East Asian Conservation Studio

June 29, 2021
8:00 am – 10:00 am (Washington D.C.)
2:00 pm – 4:00 pm (Paris)
8:00 pm – 10:00 pm (Beijing)

Valérie Lee

Dean, Book and Paper Conservation Program
National Institute of Patrimony (INP), France
valerie.lee@inp.fr

A Global Melting Pot for Paper Conservators

Twenty-five years ago, I had the opportunity to train as a Western paper conservator in France and as an East Asian painting conservator at the Freer Gallery of Art. Currently dean of the Book and Paper Conservation Department at the National Institute of Patrimony (INP) in France, I teach the manual skills I have acquired from Western and Eastern professionals to the next generation of paper conservators. The National Institute of Patrimony is a unique school in Europe that welcomes both curators and conservators. Only four students enter the book and paper conservation program each year.

In the first part of my presentation, I will discuss the French paper conservation program, including the five-year curriculum of conservation practice and the types of paper and parchment treatments that are taught. I will then compare traditional Asian painting conservation with INP training. Even though the length of conservation education is similar, the teaching techniques are quite different. In Asia, one conservation skill, such as cutting paper or preparing paste, has to be known perfectly before moving on to the next skill. Therefore, it takes time for a student to be able to carry out a full conservation treatment on their own. In the West, full conservation treatment is taught from the first year and the level of difficulty is raised slowly. However, students can lack dexterity at the beginning of the learning process.

In the second part of the presentation, I will discuss the use of both Western and Eastern conservation techniques to carry out remedial treatments on Asian paintings. Remedial treatments aimed at reinforcing the structure of hanging scrolls to stop active deterioration processes are performed. These treatments are often used in France for East Asian paintings on scrolls acquired by collectors in the nineteenth century. For French museums, the whole aspect of the painting and its mounting is important to preserve because it is a testimony to the taste of the collector. Remedial treatments and some specific rehousing devices allow the original mount to be kept for years. Some Asian paintings are also restored at INP to teach students to preserve Asian art. To illustrate this, I will present the conservation process of a large Laotian painting that belongs to the National Diplomatic Archives. Auguste Pavie, a famous French diplomat who stayed in present-day Laos in the late nineteenth century, bought this artwork. It mixes East Asian pigments and French Canson paper. By restoring this painting, the students had the opportunity to use both Western and Eastern conservation techniques and were able to work as a team. The knowledge sharing that started twenty years ago has come full circle, from East to West.

Biography

Valérie Lee is a paper conservator and the dean of the Book and Paper Conservation Program at the National Institute of Patrimony (INP), France. She graduated from INP in 1997 and trained as a Chinese painting conservator at the Freer Gallery of Art from 1997 until 2003. She worked as a freelance conservator for East Asian paintings and Western prints at the Tokyo National Museum from 2005 until 2011. She specializes in remedial treatments for East Asian paintings and is also using Eastern conservation techniques for the conservation of Western artworks. She is currently a PhD student at CY Cergy Paris University. Her research topic is the use of artificial intelligence to recognize book binding alterations.

발레리 리

고서 및 지류 보존 프로그램 학장
프랑스 국립문화유산연구소(INP)
valerie.lee@inp.fr

글로벌 용광로 속에 융합되는 지류 보존과학자

25년전 발표자는 프랑스에서 서양 지류 보존과학자로 그리고 미국 프리어 미술관에서 동아시아 회화 보존과학자로서 훈련을 받았다. 현재는 프랑스 국립문화유산연구소(Institut National du Patrimoine, 약칭 INP) 고서 및 지류 보존학과 학장으로서 동서양의 전문가로부터 전수받은 기술을 다음 세대의 지류 보존과학자에게 교육하고 있다. 프랑스 국립문화유산연구소는 유럽에 소재한 특수 교육 기관으로 학예사와 보존과학자를 양성하고 있으며, 고서 및 지류 보존 프로그램에서는 매년 4명의 학생만을 선발하고 있다.

발표의 전반부에서는 프랑스 지류 보존과학 프로그램에 대해 논의하고자 한다. 먼저 5년제 과정의 보존과학 실습 커리큘럼과 지류와 양피지 보존 처리 방법의 종류에 대해 소개하겠다. 다음으로 INP의 교육훈련 과정을 전통 동양회화 보존 처리 교육훈련 과정과 비교해보겠다. 보존과학을 교육하는 기간은 서로 비슷하지만 교육 방법에 있어서는 상당한 차이를 보인다. 동양에서는 종이 자르기나 풀 만들기와 같은 하나의 작업이 완벽하게 습득되어야 다음 단계로 나아갈 수 있다. 따라서 학생 본인이 보존 처리의 전과정을 맡아서 수행하기까지는 상당한 시간을 필요로 한다. 반면 서양에서는 1년차 과정에서부터 보존 처리의 전과정을 가르치며 난이도를 점진적으로 높이는 방식을 채용한다. 하지만 학습 초기 단계에서는 학생의 숙련도가 부족할 수 있는 단점이 있다.

