一張畫(huà)辛辛苦苦修復(fù)好要經(jīng)過(guò)多道工序，當(dāng)時(shí)交出去很平整，但時(shí)間一長(zhǎng)，或者換了環(huán)境、氣候，或者保管不力，都會(huì)出現(xiàn)不平整。下面收購(gòu)名人字畫(huà)人員來(lái)講講影響書(shū)畫(huà)卷軸平整的兩個(gè)方面。

A painting has to go through many processes to be repaired. At that time, it was very smooth to hand over. However, over a long period of time, or the environment, climate, or storage is poor, it will appear uneven. Now let's talk about two aspects that affect the flatness of calligraphy and painting scroll.

一，材料問(wèn)題。

1、 Material problems.

紙、絹等都是書(shū)畫(huà)裝裱的物質(zhì)基礎(chǔ)，與卷軸平整的質(zhì)量有著直接的關(guān)系。紙張材料有很多，我們做修裱更會(huì)遇到不同時(shí)代、不同質(zhì)地的紙。我們裱畫(huà)的紙要柔軟、柔韌，熟紙附著力比較差，一般比較脆，不能裱畫(huà)。宣紙有利于保存，而且不會(huì)褪色，相對(duì)來(lái)說(shuō)壽命比較長(zhǎng)。博物館面對(duì)的是文物，都是用安徽產(chǎn)的好的宣紙，比如紅星、汪六吉牌的。如果紙選擇不好，會(huì)造成厚度凹凸不平。絹、綾用于裝裱比較少，主要的原料一般是選擇湖州雙林綾絹，這是個(gè)老廠，材料是真絲的，質(zhì)量比較好。以前材料比較緊張，有的混合了人工絲，或者絲的粗細(xì)不勻，也會(huì)影響卷軸的平整。

Paper, silk and so on are the material basis for the mounting of calligraphy and painting, and have a direct relationship with the quality of the smoothness of the scroll. There are many kinds of paper materials, and we will encounter papers of different ages and different textures when we do the mounting. The paper we mount should be soft and flexible. The adhesion of cooked paper is poor and generally fragile. Rice paper is good for preservation and will not fade, so its life is relatively long. The museum is faced with cultural relics, which are made of good rice paper produced in Anhui, such as Red Star and Wangliuji. If the paper is not selected properly, the thickness will be uneven. Silk and damask are rarely used for mounting. The main raw material is usually Huzhou Shuanglin damask. This is an old factory. The material is real silk and the quality is good. In the past, the materials were relatively tight, some were mixed with artificial silk, or the thickness of the silk was uneven, which would also affect the smoothness of the reel.

二，漿糊問(wèn)題。

2、 Paste problem.

漿糊對(duì)修裱的質(zhì)量，尤其是平整度起著舉足輕重的作用。密度過(guò)大會(huì)影響卷軸的硬性，我們要求卷軸柔軟，否則會(huì)產(chǎn)生折痕，會(huì)斷裂。面粉的密度大于淀粉，面粉里有面筋，面筋起到很大的作用。漿頭不能太稀，沖的時(shí)候要用勁，我們靠開(kāi)水打熟，水也不能多，要順著方向不能反過(guò)來(lái)。真正打得好的漿又要厚，又要有透明度。新打的漿糊不穩(wěn)定，這樣來(lái)裱畫(huà)會(huì)出現(xiàn)不平整的現(xiàn)象，需要冷卻。漿糊厚薄根據(jù)紙張的質(zhì)地來(lái)調(diào)兌，漿水太薄了就沒(méi)有黏力，太厚裱完就太硬。調(diào)制漿糊是既平常又復(fù)雜的問(wèn)題，我們針對(duì)畫(huà)芯材料以及環(huán)境、氣候等因素，憑經(jīng)驗(yàn)和手感，多做就出來(lái)了。

Paste plays an important role in the quality of mounting, especially the flatness. Excessive density will affect the rigidity of the reel. We require the reel to be soft, otherwise it will produce creases and fracture. The density of flour is greater than that of starch. There is gluten in flour, which plays a great role. The head of the slurry should not be too thin, and we should use hard when flushing. We should use boiling water to make it mature, and the water should not be too much. We should follow the direction and not reverse. The really good pulp should be thick and transparent. The newly made paste is unstable, so the mounting will be uneven and need cooling. The thickness of the paste is adjusted according to the texture of the paper. If the paste is too thin, it will have no adhesion, and if it is too thick, it will be too hard. Making paste is a common and complex problem. We can do more based on experience and feel for the core material, environment, climate and other factors.

卷軸的平整問(wèn)題是一個(gè)比較復(fù)雜的系統(tǒng)問(wèn)題。總的來(lái)看，主觀與客觀有著同等重要的作用。卷軸平整與否不僅影響到書(shū)畫(huà)的美觀，更重要的是書(shū)畫(huà)的修復(fù)質(zhì)量、保護(hù)和傳承。您有什么需求就來(lái)我們網(wǎng)站http://www.lebigueone.com咨詢吧！

The problem of roll leveling is a complex system problem. In general, subjectivity and objectivity play an equally important role. The smoothness of the scroll not only affects the beauty of the painting and calligraphy, but also the repair quality, protection and inheritance of the painting and calligraphy. Come to our website if you have any needs http://www.lebigueone.com Ask!