Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts

Wei Ren,Na Cao

doi:10.3390/arts10020034

Abstract

This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.

Highlights

Archaeological findings, observation and interview results, the traditional conservation and storage methods for silk-based ancient Chinese painting and calligraphy can be divided into three groups according to dynasty
Storage for in Caskets and Suitcases during and was beforea the TheFolding earliest protecting silk manuscripts continuation of the nang and zhi used for bamboo slips
Silk manuscripts were folded and placed inand zhi used for bamboo slips

Summary

Introduction

The knowledge and skills required to produce traditional crafts, for example, are a type of cultural heritage Under this definition, the methods used to preserve and store ancient Chinese silk manuscripts containing painting and calligraphy can be considered a type of intangible cultural heritage. The restoration and protection of silk-manuscript painting and calligraphy involve two basic principles—the first is to preserve the authenticity and integrity of the item; the second involves understanding how to protect the work and ensure its survival. The latter has been a longstanding problem in China with regard to mounting practices for works on silk

Methods

Results

Conclusion