柳東溶

傳統(tǒng)書畫裝裱工藝起源于中國，是一種歷史悠久、集保護性與藝術性為一身的書畫保護技藝。傳統(tǒng)書畫作品多選用紙或絹為材料，有著強度低、易老化的特點，因此不利于日常保存、展示和欣賞。傳統(tǒng)書畫裝裱工藝大體可分為書畫修復與裝裱兩項內容，修復指將有污染、殘破等病害的書畫作品進行復原；裝裱指將書畫作品與紙或絲綢通過小麥淀粉制成的糨糊拼接、粘合，再加以裁剪形成屏風、手卷、書頁、立軸、鏡片等不同形式。

The art of repairing and mounting artwork， which originates in China， issteeped in history， and serves both practical and artistic purposes. TraditionalChinese artwork is often crafted on delicate materials like paper or silk， which aresoft and prone to deterioration over time. This makes it difficult to preserve， display，and appreciate these precious pieces. Repairing artwork is composed of two maincomponents： restoration and mounting. Restoration involves repairing damaged orcontaminated works， while mounting entails using wheat starch paste to attach theartwork to paper or silk. The final product is then shaped into various forms such asscreens， handscrolls， pages， hanging scrolls， and mirror frames.

在 文物保護理論與技術愈發(fā)成熟的今日，一般“書畫裝裱”單指上述將書畫作品加工為不同形式的傳統(tǒng)工藝，而修復的概念也逐漸擴展甚至獨立出來。按照文物保護基本原則中“不改變原狀”的要求，如今對于未經裝裱且存在病害的書畫文物，一般只需進行修復；而已裝裱好的書畫文物出現(xiàn)病害后，除對其修復還需重新裝裱。如今，故宮博物院、南京博物院等全國各級博物館珍藏的無數(shù)傳世和考古發(fā)掘獲得的珍貴書畫作品，都通過古書畫修復技術與裝裱工藝進行了復原，我們如今在博物館得以一睹這些珍貴藝術品的風采。

As art preservation theories and techniquescontinue to evolve， the term “mounting”now specifically refers to the traditional craft oftransforming calligraphies and paintings intodifferent forms， while restoration has grown tobecome an independent concept. When preservingcultural relics， the basic principle is not to altertheir original state. If an unmounted artwork isdamaged， restoration alone is usually sufficient.However， if damage occurs to a mounted piece，both restoration and remounting are required.In museums throughout China， such as thePalace Museum and Nanjing Museum， usingancient restoration and mounting techniques， wecan reveal the beauty of precious artworks thathave been passed down through generations orexcavated through archaeological means.

古代關于書畫修復技術的代表作有明代周嘉胄編寫的《裝潢志》，該書系統(tǒng)記載了古人關于傳統(tǒng)書畫裝裱及修復技術的內容。以立軸形式書畫作品為例，該書按照“洗、揭、補、襯邊、小托、全、式、鑲攢、覆、上壁、下壁、安軸、上桿、貼簽”的順序詳細記錄了此類書畫的修復與裝裱工序。這門古代傳統(tǒng)工藝與現(xiàn)代博物館館藏書畫文物的修復步驟并沒有很大區(qū)別，但不同的是，如今館藏文物保護會借助科學手段對其病害情況與材料進行分析檢測，以選擇更加安全穩(wěn)妥的材料與工具，結合古代修復技術對書畫文物進行修復，從而最大限度地延長文物壽命。

The most representative work on art repairingin ancient China is ZhuangHuang Zhi， edited by Zhou Jiachao in the MingDynasty. This book meticulously documentsvarious restoration techniques. According tothe book， repairing hanging scrolls involvesseveral steps， including cleaning， lifting， fixing，lining， adding support sheet， brushing， cutting，inlaying， covering， attaching the piece on thewall， taking the piece off the wall， attachingbottom roller， attaching top rod， and labeling.Although this traditional craft shares similaritieswith modern museum practices， there are somenotable differences. Today， in addition to ancienttechniques， museums also utilize scientificmethods to evaluate the condition of culturalrelics， including their materials， to select themost suitable materials and tools to protect them，thereby prolonging their lifespan.

本文以國家一級博物館荊州博物館館藏的晚清張名倬的山水圖裝裱修復為例，說明書畫裝裱工藝中修復技術是如何應用于書畫文物保護的。

I n this article， we describe the techniques used in the restoration of Chinese calligraphy and painting. Ourfocus will be on the repairing and mounting of a landscape painting by Zhang Mingzhuo， a distinguishedartist from the late Qing Dynasty， which is housed at the Jingzhou Museum， a museum of national significance.

1現(xiàn)狀調查Assessment

荊州博物館館藏張名倬山水畫作品，主要病害為水漬、污漬、折痕、變色、微生物病害、動物病害等。保存狀況評估結果為病害嚴重，無法展示，如果不進行保護修復，會使病害繼續(xù)發(fā)展，嚴重威脅文物的壽命。因此，此畫急需保護修復。

This painting has suffered from a variety of ailments， including water stains， dirt， creases， discoloration，microbial damage， and pest damage. Upon assessment， its clear that the damage is quite severe， rendering thepainting unsuitable for display. Without prompt action， the harm will continue to worsen， posing a significant risk tothe paintings longevity. Its imperative that urgent repairs be carried out.