발표의 후반부에서는 동양 회화를 보존 처리하는데 있어 동양과 서양의 회화 보존 기법이 어떻게 사용되는지를 소개하겠다. 회화 작품의 보존 처리 목적은 족자의 구조를 보강하여 더 이상의 손상을 방지하기 위함이다. 이러한 기법은19세기 컬렉터에 의해 수집된 동양 회화를 대상으로 프랑스에서 자주 사용되었다. 프랑스 박물관에서는 작품을 비롯해 장황과 관련된 모든 부분을 중요한 보존 대상으로 여기는데 이는 컬렉터의 취향을 반영하고 있기 때문이다. 보존 처리와 특정 보존 용기는 원형의 장황이 오랜 기간 보존될 수 있도록 한다. INP에서는 학생들에게 아시아 미술 보존 기법을 가르치기 위해 동양 회화에 대한 보존 처리도 수행한다. 이에 대한 하나의 예로 프랑스 외교 아카이브에 소장되어 있는 대형 크기의 라오스 회화 보존 처리 과정을 소개하겠다. 이 작품은 프랑스 유명 외교관인 어거스트 파비에(August Pavie)가 19세기말 오늘날의 라오스에서 지내는 동안 구입한 것이다. 이 그림에는 동아시아의 안료와 프랑스 수채화지인 “캉송(Canson)” 종이가 사용되었다. 학생들은 이 회화를 복원하면서 동서양의 보존 기법을 사용하고 하나의 팀으로 작업하는 기회를 가질 수 있었다. 이처럼 20년 전에 시작된 지식의 교류가 동양에서 서양으로 전해지게 된 것이다.

약력

발레리 리(Valérie Lee)는 지류 보존과학자이자 프랑스 국립문화유산연구소(Institut National du Patrimoine) 고서 및 지류 보존 프로그램의 학장을 역임하고 있다. 1997년 프랑스 국립문화유산연구소를 졸업하고 1997년부터 2003년까지 미국 프리어 미술관에서 중국 회화 보존과학자로서 트레이닝을 받았다. 2005년부터 2011년까지는 일본 국립도쿄박물관에서 동아시아 회화 및 서양 판화 프리랜서 보존과학자로 활동하였다. 동아시아 회화의 보존 처리를 전문으로 하며 동양의 보존 기법을 서양 미술품에 활용하기도 한다. 현재 CY 세르지 파리 대학교에서 박사과정을 이수하고 있으며 인공지능을 이용한 책 장정의 수리 내용 파악을 주제로 연구하고 있다.

---

Ohbayashi, Kentaro

Professor, Department of Historical Heritage
Kyoto University of the Arts, Kyoto, Japan
k_ohbayashi@kua.kyoto-art.ac.jp

Education Needed for the Preservation and Restoration of Japanese Painting and Calligraphy

As a professor of historical heritage at Kyoto University of the Arts, my teaching has two objectives: to educate and train students in the conservation field as specialists, and to enlighten the general public. The education provided to students can be divided into three areas of specialization, summarized below.

Improving Expertise

Year after year, scientists have revealed new discoveries about Japanese mounted artworks. Because of these technical advancements in the work of restoration, the knowledge required to do this work has become much more specialized compared to the past. Therefore, it is almost too late to start learning after entering a conservation studio. It is more efficient for those who seek employment in a studio to study at university first.

Acquiring New Techniques for Restoration

Restoration techniques are slightly different in each conservation studio. Traditionally, it was often said that students should only learn the methods practiced in the studio where they trained. However, it is helpful to acquire new techniques, such as material analysis and recording methods, among others. These practical skills are developed through training in the classroom and by working at a conservation research center.

Training for Logical Thinking

The Association for Conservation of National Treasures has instituted a qualification system for its members. Conservators are given the opportunity to take a three-part examination—a practical exam, a written exam, and an interview—after ten years of work experience, and then again after sixteen. The successful candidate is granted the qualification of “chief conservator” (主任技術者) at ten years and “head conservator” (技師長) at sixteen. The studios have realized they must hire individuals who have the potential to pass these exams because of their restoration and management abilities. The exams test the ability to identify deterioration and damage of a given artwork, determine appropriate treatment measures according to the condition of the object, and perform a simulation of the conservation work needed. The students acquire this basic knowledge during my seminar while repairing the pieces entrusted to the research center at the university.

