Integration of antique-making methods for rice paper
○ I have tried several ways to make rice paper old, and one of them has a better effect. It is made by soaking and dyeing the mounting paper from old paintings in water. There is a prerequisite here, you must have framed friends. When the framer is unmounting ancient calligraphy and painting, he removes the original mounting paper and is generally reluctant to throw it away. Those mounting papers have turned dark brown due to time. Soak it in clean water, and the color will be very dark. Use this water to dye paper, and the result will be more natural. This is the method I adopted during the second fan exhibition.
○ I know a way to make things worse, and I would like to offer it to you selflessly: Sprinkle overnight tea leaves evenly on white rice paper or soak the rice paper in tea water to get a dark yellow effect!!!!!!! !!!!Better ink absorption performance!!!!!!!!!!!
○ The simple method I usually use more often is: use tea water that has been left overnight (preferably not Use clear tea), add some soy sauce, or add a little bit of ink to ensure the color and depth of the tea water. Then use a brush to brush it evenly on the rice paper. If you want a special spot effect, brush it with the prepared tea water and sprinkle some salt on it. After it dries, the effect will be before your eyes!
○ If anyone writes in small regular script and does not have neutral or cooked rice paper at hand, it will definitely not work with white rice paper because it will bleed too much, so you can try this method. The method is very simple. : Everyone must have drunk soy milk. It is sold on the streets, especially in places that sell breakfast. Because in order to make money, the concentration of soy milk is not the original concentration, but diluted. You buy a few cups of soy milk, add a little water when you go back, and then use a brush to brush it evenly on the white rice paper. After it dries completely, you can create directly. The effect will be great!
○ I mentioned earlier the method of brushing raw rice paper with soy milk in order to write small regular script. Another method is to brush it with pure milk. The effect is also good. You might as well give it a try
○ Me Usually, you use traditional Chinese painting pigments (cyanine, ocher, etc. plus ink to create a light color) on the back of the paper to create a texture effect, and then slowly brush the front with Pu'er tea several times to achieve the purpose of making it look old.
○ Lay the written work flat on the felt, spray it with thick Pu'er tea juice with a sprayer, and spray it several times according to your own requirements (the first time must be completely dry and then the next time), and it is done. The paper will be full of old air. .
○ Learning Li Zhan’s method may be beneficial to everyone!
Thank you! My husband didn’t mention it until I forgot about it, and I used to do it the old way. This method is definitely not for fraud, it’s just to increase the effect.
1. First place the work on a thicker paper, and when it is semi-dry, use a brown brush to brush it hard to make a small amount of ink marks appear on the edges of the words.
2. Brush the work several times with boiled water of cork and saponaria. Floating ink can be washed away, and the work will turn yellow with black. Cork can prevent insect infestation.
3. Peel off the work and place it on a new piece of paper.
4. Use Pu'er tea powder soaked in water to brush the work several times.
5. Finally, pour the tea powder and water on the work and leave it overnight to remove debris.
6. Rinse the work several times with clean water, uncover it after it dries, and reattach and support it.
7. Brushing the work with Bletilla striata water can increase the brightness and make the work feel both old and new.
8. Mount on the second negative quilt paper and complete.
You can also use old newspapers, black tea, bark, chestnut shells, etc. boiled in water to make them old, or polish them with sandpaper, but no matter what, you must brush them with Bletilla striata water in the end, otherwise, the ink will appear. Not coming.
○ In the restoration of calligraphy and painting, in order to maintain the original appearance of calligraphy and painting and try to be "as old as possible", it is necessary to carefully select paper suitable for ancient calligraphy and painting. However, the source of old paper is limited. , it is difficult to find a complete variety, so it is imperative to use antique dyeing technology.
Dyeing paper uses dyes to act on fiber to obtain a uniform and firm color. So far, the dyes used in dyeing paper are still generally various plant dyes and mineral pigments. A brief introduction to the related processes of dyeing paper is as follows:
(1) Raw materials
1: Pigments
Such as: garcinia, cyanine, ocher, sophora japonica , gardenia yellow, oak bowl, earthy yellow, black tea, Hui ink, cinnabar, sugar color, etc.
