Mounting, also known as "mounting", "mounting pool" and "mounting back", is a unique technology to beautify and protect calligraphy and paintings and inscriptions in China. Mounting is also an art, as the saying goes, three-point painting and seven-point mounting shows the importance of mounting. Once the painting and calligraphy are mounted, they have the feeling of Mo Miao and become a complete work, which makes people feel happy. The method is to mount the back of the painting and calligraphy works with paper support, then wrap them with silk, silk and paper, then support them, and then install them into axes or layouts. The finished product can be divided into roll, shaft, book and sheet according to its shape. The mounted calligraphy and paintings and inscriptions are easy to collect and decorate. A Record of Mounting in the Ming Dynasty, A Corner by Tu Xixue in the Qing Dynasty, An Introduction to Painting and Calligraphy Mounting in China by Feng in Modern Times and Painting and Calligraphy Mounting in China by Du Zixiong; They are all specialized works that systematically discuss painting and calligraphy mounting.
Xuanhe decoration: also known as "Song-style mounting". It is a painting and calligraphy mounting form collected by Huizong (Evonne) in the Northern Song Dynasty. Named after the year number of Xuanhe, Hui Zong (A.D.119-1125). This style is the most complicated one of the mounting strips. For example, Ivy Leung's "Lu Xue Tu Juan" in the Palace Museum uses silk, yellow silk on the back of petals, and white Song stationery at last. The painting itself takes five paragraphs. Also stamped with the seal of the inner government collection according to a certain format.
Wuzhuang: Suzhou and Yangzhou have been mounted for hundreds of years in the Ming and Qing Dynasties, connecting the past and the future, and are famous throughout the country. The history is called Wuzhuang. Its mounting pieces are flat and soft, the mosaic color is quiet, and it is assembled and cut, and the old ones are adjusted. "Decoration Chronicle" said: "Zhou Wang has an eye, and his family has many treasures and secrets, so he studies decoration." In the Ming Dynasty, Hu Yinglin's Shao Baoshan House Pen Collection had the best Wu clothes, but it was also common in other places. Highly praised.
Red gang: a form of frame. Before liberation, there was a red and white vertical axis couplet in Suzhou, Yangzhou and Shanghai, which was specially used for weddings, funerals and celebrations. It's called "Red Gang".
Hanging list: Before liberation, Shanghai, Suzhou and Yangzhou had a special mounting for ordinary calligraphy and painting, called hanging list.
Monochrome mounting: that is, the mounting material uses one color. This depends on the ratio of the length of the painting core to the length of the painting. Generally, if the mosaic length does not exceed the length of the painting core, it can be inlaid in one color. For example, a three-foot painting core with a three-foot mosaic can be mounted on a six-foot vertical shaft, and only one color can be used. In the application of mosaic color, the purpose is to highlight the painting meaning of the painting core, and the principle is beautiful and generous.
Two-color mounting: Two-color mounting is to embed the gongs with appropriate colors, and the remaining length is not enough, and then use black and heavy inlay to connect with the heavens and the earth and install the required length. If the core is two feet long, if the frame is about six feet long, it needs to be inlaid with four feet, so that only one color is used, and the length of the inlay is twice as long as that of the core, which has the side effect of being a guest in the hall. At the same time, it looks monotonous. This can be installed in two colors. That is, up and down circles, plus heaven and earth.
Three-color mounting: Three-color mounting is a boundary between circle and heaven and earth. Its side width can be determined according to the size of the frame, or three inches, or two inches, or one inch and five minutes. The color of the circle should be lighter, the sky and the ground should be deeper, and the boundary should not be too deep or too shallow. The colors of this picture are in harmony. And it has a gentle, gentle and solemn taste. But the colors of circle, boundary and heaven and earth should not be too similar, and they should have a sense of rhythm. Avoid, occupational diseases are dark in color and light in color, which will make readers feel empty.
Antique Mounting Pool: Before liberation, Suzhou, Shanghai and Yangzhou were called mounting art, which specially mounted precious paintings and calligraphy for famous painters and collectors, and was called "Antique Mounting Pool".
Amazing Swallow: Also known as "Ribbon", it was only at the top of the painting at first. Swallows fly close to the picture, and two ribbons flutter naturally, which can scare the swallows away. Later, when used for decoration, these two belts were fixed on the ceiling. The width of the ribbon can be determined according to the width of the painting. For example, for a two-foot wide mounting, a six-point wide ribbon is more suitable. The material used is the same as that of the partition. Its length is the same as zenith, but it should not be too thick, which will make the painting uneven. If the barrier is made of silk and there are patterns on the silk, you should pay attention to the integrity of the patterns when stabbing the ribbon. Modern Japanese clothes also have movable streamers to disturb the perched rope swallows to protect calligraphy and painting, so they are also called "flying".
All kinds of brocade paper and silk are used to frame, beautify or protect ancient and modern paper and silk paintings. Paintings and calligraphy made on rice paper and silk are often wrinkled and fragile due to the colloidal effect of ink color, which is not convenient for viewing, circulation and collection. Only by mounting the painting heart to make it flat, and then matching it with corresponding silk according to its color shade, composition complexity and frame width, can we mount it into various forms of frames, which will enrich the pen and ink and color and increase the artistry of the works.
Evolution painting and calligraphy mounting has a long history in China. As early as the Warring States period, there were silk paintings and books, and there were mounting paintings in the Western Han Dynasty. For example, the upper end of the silk painting unearthed from Mawangdui Han Tomb in Changsha, Hunan Province is equipped with flat wooden strips tied with silk ropes, and both ends of the wooden strips are also tied with streamers. In the Northern and Southern Dynasties, paintings and calligraphy were mounted on red axis green paper. Famous jockeys include Ye Fan, Xu Ai, Chao Shangzhi and others. calligrapher
I have also written framed works. It was not until the Tang Dynasty that brocade was used for painting and calligraphy, and its style was magnificent, resulting in many masters. Zhang Yanyuan set up a chapter on "Mounting with an Axe on His Back" in Records of Famous Paintings in Past Dynasties, and discussed mounting matters.
Because of the prosperity of calligraphy and painting in Song Dynasty, mounting has also achieved unprecedented development. Silk is used as mounting material, and mounting styles are rich and colorful. During the reign of Xuanhe in the Northern Song Dynasty, most of the mounting was based on the painting heart with upper and lower boundaries, and there was no silk edge. The Zhou Dynasty took ancient silk as the edge, which was called Xuanhe Mounting. At this time, Mi Fei, a painter, was also good at mounting, and wrote a paper "On Appreciating Mounted Ancient Paintings", which was very successful. In the Yuan Dynasty, the imperial court set up a special organization to manage framed paintings and calligraphy.
Since the Ming and Qing Dynasties, with the development of literati painting, mounting with plain silk or light silk as mounting materials has gradually increased. Regional mounting centers have emerged, and the mounted paintings and calligraphy have local characteristics because of the different colors, operation methods and mounting forms of silk, such as Beijing (Beijing) mounting and Jiangsu (Jiangsu) mounting. Zhou Jia in the Ming Dynasty wrote a book "Shi Lu", which discussed the subtlety and multiplicity of human beings.
In addition, China's painting and calligraphy mounting technology also spread to Japan and North Korea, forming its own unique style.