On September 29th, "Paper and Ink Together: An Exhibition of Dialogue between Fei Yongming and Cai Yi's Paper and Pen and Ink" will be held in Shanghai Library. Fei Yongming, a non-hereditary inheritor of the restoration of ancient calligraphy and paintings in Yangbang, deputy director of the Culture and Sports Committee of the Shanghai Municipal Committee of the China Democratic National Construction Association, member of the Shanghai Minhang District CPPCC Committee, director of the Shanghai Minhang District New Social Class Friendship Association, director of the Optimistic Ancient Notes (Shanghai) Paper Science and Technology Center, and Cai Yi, a famous calligrapher and vice president of the Shanghai Yixian Painting Institute, jointly presented the latest research results of the Yangbang Antique Costume Pool in the form of a unique "dialogue between paper and pen and ink", and demonstrated the breakthrough progress of Yangbang Decoration in the field of "restore" lost ancient paper and ancient notes. It shows the important landmark progress of contemporary Yangbang mounting in the field of "restoration" of lost ancient calligraphy and painting mounting technology.
After being restored by the Yang Gang, the Southern Song Dynasty anonymity album "Jianggan Lead Boat Map"
It presents the breakthrough progress of Yang Bang Mounting in the field of "restoration" of lost ancient paper notes
As an intangible cultural heritage, Yangbang Mounting, also known as Yangzhou Gang Mounting, originated in Yangzhou in the middle and late Ming Dynasty. During the Republic of China, the ancient calligraphy and painting mounting industry in Shanghai entered its heyday, during which the two gangs of Su and Yang were the mainstay, as well as the mounting gangs such as the Ben Gang and the Guang Gang. Around the 1950s, Shanghai once gathered many ancient calligraphy and painting mounting experts. After the 1960s and 1970s, the ancient calligraphy and painting framing industry shrank rapidly. After the 1990s, Mr. Yan Guirong, who restored the Tang facsimile ink of the Jin Dynasty Wang Xizhi "Shangyu Ti" and the Tang Dynasty Sun Wei's "Gao Yitu" and other national treasures, has almost become the only remaining Yang Gang mounting everyone.
Fei Yongming inherited Mr. Yan Guirong, and the two masters and apprentices worked together and had a strong friendship. In 2011, after the death of Mr. Yan Guirong, his mother gave Fei Yongming all the mounting tools he used during his death to show the inheritance of his craftsmanship. Subsequently, Fei Yongming continued to silently study the "Yangbang Antique Costume Pool" technology, improve the appreciation of ancient calligraphy and painting, and study the overall restoration of restoration materials. It was not until the death of his master and mother in the spring of 2017 that Fei Yongming believed that the road of "learning art" had come to an end, and the following year held the "Yangbang Ancient Calligraphy and Painting Restoration Art Exhibition" in the Shanghai Library to introduce the historical context and development of Yangbang mounting to the public as a whole, and truly take over the "baton" of Yangbang mounting.
Comparison of the restoration of the Ming Dynasty's "Lou Dongfu"
After being framed by Yang Gang, the full picture of King Ming's pet "Lou Dong Fu" was made
In 2022, Shanghai Library once again held an exhibition related to "Yang Bang Mounting", in this special exhibition entitled "Paper and Ink Phase - Fei Yongming, Cai Yi's Paper and Ink Dialogue Exhibition", not only will the ancient scriptures, the five generations of Cha Yuanfang's "Ding Shi Portrait Zan" volume, (biography) the fifth generation of Guo Qianhui's "Years and Years Yan An Tu", Song Hua Ting Ling Gong Xiang's "Platinum Post", the Southern Song Dynasty's "Jianggan Boat Map", the Ming "Paradise Map", the Ming Dynasty Li Zongmo's "Luohan Crossing Sea Map", the Ming Dynasty Wang Pet's "Lou Dong Fu" and "Flute Fu" 11 ancient calligraphy and paintings, such as fragments, which have been restored by Yangbang mounting technology, will also exhibit many ancient paper and note specimens that Fei Yongming has painstakingly studied and collected for many years.
At the same time, because ancient paper notes are themselves cultural relics and cannot be used in the practice of ancient calligraphy and painting mounting, and most contemporary rice paper cannot meet the requirements of ancient calligraphy and painting restoration and mounting, therefore, the study of ancient paper and ancient notes has been accompanied by the whole process of Yangbang mounting.