2: Glue
In order to ensure the quality of dyed paper, it is necessary to prepare glue with appropriate shades and requirements.
The function of glue is to add it to the dyeing water to make the color of the dyeing water uniform and the color and water to be integrated. In this way, the dyed paper will be one color at a time without blooming.
Glue is a viscous substance, generally divided into two types: animal glue and vegetable glue. Animal glue is made from animal skins, horns, bones, etc., and varieties include cowhide glue, deer glue, bone glue, etc. Vegetable glue is made from plant mucus, and varieties include tree gum, Gelidium gum, etc.
3: Alum, row of brushes, drying rod, enamel basin, etc.
(2) Specific production method of dyeing juice
Take bronze antique paper as an example
Method 1: You can directly boil the oak bowls (chestnut shells can be used instead in the north) in water to fully release the color. When cooking, add 1-2% to the water. of glue, then use a large basin with a sieve on top, pour the cooked dye juice into the basin and sift out. Dye the paper while it is hot.
Method 2: Boil sophora jasmine and gardenia in water, add glue, boil thoroughly and filter before use.
Method 3: Boil black tea, sugar color and alum, filter the tea and add glue to make a dyeing juice.
Method 4: Mix Chinese painting pigments, ink, etc.
(3) Operation method
Put three or four pieces of paper to be dyed into a pile, lay them flat on the workbench, and use a pen to dip the dye juice into the paper to brush the color. The brush strokes should be deepened layer by layer from shallow to deep. The brush strokes should be brushed one by one along the paper grain. After brushing, they should be dried on the drying pole. When they are half dry, they should be divided into sheets one by one, and finally flattened. spare.
To dye large pieces of paper, you can use a special dyeing tank to pour the dye juice into it and proceed with dyeing.
(4) Precautions
When preparing the dyeing juice, it must be noted that the color of the dyeing juice must be adjusted at one time. It is better to adjust more at one time to avoid shortage of replenishment, because the color of the dyeing juice must be prepared again. When dyeing juice, the color is often different from the previous time.
Due to the limitations of uncertain factors such as water quality and climate, it is difficult to specify a fixed ratio, so it must be measured through color testing. Until the right color is found.
○ Production of wax paper
1: Apply wax evenly on the rice paper
2: Then use a calender stone to pass through it in sequence
3: Rinse away the floating wax with boiling water
4: Dry and set aside.
Write in small regular script, nothing to say.
○ The ancient method of making old paper
The method of dyeing paper is said to have been invented by Ge Hong (281-341) of the Western Jin Dynasty. During his research, he discovered that yellow leaves have the effect of killing insect eggs, so he experimented with using yellow leaf juice to dye hemp paper, thus making the world's first processed paper dyed with natural dyes that is not susceptible to insect attack. Historically known as "Jute Paper". This paper has a yellow or light yellow appearance and was later widely used.
Yellow leaf dyed paper was called "Ruhuang" in ancient times. The method is: first cut the inner bark of the yellow leaves and put them in water to extract the original juice. Take out the remaining residue and mash it, add water to boil, put it into a cloth bag, and squeeze out the yellow juice. Mash the residue again, boil and squeeze it again. After three times of processing, the dyeing juices of several times are combined to dye the paper.
○ Ming Dynasty Gao Lian's "Zunsheng Eight Notes" Volume 15 contains: "Dye the Song Dynasty paper with a pound of hammer, soak it with four liters of water for one volt, and simmer until it reaches two liters. Use a liter of oak bucket to decoct the water as above. Use 5 qian of rouge to make a deep juice. Use four bowls of soup to extract the three flavors and make a thick juice. Use a large basin to hold the juice. For thick paper, first drag it with cork juice, then drag it with oak juice, and then drag it with rouge juice. Then add or subtract the depth, and dry it one by one. ”
○ Use raw soy milk juice to drink. Adding glue and processing the paper according to the dyeing method will produce a half-baked effect. For example, adding black tea juice, ocher water, garcinia water, ink, and other pigments to soy milk juice can be dyed into various old colors. Paper.
