What materials are needed for mounting Chinese paintings?

Calligraphy and painting mounting materials can be divided into basic mounting materials and decorative materials.

First, the basic mounting materials refer to water, paper and paste.

Water refers to clear water, which is used in supporting silk and silk fabrics and soaking pigments and glue.

Paper, the most commonly used is raw rice paper, which is mainly used to draw hearts, silk and covers.

Paste, the adhesive used for painting and calligraphy mounting, is made of fine flour or starch with gluten and bran removed. When beating, appropriate amount of alum should be added to prevent insects from eating in the future.

Second, the decoration materials include brocade, silk, silk and other auxiliary materials.

Brocade is a kind of silk fabric with two or four continuous patterns.

Ling, a kind of silk fabric with various patterns, is mainly used to install ceilings, fields, water barriers and so on.

Silk is a plain silk quilt fabric with different thickness.

Auxiliary materials include mast, ground shaft, shaft head, glue, latex, alum, pigment, silk rope, ribbon, bone nail, etc. Among them, the celestial pole and the earth axis should be straight, and the earth axis should have a certain component; The shaft head is used for the installation of shaft and hand roll, which not only has the function of convenient hanging, but also has a certain decorative effect, so the quality and beauty should be taken into account when choosing.

There is an antique Song Brocade for mounting pictures, which is very quaint. Generally, it is used on the plug of heaven and earth poles or as a brocade box, which is very good. Silk and paper are most commonly used for painting, while silk is less used.

Extended data

meaning

China's paintings and calligraphy are mainly made of silk or rice paper. Its material is thin, soft, durable and easily broken. In ancient times, in order to facilitate preservation and appreciation, several layers were mounted on the back of paintings and calligraphy with hemp paper and cloth, which was called "mounting".

Then gradually beautify, surrounded by thin silk fabrics such as silk, silk, etc., with one or more layers of paper on the back, and add necessary decoration, so that the original work is more solid, easy to stretch and hang, and meet people's viewing requirements. Therefore, mounting is a painting and calligraphy mounting technology developed with the development of traditional painting and calligraphy art. Mounting can be said to be the deep processing of calligraphy and painting.

Zhou Ming Dynasty said in the Record of Decoration: "The quality of decoration lies in the real name survival. Stealing the decorator is also the life of the book. " Whether it is mounted well or not is directly related to the survival of celebrity handwriting.

The author believes that mounting is a major event that determines the fate of calligraphy and painting. As Fu Baoshi, a famous modern painter, said in the article "Mounting Paintings is Difficult" published in People's Daily on June 3, 1957, "As a work of art, mounting is the most important level besides the artistic level of the picture", which shows the importance of painting and calligraphy mounting in the whole painting and calligraphy art.

New paintings and calligraphy should be mounted in time.

All newly written calligraphy and painting should be stored for a period of time to let the ink color and inkpad dry naturally, but it is best not to leave it for a long time, because when painting, it is impregnated with ink, color and glue, and it will wrinkle when it is dry. If it is not framed, it will not look good, but will change color.

Therefore, it must be mounted in time, so that the ink can be lifted off the paper, and the picture is vivid, which is conducive to moist, full and considerable colors. And after artistic design, it looks neat and beautiful, which can add charm. If it is not mounted, for example, the center of the picture is empty or broken into pieces. And not suitable for protection. If it is stored for a long time, the fibers of the paper silk will break from the folds, and the inkpad may be transferred to the picture.

Or inadvertently cause obvious damage, such as breakage, deformation, pollution, discoloration, water stains, etc. For example, yellow spots are most likely to appear, which are difficult to remove and easily lead to moth-eaten. Leaving hidden dangers for future collection will directly affect the beauty of framed paintings and calligraphy works, as well as their ornamental value and artistic value.

