Since the materials used for writing and painting are fiber materials and silk fabrics such as paper, silk, and satin, if they are old or not well preserved, they can become brittle and break easily. Generally speaking, calligraphy and paintings are most afraid of insect damage, mold, dampness, water immersion, and fire. Calligraphy and paintings are prone to damage, so when hanging, rolling, and storing them, special attention should be paid to handle them gently. The ancients summarized some collection methods for us: For example, calligraphy and paintings hung daily can be lightly dusted with a horsehair broom or a soft silk broom. Do not wipe too hard to avoid puncturing the painting core. Do not fully open the windows to prevent wind from directly blowing onto the painting. A small table should be placed in front of the hanging calligraphy and paintings to protect it. Nothing should be placed on the table that blocks the view of the painting, only incense burners, musical instruments, inkstones, etc., should be placed there. On hot and humid days, it is not suitable to hang paintings indoors. When hanging paintings during cold weather, warm stoves should be used indoors to prevent freezing damage to the paintings.
When rolling up a painting, one must be especially meticulous and careful, paying attention to aligning both ends of the mounting while rolling, and not applying too much force to avoid creases or breaks in the paper or silk. One can lift the back of the painting to view it; otherwise, the silk may crack easily, and accidentally dropping the painting could cause damage. Normally, calligraphy and paintings should be stored on higher cabinets where ventilation conditions are good and away from ground-level humidity. They should be alternately hung for display, which allows for appreciation and also lets the paintings get some air and sunlight, preventing mold from forming due to long-term storage. During rainy seasons, paintings should be stored in narrow wooden boxes and sealed. Wooden boxes are best made of fir wood without any paint or paper inside to prevent moisture and mold. The gaps around the wooden box should be covered with paper to prevent ventilation and the growth of white mold. They can also be stored in vacuum bags.
In the cabinet where calligraphy and paintings are stored, items like sandalwood or papaya should be placed to prevent pests. Generally, at the end of May to August on sunny days, the paintings should be aired out and then carefully stored again, allowing their lifespan to reach several hundred years.
The mounting and restoration of calligraphy and paintings:
Paper-based materials for calligraphy and painting are easier to preserve and restore than silk-based ones, making paper-based works more suitable for collecting old calligraphy and paintings. Paper-based refers to writing or painting on rice paper. The texture of paper can be divided into raw paper and processed paper, with rice paper mostly being raw paper. Processed paper includes note paper, gold note paper, powder note paper, lacquered note paper, etc. Generally, raw xuan paper has the best quality, making it easier to restore, whereas processed paper is prone to breaking and shows traces after restoration. When choosing works made of silk or satin materials, one must pay attention to the completeness of the condition. If the core turns black or is severely damaged, restoring it to its original state is extremely difficult unless it is an extremely rare and valuable piece, generally not recommended for collection.
1. Mounting
Chinese calligraphy and paintings are mainly made using silk or rice paper. Their material is thin and soft, and over time, they can easily break. In ancient times, to facilitate preservation and viewing, hemp paper, silk, and other materials were often used to reinforce the back of calligraphy and paintings in multiple layers, known as "mounting". Over time, this process became more aesthetically pleasing, with thin silk or satin added around the edges for decoration. After mounting, calligraphy and paintings can be displayed in halls, living rooms, study rooms, corridors, harmonizing with the building's space and enhancing beauty.
2. Restoration
Traditional restoration techniques include lifting, washing, patching, splicing, and color completion.
Lifting refers to completely removing the backing paper and support paper from the original mounting. The support paper is directly attached to the painting core, serving a protective role. In the entire mounting and restoration process, lifting is the most critical step. Any carelessness can result in tearing the painting core or damaging the surface, causing irreparable losses.
Washing, if the painting surface is moldy, dirty, or stained with watermarks, affecting the viewing experience, it needs to be cleaned or steamed according to different situations to restore its original appearance.
Splicing, after repairing holes in the calligraphy and paintings, the missing parts should be restored based on the original design and text, ensuring seamless integration with no visible flaws.
Color completion, this is the final critical step in restoring calligraphy and paintings. The repaired brushwork must be unified and coordinated with the original colors and ink tones of the painting, blending seamlessly with the background and leaving no trace of the repair.
This article was first published on [Calligraphy and Painting Wholesale · Xianyunxuan] http://www.xyx-gy.com. [Calligraphy and Painting Wholesale · Xianyunxuan] specializes in the creation of calligraphy and painting crafts, offering wholesale calligraphy and paintings, wholesale Buddhist beads, Buddhist bead bracelets, landscape paintings, wholesale Chinese paintings, Chinese calligraphy, brush calligraphy, and other high-quality artworks and hand-carved wooden products. Professional quality, trusted by many. Welcome to discuss cooperation. For more detailed information, please visit the official website: http://www.xyx-gy.com!
Related thematic articles: Collection Talks - Landscape Painting Techniques on Porcelain Blanks