Chapter 1375 Senior Expert
While explaining, he concentrated 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 masters to apprentices. The masters study "skills" rather than "historical knowledge" and "theoretical research". Many old people who have been immersed in this industry their entire lives, This is the first time for them to hear the inference about the original origin of this industry and explain it from a theoretical level.
This is especially true for the painters around. Although painting and framing 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 this industry. The whole story.
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 Chronicles" "
"Before "Decoration Chronicles", there were discussions on the mounting of paintings and calligraphy. "Scale Claws" has always been seen only in the notes of the ancients. "Decoration Chronicles" comprehensively summarizes the experience of decoration, from theory to practice, and provides a comprehensive description of the importance of the decoration process, work attitude, and technical standards. "
"Zhou Jiazhou, courtesy name Jiangzuo, was born in Yangzhou during the Wanli and Chongzhen periods of the Ming Dynasty. He died in the Shunzhi year of the Qing Dynasty. During his later years, he lived in Nanjing, and together with Sheng Yinchang and others, he was known as the "Three Elders of Jinling". "
"In "Decoration Chronicles", he explained that the quality of framing is related to the "survival of famous monuments", and he proposed framing. A good worker should possess the four criteria of "a hand that can mend 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 who ignored quality and cut corners, and advocated the inheritance and development of excellent traditional skills.”
“So far, we have The principles for repairing calligraphy and painting still do not exceed the provisions of this book. The guiding ideology and basic techniques for mounting calligraphy and painting in the book are still of great reference value for today's mounting of calligraphy and painting. Therefore, this book can be regarded as a reference. This is a book with accurate descriptions, precise collection and clever writing of ancient calligraphy and painting decoration. "
"In the late Ming and early Qing Dynasties, Yangzhou's mounting techniques had already formed a unique style, which was closely related to the "Su School", "Beijing School", and "Beijing School". Also called 'day' "The next three major schools" are especially famous for being "good at imitating ancient costumes and good at mounting ancient paintings." , and later Liang Qingbiao Home Decoration. "
"Liang Qing was named Yuli, and he was a Jinshi in Chongzhen in the Ming Dynasty. He served as the Minister of the Ministry of War, the Ministry of Rites, the Ministry of Punishment, and the Ministry of Household Affairs during the Shunzhi and Kangxi periods of the Qing Dynasty. He has outstanding talent in poetry and articles, and is also quite accomplished in the collection and appreciation of calligraphy and painting. Liang Qingbiao was very particular about the mounting of calligraphy and paintings, and was Kangxi's right-hand assistant in collecting and appraising paintings, while Yangzhou framer Zhang Huangmei was his good friend. ”
"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, an important figure appears in a frame , his name is Ye Yufu. He has excellent skills because of the "Tang Dynasty Paper Method" and is good at curing old silk. He has become the leader of Yangzhou School of Decoration. ""Yangzhou Painting Boat Record" says that he "lives in Beiliu Lane". He is well versed in paper techniques, and is 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 Complete things. He is aloof and cautious, and does not treat others lightly."
"Ye Yufu believes that the reason why ancient famous paper is famous is its unique processing method. Various cooking methods such as , boiling, soup, gold, silver, powder, wax, etc. are intended to make the paper solid, soft, and tight. , gorgeous, easy to write and paint." "After studying this method carefully, Ye Yufu became the master of Yang School of framing, and formed a method that is good at framing and making old, and follows the ancient elegance, making it possible to restore old and damaged paintings to their original appearance and imitate them. A unique skill that is indistinguishable from the real thing.”
"In terms of technique, the Yang School emphasizes 'using paste as if it were water, rearranging light paste, inlaying seams straight, straight and solid, corresponding mosaics, uniform width and narrowness, and neatly turned edges', and more than 70 specialized techniques have been passed 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 the heart is as careful as hair'."
"This Period, Yangzhou Another writer named Zhou Xuexue appeared. "
"Tue Xuexue was a student. He was proficient in poetry, good at calligraphy, and especially good at discerning. His family was once rich, and he had a lot of calligraphy and painting. However, because of this, The hobby of calligraphy and painting, As a result, "education is gradually declining, and family fortunes are declining."
"In order to study calligraphy and painting, he wrote a book called "Appreciation of Yan Su Xin Lu", which can be said to be a sequel to "Decoration Chronicles".
"The book discusses the techniques of peeling and cleaning, patching, mounting, pasting, inscriptions and postscripts, as well as painting latches, painting cases, painting boxes, etc. It is believed that elegance is the most important thing in painting and calligraphy mounting, and the discussion is precise, concise and important."
“Different from Su Bang and Jing Bang, Yang Bang’s decoration has always been based on ‘antique decoration’. Because of its distinctive feature, Yang Bang never uses a unified method to repair calligraphy and paintings, but has different repair plans according to the different degree of damage of each painting. ”
< br>"During the Republic of China, many mounting masters from Yangzhou went to Shanghai and Beijing to , Yang style mounting techniques spread throughout the country. "
"During this period, there were Liu Daosheng, who was known as the 'King of Silk Books', who was good at restoring silk books, and Liu Daosheng's younger brother Liu Daolin, who stayed in Yangzhou and continued the inheritance. "< br>
“They inherited the neatness of the Yang framed The beautiful artistic style can use techniques such as decontamination, uncovering, and repairing defects to carefully repair and decorate the severely damaged parts of the picture, from paper selection to restoration, from ink adjustment to the painting's meaning. Twelve steps, every step is rigorous, leaving 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, who is from Shanghai The first batch of old men engaged in the restoration of ancient paintings in the Shanghai Museum are very skilled and well-known. They have 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" and Sun Wei's "Gao Yi Tu" in the Tang Dynasty. 》 "Etc."
"It is said that one year, the great collector Qian Jingtang spent a lot of money to buy a piece of "Landscape at Evening Color" by Fan Kuan of the Song Dynasty in a cultural relics store because of this famous painting. Not only are there holes in the mold residue; The inscription and postscript were broken and the seal was lost. For this reason, Qian Jingtang asked Mr. Yan for help.
“After three times of re-mounting and the ‘fire-baking method’ for the seal, the work was finally processed by Mr. Yan. His wonderful hand restored his true appearance. ”
(End of this chapter)