Mounting calligraphy and painting steps (detailed manual mounting calligraphy and painting steps tutorial)

Calligraphy and painting are not decorated, which not only damages silk; The decoration is not refined, and the ancient fragrance is eroded. -Tuesdays in the Qing Dynasty. Appreciation of Su Xin in Courtyard.

Mounting, also known as decoration, is a special skill unique to China, which is specially used to beautify and protect paintings, calligraphy, inscriptions and other works. A new calligraphy and painting without mounting is called the original mounting; Those old calligraphy and paintings that were damp and moldy, bitten by insects and rats, and damaged and fell off the original mounting were re-mounted.

Modern painting and calligraphy mounting is still carried out by traditional techniques such as supporting, cutting, embedding, loading, washing, uncovering, mending and repairing. The general step is to mount the painting on the back with a paper holder, then wrap it with twisted wire and paper, and then assemble it to form a layout. The detailed tutorial is as follows:

1. Observation and diagnosis.

Mounties are like doctors. Before mounting, he should observe the material, pigment, content and specifications of the painting paper. For works of art that need to be re-mounted, in addition to the above items, the most important things are to judge the source and age of calligraphy and painting, rice paper and silk, pigment coloring, original mounting technology, damage and contamination, etc. Correct analysis will avoid mistakes in the installation process, and after repeated observation and speculation, there will be a suitable plan to start construction.

2. Installation preparation

Environmental assessment. The framed studio had better have natural lighting, neatness and ventilation. The room temperature should not be too high or too low. The suitable temperature is 15- 18℃ and the relative humidity is 55-65%. The wall used for plastering and drying in the painting center should be smooth, ventilated and dry. The desk is solid and about 80 cm high. Don't pile up sundries on the countertop.

Prepare the installation materials. There are three kinds of materials, including: first, raw rice paper, jade board paper and other paper products, which are generally used to support painting hearts, silks or backs. The second category is twill, silk, brocade and other silk fabrics, which are used for hand wrapping, photo album cover, shaft eyebrows, borders and so on. Three types are supporting materials, including: sky pole, ground pole, crescent pole, shaft head, hand-rolled parts, labels, ribbons, belts, copper buckles and so on. , according to the actual situation to increase or decrease.

Make a paste. This process is one of the most basic and critical links in the past. The raw materials of paste are flour and pure starch. Before making paste, you must wash the flour and remove the gluten, otherwise the protein in the gluten will become brittle and hard under dry conditions, which will easily lead to warping and deformation of calligraphy and painting. Now you don't have to make your own paste, you can buy it at the stationery store.

Install tools. A clothes rack for drying materials; Used to uncover worn-out paintings, install glass desktop and copy desk with built-in fluorescent lamp; And combination brush, brown brush, ruler, chopping board, watering can, etc. Other tools are configured as required.

3. Debugging mud

The paste made by myself or bought back is thick. When painting and calligraphy are mounted, according to different working procedures, appropriate amount of water is added to make different thick and thin pastes and pastes. As thin as water, you can brush the pulp freely on the paper, which is conducive to the smooth painting.

4. Size of supporting materials

Twill and silk. First, smooth the front of twill and silk, then brush it thoroughly with a brush dipped in clean water to make it straight and wrinkle-free, then brush it with paste, align the roll paper with twill and silk, hold the paper while brushing, lift it with a brown brush, and put it on a clothes rack or wall to dry naturally.

Lining paper Spread 1 paper first, brush the paper evenly with dilute cement slurry, add the second layer, align the edges, and brush the paper firmly. Then support the third layer with mud. After the third layer is supported, brush it again with a brown brush and dry it.

5. Hold the painting heart.

Cut the center of the painting with a ruler. The thickness of the supporting paper matches the painting center and needs to be cut to be 20 cm larger than the periphery of the painting center.

Core support is a very important process in painting and calligraphy mounting, including wet support and dry support. Wet support is used for indelible painting, directly brushing pulp and covering rice paper; Dry support is used for painting cores that are easy to spread or fade. Spray a layer of mist on the back of painting and calligraphy with a sprayer, brush the pulp on the backing paper, and cover the back of the painting core after absorbing water.

6. Embedding and assembly

Embedding is to cut off the redundant part in the center of the painting and cover all the materials needed around it, such as the ring block, upper and lower waterproofing, the head of heaven and earth, the surprised swallow, the small silk edge or the small sky edge, and then brush water on the back of it and paste the paper back.

Installation is a two-step process. First, the base behind it is polished with gravel to make it smooth and soft. The second is to assemble the heaven and earth poles and axle heads on the frame frame. Drill a hole in a pole or hang it through a rope.

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You can understand, learn and work hard at first sight. Traditional manual painting and calligraphy mounting is not difficult to learn, but various processes are complex and need slow work and fine work. Manual mounting takes longer than machine mounting, but it can better highlight the texture of the work. Some fine products are mounted by hand, which can show the momentum of the pen, the charm of ink color and the layout of the rules. And the mounting and the original painting are integrated into a perfect work of art, which is beyond the reach of the machine and the value of manual mounting.