Conservation studios require individuals who desire to expand their knowledge and improve their skills and who are not satisfied with current techniques. I believe the most important skill to develop in these students is the ability to think logically. We can provide such detailed guidance only at graduate school. For that reason, it is now becoming more common to hire people who have attained this level of education. The Association for Conservation of National Treasures at the Kyoto National Museum, in association with five universities, has established a four-week internship contract for graduate students. Many of the interns subsequently find employment in a studio.

Enlightening the General Public

Just as training specialists is crucial, it is also essential to disseminate to the general public the beliefs that cultural property is important and that it must be protected. If the public is unaware of the value of handing down cultural property to future generations, we are dependent solely on the government as it exists in Japan today. When individuals become interested in and respect cultural property, they realize the importance of preserving this heritage for the sake of future generations. Therefore, my university’s research center must start hosting recurring educational opportunities, such as workshops or lectures, that allow us to share this information.

Biography

Kentaro Ohbayashi is currently a professor of historical heritage, director of graduate research in historical heritage, and deputy director of the Research Center for Japanese Garden Art and Historical Heritage at Kyoto University of the Arts. He is also vice president of the NPO Japan Conservation Project.

Ohbayashi was born in Kakogawa City, Hyōgo Prefecture, in 1960. He graduated from the History and Geography Department at Kansai University in 1984. That year, he joined the Oka Bokkodo Conservation Co., Ltd., in Kyoto. Since 2000, he has been the director of the Bunkazai Hozon Conservation Co., Ltd., in Nara.

He is involved in the preservation and conservation of cultural property, primarily paintings, calligraphy, and photography. Since 2006, he has taught at Kyoto University of the Arts.

Ohbayashi has published two books, Preservation and Restoration of Mounted Cultural Properties: Current Condition for East Asian Painting and Calligraphy (Association for Conservation of Treasures, 2015) and The Practice of Photographic Preservation (Iwata Shoin, 2010).

大林 賢太郎

芸術学部 歴史遺産学科教授
京都芸術大学
k_ohbayashi@kua.kyoto-art.ac.jp

日本の書画作品保存修理のための教育

私が大学で行っている教育は２つの方向性があると考えています。一つが専門家としての修理技術者の養成で、もう一つが一般市民への啓蒙です。

専門家教育１（専門知識の付与）

文化財について年々新しい事実が明らかになり、修理においても技術改革が行われたことにより、この仕事をする上で必要な知識は昔に比べて何倍にも多くなりました。そうなると、工房に入ってから学ぶのでは、間に合わなくなってきました。そうした部分を工房に就職する前に大学で学んでいれば効率的です。

専門家教育２（修理を助ける新技術の習得）

技術は工房ごとに微妙に違い、どこか別の工房の方法を身に付けてしまうと、支障があると言われています。しかし、材質の分析や記録の取り方など、新しい技術は身に付けておけば役に立ちます。こうした実技は、授業としての実習や研究センターでの作業を通じて習得します。

専門家教育３（論理的思考のトレーニング）

国宝修理装潢師連盟では技術者の資格制度がスタートしました。これにより、経験年数10年、16年の技術者に対して、実技試験、学科試験、面接試験の３段階の試験を行って、合格者に主任技術者、技師長の2つの資格を付与するようになりました。工房では経営上も、将来その試験に合格できる人材を採用しなくてはならなくなりました。この試験では、課題の作品に応じた劣化損傷を読み取り、条件に応じて修理仕様を定めて施工までのシミュレーションができているかを問う問題があります。こうした基礎的な知識や思考トレーニングは、研究センターでの受託作業をゼミ活動として修理しながら身に付けさせています。

工房で必要なのは、好奇心を持って知識を広げ、今の技術に満足せずに改善していく事のできる人材です。私は、そういった人材に育てるために最も重要なのは「論理的に考える力」だと思っています。そう言った密接な指導は、今では大学院でしかできません。そういうことも含めて、大学院を修了した人が雇われることが多くなってきました。現在、国宝修理装潢師連盟と5つの大学の間で大学院生の４週間のインターンシップ契約が結ばれており、その実習生の中から工房に就職する学生が多くいます。

