The British Museum mounted a picture of women's history, which is called "Japanese screen folding". It has been about a hundred years since the Japanese screen folding method was introduced into the British Museum in Tibet, and there have been obvious "symptoms" of cracking and powder dropping. Scholars of art history and protectionists at home and abroad basically hold a negative attitude towards this, and they all regret that cultural relics have been hurt.
This method of mounting and protecting ancient paintings and calligraphy is not available in domestic museums. China's ancient paintings and calligraphy, whether in Shanghai Museum, Beijing Palace Museum or Taipei Palace Museum, are absolutely impossible to be divided into several pieces and mounted on wooden boards.
The pictures of women's history in the British Museum were transformed by the British in the western form. According to the treatment of oil painting, this woman's history was cut off piece by piece. "Women's historical proverbs" entered the British Museum in Tibet in the 20th century 10. At that time, there were almost no art scholars or painting and calligraphy collection consultants from China in European and American museums. Several museums in the United States, such as the Metropolitan Museum of Art, have several China paintings and calligraphy works that entered Tibet at about the same time, and they have the same experience (split and mounted on wooden boards).
The reason behind this phenomenon is that museums in Europe and America are mainly influenced by the first generation of art collection consultants who went to Europe and America from Japan at the beginning of last century. At that time, no China scholars set foot in the western museum system. Japanese consultants take it for granted that China's ancient paintings mounted on wooden boards are harmful to cultural relics, because after a period of exhibition, wooden boards will crack, while Chinese paintings are usually painted on silk or paper, which will also crack with the cracking of wooden boards.
However, this practice was only used in museums in Europe and America for a short time, and collectors in China gradually intervened in the public collection system in Europe and America to correct the wrong mounting and improper storage of China paintings and calligraphy.
At the seminar on women's historical prose held by the British Museum in 20 13, the British Museum itself expressed regret about this mistake about 100 years ago. Now, the most advanced scientific and technological means can be used to analyze its damage, but this process cannot be fundamentally reversed, so it can only be displayed for one month a year, and it is generally protected in storage.