This exhibition will especially present the traditional classic ancient papers, such as boiled hemp paper, boiled baked bamboo paper, Sumu dyeing and boiling baked paper, leather paper dyeing yellow paper, leather paper imitation Jinsu Mountain Tibetan scripture paper, and Qianlong Goryeo tribute note that Fei Yongming has successfully restored in a period of more than 10 years. Among them, there are many varieties of ancient paper and notes that have long been lost, and now they have been restored and reproduced, and all of them have been used in the restoration process of Yangbang mounting ancient calligraphy and paintings.
It is particularly worth mentioning that Fei Yongming adopted a variety of special methods such as pounding, plant juice, and cooking to restore Dong Qichang's favorite calligraphy and painting paper "Tan Notes" in the Ming Dynasty. This kind of ancient note has the moistness of caviar pine flowers, the smoothness of paving jade and knocking ice, and the thick ink falls on the paper, and the whiskers become light and elegant.
After being restored by Yang Gang, Ming's "Unique Paradise Map" painted the heart
After being repaired by the Yang Gang, the full map of Ming's "Solo Paradise Map" was made
Fei Yongming said that from the Six Dynasties to the Ming and Qing Dynasties, the paper used for calligraphy and painting was not only diverse, but also had very different effects. Ancient famous paper, the reason why it is famous, not only because the raw materials are diverse and complex, including handmade processing of pure natural materials such as japer, hemp, mulberry, bamboo and plant sap, but also because the process method is very unique, the process is complex, and even requires special processes such as millet, beating, boiling, alan, gold, silver, powder, wax and so on. The scientific research time required to restore and produce these long-lost ancient paper is long and the labor is very hard. However, these special ancient papers, soft, tight and gorgeous, are convenient for writing and painting and expressing emotions, and are important members of the colorful "ancient paper" world that should not be forgotten.
"As a non-hereditary inheritor of Yangbang mounting, my biggest concern is that materials can be used when repairing." Fei Yongming said: "Taking the restoration of the Tang Dynasty Scripture as an example, because the ancient paper of the Tang Dynasty is a cultural relic, even if it exists, it cannot be used, therefore, when repairing the Tang Dynasty Scripture, in order to repair the previous damaged state seamlessly, we can only choose to use the Tang Dynasty paper ancient method to recreate 'Tang Paper'. That is to say, first 'restore' the ancient Tang Dynasty law that has been lost, and then reconstruct cooked paper with the ancient method of Tang Dynasty, and finally restore the ancient notes of the Tang Dynasty. ”
Five generations of Cha Yuanfang's "Ding's Portrait Zan" volume and a micrograph of the hemp fiber degree of the heart-born hemp paper
Yangbang mounting has always had the tradition of restoring ancient paper notes, and after Yang Bang's ancestor Ye Yufu was "familiar with the Tang Dynasty paper method", the framing craft was able to be magical. In the restoration of the Five Dynasties Cha Yuan Fang Shu "Ding's Portrait Praise", Fei Yongming found that as one of the family genealogies of Ding Du between the Tang and Song dynasties, this painting uses typical hemp paper in the early Northern Song Dynasty, and it is raw hemp paper, which has not been beaten, and the clear columnar hemp paper cellulose seen by scientific research can be the Tang and Song Dynasties "raw paper is not used for mourning".
"As a framing master, as someone who has been dealing with traditional handmade paper for 30 years, I have a lot of practical experience, and I have more research and hands-on experimentation in the literature triggered by hobbies." Fei Yongming said that the experiment of using ancient paper and notes reconstructed by ancient methods to restore ancient calligraphy and painting is not only an important part of Yangbang's antique decoration pool and the future direction of active exploration, but also may also help more artists to unveil the fog of ancient Chinese calligraphy and painting and calligraphy decoration paper.
Song Zhangzhi "Shangwen Zuntang Tai'an Ren" ruler
One of the albums of Cai Yishu's "Reading Records of the Leisure Hall", after being framed by Yang Bang, the mounting style adopts the style of Song Zhang's "Shangwen Zuntang Tai'an Ren"
Because of their ancient meaning, these restored ancient papers and notes are also loved by calligraphers and painters in Shanghai. Mr. Cai Yi especially liked to pound the leather paper and wrote the "Reading Records of the Idle Hall". This set of albums is reframed according to the mounting style of Song Zhang's "Shangwen Zuntang Tai'an Ren", which is quite ancient.
At the same time, in accordance with the characteristics of various ancient paper notes, Mr. Cai Yi selected different ancient papers and ancient notes to create calligraphy and painting, Ruyi Lin's "Chunhua Ge Ti" Volume VII, Yilin "Daguan Ti", Xingshu Zhang Yanzi's "High Balcony and West Lake Spring Feeling", Xingshu Excerpt "Four Spectra of the Study Room", Xingshu Excerpt Zhou Lianggong's "Reading Picture Record", cursive excerpt Sima Guang's "Records of Exclusive Paradise" and so on.