一般市民への啓蒙

専門家を養成すると同時にしなくてはならないことは、文化財が素晴らしい物で、社会で護っていかなくてはならないものだと言うことを、より多くの人に浸透させることです。文化財を社会全体で継承していくという意識がなければ、現在の日本で進行しているように、行政頼みになってしまいます。それぞれが、文化財を残していこうと思う感情は、文化財に対して興味を持ち、敬意を払うようになって始めてわき起こってくるのです。そのためにセンターではリカレント講座やワークショップなどを実施して、様々な情報を共有する事から始めなくてはなりません。

経歴

現在、京都芸術大学芸術学部 歴史遺産学科教授、同大学院 歴史遺産研究領域長、同大学 日本庭園・歴史遺産研究センター副所長。NPO文化財保存支援機構副理事長。

1960年兵庫.県加古川市生まれ。1984年関西大学文学部史学地理学科卒業。同年京都㈱岡墨光堂入社。2000年より、奈良㈱文化財保存取締役。装潢文化財（絵画/書跡）・写真などの保存修復に携わる。2006年本学に着任し、現在に至る。

主要業績：著書『装潢文化財の保存修理　−東洋絵画・書跡修理の現在−』（国宝修理装潢師連盟、2015）、『写真保存の実務』（岩田書院、2010）。

June 30, 2021
8:00 am – 10:00 am (Washington D.C.)
2:00 pm – 4:00 pm (Paris)
8:00 pm – 10:00 pm (Beijing)

Lei, Yong PhD.

Deputy Director, Conservation Department, Palace Museum
Head, Key Laboratory of Ministry and Tourism on Calligraphy and Painting Conservation
4#JingshanQianjie, Dong Cheng District, Beijing, P.R.China, Post code:100009
leiyong@dpm.org.cn

Tradition Meets Science: The Palace Museum is Stepping up Conservation Efforts on Chinese Calligraphy and Painting

Conservation has a long history at the Beijing Palace Museum. At the early stages of the Palace Museum’s history, a mounting and restoration workshop for Chinese calligraphy and painting was established. Many national treasures have been restored by skilled master craftsmen in the workshop. With the recent national restoration project on the grounds and the gardens of the Palace Museum, and with the global collaboration between experts at home and overseas, the museum has stepped up its contributions to developments in theory, science and technology, and conservation treatment. Conservation specialists have made great progress in their methodology for restoring architectural calligraphy and painting in areas such as tongjing hua (通景画), or “trompe l’oeil”; tie luo (贴落), or “affixed hanging”; and ge shanxin (隔扇芯), or “partition.” These techniques have contributed effectively to other similar restorations.

The workshop for calligraphy and painting conservation has moved into a new, well-equipped building over the last decade. This new facility can hold advanced-level training courses and host a number of important research platforms and projects. The IIC International Training Centre for Conservation (IIC-ITCC) in the Palace Museum serves as a bridge between the East and the West in the conservation field. Other developments and government policies that have benefited conservation work include the establishment of the Key Laboratory of Conservation for Paintings and Calligraphies under the Ministry of Culture and Tourism (2016), registration in the National Inventory of Intangible Cultural Heritage (2008), and the successful implementation of the 13th Five-Year National Key Research and Development Program. These resources provide vital governmental and financial support for the long-term development of conservation work in the Palace Museum.

Analyses conducted by the Palace Museum, especially non-invasive scientific analyses, have made important progress. Building upon the Western techniques to analyze oil paintings, specialists have considered the characteristics of Chinese calligraphy and painting and, after years of great effort, have built up techniques such as transmitted light photography and hyperspectral imaging. An effective scientific analysis scheme is starting.

The future development of conservation efforts will further strengthen the use of both scientific and traditional treatments. More emphasis will also be placed on the training of professional technicians and the education of the public. These efforts will help sustain growth and development in the field of conservation.

Biography

Dr. Lei Yong is the deputy director of the Conservation Department at the Beijing Palace Museum and the head of the Key Laboratory of Conservation for Paintings and Calligraphy, overseen by the Ministry of Culture and Tourism. Since his arrival at the Palace Museum in 2004, his research interests have spanned colored paintings, ceramics, lacquerware, and organic dyes. He is particularly interested in the identification of pigments, dye and polychrome stratigraphy, research of organic dye identification and fading, micro- and nano-scale analysis of ancient materials, and noninvasive analysis of calligraphy and painting. He holds degrees in both conservation science and archaeological sciences from the Northwest University (BA), Peking University (MS), and the Institute of High Energy Physics, Chinese Academy of Sciences (PhD). He is a fellow at the International Institute for Historic and Artistic Works (IIC). As the chief scientist for the 13th Five-Year National Key Research and Development Program, “Research on Value Interpretation and Key Technology of Organic Cultural Relics,” he is currently engaged in scientific analysis and the conservation study of Chinese organic cultural relics.

