A two-layer re-pasting process for paper-protecting auxiliary sandwiched rice paper and painting core in the restoration of old calligraphy and painting

Abstract

The present invention discloses a two-layer re-sticking process for a paper guard to assist in the restoration of old calligraphy and painting. The process uses a paper guard with a smooth surface to be moistened and then tightly applied to the back of the second layer of the painting core through the surface tension of water (commonly known as "water roots") as a support. The second layer of the painting core will be adsorbed on the paper guard as a whole, and the second layer of the painting core can be safely and losslessly lifted up and separated. The auxiliary paper carrying the first layer of the painting core and the protective paper adsorbed with the second layer of the painting core are sprayed with water to be soaked. When the two are swollen to the maximum size, the excess water is sucked out (commonly known as "pulling dry") to shape them. Then the protective paper and the auxiliary paper are cut into squares at the same time. The size of the painting core remains unchanged when sizing. It is ensured that the edges of the auxiliary paper and the protective paper guard completely overlap to achieve the accurate re-sticking of the first and second layers of the painting core of the sandwiched rice paper. The re-sticking process of the present invention not only solves the problem of the shell of the sandwiched rice paper painting core, but more importantly, the painting core does not suffer secondary damage, and the original rich color sense and solemn brushwork of the sandwiched rice paper painting are retained to the maximum extent, thereby extending the life of the calligraphy and painting.

Description

Technical Field

[0001] The present invention belongs to the technical field of restoration of old paintings, and in particular relates to a two-layer re-pasting process of a paper guard assisted by sandwiching a rice paper and a painting core in the restoration of old paintings and calligraphy. Background Art

[0002] Chinese painting plays a vital role in expressing the spirit of traditional Chinese culture. It is a uniquely Chinese form of traditional painting. To express their emotions, painters use brushes dipped in water, ink, and color to paint on silk or paper. Water, ink, and color constitute the information layer of a painting, while silk or paper forms the carrier layer. The relationship between the carrier layer and the information layer is like that between skin and fur. As the ancient saying goes, "Without the skin, where will the fur attach?" This implies that without the carrier layer as a foundation, the information layer cannot exist independently, highlighting the importance of the carrier layer in the preservation of calligraphy and painting. Xuan paper, a crucial medium for Chinese painting, comes in many varieties. Among them, double-layered xuan paper, also known as double-layered xuan paper, is composed of two or more single-layered xuan paper sheets laminated together. This is achieved by wet-forming the paper, squeezing out the water, sorting, and peeling off the two or more sheets to dry on a wall. The multi-layered structure of double-layered xuan paper gives it advantages such as thickness, toughness, wear resistance, and strong ink absorption. This allows for smoother, clearer, more powerful, and vivid strokes, while preserving the richness and layering of ink color, creating a rich, three-dimensional effect. Xuan paper is commonly used for calligraphy couplets and rich landscape paintings, and plays a vital role in Chinese painting. However, the multi-layered structure of Xuan paper also presents certain limitations. When mounted as scrolls, paintings and calligraphy often experience hollow shells due to repeated folding and unfolding. This continuous folding and unfolding can lead to deformation and wrinkling, and in severe cases, creases and breaks in the painting and calligraphy. This is because the layers of Xuan paper are bonded only by hydrogen bonds between the fibers on the surface of the paper (without inter-fiber entanglement), resulting in poor bonding. The surface interfaces between the layers are susceptible to stress differences due to the external forces of curling, leading to cracking and hollowing.

