Reply To: Second layer, mounting.

I took some time to watch all the three videos mentioned above by charlesrtsua and moqiao. Amazing that you never see the master use a square for anything! 🙂

There is a little something I don’t understand. In the first video, at about ‘35.00, the mounter cuts and pastes two narrow pieces of paper along the lateral sides of the scroll. Why?

I can only imagine they moisted the scroll, pasted these margins to the table and let it all dry so that the scroll would stretch and flatten before the final backing. #ChineseMounting

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Reply To: How can I avoid ink ´running off the painting´when I mount my painting?

Thank you dear charlestsua for your wonderful post! 🙂

Here is a question from a comment on Inkston Facebook discussion group *Chinese fine art and craft stories:

Chew Lung Lee: How about try to spray a weak solution of vinegar mixed with water onto the inked writing n dried first before starting the whole process. #Ink #Mounting

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Reply To: Paper mounting. Pigment movement

Thank you very much !!! #MountingChinesePainting

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Reply To: Paper mounting. Pigment movement

The problem is you’ve used Western watercolour pigment which is not the same as Chinese pigment. Chinese pigments contain more glue and this is so it binds to the paper more and survive the traditional wet mounting process. Western watercolours are not designed to be mounting in the Chinese way and so do not have enough glue and would bleed and run if you add water or soak the paper.

You could solve this problem by mixing in hide glue to the watercolours and using alum and glue etc to fix and stabilise the pigments but it would be better and easier to switch to using actual pigments that are meant for Chinese painting and mounting. #MountingChinesePainting

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Reply To: Gelatin/ Alum sizing: glues for ink, color, and mounting

The Chinese also use baiji (白芨) which is the root of an orchid, also used in Chinese medicine and as a natural glue (to make silk strings for musical instruments like the guqin etc); the glue is released by boiling the roots. It had been used during the mounting process in the past but not any more as I think it turns paintings yellow-brown over time, hence why many Song/Ming Dynasty paintings etc are really brown. It’s like how varnish turns old oil paintings brown after many centuries.

Hide glue (明膠) is mainly used to bind pigments together and I wouldn’t use it for mounting as the wheat starch paste is sufficient.

Alum is not much of an adhesive as it is a preserver and waterproofer and has insect repellent properties, so a pinch of it is added to the paste mix. #ChinesePainting #Gelatin #Mounting #NaturalGlue

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Reply To: Second layer, mounting.

Yes it would be great to have more subtitles…  it’s time consuming to do.

to refer to any other videos and links on the forums, just put the link on a separate line and the embedding etc will happen automatically… #ChineseMounting

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Reply To: Second layer, mounting.

Ah, ok! It never occurred to me to type Chinese! 🙂

And I remember watching this exact video recently! Hi, moqiao! Of course I must give it a lot of time to try to understand what is going on as I don’t speak Chinese.

About an year ago or so there was a channel called “TechenSu” or something that had a series of nine videos with all the stages presented by an old master mounter. For some reason, now only part 2 is available and I can’ t find the channel either, I think  they switched to hanzi completely in the name. I hope they took them down to make subtitles! 🙂 #ChineseMounting

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Reply To: Second layer, mounting.

this one?

  #ChineseMounting

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Reply To: Second layer, mounting.

Just search ‘裝裱’ on Youtube and you will find some videos of some pros doing mounting. All you need to do is watch carefully what they do and you should be able to work out the details. The video I tried to link to goes under the title of ‘Scroll mounting in Taiwan – part 2 書畫裝裱 – 卷軸’ at 23mins in where the person starts to paste the backing paper to the scroll (though he has also attached a head wrapper as well but the process of pile-on backing is the same). #ChineseMounting

• This reply was modified 1 minute ago by  charlesrtsua.

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Reply To: Second layer, mounting.

The link seems to be broken…

charlesrtsua, could you provide us with some more links on Chinese mounting, that you find helpful? I think that would make everyone happy and grateful! #ChineseMounting

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Reply To: Second layer, mounting.

Thank you, charlesrtsua!

your tips are helpful, especially nr. 2!

I’m a bit uncomfortable with letting out to dry face up, with the flaps sticking up…I fear possible deformations, buckling maybe…of the flaps I mean. But I definitely understand what you say and I will try it!

Also, with the slightly thicker xuan I’ll be able to do tip nr. 2 just fine!

Thank you! #ChineseMounting

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Reply To: Second layer, mounting.

Your paste might be too wet, hence why the adhesive seems to seep through a stick the scroll flap to the lining. Here’s what you could do:

1. Fold the flaps down in towards the scroll so the paper side of the flap is not in contact with the paper lining.

2. Do not use the wet backing method and instead use the pile-on (i.e. paste the backing paper instead and then brush it onto the back of the scroll: e.g. https://youtu.be/JIk9zgQF4_Q?t=23m10s).

3. Do not stick it on the drying board face down but face up and make sure the flaps are sticking out. After it dries overnight, take off board, spray wet again, paste the edges then attach facing down.

4. Use a paste not too wet and do not wet the scroll too much. #ChineseMounting

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