Riding the wind of rebirth

Chapter 1373 Senior Master

While he was explaining, he was concentrating on unmounting the ancient paintings, and did not notice the surprised looks of the big guys around him.

This industry is mainly passed down from master to apprentice. What the masters study is "skills" rather than "historical knowledge" and "theoretical research." Many old people who have been immersed in this industry their entire lives are hearing this for the first time. To the inference about the original origin of this industry, it is explained from a theoretical level.

This is especially true for the surrounding painters. Although painting and mounting cannot be separated, they only pay attention to the skills of the masters. At most, they are a little particular about paper, pen and ink, and they will not study the ins and outs of this industry.

So everyone listened with great interest.

"In the Ming Dynasty, as Jiangnan became more abundant and Yangzhou became a cultural center, the painting and calligraphy mounting industry also entered a mature stage. At this time, some people called calligraphy and painting framers 'painting doctors', just like doctors who treat people. "Painting doctor" is also a profession that can treat calligraphy and painting."

"During this period, a mounting master named Zhou Jiazhou appeared in Yangzhou, and his academic level was quite high. He wrote a monograph on mounting technology. This was also the first systematic monograph on the mounting of calligraphy and painting in my country, " Decoration Journal."

"Before "Decoration Chronicles", discussions on the mounting of paintings and calligraphy could only be seen in the notes of the ancients. "Decoration Chronicles" comprehensively summarizes the experience of decoration, from theory to practice, and the importance of mounting technology. The work attitude and technical standards are fully described.”

"Zhou Jiazhou, whose courtesy name was Jiangzuo, was a native of Yangzhou during the Wanli and Chongzhen periods of the Ming Dynasty. He died in the Shunzhi period of the Qing Dynasty. He lived in Nanjing in his later years, and together with Sheng Yinchang and others, he was known as the 'Three Elders of Jinling'."

"In "Decoration Chronicles", he clarified that the quality of framing is related to the 'survival of fame', and proposed that a good framer should have four criteria: 'a hand that mends the sky, an eye that penetrates lice, a weak spirit and wisdom, and a heart as careful as hair'. "

“He also advocated that calligraphy and painting connoisseurs and framers should work closely together, criticized some craftsmen at that time for neglecting quality and cutting corners, and advocated inheriting and carrying forward excellent traditional skills.”

"At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Yangzhou's mounting techniques had already formed a unique style. Together with the 'Su School' and the 'Beijing School', they were also known as the 'three major schools in the world'. They were especially famous for being 'good at imitating ancient costumes and being good at peeling off and mounting ancient paintings'. World."

"So far, our principles for restoration of calligraphy and paintings have not exceeded the provisions of this book. The guiding ideology and basic techniques in the book's mounting of calligraphy and painting are still of great reference value for today's mounting of calligraphy and painting. Therefore, this book can be called a This is a book that accurately describes the repair and mounting of ancient calligraphy and paintings, is carefully compiled and cleverly written."

"Liang Qingbiao, courtesy name Yuli, was a Jinshi in Chongzhen of the Ming Dynasty. He served as Minister of War, Ministry of Rites, Ministry of Punishment, and Minister of Household Affairs during the Shunzhi and Kangxi periods of the Qing Dynasty. He was talented in poetry and articles, and was also quite accomplished in the collection and appreciation of calligraphy and painting. Liang Qingbiao was extremely fond of mounting calligraphy and painting. He was Kangxi's right-hand assistant in collecting and appraising, and Yangzhou framer Zhang Huangmei was his good friend."

"The Records of Calligraphy and Painting" written by Wu Qizhen of the Qing Dynasty says: "There was a beautiful Zhang Huang in Yangzhou who was good at back-mounting, and later became a home decorator for Liang Qingbiao. "

"In the Qianlong period, according to Li Dou's "Yangzhou Painting Boat Record", there were more than 500 well-known painters active in Yangzhou at that time. The prosperity of calligraphy and painting art promoted the prosperity and development of mounting art."

"In the notes of many literati of this era, there appears an important figure in the art of framing, named Ye Yufu. He had extraordinary skills because he obtained the 'Tang Dynasty's Cooked Paper Method', was good at managing old silk, and became the leader of the Yangzhou School of framing."

