A wet mounting technique in the restoration of calligraphy and paintings

Abstract

This invention discloses a wet mounting technique for calligraphy and painting restoration. After the small mounting piece and the mounting material are sprayed with water and smoothed, they are mounted, achieving a seamless connection under full wet expansion. The large mounting is then directly formed. This invention utilizes the natural flattening properties of the wet small mounting piece and wet mounting material. The entire process, from mounting to the final large mounting, is carried out in a moist state, without an intermediate drying process. This not only solves the problem of difficulty in spraying and smoothing with water due to the difference in wet expansion between the small mounting piece and the mounting material in traditional dry mounting techniques, but also eliminates the need to apply glue and alum solution to the small mounting piece. The process is simple, easy to master, and extremely safe, overcoming the problem of accelerated aging of antique calligraphy and paintings caused by the application of glue and alum solution in traditional dry mounting techniques. This wet mounting technique has broad application prospects in the restoration of antique calligraphy and paintings and also provides important reference value for improving traditional glue and alum solution application techniques.

Description

Technical Field

[0001] This invention belongs to the field of calligraphy and painting restoration technology, specifically relating to a wet mounting technique in calligraphy and painting restoration. Background Technology

[0002] Ancient paintings and calligraphy works often suffer severe damage due to a combination of internal and external factors, leading to the development of techniques for restoring and mounting damaged works. The restoration and mounting of antique paintings and calligraphy has a long history and is an important intangible cultural heritage of my country.

[0003] Traditional techniques for restoring ancient paintings and calligraphy mainly include washing, peeling, patching, and completing. After the basic restoration of the painting itself is completed, it is often necessary to install small mounting pieces and then install a larger mounting to decorate and reinforce the artwork. In the large mounting process, due to varying degrees of damage to the painting, the small mounting pieces after restoration have different rates of swelling when exposed to water. The difference in swelling between the small mounting pieces and the mounting materials makes it difficult to spray water and smooth the dry mounting pieces (the small mounting pieces and mounting materials are assembled together with paste in a dry state), thus preventing the proper implementation of the large mounting process.

[0004] In traditional Chinese painting and calligraphy restoration, to address the difference in swelling due to moisture between the small mounting and the mounting material, a sizing solution is applied to the small mounting to reduce this difference. Typically, different concentrations of sizing solution are applied to the small mounting depending on the degree of damage to the painting. This ensures that the swelling rate of the small mounting and the mounting material is consistent within a certain timeframe when the dry mounting is sprayed with water and leveled, facilitating the smooth implementation of the large mounting process. The application of the sizing solution aims to fill the original pores in the damaged paper, reduce capillary action, weaken the swelling of the small mounting, and resolve the difference in swelling between the small mounting and the mounting material. This makes it possible to spray and level the dry mounting, achieving a perfect combination for the large mounting process. This effect is known in traditional techniques as the time-dependent swelling effect.

[0005] Although the traditional technique of using alum glue to address the difference in moisture absorption between small mounting pieces and inlay materials has a long history and offers significant advantages in its simplicity, the irreversible damage it causes to paper-based calligraphy and paintings is also well-known. Studies have shown that alum glue accelerates paper aging, increases paper acidity, reduces paper's folding endurance, and makes it harder and more brittle. In severe cases, it can cause complete imbalance in the overall mechanical structure of the artwork, leading to breakage. The destructive effects of alum glue on paper are widely acknowledged, but an effective solution has remained elusive, making it an extremely challenging problem in the restoration of antique calligraphy and paintings. Summary of the Invention

[0006] To address the technical challenge of accelerated aging of antique paintings and calligraphy caused by the application of glue and alum in the traditional dry mounting process, this invention provides a wet mounting process that eliminates the need for glue and alum in the restoration of paintings and calligraphy. This not only perfectly solves the problem of the difference in swelling between the small mounting pieces and the mounting material, but more importantly, it avoids the use of glue and alum in the restoration of paintings and calligraphy, thus extending the service life of paper-based paintings and calligraphy artifacts.

