Several folding methods for ingots stacked with three pieces of paper

Several folding methods for three-piece paper ingots 2 folding methods for three-piece paper ingots Folding methods for paper ingots Step 1: Fold the non-glossy side in half, with side A on the top and side B on the bottom

Step 2: Fold side A in half, fold it upward and add it to the smooth side. From the smooth side, the exposed side is exactly the same width as the superimposed side. Step 3: Fold side B in half along its center line, and cover it on

Step 4: Fold the two sides of side B along their respective diagonals. Step 5: Fold down the exposed third of side A and cover it with the diagonal line.

Step 6: Put the last step of the ingot into your mouth and blow on it. There are several folding methods for the couplet paper. The simplest method is to hold the bottom and paste the two single rice papers into one rice paper with thin slurry and water.

Those whose size remains unchanged are called "paper support" or "folded paper".

There is also the complicated matter of what is calligraphy and painting mounting? Various damasks, brocades, and silks are used to frame, beautify, or protect and repair calligraphy and painting works made of ancient and modern paper and silk materials.

The paintings and calligraphy made on rice paper and silk are often wrinkled and easily broken due to the colloid effect of ink, making them inconvenient for viewing, circulation and collection.

Only by mounting the heart of the painting to make it flat, and then mounting it with corresponding damask and silk according to the shade of color, the complexity and simplicity of the composition, and the width and length of the painting, can it be mounted into various forms of painting, making the pen and ink

, the colors are richer and more prominent to add to the artistry of the work.

Evolution The mounting of calligraphy and painting has a long history in China.

As early as the Warring States Period, there were silk paintings and silk scrolls, and by the Western Han Dynasty, framed paintings appeared.

For example, the upper end of the silk painting unearthed from the Mawangdui Han Tomb in Changsha, Hunan, is equipped with a flat wooden bar tied with a silk rope, and there are also streamers tied at both ends of the wooden bar.

During the Southern and Northern Dynasties, paintings and calligraphy were mostly mounted on red scroll blue paper. Famous framers included Fan Ye, Xu Ai, Chao Shangzhi and others.

Calligrapher Yu □ also wrote framed works.

In the Tang Dynasty, brocade began to be used to decorate calligraphy and paintings, with a magnificent style and numerous masters.

Zhang Yanyuan set up a chapter "On Mounting Back and Mounting Scrolls" in "Records of Famous Paintings of the Past Dynasties" to specifically discuss matters related to mounting.

Due to the prosperity of calligraphy and painting in the Song Dynasty, mounting also achieved unprecedented development. Damask and silk were often used as mounting materials, and the mounting styles were rich and varied.

During the Xuanhe period of the Northern Song Dynasty, most paintings were framed with borders above and below the heart, without silk borders. In Zhou Dynasty, ancient silk was used as a border, which was called Xuanhe mounting.

At this time, the painter Mi Fu was also good at mounting. He wrote an article "On Appreciation of Mounting Ancient Paintings" and made great achievements.

The court of the Yuan Dynasty set up a special agency to manage the mounting of paintings and calligraphy.

Since the Ming and Qing Dynasties, with the rise of literati painting, the use of plain silk or light-colored silk as mounting material has gradually increased.

Regional mounting centers have emerged, and the mounted calligraphy and paintings have local characteristics due to differences in silk colors, operating techniques, and mounting forms, such as Jing (Beijing) mounting, Su (Jiangsu) mounting, etc.

Zhou Jiazhou in the Ming Dynasty wrote the book "Decoration Chronicles", which discusses the details in detail and the number of people involved.

In addition, Chinese calligraphy and painting mounting technology was also spread to Japan and North Korea, forming their own unique styles.

Tools and materials Framing calligraphy and painting requires complete tools and materials.

The tools mainly include: ① The studio should be spacious, bright and ventilated.

②The desk is made of solid wood and covered with vermilion paint to make it smooth and flat.

③ Large walls or walls are divided into two types: wooden walls and paper walls. The former is suitable for humid climates, while the latter is mostly used in dry places.

It is required to be smooth and smooth.

④Cutter, used for cutting paper, silk, damask, and brocade materials, digging out parts, cutting centerpieces, and repairing holes.

Its blade is sharp, straight and horseshoe-shaped, also known as horseshoe knife.

⑤ Cutting board, used as a cutting mat, is mostly made of basswood, ginkgo or willow with fine, straight grains.

⑥ Cutting ruler is used as a boundary ruler when cutting the painting center material. It is mostly made of nanmu and fir.

⑦ Brown brush, made of braided palm tree, can be divided into southern and northern brushes. The former is small and thin, while the latter is large and thick.

⑧The row of brushes is made up of several or even more than 20 brushes tied side by side and used for brushing paste.

⑨Bamboo opener, made of large moso bamboo, is sword-shaped, with a thin and smooth front part, a semi-circular tip, and a thick back part.

⑩ Needle cone, used for pricking eyes, turning edges and removing hair, etc.

The calender is used to polish the back of the painting, and is made of fine and smooth pebbles.

There are also pulp oil paper, water oil paper, etc.

The main materials are: ① Paper, mostly raw rice paper, is generally used to support the painting heart, silk, or cover the back.

②Silk is a plain weave fabric, woven from silk, with different thicknesses.

③ Damask is also woven with silk and woven with various patterns. It is mostly used for mounting Tiantou, Ditou, water barrier, etc.

④ Brocade, silk fabric, mostly with two-sided or four-sided continuous patterns.

It is often used as hand-roll bag headers, album covers, scroll brocades and borders.

⑤ Paste, the adhesive required for mounting.

It is made from starch with the gluten removed or good flour. An appropriate amount of alum needs to be added when beating to prevent insect infestation in the future.

⑥Pigments, i.e. Chinese painting pigments, are used to dye paper, silk, damask and to replenish the color of damaged painting centers.

⑦ Glue alum water, which is a mixture of glue, alum and water. It is used to strengthen the color and paper texture of the mounting piece.

⑧Axle head, used in hanging scroll and hand-rolled mounting.

The former is mostly made of rosewood, mahogany, rosewood, porcelain, ivory, horn, metal, etc., and is in the shape of a mushroom head. It is installed at both ends of the ground pole, which not only plays a decorative role, but also facilitates the hanging of the scroll.

The latter is usually made of ivory, porcelain, metal and other materials, and is mounted in a circular shape on the upper and lower ends of the tail.

⑨The painting poles are divided into sky poles and ground poles. They are mainly made of fir and must be straight. The ground poles must have a certain weight.

⑩Ropes, belts, and pins are used to tie up and fasten objects.