Ancient paper with old ink writing, you can see the ink is colorful, thick and light naturally arise, ink calm and intention leap, presenting the unique meaning and spirit of contemporary calligraphy, becoming an important way to show the new development of traditional Chinese calligraphy and painting.
Yang Gang repaired Song Gongxiang's "Platinum Post" album and the complete restoration process diagram; Among them, Figure 1 is the original manuscript of Zhu Zhishan's "Yesterday's Poster" of the Southern Song Dynasty Gong Xiang "Platinum Poster"; The second picture shows the current situation of Gong Xiang's "Platinum Post" after being restored by the Yang Gang; Figure 3 shows the current situation of Zhu Zhishan's "Yesterday's Thesis" after being repaired by the Yang Gang; Picture 4 shows the album of Song Huating Ling Gong Xiang's "Platinum Thesis"
The study of ancient paper notes also brought unexpected gains. In 2020, when repairing the Ming "Wumen Qing Brochure", including Shen Zhou, Wen Zhengming, Zhu Yunming and other codexes, Fei Yongming, when unveiling Zhu Zhishan's "Yesterday's Post", unexpectedly found a copy of the Southern Song Dynasty Gong Xiang "Platinum Post" codex as the original life paper.
For Fei Yongming, the unexpected treasure is joyful. Therefore, after he framed the photos of Gong Xiangyuan and Zhishan, he asked Mr. Cai Yi to supplement the six poems of Gong Xiangzha and frame them into one volume, such a framing concept and the ancient taste of the art collection were inherited from the predecessors, and truly reached the realm of "respecting the word paper". The six pages of Cai Yi's supplement are also specially made with paper, and the paperness and atmosphere strive to preserve the style of the Song system. Such an interesting thing has also become a beautiful talk in the field of Yangbang ancient painting and calligraphy mounting.
It presents the important landmark achievements of Yangbang mounting in the field of "restoration" of the lost ancient calligraphy and painting mounting technology
The "Yangbang Antique Costume Pool" is unique to Yangbang Mounting, and its core requires that the restoration of ancient calligraphy and paintings must be strictly "abiding by the ancient law and repairing the old as old". That is to say, the Yangbang antique costume pool requires that the restoration of ancient paintings and calligraphy cannot be simply understood as the restoration of the painting heart, but to restore the temperament and charm of the entire artwork to the characteristics of the era of art creation at that time.
In the process of restoration of ancient calligraphy and paintings, the primary requirement of Yangbang antique costume pool is to preserve the original appearance of the collection to the greatest extent. In the process of overall restoration and mounting of the Southern Song Dynasty's anon-famous "Jianggan Boat Diagram", it more completely reflects the requirements of the restoration of ancient calligraphy and painting "temperament and charm" required by the "Yangbang Antique Costume Pool".
The new mounting of the Southern Song Dynasty's anonymity "Jianggan Pulling Boat Diagram", using a new method, is similar to the design of a unique new art installation, using a new mounting form like a binder inserted into the collection, and the ancient paintings as a whole are embedded in a complete album sleeve, showing both the Southern Song Dynasty painting heart and the Qing Dynasty mounting. Among them, the ancient painting binder adopts the mouth shape of the blank painting heart made of flower aya, the left half page is made of normal butterfly album, and the right side is made into two stacks of suits, which are dug and embedded along the edge. It looks like a complete whole. The flowers are also re-dyed to try to be as close as possible or even consistent with the original mounting of the collection.
At the same time, in order to enrich the cultural evolution of cultural relics to the greatest extent, all the inscriptions, poems, inscriptions and even the collection and printing of this painting are recreated. Among them, the content of the inscription poem of this painting is created by Mr. Zhu Wenjin according to the content of the picture, Mr. Cai Yi copied the book, and the poetry content collection is painted with the intention of the painting, rather than copying the previous people's Chen Sentence, so as to present a targeted inscription and provide another appreciation angle for the collection of cultural relics and artworks.
In addition, when mounting, the ancient painting was completely expanded into a volume, adding elaborate and appropriate "packaging". The cover of this volume is made of gold and Tang grass pattern brocade, with old mahogany fine edges on all four sides, and the writing paper in the book is made of old bark and boiled, maintaining complete unity and harmony with the original silk color.
