Try not to re-mount old paintings and calligraphy, because every exposure has to go through many processes such as scalding with hot water, rinsing with clear water, chemical mold washing, decontamination and restoration, full color and so on, which takes a lot of time and will undoubtedly cause great damage to old paintings and calligraphy. Therefore, the ancients once said that ancient calligraphy and painting, unless it is "butterfly dance", can not be re-mounted. Uncovering ancient paintings and calligraphy, especially those with precious cultural relics, must find those experienced, skilled and conscientious mounters. Beijing, Shanghai, Suzhou and other places have professional painting and calligraphy mounting shops and skilled mounters. For example, Rong Baozhai of Beijing Liulichang is a state-owned enterprise, which is responsible for the preservation and rescue of cultural relics. They received ancient paintings and calligraphy, and they had to study and discuss how to uncover them before assigning special personnel to operate them. Don't go to someone with ordinary skills to save trouble and money. Lu Shihua, a famous expert in painting and calligraphy in Qing Dynasty, said in his book On Painting and Calligraphy: "Painting and calligraphy are not in the well-known hand pool. Although they are in tatters, it is better to wrap them in a hidden box. Don't press anything else, don't be eager to pay for clumsy works, and rushing to pay for clumsy works is the trace of destroying it. Stupid work means killing the executioner. " This is really an experience.
In addition, it is best to take photos or videos before uncovering precious ancient paintings and calligraphy, so as to prepare for uncovering the evidence of legal recourse in the mounting process.
On the research of painting and calligraphy uncovering technology, Ding Fu, a painting and calligraphy maintenance teacher in Taiwan Province Province, conducted relevant research in 2004. According to the published research results, the uncovering technology can be divided into wet uncovering and dry uncovering. The so-called wet uncovering refers to the method of wetting the whole painting center evenly at the same time and then uncovering the paper; Dry uncovering is not a completely water-free, but reducing the water that wets the coated paper and paper as much as possible in a small scope, and then uncovering, which can also be called local wet uncovering. Temporary reinforcement is needed to protect the safety of cultural relics before unveiling. Temporary reinforcement technology can be divided into unbonded method and bonded method. Non-adhesive method only uses water to attach the reinforcing material to the painting center; Adhesives rule uses water-soluble adhesives to attach and reinforce the supporting materials in the painting center. The damage of painting heart in painting and calligraphy restoration
Temporary reinforcement method can be used, and dry and wet cover can be used. In his research, Fan Dingfu measured the influence of coating on surface color, cleaning effect and durability test by simulating the experiment of residual adhesive on the surface of coating center. The conclusion of the test is that among the three adhesives used, linen, methylcellulose and paste, linen has the greatest influence on the color of the sample, and its aging resistance is poor, which still seriously affects the wet-heat whiteness stability of the sample after cleaning. After cleaning, it is helpful to stabilize the whiteness of the paste sample. Among the three, methylcellulose has the best cleanliness, the best aging resistance and the least influence on the color of the picture. It is suggested that methyl cellulose be used as temporary reinforcing adhesive for uncovering and mounting.
In recent years, relevant research has been continued, and new research results have not yet been published.