be too long, the family to two or three days is appropriate. Shake drying should not be in direct sunlight, because the light on the calligraphy and painting heritage damage is very big. Ultraviolet and infrared irradiation will make the paper ink, color fading, direct sunlight will make the paper goods too dry, shorten its life. Some southern regions have the custom of sunshine in the three ambient days of the scriptures, but the north is not suitable, especially pay attention to not in the spring season of poplar flowers shake drying. Poplar flowers have oil and moisture, stained will leave oil marks. Moreover, the Yanghua inevitably have insect eggs and other microorganisms, in the painting and calligraphy on the reproduction will cause moth damage. After shaking and drying, need to use soft hair duster gently dusting the painting and calligraphy of the front and back sides, dusting with the side of the duster, so that the duster parallel to the painting, rolling light dusting, if the duster and the painting of the vertical dusting down, it is easy to make the duster stick poke the heart of the painting. After removing the floating soil roll good collection. Roll the painting should pay attention to the speed to be slow, with the momentum of the roll, to prevent bruising the page. Maneuver is the first loose volume, rolled after the lace will be misaligned, and then tight, if the first roll tight, found not rolled Qi can not be adjusted, of course, it is best to once rolled Qi, try not to adjust.

Anti-moth-eaten treatment

Books and paintings of cultural relics of another enemy is the insect. First of all in the general environment to do a good job. Storage of paintings and calligraphy indoor, you can every once in a while with electric mosquito coil smoked house, summer a month for a time, winter can be extended. Electric mosquito coil is harmless to human body, can kill small moths, prevent their eggs into larvae. In addition can also be put in the painting and calligraphy of the box cabinet put camphor class anti-insect products, but to use the paper package, can not directly contact with cultural relics. If the collection of paintings and calligraphy insect infestation, must be immediately insecticidal. The safer and more reliable way is to use Chinese herbs to kill insects. With the "bitter practice son" (Chinese medicine, has the effect of qi), half of the tobacco veins, research into powder, sprinkled around the insect artifacts, a week later, the bugs will be all dead. You can also use "rue", "Phellodendron Bark", "pyrethrum", the traditional herb to get rid of insects.

Framing

Remounting of damaged paintings and calligraphy is also a measure to protect and save. As the old saying goes, "monuments remounted as a disease doctor." Selection of ancient paintings and calligraphy, framing as much as possible to require clean and beautiful, which creates innate excellent conditions for future protection. Not like some people think of ancient paintings the more yellow the more dirty old the better, and some also intentionally new paintings smoked yellow mounted into the old kind. To know, clean ancient paintings than the value of yellow old ancient paintings is much higher. If not, framing once, the damage to the painting is more than one point. Because, the painting of the spirit of the characters, color, flowers and butterflies, these are only about the thickness of between, framed once, there will be a loss, especially the ancient paintings, has been passed down for a long time, perhaps has been more than one unveiling, to reduce and then unveil the framing is also protection. Unmounting the process of roughly wash painting, unveil the bracket, patch, lining several major processes. Ancient people have to pay attention to each process, including the production of paste, etc., the Ming dynasty ZhouJiaHu written "decorative Zhi" detailed records of the specific practices, for future generations to learn from the valuable information left behind. Nowadays, if the ancient paintings for protective framing, must ask good craftsmen, with traditional methods of framing, do not use chemical paste and electric oven. First, high-temperature baking to promote fiber aging, the second will affect the future and then unmounted.

Additionally, the view of the painting also has to pay attention to, under the lamp, rainy days, after drinking, vulgar children do not view the painting. Commoner refers to people who do not have the experience of painting, "scrolling shall not be its method, the most harmful things." Viewing paintings should also pay attention to can't touch the hand pointing to the heart of the painting, can't fingers holding cigarettes while smoking, talk about avoiding spittle splash to the painting, turn the pages of the booklet hand in the booklet underneath or on the side, to turn over gently, to prevent tearing. Whether looking at paintings or albums, hand grip to be light, do not hold tightly, but also wash your hands before.

Other notes

In addition to some of the aspects mentioned above, the protection of painting and calligraphy heritage should also pay attention to moisture. Moist cultural relics will be prone to mold, mildew stains will remain on the painting and calligraphy can not be removed, resulting in irreversible damage. Prevent mold and mildew first of all to make the storage of paintings and calligraphy indoor can not be too humid. To store paintings and calligraphy in the main room, the general back of the house will be mostly damp; modern living conditions can be used, such as in the moldy rainy season, the air conditioning will be turned on, the indoor temperature is not high, you can turn on the dehumidification function, will be the indoor moisture to get rid of. Ancient people believe that, generally in the rainy season before the need to hide the painting, and to be stored in a sealed painting box. In addition to do the painting box also have to pay attention to, small paintings to do box, with fragrant nanmu, large paintings to do cupboard, with beans nanmu or fragrant nanmu. Volume with the old brocade as a capsule, mixed with sandalwood cotton tire, not only moisture, stretching incense, but also anti-insect. This is also our view of ancient paintings, a painting, always have a sandalwood flavor overflowing, that is, the ancients will be books and incense and mention such as the "book of the family," the reason for it. It is this kind of close protection, so that we can see the ancient painting and calligraphy handed down to the present day. Of course, the collection of calligraphy and painting not only moisture, too dry is not good. Paper is composed of natural fibers, too dry will make the fiber fracture, that is, we see some paintings open like a pastry point of mind, the picture into a piece of a piece of the broken cause. Once this kind of fracture is difficult to repair, even if the repair, the price will be very expensive, may be much higher than the value of the painting itself, with such technology craftsmen are also more difficult to find. Age-old paintings sometimes picture of mineral pigments will oxidize, commonly known as "anti-lead", can be washed with hydrogen peroxide, but to be in the framing store is better.

The protection of paper cultural relics, also applies to silk artifacts. In addition to ivory, bamboo carvings, horn carvings and other organic cultural relics protection points, but also basically very different, are to prevent mold, insects, moisture, dry cracks, sun protection and so on. Maintain a good storage environment, the collector's own living environment is also good. Good environment will also bring a good mood, generally we see the old-timers or collectors of cultural relics, there is no hot-tempered, vulgar, this is a long-term cultivation and cultivation. Regardless of what rare masterpiece, can not move, do a careful observation, calmly identify, in a silent place to hear the thunder.

Collection and appreciation of ancient and modern painting and calligraphy, is an elegant thing, it shows that the owner has a certain cultural literacy. Protect these paintings and calligraphy, China and even the world's cultural heritage is very meaningful, and the process of collection and protection, but also on the collector's temperament cultivation, after work and tea fiddling, is also a collector's great pleasure, so I hope that the above can be useful to the majority of collector friends.