[0003] In traditional mounting and restoration, the treatment of the shelling problem of the core of the Xuan paper has always been difficult from a technical perspective. In actual operation, because the two layers of the Xuan paper core are thin and fragile, and have extremely poor wet mechanical strength, it is difficult to peel them off as a whole without damage, and it is impossible to re-paste and restore them to their original position. Therefore, usually small pieces are peeled off and retained, and no re-paste is done to restore them. This practice destroys the original appearance of the calligraphy and painting, making the ink color of the calligraphy and painting light and impetuous, the layers monotonous and rigid, and the painting loses its charm, which seriously affects the artistic value of the calligraphy and painting. How to effectively peel off the two layers of the Xuan paper core as a whole without damaging them, and how to achieve the same swelling rate of the first layer of the core after sizing with water and the second layer of the core, so that the first and second layers of the core can be accurately overlapped and restored when re-pasted, have become technical difficulties and challenges faced by restorers. Summary of the Invention

[0004] The present invention aims to provide a two-layer reattachment process for the restoration of antique calligraphy and paintings using paper guards to assist with the reattachment of the core of a double-layered Xuan paper painting. This process not only solves the problem of hollowing of the core of Xuan paper paintings, but more importantly, it prevents the core of the painting from suffering secondary damage. This process maximizes the preservation of the original rich colors and solemn brushwork of the Xuan paper paintings, thereby extending the life of the calligraphy and paintings.

[0005] The invention provides a two-layer re-pasting process for the paper-protecting auxiliary sandwiching of the painting core in the restoration of old calligraphy and painting, which comprises the following steps:

[0006] Step 1: Place the auxiliary paper with the smooth and flat side facing up and the rough side facing down on the workbench, spray water to smooth it and soak it completely, then place the protective paper with the smooth and flat side facing down on the smoothed auxiliary paper, spray water to smooth it and soak it completely, then roll the protective paper into a tube and set it aside for use.

[0007] Step 2: Place the painting core face down on the auxiliary paper that was smoothed in step 1, spray water and smooth it so that the painting core is completely soaked, then place the smooth and flat side of the spare protective paper downward on the back of the painting core, smooth it and compact it so that the auxiliary paper, painting core and protective paper are completely attached together.

[0008] Step 3: Place the ruler 2.5 to 3.5 cm away from the long side of the center of the drawing in step 2, and use a paper cutter to cut off the excess part of the auxiliary paper and the paper guard along the edge of the ruler; follow the same steps for the other three sides to make the size of the paper guard and the auxiliary paper exactly the same.

[0009] Step 4: Place a ruler on the paper protector cut in step 3, with the ruler slightly larger than half the length of the paper protector and perpendicular to the long side of the paper protector; gently peel off the paper protector together with the two layers of the applied painting core to separate them from the first layer of the painting core without damage, and then peel it off naturally in the direction of the ruler.

[0010] Step 5: Peel off the two layers of paper and painting core from step 4 until they reach the ruler. Apply paste on the back of the peeled layer of painting core.

[0011] Step 6: Return the second layer of the protective paper and the painting core to their original positions along the direction lifted in step 4, so that the edges of the protective paper and the auxiliary paper completely overlap, completing the back-pasting of the painting core on one side.

[0012] Step 7: Repeat steps 4, 5, and 6 on the other side of the painting to ensure that the edges of the protective paper and the auxiliary paper completely overlap when the other side of the painting is pasted with paste.

[0013] Step 8: Peel off the protective paper, place absorbent paper on the center of the painting, absorb excess water, and use a brown brush to compact it to obtain a small support.

[0014] Step 9: Pick up the small support piece arranged in step 8, place it on the felt with the center of the painting facing up, peel off the auxiliary paper, and let the center of the painting dry naturally.

[0015] Furthermore, the auxiliary paper and protective paper are any of various uncoated machine-made papers. One side of the uncoated machine-made paper is smooth and flat, capable of generating high surface tension with the wet painting core, enabling non-destructive separation of the two layers of the painting core. The other side is rough, easily rubbing against the workbench, and does not shift when wet and subjected to force. The paper is relatively thick, ranging from 1 to 3 mm, has good water absorption properties, and strong wet mechanical properties. It is further preferred that the uncoated machine-made paper is white.

[0016] Furthermore, the paste in the above step 5 is starch paste, and its concentration is 1.5wt.% to 10.0wt.%.