If it is often wet, it is easy to produce white, red and black mildew spots. If it's still sticky after it's wet, it's not easy to uncover it. Even if it is dried, it will become waste paper, rotten paper ash and cannot be preserved. On Tuesday of the Qing Dynasty, Xue Xue said in the Collection of Appreciating the Courtyard: "Calligraphy and painting are not decorated, which is harmful to silk; The decoration is not refined, and the ancient incense is eroded. " ("calligraphy and painting are not mounted, and the silk surface or paper core will soon be damaged; If the mounting is not beautiful, it will erode the original antique and antique charm of calligraphy and painting. " )

It can be seen that paintings and calligraphy must be mounted in time if they want to be permanently preserved and easy to appreciate, collect and circulate. The level of mounting technology, the choice of silk color and the design of mounting form directly affect the artistic effect of calligraphy and painting works. If there are new high-value paintings and calligraphy works, it will be icing on the cake if they are well mounted.

Re-mounting old paintings and calligraphy should be cautious and choose the right workers.

Paintings and calligraphy unearthed from ancient times are either poorly mounted, empty shells fall off, torn off during circulation, poorly collected and preserved, buried underground for a long time, rotted and sticky, or natural disasters; If the house leaks, it will be stained with traces of rain. If it is often smoked by smoke and dust, the heart of paper silk painting will turn black and yellow, and the ink color will be dim, or it will be bitten by insects and rats when it is damp and moldy, so that the pen and ink will be defaced, broken, and fall off, and it can no longer be hung up for appreciation and research.

Generally, the farther the working distance is, the more serious the injury is, and it needs to be reloaded. Re-mounting must be carefully uncovered and repaired. Repairing the old as it is, like a dead tree meets spring, can restore the "original appearance" of Gu Shuhua's works. Its effect is equivalent to reappearing the artistic life of ancient calligraphy and painting, reappearing the artistic style of the original work, which is conducive to appreciation and collection and prolonging the life of ancient calligraphy and painting.

However, it is necessary to be cautious in repainting old paintings and calligraphy, and to consult experienced craftsmen. Zhou in the Ming Dynasty said in the Book of Ornaments: "The previous generation of calligraphy and painting has been passed down to this day, and no one can leave it. If you want to modify it, it will be easier to get sick and delay medical treatment; If the doctor is not good, he will die with the medicine. The so-called' no medicine like Chinese medicine', if you don't meet a good worker, you would rather keep the old things. " The paintings and calligraphy of the previous generation have been passed down by many dynasties and have been preserved to this day.

If you want to reinstall it and change the decoration, it's just like seeing a doctor for serious illness. Doctors with good medical skills can get rid of diseases and recover quickly. If the doctor is incompetent, the patient will die after taking the medicine. Therefore, it is a mild treatment to keep patients intact without medication, and it is best not to use drugs indiscriminately.

By the same token, ancient paintings and calligraphy treasures have never met excellent mounters, and they prefer to preserve the old paintings that have been removed so as not to be exposed and destroyed by bad workers when they are re-mounted. Re-mounting of ancient paintings and calligraphy is like delaying the treatment of diseases, which shows the importance of re-mounting of ancient paintings and calligraphy. It is an important contribution to the protection of ancient paintings and calligraphy that the old paintings and calligraphy that need to be re-mounted should be repaired and mounted by traditional mounting technology so that they can be preserved for a long time.

If you meet a mediocre worker and make an operation at random, you will die, so the skill of mounting is the key to the survival of ancient calligraphy and painting. Only when the mounter improves his skills to a certain height can he better mount ancient calligraphy and painting, so as not to destroy precious historical sites by himself. For example, in the process of uncovering and repairing, old calligraphy and painting are often rinsed with bleaching powder in order to be clean and beautiful.

A little carelessness will cause more serious corrosion to the drawing paper. This will do great harm to the protection of historical sites. Gu Shuhua, which is very precious, can be re-framed, and its value can be doubled. If it is not reinstalled, it will become waste, so be careful.

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