[0007] The wet mounting technique for calligraphy and painting restoration provided by this invention includes the following steps:

[0008] Step 1: After patching the holes and adding fold strips to the small support piece, let it air dry naturally;

[0009] Step 2: Spray water on the dried small support piece to stretch it out, brush the surrounding edges with plaster and stick it to the wall. After the small support piece is flattened, remove it from the wall.

[0010] Step 3: Cut the small support piece after it is removed from the wall into square pieces, and at the same time cut the edge material and top and bottom material into square pieces for later use;

[0011] Step 4: Take one sheet of auxiliary paper, spray it with water and smooth it out; take another sheet of auxiliary paper, place it on the previously smoothed auxiliary paper, spray it with water, smooth it out and compact it, then take it off and roll it into a tube and set it aside for later use.

[0012] Step 5: Place the square-cut small support piece, edge material, and top and bottom material on the smoothed auxiliary paper described in step 4, spray water and smooth it, then cover the small support piece, edge material, and top and bottom material with the auxiliary paper rolled into a tube as described in step 4, and smooth it.

[0013] Step 6: Use a bristle brush to firmly press the edges of the small support piece. Place the paste 1.5 to 2.5 mm away from the edge of the painting core. Spread the paste evenly with your fingers. Then remove the paste and slowly let the edge material fall along the paste-spread area of ​​the painting core so that the edge material adheres to the edge of the painting core. Trim off any excess edge material.

[0014] Step 7: Following the method in Step 6, attach the top and bottom pieces to the edge of the painting to obtain a wet inlay;

[0015] Step 8: Turn the wet inlay over so that it faces down, smooth it out, and trim off any excess material from the top and bottom edges;

[0016] Step 9: Leave a mark 2.5-3.5mm along the long side of the wet inlay, apply paste, and bevele the edges;

[0017] Step 10: Attach the clamping paper to the opening of the top and bottom pieces, apply paste to the entire wet inlay, cover it with the backing paper, press it firmly with a palm brush, attach the label and corner clips to obtain the large backing piece;

[0018] Step 11: Lift the large tray and place it on the felt, back side down, remove the liner paper, and let it air dry naturally.

[0019] In steps 6 to 10 above, the small support piece, edge material, and top and bottom material are all in a wet state.

[0020] Furthermore, the aforementioned paper-making aid is preferably machine-made paper.

[0021] The beneficial effects of this invention are as follows:

[0022] This invention differs from traditional methods that involve spraying water to smooth the dry inlay pieces before applying the large mounting. Instead, it involves spraying water to smooth the small mounting pieces and inlay materials (edge ​​and top / bottom materials) before inlaying, achieving a seamless connection between the small mounting pieces and inlay materials under full wet expansion. The large mounting is then directly formed, eliminating the need for natural drying after inlaying, simplifying the process, and improving restoration efficiency. This wet inlay and large mounting process, with its naturally flattened wet small mounting pieces and wet inlay materials, not only solves the problem of inconsistent wet expansion rates between the small mounting pieces and inlay materials in traditional dry inlay methods, resulting in an inability to flatten the large mounting, but also ensures extremely high restoration safety. Furthermore, this process eliminates the need to apply glue and alum solution to the small mounting pieces, avoiding damage to the calligraphy and paintings caused by glue and alum solution. It solves the problem of accelerated aging of antique calligraphy and paintings caused by the application of glue and alum solution in traditional dry inlay and large mounting methods, extending the lifespan of cultural relics. It has broad application prospects in the restoration of antique calligraphy and paintings and also provides important reference value for improving traditional glue and alum solution application techniques. Attached Figure Description

[0023] Figure 1 This is a process flow diagram of the traditional dry setting (left) in Comparative Example 1 and the wet setting (right) in Example 1 of the present invention.

[0024] Figure 2 This is a picture of a physical object using traditional dry-setting techniques without applying glue or alum solution.

[0025] Figure 3 This is a picture of the actual product using the traditional dry-setting technique with glue and alum solution.

[0026] Figure 4 This is a photograph of the actual product of wet-set large bracket without the application of glue and alum water in Embodiment 1 of the present invention.

