Questions about the protection of Chinese calligraphy and painting collection.

I. I have been collecting paintings and calligraphy for decades, and I am interested in this issue. Tibetan community has two views and practices:

1, soft pieces of collection:

To get directly from the calligraphers, painters themselves, soft pieces of soft pieces of calligraphy and painting, after retrieving the word painting, without framing, small pieces of soft pieces of plastic film bag, flat in the special Tibetan box. At certain intervals, in dry climatic conditions, take out the wind. Large-format soft film, only folded up, and then collected as above.

2, framing collection:

According to the work, according to the Chinese calligraphy framing form needs, framed. Also need at the right time, under the right conditions, hanging or spread out (such as booklet) placed, breathable.

Two ways, I use the second.

3, framed, soft collection of pros and cons

Soft:

One is not conducive to viewing and appreciating, just as a "baby" hidden. Otherwise, every time you take out, almost equal to the damage once, especially the need to fold up the large soft pieces. Since I like painting and calligraphy, the collection of things will certainly like to often take out to play and learn (I am so), even if the plastic film mounted in the small soft film, but also will bend, knead (of course, when the bag attached to the flat plate will not be kneaded, but the area, the volume is large, the cost is high). Traditional hand mounting, it is for these needs, created.

The second is that Xuan paper (and probably other paper as well) becomes brittle in nature over time. (This is also a trick to identify old paintings, many fake paintings surface is very old, but the rupture is not brittle, is made by mankind) paintings themselves without the auxiliary carrier (I will temporarily mounted so called), but also do not dare to move, move is damaged. Those folded and stored in the large soft pieces, folded in some years on the damage, serious slag, small holes, and then clean up is also a patch. I have a few precious calligraphy and painting soft piece, that is, decades, more than ten years, the number of viewing and playing is not a lot of times, is the emergence of these situations, only to rush to repair framing. Although the restoration of the framed look out, but in fact the original work has been damaged.

Traditional framing, even after a long time, can also be re-mounted.

Two, I think it is still good to frame the collection

1, to use the traditional handmade framing, machine framing application of adhesives, heat pressure, certainly not favorable to the painting and calligraphy. Modern people in order to avoid the disadvantages of machine framing, more than the first hand-to-painting center, and then machine hot pressing paste damask, overlay back. I think in these two hot pressing process, are the damage to the work. And after a long time, the adhesive is a chemical substance, whether it will penetrate through the layer of bracket paper, penetration jeopardize the work? The answer should be yes. That's why I don't frame anything except for the scenery.

Handmade framing process, is the collection of Chinese calligraphy and painting for thousands of years has formed the "successful practice". I think it should be after thousands of hard exploration, summarized, is conducive to viewing, conducive to the collection, conducive to the life of the work.

2, economic conditions and collection conditions allow, or mounted into a mirror heart, mounted into the frame later collection. I have some very precious collection, has been so dealt with.

Three, how to frame

This is professional knowledge, there is no need to answer here. You can search the Internet "painting framing".