○ Speaking of this, I remembered an interesting thing: Mr. Dai Wu sent me a Pu'er tea tea cake that was many years old. Everyone in the office frowned when drinking it, so it was placed under the coffee table. Later, someone heard that Pu'er tea was particularly effective in making old rice paper, so Fan Lijie, Chen Peizhan and others went back to experiment, and the effect was indeed good. Later, a friend who had studied Pu'er learned about it and said: What a sin! In addition, friends who paint gongbi paintings have a very high level of old-fashioned painting.
○ The production method is different before writing and after writing. After writing, the work should be brushed evenly on the front with alum water to fix the ink color. The other methods are the same.
○ Come to a new old-fashioned method: simple to use
Materials: a cigarette, a plastic bag and two pieces of water
Crush the tobacco and add water to the work. Put it in a plastic bag, tie it tightly, and put it on (insurance). It will be ready in two days.
How to age calligraphy and painting and identify them!
Paper and silk are one of the carriers of Chinese calligraphy and painting, and its importance in the identification of calligraphy and painting goes without saying. Among the forgeries of calligraphy and painting, the use of ancient paper and silk is limited after all. As a result, a variety of paper and silk counterfeiting techniques have emerged, but few people know the means of counterfeiting and how to identify them. This article will introduce you to some common sense in identifying fakes in this regard.
The forgery of paper and silk mainly includes: making old colors, making old stains, and making old residues, which are described below.
1. Distressed color
Distressed color refers to dyeing paper and silk with colors that are consistent with an original or similar to the color of commonly seen old calligraphy and painting.
Pigments for making old colors
The commonly used pigments for making old colors are mainly traditional Chinese painting pigments. Such as Garcinia, Cyanine, Chushi, Rouge, Sanqing, etc., which are available in tube, block, and powder forms. Its characteristics are that it is transparent and hydrophilic, does not bleed, and the dyed color is relatively durable. The second is chemical pigments, which are generally used less often and are only used as a last resort. Their characteristics are that the colors produced are relatively new and are easy to fade. In addition, some native methods are used, such as smoke and sun exposure. Use yellow tillers, tobacco leaves, tea leaves, masts, oak bowls, etc. to boil the juice and dye them directly.
No matter which paint is used for aging, it must be mixed in advance. If you use Chinese painting pigments to dye it, first grind the pigment into a liquid state, and then filter it with gauze to remove the residue (because although the fineness is sufficient when making the pigment, there is still aggregation between the particles). Then add the alum solution and try dyeing. If you use tobacco leaves and other boiled juice for dyeing, wait until the color liquid cools before trying dyeing. Since the color of the liquid cooked with these raw materials is relatively monotonous, other colors are sometimes added as needed to achieve satisfactory results.
How to make old colors
1. The direct dyeing method is to lay the object to be dyed flat on the table, and then use a brush to paint directly from right to left. This method is suitable for highly absorbent, thin paper.
2． The pull dyeing method uses a rectangular water tank with the same specifications as the object to be dyed to hold the coloring liquid. Then use both hands to hold the two corners or upper end of the dyed object and slowly pull it out of the dye liquid. This method is suitable for paper with strong paper and strong tensile strength, such as leather paper, mounting materials, etc.
3. The dip dyeing method is for silk. Because silk is a silk fabric, the new silk produced is oily. If you use a row of pens to paint on the table, it will be difficult to catch and wrinkle easily. Therefore, soak it in the color liquid and rub it for a while. Take it out after a few days to get the old silk color. If it is passed through glue vitriol, you will get old-colored cooked silk. 4. The support dyeing method is also for silk. Since silk is not easy to stain, a layer of rice paper must be supported in advance and then dyed. The dyeing method is the same as "direct dyeing method".
In addition, some are made yellow by sunlight and wind, commonly known as "weathered paper", "weathered silk" and so on.