[0027] Figure 5 yes Figures 2-4 Comparison of the size changes of small support pieces and edge materials after wetting and flattening three types of inlay treatment. Detailed Implementation

[0028] The present invention will be further described in detail below with reference to the accompanying drawings and embodiments. However, the scope of protection of the present invention is not limited thereto. Any changes, modifications, substitutions, combinations, or simplifications made without departing from the spirit and principle of the present invention shall be considered equivalent substitutions and shall be included within the scope of protection of the present invention.

[0029] Comparative Example 1

[0030] The traditional dry-setting technique, the specific operation process is as follows: Figure 1 As shown on the left:

[0031] Step 1: After patching the holes and adding fold strips to the small support piece, let it air dry naturally;

[0032] Step 2: Place the dried small tray face up on the workbench, brush the prepared alum glue solution onto the back of the small tray, let it sit for 5 minutes, then cover it with paper and place it on a felt to air dry naturally.

[0033] Step 3: Spray the dried small trays evenly with water using a mist sprayer to spread them out, brush the surrounding edges with plaster and apply it to the wall, and then apply the full color after it dries naturally;

[0034] Step 4: Cut the small brackets into square pieces after they have been fully colored, and at the same time cut the edge pieces and top and bottom pieces into square pieces for later use;

[0035] Step 5: Lay the square-cut small support pieces, edge pieces, and top and bottom pieces on the workbench. Place the spacer 2mm away from the edge of the painting core, spread the paste evenly with your fingers, then remove the spacer. Slowly drop the edge piece along the paste-covered edge of the painting core to make the edge piece adhere to the edge of the painting core, and trim off any excess edge piece.

[0036] Step 6: Place the spacer 3mm away from the edge of the painting, spread the paste evenly with your fingers, then remove the spacer. Slowly drop the top and bottom pieces along the edge of the painting where the paste was applied, so that the top and bottom pieces adhere to the edge of the painting to obtain a dry inlay.

[0037] Step 7: Turn the dry setting upside down, brush it to smooth and compact it, and trim off any excess material from the top and bottom pieces;

[0038] Step 8: Leave a 3mm mark on the long side of the dry inlay, apply paste, and bevele the edge;

[0039] Step 9: Attach interlocking paper to the joint between the top and bottom pieces, and place the dry inlay on felt to air dry naturally;

[0040] Step 10: Place the dry inlay with the back facing up, spray water several times to smooth it out, and after it is completely flat, brush on paste, back the paper, press it firmly with a palm brush, attach labels and corner clips to obtain the large backing piece.

[0041] Step 11: Lift the large tray and place it on the felt, back side down, to air dry naturally.

[0042] Example 1

[0043] The wet setting process of this invention is as follows: Figure 1 (Right) As shown:

[0044] Step 1: After patching the holes and adding fold strips to the small support piece, let it air dry naturally;

[0045] Step 2: Spray the dried small support evenly with water using a mist sprayer to spread it out, brush the surrounding edges with plaster and stick it to the wall. After the small support is flattened, remove it from the wall.

[0046] Step 3: Cut the small support piece after it is removed from the wall into square pieces, and at the same time cut the edge material and top and bottom material into square pieces for later use;

[0047] Step 4: Take a sheet of machine-made paper and spray it with water evenly through a mist sprayer until it is thoroughly wet, then sweep it flat; take another sheet of machine-made paper and lay it on the previously swept sheet of machine-made paper, spray it with water evenly through a mist sprayer, sweep it flat and compact it, then take it off and roll it into a tube and set it aside for later use.

[0048] Step 5: Lay the square-cut small support piece, edge material, and top and bottom material on the machine paper that was swept flat in step 4, spray water and sweep it flat, then cover the small support piece, edge material, and top and bottom material with the machine paper that was rolled into a tube shape in step 4, and sweep it flat.

[0049] Step 6: Use a bristle brush to firmly press the edges of the small support piece. Place the paste 2mm away from the edge of the painting core, spread the paste evenly with your fingers, then remove the paste. Slowly let the edge material fall along the paste-covered edge of the painting core to make the edge material adhere to the edge of the painting core, and trim off any excess edge material.