雷勇 博士

故宫博物院 文保科技部 副主任
文化和旅游部书画保护重点实验室主任
中国北京市东城区景山前街4号，邮编：100009
leiyong@dpm.org.cn

传统结合科学：故宫书画保护的发展

故宫的书法和绘画保护历史悠久，很早成立的书画装裱修复组拥有众多、技术精湛的修复大师，先后成功修复过一批重要的书画作品。随着故宫古建大修项目和乾隆花园保护国际合作项目的开展，经过故宫保护专家的努力，国际专家的系统参与，故宫的书画保护在理论、保护处理和科学技术结合方面取得了长足的发展。通过这些国际合作和项目，故宫古建筑原状书画保护摸索了一套完善和系统的保护方法，故宫的书画修复专家在通景画、贴落、隔扇芯的保护中积累的经验，成功地应用在故宫其他建筑原状的书画保护中。

故宫书画修复组所在的文保科技部近些年来的快速发展、相关科研项目和培训平台的建立为书画保护的大发展提供了良好基础和外部激励条件。国际文物保护修复协会（IIC）培训中心在故宫的建立提供了定期与世界级文物保护专家相互交流的机会，促进了故宫书画保护与世界同行沟通和共同发展。文化和旅游部书画保护重点实验室的建立、成功申报国家级非物质文化遗产、承担 “国家十三五重点研发计划”项目都为故宫书画保护的长期稳定发展和科学研究提供了重要的政策和资金支持。

故宫的书画保护科学分析，特备是非侵入式科学分析得到重点发展。在借鉴西方油画分析技术的基础上，故宫的科学分析专家针对中国书画的特点，重点发展透光摄影、高光谱大尺寸面扫描技术等专业分析方法，初步建立了一套有效的书画系统分析方法论。

未来中国书画保护的发展既要加强科学与传统保护技术的深入结合，同时要强调专业培训与公众教育为书画保护的长久发展创造更加良好的生态环境。

作者简介

雷勇，男，西北大学文博学院史学学士，北京大学考古文博学院史学硕士，中国科学院高能物理所理学博士学位。在故宫博物院长期从事文物的保护与科学研究。现任故宫博物院文保科技部副主任，研究馆员。2004年到故宫博物院供职后，主要从事彩绘、陶瓷、漆器、有机染料的科学分析与保护研究工作。特别是在颜料和层次鉴别、有机染料鉴别和褪色研究、古代材料的微、纳米尺度分析、书画的非侵入分析等领域开展科学研究。作为十三五重点研发计划，“有机质文物价值认知和关键技术研究”项目首席科学家，目前主要致力于国内有机质文物的科学分析与价值认知研究。

---

Jennifer Giaccai

Conservation Scientist
Freer Gallery of Art and Arthur M. Sackler Gallery
Smithsonian Institution
giaccaij@si.edu

Identifying Different Types of Soot-Based Inks Using Raman Spectroscopy

Traditional ink can be made from either pine soot or lampblack. In more recent times, industrial carbon black has also been used, making it even more challenging to discriminate among different types of ink.
Although produced in very different circumstances, the soots are chemically very similar and have proven difficult to differentiate on works of art. Samples from ten modern soot and ink workshops in both Japan and China have been collected and analyzed using a variety of scientific techniques. Much remains to be studied, but our results have shown that Raman spectroscopy is a potential method of determining if the ink is made from lampblack without requiring a sample to be taken from a work of art.

Biography

Jennifer Giaccai is a conservation scientist in the Department of Conservation and Scientific Research at the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s National Museum of Asian Art. She has degrees in chemistry and materials science from Macalester College (BA) and The Johns Hopkins University (MSE). She has previously worked at the Smithsonian’s Museum Conservation Institute and at the Walters Art Museum. Her areas of interest are inks and pigments used in Asian paintings, the use of natural resins in cultural heritage, and non-invasive methods of investigating museum objects.