Identification methods
After understanding some methods of making old color, we can distinguish its authenticity from the following aspects.
1. Generally speaking, the old color of old paper and silk should intuitively feel natural, peaceful and "clean", with uniform color and clear texture on the front and back. The newly made old color looks angry and uneven in color. The paper and silk surface are not clean, the texture is unclear, and it is fluffy. The old colors of authentic paper are generally brown, tawny and light gray. Silk is generally dark brown or more brown. The new and old colors look the same at first glance, but upon closer inspection, there is a hint of yellow-green in them. The distressing color is divided into calligraphy and painting core (before calligraphy and painting, calligraphy and painting after calligraphy and painting) and mounting parts.
Use the old color before calligraphy and painting. After writing and painting, the handwriting will be clear and the ink, color and printing ink will still maintain the original color.
If the old color is applied after writing or painting, careful observation will reveal a faint layer of color that shines on the writing or painting, and sometimes the brush marks left by the old color can be seen.
It is framed in an old color and is easier to identify. The easiest thing to see is the uneven color. Because the mounting piece is composed of at least four layers of paper, it is not easy for the color to penetrate all four layers of paper. As long as you open the wrapping paper on the rolling rod, you can find that the color of the paper inside is uneven or white and yellow, and the rolling rod is also Contaminated. The author once came into contact with a banner of landscape painting. The painting skills are good and the level of distressing is also high. Moreover, after being distressed, it has been used again.
For some time, the screen has appeared mold and oil stains: without extensive experience. Judging from the color of the paper alone, one might mistake it for the real thing. When the rolling rod was opened, the truth was revealed. The inner wrapping paper had spots like sika deer skin, and the rolling rod was also contaminated. It's obviously framed and made of an old color. The paper and rolling rod of the authentic mounting piece are natural and clean in color.
2. When you smell authentic old paper and silk, you will feel the smell of dust, smoke, etc. Newly made old-colored paper and silk have a pungent smell of paint and glue.
3. Shine the real old high-quality paper into the light, the light transmittance is good, and the paper curtain is clearly visible. Even though the thickness of some papers is different and the light transmittance is different, the feeling of the paper curtain is still natural. In addition, small blisters can always be found. The new paper is old, and due to uneven dyeing and rubbing the paper, the light transmittance is poor, and the paper curtain is also blurry.
Old silk has the opposite effect on light than paper. Due to years of friction and other reasons, the silk has been damaged and fallen off, resulting in different thicknesses of the silk surface. When exposed to light, some have better light transmittance, while others have better light transmittance. The light transmittance is poor, but one thing is easier to grasp. Because silk is brittle and loses its mechanical strength, it cannot be pulled casually, otherwise it will break. Painted silk with new and old colors is not uniform in color in response to light, and can be pulled at will, and the longitude and latitude lines are distorted and difficult to break (except for a few exceptions where the silk is deliberately pounded into a shape without muscles and bones).
In addition, it can be placed in a strong light place, but do not expose it to direct sunlight. For example, if you put old paper near the window or in the corridor, after a few days, the internal structure of the fiber will be damaged to a certain extent, thereby reducing the mechanical strength, but its color will not be obvious in a short period of time, because the damage to them by light is Subtly. If it is a new and old color, the color will change from yellow to gray to white in a few days. The author once came across a couplet that was painted in old colors after writing. The core was placed at an indoor window. Due to the penetration of light and heat into the calligraphy and painting, it changed from yellow to off-white after a week ( This is the difference between natural aging and artificial aging).
4. After washing the old paper and silk with water, the old color is basically affected and it only appears clean. The water washed out is brown (brown), but the water quality is relatively "pure", and there is still no sediment on the bottom layer after being left for several days. After being washed with water, the color of the old paper becomes obviously lighter and uneven. The new color of the washed water is yellow-green. Due to the paper lumps that appear on the paper surface due to rubbing during dyeing, it is inevitable that the paper will be stained when it is passed through water. Pulp is brought into the water, so there is sediment at the bottom, and water and sediment separate (the water above is similar to clear water). It is made of silk. As long as you wipe it with a wet towel with a little force, the wiped piece will turn gray to white. And because it is usually made of old silk, the fibers will tilt when you wipe it, and there will be no damage.