[0017] The beneficial effects of the present invention are as follows:

[0018] The present invention uses a protective paper with a smooth surface that is moistened and then tightly applied to the back of the second layer of the painting core through the surface tension of water (commonly known as "water roots") as a support. The second layer of the painting core will be adsorbed on the protective paper as a whole, and will naturally be lifted up according to a certain arc after being peeled off from the first layer of the painting core, so as to achieve safe and lossless separation of the two layers of the painting core. The auxiliary paper carrying the first layer of the painting core and the protective paper adsorbed with the second layer of the painting core are sprayed with water to be soaked, so that when the two are swollen to the maximum size, excess water is sucked out (commonly known as "pulling dry") to shape them, and then the protective paper and the auxiliary paper are cut into squares at the same time. The size of the painting core will remain unchanged when it is starched. It is only necessary to ensure that the edges of the auxiliary paper and the protective paper completely overlap, and then the first and second layers of the sandwiched painting core will naturally stick together perfectly and become one. The re-pasting process of the present invention solves the problem of hollow shells in the painting core of the double-layered rice paper, avoids further damage to the calligraphy and painting, and prolongs the life of the calligraphy and painting. It also enables the two layers of the double-layered rice paper painting core to be peeled off without damage and re-pasted in situ, preserving the unique artistic style of the rich colors and solemn brushwork of the double-layered rice paper calligraphy and painting, restoring the original appearance of the calligraphy and painting works to the greatest extent, and making a contribution to the inheritance of Chinese traditional culture. BRIEF DESCRIPTION OF THE DRAWINGS

[0019] Figure 1 It is an operation diagram of the process of pasting the center of the paper-wrapped painting back into the paper of the present invention. DETAILED DESCRIPTION

[0020] The present invention is further described in detail below with reference to the embodiments and drawings, but the embodiments of the present invention are not limited thereto. Any other changes, modifications, substitutions, combinations, and simplifications that do not deviate from the spirit and principles of the present invention shall be considered as equivalent replacement methods and shall be included in the scope of protection of the present invention.

[0021] In the present invention, the auxiliary paper pad is placed under the painting core to assist in lifting the painting core; the protective paper is placed on the painting core to protect the painting core; water roots refer to the wet paper being adsorbed on a smooth surface by the surface tension of water, commonly known as "water roots"; the first layer of the painting core sandwiched between rice paper refers to the painting core layer that is in direct contact with the brush and ink; the second layer of the painting core sandwiched between rice paper refers to the painting core layer that is not in direct contact with the brush and ink, but has been penetrated by colored ink.

[0022] Example 1

[0023] like Figure 1 As shown, the specific operations of the paper guard-assisted two-layer re-sticking process of the painting core in this embodiment are as follows:

[0024] Step 1: Place the auxiliary paper with the smooth and flat side facing up and the rough side facing down on the workbench, spray water to smooth it and soak it completely, then place the protective paper with the smooth and flat side facing down on the smoothed auxiliary paper, spray water to smooth it and soak it completely, then roll the protective paper into a tube and set it aside for use.

[0025] Step 2: Place the painting core face down on the auxiliary paper that was smoothed in step 1, spray water and smooth it so that the painting core is completely soaked, then place the smooth and flat side of the spare protective paper downward on the back of the painting core, smooth it and compact it so that the auxiliary paper, painting core and protective paper are completely attached together.

[0026] Step 3: Place the ruler 3cm outward from the long side of the center of the drawing in step 2, and use a paper cutter to cut off the excess part of the auxiliary paper and the paper guard along the edge of the ruler; follow the same steps for the other three sides to make the size of the paper guard and the auxiliary paper exactly the same.

[0027] Step 4: Place a ruler on the paper protector cut in step 3, with the ruler slightly larger than half the length of the paper protector and perpendicular to the long side of the paper protector; gently peel off the paper protector together with the two layers of the applied painting core to separate them from the first layer of the painting core without damage, and then naturally peel it off in a certain arc in the direction of the ruler.

[0028] Step 5: Peel off the two layers of paper guard and painting core in step 4 until they reach the ruler, and apply 1.7 wt.% starch paste on the back of the peeled painting core layer.