""Yangzhou Painting Boat Record" said that he 'lived in Beiliu Lane'. He was 'skilled in paper making' and was good at mounting torn silk. 'Although the old painting silk was extremely damaged to thousands of pieces, once it came into his hands, it was completed. . However, he is aloof and upright, so he should be cautious about accepting others and not treat others with contempt."

"Ye Yufu believes that the reason why ancient famous paper is famous is the unique processing method. The techniques can be divided into various cooking methods such as 'glutinous rice, beating, boiling, rice flour, gold, silver, powder, wax' etc. The key is to make the paper It becomes solid, soft, tight, and gorgeous, making it easy to write and draw." "After studying this method carefully, Ye Yufu became the master of Yang School framing, forming a method of good at framing and making old, and following the ancient elegance, creating old and damaged The painting can be restored to its original appearance, and the imitation can be indistinguishable from the original."

"In terms of technique, the Yang School emphasizes 'using paste like water, light paste and rearrangement, seams are straight, straight and solid, mosaics are consistent, width and width are uniform, and edges are turned neatly', and more than 70 specialized techniques have been handed down."

"Subsequent Yangzhou framers followed Ye Yufu's inheritance, and finally reached the state of 'the hand that mends the sky, the eye that penetrates lice, the spirit and wisdom are weak and peaceful, and the heart is as careful as hair'."

"During this period, another writer appeared in Yangzhou, named Zhou Xue."

"Study on Tuesday was a student. He was proficient in poetry and prose, good at calligraphy, and especially good at discerning. His family was once wealthy, and he accumulated a lot of calligraphy and painting. However, because of his addiction to calligraphy and painting, his academic career gradually declined, and his family's fortune gradually disappeared."

"In order to study calligraphy and painting, he wrote a book called "Appreciating Yan Su Xin Lu", which contains ten chapters, which can be said to be a sequel to "Decoration Records".

"The book discusses the techniques of peeling and washing, patching, mounting, pasting, inscriptions and postscripts, and the binding of painting latches, painting cases, painting boxes, etc. It is believed that the mounting of calligraphy and painting should be elegant and elegant, and the discussion should be accurate, simple and important."

"Different from Su Bang and Jing Bang, Yang Bang's painting and calligraphy restoration has always been distinguished by its 'archaique decoration pool'. Yang Bang's restoration of calligraphy and paintings has never used a unified method to do this, but based on each individual's needs." There are different repair plans for different degrees of damage to Zhang paintings.”

"During the Republic of China, many mounting masters from Yangzhou went to Shanghai and Beijing, and Yang-style mounting techniques spread throughout the country."

"During this period, there were Liu Daosheng, who was known as the 'King of Silk Scripts' and was good at restoring silk scripts, and Liu Daosheng's younger brother Liu Daolin, who stayed in Yangzhou and continued the inheritance."

"They inherited the neat and beautiful artistic style of Yang's mounting. They were able to use techniques such as decontamination, uncovering, and repairing damage to carefully repair and decorate. They were able to connect the threads of the severely damaged parts of the picture. From paper selection to uncovering and restoration, from From adjusting ink to capturing the meaning of the painting, there are seventy-two steps, each step is rigorous and there is no room for error."

"And their disciples and grandchildren went overseas and became the chief restoration experts of paper cultural relics in museums such as the British Museum in the United Kingdom and the Houston Museum in the United States."

"For example, Mr. Yan Guirong was among the first batch of old men engaged in the restoration of ancient paintings in the Shanghai Museum. He is very skilled and well-known. He has restored more than 300 ancient paintings and cultural relics for the Shanghai Museum, including Wang Xizhi's Tang copy of the ink ink "Shangyu Tie", "Gao Yi Tu" by Sun Wei of the Tang Dynasty, etc."

"It is said that one year, the great collector Qian Jingtang spent a lot of money in a cultural relics store to buy a piece of "Landscape at Night" by Fan Kuan of the Song Dynasty that was in extremely poor condition. Because this famous painting was not only moldy and had holes, but also had broken inscriptions and postscripts. The seal was lost. For this reason, Qian Jingtang asked Mr. Yan for help.

"After being re-mounted three times and using the 'fire roasting method' on the seal, the work was finally restored to its true appearance through Mr. Yan's skillful hands."

(End of this chapter)