2. Making dirt
Methods of making dirt
Dirty refers to using various methods to apply dirt on paper and silk. Such as mildew spots, rust spots, oil stains, water stains, handwriting, fly marks... Deliberately making the picture dirty to deceive people, dirt is mostly seen on the core of the painting.
1. How to make rust stains: Most of the rust stains made are "red rust" (iron rust).
2. Methods for making oil stains The oil stains commonly seen on calligraphy and painting include: vegetable oil, animal oil, wax oil, wood oil...
Methods of identification
1. How to identify rust stains
(1) Look at the old rust marks on the old paper and silk. The color is obviously old and has a dry feeling. The color is dark and black-red or dark red. The color print has a certain depth, and the edges of the color print have very natural and uneven marks.
(2) Washing old rust stains with clean water will not help. Generally, chemicals need to be used to remove them. If the rust is newly made later, washing it with clean water will obviously make it lighter.
2. How to identify oil stains
(1) Look. Old oil stains look dry, the surface is smooth and slightly whitish, and the paper at the oil stain is hard. Dust on the surface is easy to dust.
The newly made "old" oil stains look moist, dark and new, and the dust on the surface is difficult to dust off. When you rub it with your hands, you can see that some of the paper hairs are lopsided, and those that are made of silk are also stronger.
(2) Washing and ironing Old oil stains are generally difficult to remove with water, especially vegetable oils, which need to be removed with organic solvents. Some "old" oil stains on new work can be removed with detergent. Repeated light ironing with an iron pad can also absorb some of the oil stains.
3. Disability
Identification method
1. How to identify corners and tears
(1) Look at the fault planes of missing corners or cracks on the paper. Most of them are smooth and clean, even if there are stubbles, they are lacking. Especially those that are very crispy and hard are more likely to break. There is basically no stubble of "broken lotus roots" at the cracks, and they will break into powder if they touch the cracks.
The fault surface of the newly made paper torn has long and dense stubble (especially if it is torn by hand). Even if it is a hard cut made by stabbing it with a knife, the cut surface will overflow a lot after being processed again. The hair is long and has certain tensile strength. The author once saw a pair of couplets. The tear was on one-third of the couplet. It was torn down. The cracks were easy to fit, the stubble was longer, and the tensile strength was strong. It is obviously newly made (Figure 8).
If it is an original tear on the old silk, the paper tear will be easier to identify. Because silk is most susceptible to aging and brittleness, the cracks are generally uneven, the stubble is short and bald, and it has no tensile strength. It breaks into pieces when touched, accompanied by flying dust. And because silk fabric cannot be torn by hand like paper, even if it is forcibly torn, the warp and weft lines of the surrounding silk will be affected, causing distortion and making it difficult to calligraphy and painting. If there are cracks after the calligraphy and painting, and the quality of the socks is not good, then the meaning of the painting must be deformed. If there is a tear behind the paper support, it will look even more fake. Therefore, it is very difficult to create an old cracked effect on new silk.
(2) Washing Because the old painting core is naturally discolored, the stubble will not fade except for cleaning with chemical reagents, and it cannot be extracted at will after being wet with water. Generally speaking, newly cracked painting cores are made with the old color in advance. After the stubble is soaked in water, it will turn grayish white to white (this is the case in the couplet above), and it is easy to extract after getting wet.
2． How to identify wormholes
(1) Look. Natural wormholes have different shapes and are ever-changing, with smooth and sharp edges at the entrance. The holes in the painting core that are seriously infested by insects are densely packed, including round, cross-shaped, and even strip-shaped worm-like holes, which look like live worms floating on the painting core, making people's hair stand on end. Although a wormhole is small, it is not easy to create a "spiritual resemblance" to it. Therefore, a fake wormhole generally only feels like a residual hole, and it is considered good if it can be "physically similar". Therefore, the real and fake wormholes are more important. Easily distinguishable.