Judging from the final mounting form of the Southern Song Dynasty's famous "Jianggan Boat Drawing", the preservation and restoration of the "temperament and charm" of ancient calligraphy and painting to the greatest extent is one of the highest requirements for "Yangbang Antique Costume Pool". "In addition to their own craftsmanship, Yangbang calligraphy and painting framing masters must have unique skills and insights in appreciation and materials." Fei Yongming said that decoration restoration is a comprehensive understanding of labor. The appreciation of calligraphy and painting itself, the technical means of restoration, and the accumulation of knowledge of restoration materials are indispensable in three aspects.
When repairing the fragments of the Ming Dynasty's Wang Pet's "Lou Dong Fu" and "Flute Fu", Fei Yongming, after repairing the painting heart, completed it in the classic style of the Ming Dynasty hand-scroll, taking the newly developed imitation of the Golden Su Shan Tibetan Scripture Paper as the introduction, and using the boiled Qiao Leather Paper as the tail, Mr. Cai Yi supplemented the original text of the "Flute Fu" first with a small letter on the old bamboo paper, and then dozens of lines combined with the boiling Qiao Qianshan mulberry paper, restoring the temperament of Ming Dynasty calligraphy and painting. Cai Yi earnestly wrote in the inscription after the "Flute Fu": "It is to implicitly rush and harmonize, the energy is contained, the jujube wood is full of energy, although it cannot see the whole picture, only the words and pieces of paper can also look at its ancient Mao, simple and thick in the rhyme of Wei and Jin, outstanding and bright everyone, special treasure can be hidden."
On the trailing tail after Ming's "Solo Paradise Map", Mr. Cai Yi wrote a cursive example of "The Story of Solo Paradise". This trailing tail is made of leather paper that has been repeatedly boiled and pounded, the paper surface is lustrous, the ancient calligraphy, the vermilion stamp, the brown signature and the azure flower Aya mounting edge, forming an antique and elegant effect, is the best example of ancient painting and paper and pencil.
(Biography) Five generations of Guo Qianhui's "Years and Years Yan An Tu" This picture is framed in the form of "ink boundary double line" as the most typical Su-style mounting
Cai Yixing's book Zhang Yan's "High Balcony West Lake Spring Feeling", the heart of the painting is to boil and pound wolf poison paper, in the Yangbang mounting, the mounting style adopts the "golden aya strip" restored by the Yangbang mounting and the "ink-colored heaven and earth" and "dark blue bag head" with the characteristics of Ming Dynasty mounting
In the process of restoration of ancient calligraphy and painting, Yang Bang Mounting has always attached great importance to the collation and technical restoration of ancient calligraphy and painting mounting documents. Fei Yongming said that the restoration of calligraphy and painting has always paid attention to "repairing the old as old", and the restoration of ancient calligraphy and painting does not refer to the restoration of the painting heart alone, but also to achieve the spiritual temperament of the author's creative age on the mounting. Therefore, in the restoration and mounting technology of ancient calligraphy and painting, it is also necessary to continue to explore and study in order to more vividly and intuitively present the demeanor of calligraphy and painting creation at that time.
It is particularly worth mentioning that after years of mounting practice, Fei Yongming was able to restore the traditional calligraphy and painting mounting forms such as "Golden Aya Stripe" and "Ink Boundary Double Line" recorded in ancient books and now lost.
It is understood that Wen Zhenheng once recorded two sentences in the "Long Thing Zhi · Decoration Style": First, "the second vertical belt is made of white Aya one inch wide, the silk boundary draws two strips, and the Yuchi white Aya also uses the front pattern." Second, "the small calligraphy and painting must be dug and inlaid, and the gold and yellow silk strips are inlaid on the silk with light moon white, half an inch wide, and the cover Xuan and the mounting method are used for inscription, and the agarwood leather strips are used next to them..."
Fei Yongming was impressed by the text in this passage about "vertical belt ... Uss rough boundary painting ""... The material and mounting method of "inlaid gold aya strips" have been faithfully reproduced through repeated practice. Even, including the restoration of the navy blue bag head silk, because there is no spot to buy, all of them are hand-dyed, and they must be bleached and dyed with indigo more than a dozen times to get it.
"For the sake of Wen Zhenheng's two sentences in the Long Things", we insisted on studying and perfecting the ancient calligraphy and painting mounting technology, looking for accurate explanations in ancient texts, and finally combining the local Yangbang mounting process. Authenticity is presented to the audience. Fei Yongming said: "It's easy to see! There are many joys and sorrows, and I know them in my heart! ”
Source: China Social Science Network