Jennifer Giaccai

保存科学修復部の保存科学者
フリーア・サックラー・ギャラリー
スミソニアン
giaccaij@si.edu

ラマン分光法を用いた墨における複数の煤の識別

伝統的な手法で作られる墨は、松から採れる煤、もしくは菜種油から採れる煤のいずれかから作成されます。 最近では工業用カーボンブラックも墨の製造に使用されており、さまざまな種類の墨ができたことで、その識別はさらに困難になっています。このように製造状況が全く異なっていても、化学的に見ると煤自体は非常に類似しています。芸術作品にどの墨が使われたかを区別することの難しさは、既に先行研究でも言及がされています。

本研究では、日本と中国の伝統手法を用いた墨工房から最新のサンプルを10種類採取し、さまざまな科学的手法を使用して分析を行いました。まだ多くの研究が必要ですが、分析の結果、ラマン分光法によって油煙から作られている墨が同定されました。これにより、ラマン分光法は芸術作品からサンプルを採取することなく分析が出来る、すなわち非破壊による一研究手法としても有効であることが示されました。

経歴

スミソニアン米国立アジア美術館フリーア・サックラー・ギャラリー保存科学修復部の保存科学者。マカレスター大学にて化学と材料科学を学び学位を取得、ジョンズ・ホプキンズ大学にて材料工学で修士号を修める。その後、スミソニアン研究機構の保存修復研究所、ウォルターズ美術館（ボルチモア）で勤務した後、2014年から現職。研究分野は東洋絵画で使用されている墨・顔料や天然樹脂、また美術品の非破壊調査方法など。

July 1, 2021
8:00 am – 10:00 am (Washington D.C.)
2:00 pm – 4:00 pm (Paris)
8:00 pm – 10:00 pm (Beijing)

Shen, Yazhou

Researcher, Shanghai Museum
Distinguished Professor, Fudan University
Adjunct Professor, Shanghai Institute of Visual Arts
Researcher, Cultural Department, Chi Lin Nunnery, Hong Kong
Chinese Painting and Calligraphy Reproduction Intangible Cultural Heritage Inheritor

Techniques to Reproduce Ancient Chinese Calligraphy and Painting

1. Background

One way to learn Chinese calligraphy and painting is by copying or making reproductions. These methods have a long history of over 1,600 years and have played a very important role in the traditional practices of Chinese calligraphy and painting. Unlike Western practices, Chinese painting and calligraphy are often learned through imitation and copying.

Before the advent of printing, people who had to learn to spread the skills of calligraphy and painting could only rely on manually copying, tracing, writing, or inscribing. Many of the paintings and calligraphy that we consider national treasures today are reproductions of works from an earlier period. We call these works xia zhen ji yi deng (下真迹一等), “down one level from the original,” or “first-class authentic works.”

The techniques used to copy and reproduce have played a very important role in continuing the Chinese culture of calligraphy and painting. The tradition dates back to China’s Northern and Southern dynasties (317–589) and began with calligraphy, then gradually extended to paintings.

2. Techniques

One reproduction technique is double-contour outline copying, a process that starts when a work is outlined in light ink, and then a darker ink is used to fill in the outline. Some examples are the works by the Tang dynasty (618–907) artists Feng Rensu, Yu Shinan (558–638), and Chu Suiliang (596–658), who copied Wang Xizhi’s (ca. 303–ca. 361) Preface to the Poems Composed at the Orchid Pavilion. Sang luan tie (丧乱帖), the “copy editions,” are all very intricate and charming, and show minute, fine details of the original. They are classic reproductions of the Wang School.

A second technique is overlay copying, in which a material is placed over the original work and a copy is made directly on top of the original. A third technique is a hybrid of the first two, in which a material is placed over the original work that is being copied and an outline is made. Most of the calligraphy works of Wang Xizhi we see today are done this way. Many copy editions were done during the period of China’s Tang and Song (960–1279) dynasties. Relatively few xia zhen ji yi deng (下真迹一等), or “copy-works,” used one technique alone.

3. Processes

I will describe how museums make reproductions as substitutes for displaying original works. It is very difficult to create these copy-works. From choosing the materials to the brushwork and inkwork, and from the composition to the process of aging the finished product, everything needs to imitate the original flavor.

The first step is to make a preparatory copy. For example, take a black-and-white photograph like in the old days, or make sketches and print copies. Step two is to choose the necessary materials. Step three is to apply the base/background color. Step four is to apply ink brushwork. Step five is to add color. Step six is to age the finish. Step seven is to copy the signature seal(s). Finally, step eight is to mount.

4. Roles/Applications

Copying has several extended utilities, including the copying of inscriptions or engravings, the copying and restoration of calligraphy and painting, copying and appraisal, and copying and appreciation.

5. Significance of Copying

Copying endures because it is the main method of learning Chinese painting and calligraphy. Its purposes are to protect original works, pass on the traditional skills and methods, pass on cultural heritage, and support cultural development.

