Nowadays, with the continuous improvement of the general public's cultural literacy and aesthetic literacy, people pay more attention to the value-added function of collection and are more willing to take collection as a long-term investment. High-quality collection itself is a blue-chip stock. Over time, collectors can reap considerable economic wealth.
With the improvement of people's living standards, the consumption of calligraphy and painting has already entered thousands of households. Many families like to hang Chinese paintings or calligraphy works on the walls of their homes when decorating their homes, which can not only beautify the environment, but also cultivate their sentiments.
From calligraphy and painting, ceramics, jade, ancient books, jewelry, stamps, coins, furniture and other various items, there are all kinds of collections, and not everyone can play with them. Collection requires both professional knowledge and unique vision and courage. These conditions are indispensable.
Take calligraphy and painting, which occupies half of the collection market, as an example. There are a lot of doorways and knowledge to play in calligraphy and painting collection, so it is very difficult to buy the collection first. How to preserve the value of the collection after purchase also requires a lot of thought.
If you buy a collection, you can put it away at will. If you don't know how to protect and cherish it, it will slowly be damaged and eventually become a piece of waste paper, losing the meaning of collection.
The key to the preservation of calligraphy and painting works is to deeply understand the characteristics of the materials that create them and protect the beloved things according to the characteristics of the materials.
The creative materials of calligraphy and Chinese painting are divided into two categories, one is fiber material and the other is silk material.
Fiber is one of Four Treasures of the Study Xuan paper, because it was first produced in Jingxian County, Xuancheng City, Anhui Province. Since the mid-Tang dynasty, it has been able to produce paper suitable for literati to write and draw, so it is called Xuan paper.
According to the different production processes, rice paper can be divided into raw rice paper and cooked rice paper.
Raw rice paper is made of high-quality sandalwood bark through cooking, soaking, sun drying, washing, dust removal, pulping and bleaching 100. This is a kind of paper with complicated manufacturing process. Of course, Broussonetia papyrifera and mulberry bark can also be used to make rice paper, but the quality is worse than sandalwood bark.
Raw rice paper made of celadon skin has two excellent characteristics, namely, flexibility and outstanding water absorption, and it is not afraid of folding and kneading. Even if it is wrinkled, it looks uneven. After water mist spraying and ironing, the surface will immediately return to its original smooth, flat and white appearance, and writing and drawing on it will have no effect at all.
Raw rice paper has many fibers, large gaps and good absorbability. When the ink is sprinkled on it, it will soon spread around, forming circles of Mo Yun from thick to light on the paper.
It is by relying on the ink-eating ability of raw rice paper that in the creation of traditional Chinese painting, the painter shows rich brushwork and ink interest on raw rice paper by controlling the rhythm and amount of ink used, and gives full play to his talents.
The cooking process of cooked rice paper is one more than that of raw rice paper, which is made by adding a certain proportion of alum after raw rice paper is made. Because the tiny alum particles fill the pores inside the paper, the water absorption of the paper is greatly reduced and the flexibility is greatly enhanced. Therefore, when painting, you don't have to worry about the spread of ink and pigments on the paper, so you can keep the bright colors in the picture for a long time, and you don't have to worry about too much ink damaging the paper. Cooked rice paper has this characteristic and is destined to be suitable for meticulous painting.
Silk materials of traditional Chinese painting include silk, silk, silk and silk. Before the invention of Xuan paper in the middle Tang Dynasty, silk materials were always the main materials for literati to write and draw. Because silk materials are expensive and have a short shelf life, only painters and painters with powerful backgrounds can afford them. Compared with Xuan paper, silk fabrics have poor water absorption and are only suitable for meticulous painting. Therefore, as soon as Xuan paper was invented, it quickly replaced silk materials and became the mainstream material for painting and calligraphy creation.
The production process of Xuan paper is complex and its chemical properties are stable. Theoretically, Chinese paintings created with Xuan paper can be preserved naturally for about 900 years without man-made damage, that is to say, the ultimate life of Xuan paper in the natural state does not exceed 1000 years.
From the perspective of historical archaeology, whether it is "Top Ten Famous Paintings" or "Top Ten Flowering Books in the World", most of these works were created after the Northern Song Dynasty, which just verified the life limit of Xuan paper. The distance from the late Tang Dynasty to the present has exceeded 1000 years. Therefore, there are few works handed down from generation to generation before the Tang Dynasty, and the life of paper is not allowed.
