At 6:30 pm on November 13, 2020, the 107th Beihong Forum organized by the School of Fine Arts was held in Room 501, Yuanmei Building, Xianlin Campus, Nanjing Normal University. This lecture was given by Shen Hua, a calligraphy and painting restorer and associate research librarian of the Shanghai Museum Cultural Relics Conservation Technology Center. The lecture attracted many undergraduates and masters to attend, and the academic atmosphere was strong.
Shen Hua, calligraphy and painting restoration engineer of Shanghai Museum Cultural Relics Science and Technology Center, associate research librarian; representative inheritor of Shanghai intangible cultural heritage ancient calligraphy and painting restoration techniques,was invited to the British Museum to restore Ming Dynasty silk paintings in 2015, and invited to Russia in 2016 The Hermitage Museum restores silk paintings of the Ming Dynasty while teaches painting and calligraphy restoration techniques.
The restoration and mounting of Chinese calligraphy and painting is a traditional technique with a long history and distinctive national characteristics. It restores the broken and damaged ancient calligraphy and calligraphy to its original appearance, once again showing the artistic splendor of the work.
Mr.Shen traced the historical origin of ancient painting restoration. As far back as the Jin Dynasty, Chinese painting and calligraphy mounting technology has emerged. The earliest record of mounting technology appeared in Zhang Yanyuan's Famous Paintings of Past Dynasties in the Tang Dynasty.
This was also recorded in the Qi Min Yao Shu by Jia Sixie in the Northern Wei Dynasty and in Mi Fu's History of Painting in the Northern Song Dynasty. The art of Chinese painting and calligraphy has a history of more than two thousand years from the silk paintings of the Warring States Period to the paper paintings of the Tang, Song, Yuan, Ming and Qing Dynasties.Ancient paintings have survived to this day precisely because of the importance of the restoration and mounting of ancient paintings and calligraphy and the superb skill level.
Secondly, Mr. Shen Hua mentioned the texture of cultural relics, which are divided into inorganic material land (gold, stone, pottery, porcelain, etc.) and organic material land (paper, silk, bamboo, wood, etc.), of which painting and calligraphy cultural relics belong to organic material land. The organic matter is divided into plant fiber and animal fiber. Once again, speaking of the difficult diseases encountered in the restoration of calligraphy and painting, Mr. Shen Hua listed several diseases, such as microbial infestation (mold), insect damage, aging, breakage, etc., and described the diseases he encountered during the actual repair process. . The restoration of calligraphy and painting cultural relics has always been one of the difficulties and key points of the cultural relics circle, and the situation is more complicated.
At the end of the lecture, the students actively asked questions, and Mr. Shen Hua carefully answered questions for the students present, and shared and communicated with them. So far, the 107th issue of Beihong Forum has been successfully completed.