6. Examples of Reproduction Works

7. Inheritance of Copying

Copying is a traditional technique that has been passed down in small cycles. In 2009, the Shanghai Institute of Visual Art began to offer classes on this topic. Now the culture of copying is passed on through education at universities and is now offered at Fudan University. I have worked in the Shanghai Museum for nearly 40 years, and I have long been engaged in the brushwork of copy reproduction and the restoration of painting and calligraphy. I have also trained many students and have a definitive teaching experience.

Biography

Professor Shen Yazhou was born in 1950 in Shanghai, China. His professional experience includes his roles as a specialist at the Shanghai Museum, a distinguished professor at Fudan University, an adjunct professor at the Shanghai Institute of Visual Arts, a researcher of the Chi Lin Nunnery in Hong Kong, and a stalwart educator and “inheritor” of copy reproduction techniques. He entered the Shanghai Museum in 1972 and studied with Xu Yongqing, an expert of yang bang–style calligraphy and painting restoration. During his long-term leadership over the reproduction work and inpainting (repainting of missing image lines) of Chinese painting and calligraphy at the Shanghai Museum, he has researched various brush and ink techniques, tools and materials, mounting techniques, and reproduction methods of ancient painting and calligraphy. Professor Shen has a distinguished career working on the reproduction of Chinese calligraphy and paintings in museums and in art institutions in Shanghai and in Hong Kong.

沈亚洲

上海博物馆专家
复旦大学特聘教授
上海视觉艺术学院兼职教授
香港志莲净苑文化部研究院
摹搨技艺非遗传承人

《古书画摹搨技艺》

一：概念以及历史

摹榻就是现在的临摹，一种中国书画的学习方法，一千七百多年前就出现了。它在学习传承中国书画方面起到了十分重要的作用。与西方比较，中国的书画，它的学习方法主要是临摹，也就是摹搨。中国的书画，有十分悠久的历史。在印刷术出现之前，人们要学习要传播书画技艺，只能靠手工摹写，这就是摹搨。如今我们看到的国宝级的书画，其中有许多都是摹搨的作品，世称“下真迹一等”。它在传承中国文化中国书画方面起到了十分重要的作用。摹搨是一种传统技艺，至少在1600多年前的南北朝时期，就有了摹搨技艺，开始用于书法的学习，并逐渐用于中国画的临摹

二：摹搨种类

1:双勾廓填，先用淡墨勾轮廓，然后填墨。唐冯仁素、虞世南、褚遂良摹王羲之的兰亭序。《丧乱帖》的勾填均极精妙，神韵气格，纤毫毕现，是存世王字唐摹本中之代表。2:摹写，蒙在原迹上面直接摹写3:半摹半写。用淡墨勾轮廓，然后摹写，现在我们看到的王羲之的书法作品；大多数是唐宋摹写本，少数是双勾廓填的。

三：摹搨过程

这里介绍的是用于博物馆替代真迹陈列的摹搨方法。这种“下真迹一等”的摹榻作品，要求很高，从材料到笔法墨法，从构图造型到破旧程度都需要与原稿一样原汁原味的保留下来。

第一步就是准备画稿（早期的黑白照片、勾摹稿、现在的打印稿）。第二步是选择材料. 第三步是染底色. 第四步是勾墨稿. 第五步是上色. 第六步是做旧.做旧的手法有刷，有染，有全，有刮，有磨，有搓等等，每个人的方法都是不同的，选择的材料也会不一样，但是追求的目的是一致的. 第七步是仿制图章。第八步装裱。

四：摹搨延申

1:摹搨与碑刻 2:摹搨与书画修复 3:摹搨与鉴定 4:摹搨与鉴赏

五：摹搨的意义

摹搨技艺为什么经久不衰，主要原因就是它是学习中国书画的主要方法。
1:保护作用 2:技法的传承 3:文化的传承 4:文化的种子基因库

六：摹搨作品

七：摹搨的传承

摹搨是一传统技艺，以前一直是小范围内传承。09年开始，开始在上海视觉艺术学院.复旦大学的书画修复专业用现代化教育开这门课程，传承摹搨这个技艺术。
同时我在上海博物馆工作了近四十年，长期从事摹搨古书画、书画修复的全色接笔工作，也带过不少徒弟，有一定的带教经验

作者简介

沈亚洲，1950年出生，上海人。上海博物馆专家，复旦大学特聘教授，上海视觉艺术学院兼职教授, 香港志莲净苑文化部研究院, 摹搨技艺非遗传承人。1972年进入上海博物馆，师从扬帮书画修复专家徐又青，由于长期负责的上海博物馆书画临摹与书画修复的接笔工作，对古代书画的各种笔墨技法，工具材料，装裱技术及历代书画的作伪方法颇有研究。

---

Sooa Im McCormick 任秀娥, PhD.