The famous painters and calligraphers we can see now have been handed down from generation to generation through careful preservation and proper collection by collectors. Anything, if you don't know how to maintain it, its life will be greatly reduced, especially calligraphy and painting. In order to prolong the life of Chinese paintings, it is necessary to preserve them reasonably with a scientific attitude. There are five main preservation methods.
First, it is necessary to prevent Chinese painting from being affected by heat.
After all, Chinese paintings are attached to paper. The core of protecting Chinese painting works is to prevent paper from being damaged. Any paper is best preserved when the temperature is 18 degrees and the humidity is 60%.
Ordinary collectors like to mount Chinese painting works and hang them on the wall, mainly to decorate the environment, supplemented by collection. Mounted works, commonly known as mirror heart, paste a piece of rice paper on the back of Chinese painting, which can make the picture smoother, highlight the Mo Yun layering on the picture and look more beautiful.
The influence of hanging Chinese paintings indoors on the heat source mainly comes from the irradiation of sunlight, the baking of stoves, radiators and heating and air conditioners. If Chinese painting works are exposed to the sun for a long time, or too close to the heat source, the paper on the picture will become dry, deformed and lose its elasticity, which will eventually make the paper fragile. A little force may tear the picture and make it fade.
Therefore, as a decorative Chinese painting hanging indoors, we must stay away from sunlight and all heat sources in order to avoid the damage of heat energy.
Some houses can't see the sun all the year round, and the humidity is high, which is not conducive to the preservation of Chinese paintings. In this case, we must find ways to control indoor humidity and humidity. We can put some desiccant or charcoal near Chinese painting, which can effectively absorb the moisture in the air and play a protective role.
For some valuable paintings and calligraphy works, conditional collectors can put the works in a vacuum glass cover for preservation. Vacuum glass cover has a good isolation effect on heat energy and moisture.
Second, dust the surface of Chinese painting works regularly.
If the hanging Chinese painting works are mounted in the form of scrolls, after a period of time, dust will be adsorbed on the surface of the picture, which will not only destroy the brightness of the picture color, but also destroy the whiteness of the paper, making the picture look dirty. At this time, it is necessary to dust and decontaminate it and restore its true colors.
Dust the painting, in order to prevent the painting from being damaged or broken, you must use soft tools, such as feather duster or soft brush. When using tools, use moderate force, brush the dust in one direction from beginning to end, and remember not to brush it back and forth, which will only make the picture dirtier and even scratch the fibers of the paper.
Third, the framed Chinese paintings should be uncovered regularly.
The smoothness of the picture mainly depends on the smoothness of the paper pasted on the back of the picture. With the passage of time, the paper pasted on the picture may shrink, deform and be damaged. Because it is attached to the work, its change will inevitably lead to the change of the face of the work and lose its protective role. At this time, the painting must be taken to the mounting shop to uncover and put on the mirror heart.
This method is like renovating an old object to make it look brand-new without destroying its original appearance.
Fourth, we should prevent insects from biting Chinese paintings.
Some collectors have a large collection of paintings, and when there is no place to hang them, they will store some works in cabinets. If the environment in the cabinet is warm and humid, it is easy to breed insects, so it is necessary to avoid insects biting the painting. You can put some mothballs and desiccants around Chinese paintings. The special smell of camphor helps to inhibit the growth of insects. Even if insects are produced, the smell will make insects smell it and stay away. Desiccant is helpful to absorb moisture in the cabinet and reduce the probability of insects.
If the traditional Chinese painting has been eaten by insects and the damaged area is small, it should be repaired in time. A skilled repairman can completely repair the damage, leaving no trace and not affecting the integrity of the picture.
Fifth, don't hang a work for a long time.
Some works are so exquisitely painted that collectors can't put them down, which will attract collectors to hang them in places where they can look for a long time and enjoy the taste slowly when they have time.
In fact, this is not necessarily a good thing. Because the composition of air is very complex, some harmful gases will react slowly with rice paper and pigments. If the work is exposed to the air for a long time, it will accelerate the aging of the paper, eventually affect the shelf life and reduce the life of the painting.