2清洗Cleaning

清洗指去除表面污染物、酸性物質和霉斑等危害性物質，一般選用蒸餾水，但清洗前須用3% —5% 比例的骨膠水對顏料或墨水進行固色，防止跑色或跑墨，否則會對文物造成不可逆的損傷。

Cleaning is the process of removing harmful substances such as surface contaminants，acidic compounds， and mold stains. Typically， distilled water is used for cleaning. However， itis important to first fix pigments or inks using a 3%–5% solution of bone glue to prevent colorbleeding or ink running. Failing to do so could result in irreversible damage to the painting.

3畫芯修復Fixing

將清洗完成的書畫作品，正面用蒸餾水和韌性好的手工紙進行“水托紙”處理，然后翻面從背面對各種病害導致的殘缺部位進行修復。為避免與書畫作品使用的紙張產生異質感，需用相同材質的紙張修復，修補紙張需比殘缺部位略大，并用小麥淀粉糨糊粘貼。

After cleaning the piece， the front side is treated with“support paper” using distilled water and durable handmadepaper. Next， the work is turned over， and the damaged areascaused by various factors are mended from the back. Tomaintain the uniform texture of the original paper used in theartwork， the repair paper should be made of the same materialas the original. The size of the paper should be slightly biggerthan the damaged area and affixed using wheat starch paste.

4托畫芯Mounting

在完成修復的書畫作品背面均勻涂抹低濃度的小麥淀粉糨糊，將宣紙貼在背面并刷至平整不起褶。托畫芯選用安徽省涇縣產棉料宣紙，成分為占比40% 的青檀皮纖維和占比60%的沙田稻草纖維。將托好紙的裱件，吸干多余水分后用棕刷子排實，自然干燥。

After the painting is fixed，gently apply a low concentrationof wheat starch paste onthe back and carefully affix therice paper， ensuring it is free ofcreases. For the support rice paper，we chose cotton paper producedin Jingxian County， AnhuiProvince， which comprises40% ebony bark fiber and 60%straw fiber. Once the mountingis complete， remove excess waterand smooth the paper usinga bristle brush before leaving itto dry naturally.

5全色Retouching

在托好的干燥裱件正反面適當噴水，用小麥淀粉糨糊在背面四邊涂1—2cm 的寬度，貼在干燥板上重新干燥。在修復部位涂3%—5% 濃度的膠礬水，干燥后使用傳統(tǒng)顏料進行全色，使其與周圍顏色相接近或略淺。

Firstly， moisten the dry mountedpiece by spraying water to its twosides. Next， apply a layer of wheatstarch paste that is about 1–2 cm widealong the four edges on the backside，and then mount it onto a dry board toallow it to dry again. Once the pieceis dry， apply a 3%–5% concentrationof alum gelatin solution to therepaired area. After this has dried，use traditional pigments to retouchthe damaged area， making sure itmatches the surrounding colors or isslightly lighter.

6裝裱Framing

一般書畫文物修復完成后，要從干燥板上分離裁剪，以修復之前的裝裱形式重新裝裱。但是上述書畫文物未經裝裱，因此在完成清洗、畫芯修復、托畫芯、全色后需要加以裝裱。書畫界常說“三分畫，七分裱”，經裝裱后的書畫不僅更具藝術性，同時也便于收藏與展示，具有一定的保護作用，因而書畫裝裱是書畫藝術中畫龍點睛的一筆。為更直觀地展示書畫裝裱，可以利用設計軟件對其進行模擬一色立軸形式與兩色立軸形式裝裱，如圖11 所示。

Once the repairs have been made，the artwork is taken off the dryingboard and framed in exact the samemanner as before the restoration?process. Since the painting was not previouslyframed， this step can only be done aftercleaning， fixing， mounting， and retouchingare completed. It is often said that “properframing accounts for 70% of the overallaesthetic appeal of an artwork， while theremaining 30% is attributed to the paintingskills.” Framing not only increases the artisticvalue of the painting， but also makes it easierto collect and display the piece and providesa certain degree of protection. Thus， framingis considered the final touch to any artwork.To demonstrate the final effect， weuse design software to show how thepainting can be framed as a hangingscroll in one-color mount and twocolormount styles， as illustrated in thefigure below.

具有悠久歷史的中國傳統(tǒng)書畫裝裱工藝與修復技術，很難通過一篇短文就解釋周全。希望讀者通過本文介紹，了解作為中國非物質文化遺產的書畫裝裱工藝和修復技術，如今在國內外博物館中是如何應用于書畫文物保護的。這項珍貴的傳統(tǒng)工藝被列為國家及地方非物質文化遺產，將得以繼續(xù)發(fā)揚和更有利的傳承。書畫裝裱工藝及修復技術所用的材料和工具等也將得到更多的關注，其傳承的成果會更豐富、更系統(tǒng)。

E xplaining the intricaciesof the traditional Chineseart restoration techniques ina short article is quite challenging.Nonetheless， our goalis to offer readers a glimpseinto this intangible culturalheritage and how it is utilizedto safeguard artwork in museums，both locally and abroad.This invaluable traditionalcraft has been acknowledgedas a Chinese national and localintangible cultural heritage tobe passed down through generations.Hopefully， there willbe a growing focus on the materialsand tools used in thiscraft， leading to more sophisticatedand systematic methodsfor art preservation.