Curator of Korean Art
The Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio 44106-1797
SMcCormick@clevelandart.org

Korean Paper: From Tributary Gift to Trendy Commodity in Late Ming Literati Circles

All wars result in a significant loss of life, economic destruction, and human dislocation, but they also lead to opportunities for unexpected cultural and material transfers. A variety of Korean papers, including Mirror Surface Paper (鏡面紙) and White Silky Paper (白綿紙), were among staple tributary gifts to the Ming imperial court, but during the Japanese invasion (1592–1598), they were in even greater demand than before. These imported Korean papers were not exclusively used in the imperial court, but soon gained a new identity as a trendy commodity when they entered the circle of leading literati artists such as Dong Qichang (1555–1636).

By locating Korean paper in the material world of late Ming period literati artists, this research attempts to uncover how gift exchange in a tributary system between China and Korea fashioned new artistic identities from Korean paper, and to examine what material features of Korean paper led late Ming artists to incorporate it in their artistic endeavors. Finally, this research will challenge the conventional framework of China as influencer and Korea as influenced, highlighting the role of Korean imports in Chinese visual and material culture.

Biography

Sooa Im McCormick is curator of Korean art at the Cleveland Museum of Art. McCormick holds a PhD from the University of Kansas and master’s degree from Rutgers University. Recently, she curated the exhibitions Interpretation of Materiality: Gold (April 30, 2021–October 24, 2021) and Gold Needles: Korean Embroidery Arts (March 8, 2020–October 25, 2020). While pursuing her curatorial career, McCormick remains a cutting-edge scholar who explores the relationship between environmental/ecological changes and the arts. Her publications include “Re-Reading the Imagery of Tilling and Weaving of Eighteenth-Century Korean Genre Painting in the Context of the Little Ice Age” in Mountains and Rivers (without) End: Eco-Art History in East and Southeast Asia (Cambridge Scholars Publishing, 2019) and “The Politics of Frugality: Environmental Crisis and Eighteenth-Century Korean Visual Culture” in Forces of Nature (Cornell University Press, 2022).

Sooa Im McCormick 任秀娥, PhD.

Curator of Korean Art
The Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio 44106-1797
SMcCormick@clevelandart.org

조선의 종이: 조공품에서 명말 문인들의 기호품으로

전쟁은 막대한 인명과 경제적 손실을 끼치는 재난이지만, 새로운 문화를 전달, 전파하는 기회가 만들어지는 계기를 만들기도 한다. 경면지(鏡面紙)와 백면지 (白綿紙)와 같은 조선에서 생산된 종이는 명 황실에 선물된 조공품 중 하나였다. 흥미롭게도 종이의 생산이 극히 힘들었던 임진왜란 중 종이에 대한 명 황실의 요구는 줄지 않았고, 오히려 더욱 높아졌다. 조선의 종이는 명 황실에서만 소비되지 않았고, 고위 관료로 활동했던 동기창과 같은 작가들을 중심으로, 문인화 작화 활동에 필요한 기호품로 새로운 정체성을 갖게 되었고, 많은 작품에서 사용되었음을 확인할 수 있다.

본 연구는 조선의 종이를 명말 문인 예술계 속의 위치시켜 논의함으로써, 조공 체계 속에서 이루어지는 조선과 명의 선물 교환을 통해 어떻게 조선 종이가 명말 문인화단에서 새로운 정체적을 획득하게 되었는지, 조선 종이의 어떠한 물질적 특징이 명말 문인화들이 창작 활동에 도움을 주었는지, 그리고 이를 통해 중국의 시각, 물질 문화는 영향을 주는, 한국은 영향을 받는 관계라는 기존의 고착화된 기존의 담론을 재고찰하고자 한다.

약력

임수아 박사는 클리블랜드 미술관의 한국 미술 학예 연구사로, 캔자스 주립대학에서 18세기 한, 중 궁중 기록화 비교 연구로 박사 학위를, 랏거스 대학에서 미술사 석사학위를 받았다. 최근 기획한 전시로는 “물질성의 해석: 금 (4/30/2021-10/24/2021)” 과 “황금 바늘: 한국의 자수 미술 (3/8/2020-10/25/2020)” 이 있다. 학예사로서의 활동 이외에도, 환경과 미술의 교차점을 연구하는 학자로 활발한 활동을 하고 있다. 최근의 연구로는 “소빙하기로 맥락에서 본 18세기 경직도 이미지 다시 읽기” 와 “검소의 정치학: 환경적 재난과18세기 조선의 시각 문화” 이 있다.