(2) In addition, the dummy also passes through the "operating position" when it is disabled. Some are broken in the blank space, some are broken in the meaning of the painting, and some are broken in the inscription, signature and seal. The author once saw a flower album, which was made in a very clever way. It used a knife to make a hard cut. This hard cut was made along the shape of the leaf (the edge of the leaf), and only half of the leaf was made. When the color After the paper is muddy and cracked, and the picture is dirty, it is difficult to see the flaws for a while (of course, it must be distinguished from the rough edges that the author himself made when painting). The purpose of making a dummy is to divert people's attention and create mystery. If there are holes in the seal, it will affect the overall view of the seal. In this way, when identifying the seal, it will cause confusion because the string strokes of the characters cannot be seen clearly, and even achieve their purpose of deceiving people. Therefore, we must be good at discovering hidden flaws.
4. Related aspects--decoration and distressing
Identification methods
1. How to identify decoration inserts
(1) Look at the firmness of the inserts. Carefully observe whether the decoration materials were removed from the original ones or used new materials to imitate the old ones. The removed materials are generally crisp, old and natural in color, with some signs of damage. The distressed inlays are relatively strong and have clear warp and weft patterns.
(2) Look at the pattern characteristics of the mounting material. If it is framed with damask, it is necessary to see whether the pattern characteristics of the damask are consistent with the era of the painting core. Because the inlay materials can only be used by future generations, it is impossible for previous generations to use future generations. The banner landscape painting mentioned by the author in the section of "Old Color" is made of old color all over the body after being mounted. On the surface, the old color effect is not bad. The original intention of the old color can be seen. At least it must be done. It is an old painting from the Ming and Qing Dynasties, but the imitator only paid attention to the imitation of the old color, and ignored the problem that the pattern characteristics of the damask are consistent with the style of the painting era. In other words, the forger did not understand the pattern of the damask from the Ming and Qing Dynasties. characteristics, they ignorantly used imitation Song Dynasty brocade with blue ice plum blossoms sold on the market as decorative materials. People with a little experience can tell from this flaw that it is fake (of course, it is different from the old calligraphy and painting using the current damask. Using silk as an inlay for restoration and remounting are two different things and should not be discussed together).
(3) Look at the color of the inlay (please see the section on aged color)
2. How to identify the decoration shape
(1) Look at the decoration shape. There are also fake antique calligraphy and painting tall decoration shapes, but they are rare and may be related to saving labor and materials. Therefore, the most common decoration specifications are around 2 meters (there are also genuine ones that are around 2 meters tall). In addition, the structural form of decoration is similar to that in ancient times, but one of the structures, "Baotou", is common in ancient calligraphy and painting, and it is also indispensable. However, many people who are engaged in decoration now do not understand the mounting of Baotou. , even if you understand it, it is too time-consuming and labor-intensive, so the current calligraphy and painting frames almost don’t have headers, especially the fake ones.
(2) Look at the decoration and workmanship. The decoration of ancient calligraphy and painting, whether it is palace decoration or folk decoration, is very particular in its workmanship. Even if it is mounted with paper inferior to damask silk, you can still see the meticulous work attitude of the framers. In order to make a profit, people who make fake calligraphy and paintings usually hire framers with "half a bucket of water" to frame them. Therefore, it is often seen that the fake calligraphy and paintings are framed with poor workmanship, which is manifested in the following: using pulp machinery and inlaying materials. The cutting is curved, the edges are of different widths, the colors of the panels are improperly matched, and even the proportions of the sky and the ground are not harmonious.
3. How to identify stains and stains
Look at the parts where stains were applied
If there are irregular rust stains on the tapestry on the head, it can be determined that it is newly made, because the tapering It is fixed on a large pole, and the rust of the iron (copper) coil produced by this should also be regular.
