What is the procedure for mounting Chinese paintings? Generally, it is first mounted on the back of the painting with paper support, and then wrapped with twisted, silk, paper, etc. , and then installed as a layout. Traditional mounting is varied, but its finished products can be divided into four categories: hanging shaft, hand roll, picture album and folding. No matter the size, shape and use of the original mounted painting, there are only three steps: mounting the heart, embedding and mounting. It's just that the mounting of painting heart is an important process in the whole decoration process. It is quite difficult to re-mount old paintings and calligraphy. Tear down the old painting first, clean the mold, fill the hole, etc. , and then re-mount according to the mounting process of the new painting. New paintings and calligraphy should be mounted in time. Generally, newly written paintings and calligraphy should be stored for a period of time to let the ink color and inkpad dry naturally. But it is best not to leave it for too long, because when painting, it is soaked with ink, pigment and glue, and it will look skinny and wrinkled after drying. If it is not framed, it will not look as good as it used to look, but it will change color. Therefore, it must be mounted in time, so that the ink can be lifted off the paper, and the picture is vivid, which is conducive to moist, full and considerable colors. And after artistic design, it looks neat and beautiful, which can add charm. If it is not mounted, for example, the center of the picture is empty or broken into pieces. And not suitable for protection. If it is stored for a long time, the fibers of the paper silk will break from the folds, and the inkpad may be transferred to the picture. Or inadvertently cause obvious damage, such as breakage, deformation, pollution, discoloration, water stains, etc. For example, yellow spots are most likely to appear, which are difficult to remove and easily lead to moth-eaten. Leaving hidden dangers for future collection will directly affect the beauty of framed paintings and calligraphy works, as well as their ornamental value and artistic value. If it is often wet, it is easy to produce white, red and black mildew spots. If it's still sticky after it's wet, it's not easy to uncover it. Even if it is dried, it will become waste paper, rotten paper ash and cannot be preserved. On Tuesday of the Qing Dynasty, Xue Xue said in the Collection of Appreciating the Courtyard: "Calligraphy and painting are not decorated, which is harmful to silk; The decoration is not refined, and the ancient incense is eroded. " ("calligraphy and painting are not mounted, and the silk surface or paper core will soon be damaged; If the mounting is not beautiful, it will erode the original antique and antique charm of calligraphy and painting. " It can be seen that paintings and calligraphy must be mounted in time if they want to be permanently preserved and easy to appreciate, collect and circulate. The level of mounting technology, the choice of silk color and the design of mounting form directly affect the artistic effect of calligraphy and painting works. If there are new high-value paintings and calligraphy works, it will be icing on the cake if they are well mounted. Re-mounting old paintings and calligraphy should be cautious and choose the right workers. Paintings and calligraphy unearthed from ancient times are either poorly mounted, empty shells fall off, torn off during circulation, poorly collected and preserved, buried underground for a long time, rotted and sticky, or natural disasters; If the house leaks, it will be stained with traces of rain. If it is often smoked by smoke and dust, the heart of paper silk painting will turn black and yellow, and the ink color will be dim, or it will be bitten by insects and rats when it is damp and moldy, so that the pen and ink will be defaced, broken, and fall off, and it can no longer be hung up for appreciation and research. Generally, the farther the working distance is, the more serious the injury is, and it needs to be reloaded. Re-mounting must be carefully uncovered and repaired. Repairing the old as it is, like a dead tree meets spring, can restore the "original appearance" of Gu Shuhua's works. Its effect is equivalent to reappearing the artistic life of ancient calligraphy and painting, reappearing the artistic style of the original work, which is conducive to appreciation and collection and prolonging the life of ancient calligraphy and painting. However, it is necessary to be cautious in repainting old paintings and calligraphy, and to consult experienced craftsmen. Zhou in the Ming Dynasty said in the Book of Ornaments: "The previous generation of calligraphy and painting has been passed down to this day, and no one can leave it. If you want to modify it, it will be easier to get sick and delay medical treatment; If the doctor is not good, he will die with the medicine. The so-called' no medicine like Chinese medicine', if you don't meet a good worker, you would rather keep the old things. " The paintings and calligraphy of the previous generation have been passed down by many dynasties and have been preserved to this day. If you want to reinstall it and change the decoration, it's just like seeing a doctor for serious illness. Doctors with good medical skills can get rid of diseases and recover quickly. If the doctor is incompetent, the patient will die after taking the medicine. Therefore, it is a mild treatment to keep patients intact without medication, and it is best not to use drugs indiscriminately. By the same token, ancient paintings and calligraphy treasures have never met excellent mounters, and they prefer to preserve the old paintings that have been removed so as not to be exposed and destroyed by bad workers when they are re-mounted. Re-mounting of ancient paintings and calligraphy is like delaying the treatment of diseases, which shows the importance of re-mounting of ancient paintings and calligraphy. It is an important contribution to the protection of ancient paintings and calligraphy that the old paintings and calligraphy that need to be re-mounted should be repaired and mounted by traditional mounting technology so that they can be preserved for a long time. If you meet a mediocre worker and make an operation at random, you will die, so the skill of mounting is the key to the survival of ancient calligraphy and painting. Only when the mounter improves his skills to a certain height can he better mount ancient calligraphy and painting, so as not to destroy precious historical sites by himself. For example, in the process of uncovering and repairing, old calligraphy and painting are often rinsed with bleaching powder in order to be clean and beautiful. A little carelessness will cause more serious corrosion to the drawing paper. This will do great harm to the protection of historical sites. Gu Shuhua, which is very precious, can be re-framed, and its value can be doubled. If it is not reinstalled, it will become waste, so be careful. Equipment and tools for painting and calligraphy mounting (1) Studio (also called mounting room): Requirements: worry-free, bright, clean and tidy, safe and convenient, and moderate temperature and humidity. (2) Wall-making (also called big wall and board-making): used for leveling and drying painting cores, mounting pieces and various mounting materials. Requirements: Flat, smooth, ventilated and dry. (3) Desk (also called installation desk): Requirements: the desk board is hard, the desktop is smooth and flat, and the height of the desk is generally about 80 cm. (4) Air drying rack (also called air drying rod): used to dry processed backing paper, colored paper and various materials. (5) Copying table: glass desktop with built-in fluorescent lamp, which is used to uncover and mount old paintings. (6) Ladder: used to step on the wall during installation. (7) Combination brush: used for mounting silk, silk, paper, painting heart and painting. (8) Brown brush: used for mounting silk, silk, paper, painting hearts, painting mounted pieces on the wall, etc. (9) Paper cutter: used for drawing Fang Zhengzhi Heart, cutting and matching painting materials, etc. (10) Ruler and chopping board: used to draw a square heart and cut and match painting materials. (1 1) awl needle and tweezers: used for drawing hearts and picking out sundries. (12) Bottle opener: used to uncover the mounting pieces and various materials on the wall. (13) Oil paper (also known as pulp paper and paste insulation): used for shaping leftover materials and paste insulation. (14) Stone (also known as grindstone): used to grind and smooth the back of the installation. (15) Wax board: It is used to rub and coat the back of the mounting when the mounting is calendered. Other tools: scissors, duster, fork, watering can, basket screen, wood saw, electric drill, pliers, copper wire, washbasin, towel, brush, pigment, ink, palette, plastic film, etc.