When you walk into the museum, while enjoying the famous calligraphy and paintings and listening to the stories behind them, have you ever wondered what these precious calligraphy and paintings have experienced from being completed by painters to being displayed to the public? Recently, the reporter walked into the painting and calligraphy mounting repair group of the storage department of Shenyang Palace Museum to reveal the daily work of painting and calligraphy cultural relics mounting in the form of live broadcast.
This is the first time that the mounting of painting and calligraphy cultural relics in Shenyang Palace Museum has been shown to the public in the form of live broadcast. This live broadcast shows the audience the traditional manual skill of painting and calligraphy mounting, which has a long history and is unique to China, through the interpretation of tools and equipment such as brown brush and combination brush, the selection of materials such as rice paper and silk, and the steps of supporting materials, supporting hearts and setting.
How to realize the leveling and stretching of paintings? How to modulate the seeds? What is the emphasis on the material selection of the matching pole in the process of climbing the pole? According to reports, the traditional manual mounting is probably divided into several steps, such as supporting materials, supporting hearts, square hearts, blanking, covering the back, lowering the wall, and mounting the poles. If there are problems in any step, it will have a great impact on the final completion of the whole work. For example, centering is the most important step in the mounting process, and inlay is a mounting process that embodies the beauty of color, shape, material, structure and the skill of the mounter. In the process of mounting calligraphy and painting cultural relics, the use of tools and equipment is also very particular, including how to choose materials such as Xuan paper, silk and silk needed for mounting.
The mounting and restoration of a painting and calligraphy cultural relic can be as short as several months, and as long as several years. Those who need mounting and restoration need to stand and bend over for a long time, and patience, care and perseverance are indispensable. Such a “lonely” and test work is a lifetime for many mounters. Yang Zhiqiang, deputy research librarian of Shenyang Palace Museum, who has been engaged in the mounting and restoration of painting and calligraphy cultural relics for more than 30 years, said that as a traditional manual mounter, what is needed is the spirit of being serious and dedicated, choosing one thing for a lifetime, and passing on the traditional handicraft.
It is reported that the live broadcast not only adopts the traditional live broadcast mode, but also adopts the most advanced active naked-eye VR technology to realize dual-computer live broadcast. The audience can watch every corner of the live broadcast scene in all directions without dead ends in the VR lens. This live broadcast is the first global live broadcast of Shenyang Palace Museum, with a total of 940,000 domestic users and 209,000 foreign users watching online.
This live broadcast shows the superb mounting skills of traditional manual mounters, allowing people to listen to the story behind the museum, understand the museum’s heritage and culture, and feel the power transmitted by the museum. (End)