[0050] Step 7: Place the spacer 3mm away from the edge of the painting, spread the paste evenly with your fingers, then remove the spacer. Slowly drop the top and bottom pieces along the edge of the painting where the paste was applied, so that the top and bottom pieces adhere to the edge of the painting to obtain a wet inlay.

[0051] Step 8: Turn the wet inlay over so that it faces down, smooth it out, and trim off any excess material from the top and bottom edges;

[0052] Step 9: Leave a 3mm mark on the long side of the wet setting, apply paste, and bevele the edges;

[0053] Step 10: Attach the clamping paper to the opening of the top and bottom pieces, apply paste to the entire wet inlay, cover it with the backing paper, press it firmly with a palm brush, attach the label and corner clips to obtain the large backing piece;

[0054] Step 11: Lift the large tray and place it on the felt, back side down, remove the machine-made paper, and let it air dry naturally.

[0055] Depend on Figures 2-5 It is evident that, in the dry mounting process of Comparative Example 1, if the calligraphy and painting do not use alum water, they can be dry mounted normally. However, after being moistened and flattened, the expansion rate of the small mounting piece is significantly greater than that of the mounting material, resulting in a large dimensional difference between the two, making large mounting impossible. In contrast, if the calligraphy and painting use alum water in the dry mounting process of Comparative Example 1, they can be dry mounted normally. After being moistened and flattened, the expansion rates of the small mounting piece and the mounting material are basically the same, and their dimensional changes are similar, allowing for large mounting. In contrast, for the wet mounting process of Embodiment 1 of this invention, which does not use alum water, the small mounting piece and the mounting material are always moist, eliminating the problem of difference in expansion rates, and allowing for successful large mounting.

Claims

1. A process for wet inlaying large support in the repair of calligraphy and painting, characterized in that, It comprises the following steps: Step 1: the small supporting piece is naturally dried after being treated with hole filling and folding strip; Step 2: the dried small supporting piece is sprayed with water for stretching, and the waste edges are brushed with paste and put on the wall after the small supporting piece is stretched flat; Step 3: the small supporting piece is cut after being put on the wall, and the edge material and the top and bottom material are cut for standby; Step 4: one piece of auxiliary paper is sprayed with water and swept flat, and another piece of auxiliary paper is laid on the swept auxiliary paper, sprayed with water, swept flat, and arranged, and then rolled into a cylinder and placed aside for standby; Step 5: the cut small supporting piece, the edge material and the top and bottom material are laid on the swept auxiliary paper in step 4, sprayed with water, swept flat, and then covered with the auxiliary paper rolled into a cylinder in step 4, and swept flat; Step 6: the edge of the small supporting piece is beaten with a brush, the paste is placed at a distance of 1.5-2.5 mm from the edge of the picture center, the paste is evenly applied with fingers, then the paste is removed, and the edge material is slowly placed on the paste-applied part of the picture center, so that the edge material is attached to the picture center, and the excess part of the edge material is cut off; Step 7: the top and bottom material is attached to the picture center according to the method of step 6, and a wet inlay piece is obtained; Step 8: the wet inlay piece is turned over as a whole, swept flat, arranged, and the excess part of the top and bottom material is cut off; Step 9: the long edge of the wet inlay piece is left with a mark, brushed with paste, and beveled; Step 10: the clamping paper is pasted at the clamping port of the top and bottom material, the wet inlay piece is brushed with paste as a whole, the back paper is covered, the back paper is arranged with a brush, the label and the corner are pasted, and a large supporting piece is obtained; Step 11: the large supporting piece is lifted and placed on the felt with the back facing down, the auxiliary paper is removed, and the large supporting piece is naturally dried; In steps 6-10, the small supporting piece, the edge material and the top and bottom material are in a wet state.

2. The process for repairing and mounting a painting or calligraphy in a large frame according to claim 1, wherein the process is characterized by: The auxiliary paper is a machine-made paper.

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