If the damaged painting core has not been repaired (not framed), the traces of damage will be easier to see. If it is decorated, it will be difficult to identify whether it is the original damaged painting or a fake "used damaged painting". ". You can use a magnifying glass to identify it carefully and use the following methods:
(1) Unroll the mounting piece. For a damaged painting core, the purpose of mounting is to repair the damage and restore it, so there will inevitably be a gray layer around the repair area. If the mounting work is poor, the damaged parts that have been patched may be de-slurred. When rewinding, the edges of the patching will be raised. If the repair is made of hard seams, the hard seams will naturally break off when rewinding.
(2) If the hard opening is repaired by light transmission, "a ray of sky" will leak out when exposed to light. The flower album mentioned by the author in the "Main damage" section will be broken when it is damaged. Hard words. It is difficult to see the flaws from the mounting pieces at that time. However, after trying the above two methods, the original shape is revealed. The mounting piece is reversed, the hard opening is disconnected, and then the hard opening is exposed to the broad daylight when the light shines through.
When identifying the remnant painting core, you should pay attention to the following two points: First, due to the poor mounting level of the genuine product, when inspected by the above two methods, it is likely to have the effect of fake remnants, mistakenly Considered to be fake. Second, due to the high level of framing, the fake product may appear to be the genuine product when inspected using the above two methods. So be careful.
One of the methods of distressing calligraphy works that pays attention to the effect
Types of rice paper
Produced in the hilly and mountainous areas of Jingxian County, Anhui Province, China (Jingxian County was a Xuanzhou Prefecture is now under the jurisdiction of Xuanzhou City, so it is called Xuan Paper.
The quality of rice paper is pure white, fine, soft and even, the cotton is tough and strong, smooth but not slippery, transparent and glossy. , the color remains unchanged, it can be stored for a long time without being damaged, it is resistant to aging, and it is insect-proof and moth-proof, so it is known as "thousand-year-old paper".
There are many types of rice paper with different names and classifications. The standards and methods are also different.
First, according to the proportion of ingredients, it can be divided into three categories: cotton material, pure leather and special pure leather.
Cotton material: green sandalwood. Skin accounts for about 30%; straw accounts for about 70%
Pure skin: green sandalwood skin accounts for about 60%; straw accounts for about 40%.
Specially clean skin: green sandalwood skin. Accounting for more than 80%; straw accounts for less than 20%.
Secondly, according to the number of sheets of paper, it can be divided into single propaganda, sandwich propaganda, etc.
Single propaganda. Single-layer rice paper is relatively thin.
Combination of two or more sheets of original single-layer rice paper into one sheet is called double-clip rice paper. Combined, they are called three-foot Xuan.
Thirdly, according to the size of each piece of paper, it can be divided into four-foot Xuan, five-foot Xuan, eight-foot Xuan, two-foot Xuan, and six-foot Xuan. Xuan, Zhahua Xuan, etc., the larger the size, the more difficult it is to make, and they are mostly used for government announcements or the creation of large-scale calligraphy and paintings.
Fourthly, according to the degree of processing, they can be divided into raw Xuan and cooked Xuan.
Shengxuan: raw paper that is directly taken out of the paper trough and dried without any processing. Shengxuan has the characteristics of ink penetration and water absorption, making it very suitable for creating freehand paintings and cursive calligraphy.
Cooked Xuan: Brush a layer of alum water and bone glue on the raw Xuan, and call it cooked Xuan. Ripe xuan is also called alum xuan, and its ink bleeding and water absorption properties are not as good as raw xuan.
Fifth, cooked xuan can be divided into many types after different processing techniques.
Hupi Xuan: Also known as "Tiger Skin Jian", formerly known as "Golden Li Jian", it is rice paper processed and dyed into yellow stripes.
Cold gold paper: Decorate gold and silver flakes or gold and silver powder on paper.
Mica paper: Sprinkle mica powder on the paper.
Cicada Wing Note: Very thin rice paper note.
Jade Ban Xuan: made of two or more layers of rice paper using starch to support the surface, the paper is thicker