[0029] Step 6: Return the second layer of the protective paper and the painting core to their original positions along the direction lifted in step 4, so that the edges of the protective paper and the auxiliary paper completely overlap, completing the back-pasting of the painting core on one side.

[0030] Step 7: Repeat steps 4, 5, and 6 on the other side of the painting to ensure that the edges of the protective paper and the auxiliary paper completely overlap when the other side of the painting is pasted with paste.

[0031] Step 8: Peel off the protective paper, place absorbent paper on the center of the painting, absorb excess water, and use a brown brush to compact it to obtain a small support.

[0032] Step 9: Pick up the small support piece arranged in step 8, place it on the felt with the center of the painting facing up, peel off the auxiliary paper, and let the center of the painting dry naturally.

[0033] The auxiliary paper and protective paper used in this embodiment are white non-coated machine-made paper. One side of the paper is smooth and flat, which can generate greater surface tension with the wet painting core, realizing the lossless peeling of the two layers of the painting core. The other side is rough and easily generates friction with the workbench. It will not move when it is wet and subjected to force. The paper is relatively thick, with a thickness of 2mm, and has good water absorption properties and strong wet mechanical properties.

Claims

1. A two-layer back-pasting process for paper-protecting and auxiliary sandwiching of Xuan paper and painting core in the restoration of old calligraphy and painting, characterized in that: The process comprises the following steps: Step 1: Place the paper with the smooth side facing up and the rough side facing down on the workbench, spray water to smooth it out completely, then place the paper guard with the smooth side facing down on the smoothed paper, spray water to smooth it out completely, then roll the paper guard into a roll and set aside for later use; Step 2: Place the painting core with the front side facing down on the auxiliary paper that was smoothed in step 1. Spray water on it to make it completely soaked. Then, place the spare protective paper with its smooth side facing down on the back of the painting core. Smooth and compact it until the auxiliary paper, painting core and protective paper are completely attached to each other. Step 3: Place a ruler 2.5-3.5cm away from the long side of the drawing center in step 2. Use a paper cutter to trim away the excess part of the paper guard and the paper guide along the edge of the ruler. Repeat the same steps on the other three sides to make the paper guard and the paper guard completely consistent in size. Step 4: Place a ruler on the paper cut in step 3, slightly longer than half the length of the paper and perpendicular to its long edge. Gently peel off the paper and the core, separating them from the core without damaging them. Then, peel the paper naturally toward the ruler. Step 5: Peel back the paper and the painting core from step 4 until the ruler is reached. Apply paste to the back of the peeled painting core layer. Step 6: Lower the two layers of the paper guard and the painting core back to their original positions along the direction of lifting in step 4, so that the edges of the paper guard and the auxiliary paper completely overlap, and complete the back-pasting of the painting core on one side; Step 7: Repeat steps 4, 5, and 6 on the other side of the painting, ensuring that the edges of the protective paper and the auxiliary paper completely overlap when applying the paste to the other side of the painting. Step 8: Remove the protective paper and place absorbent paper on the center of the painting to absorb excess water. Use a brown brush to smooth the surface to create a small support. Step 9: Pick up the small support piece arranged in step 8, place it on the felt with the center of the painting facing up, peel off the auxiliary paper, and let the center of the painting dry naturally.

2. The process for reattaching the two layers of the paper-protecting auxiliary Xuan paper and the painting core in the restoration of old calligraphy and painting according to claim 1 is characterized by: The auxiliary paper and the protective paper are any one of various non-coated machine-made papers, one side of which is smooth and flat, and the other side is rough, and the paper thickness is 1 to 3 mm.

3. The process for reattaching the two layers of the paper-protecting auxiliary Xuan paper and the painting core in the restoration of old calligraphy and painting according to claim 2 is characterized by: The non-coated machine-made paper is white.

4. The process for reattaching the two layers of the paper-protecting auxiliary Xuan paper and the painting core in the restoration of old calligraphy and painting according to claim 1 is characterized by: In step 5, the paste is starch paste, and its concentration is 1.5wt.% to 10.0wt.%.

Images