Traditional Chinese painting mediums, such as rice paper, cotton paper and silk are so delicate that they must be carefully mounted. Because mountings have a direct bearing on the beauty and durability of a painting, they are given particular attention by artists. In fact, it is not going too far to say that all great works of Chinese art are still in existence today because of the care taken in mounting them.

Ancient records show that the art of mounting had its origins in the Sung and Tang dynasties, when it was fashionable for both the nobility and the ordinary people to collect Buddhist paintings. The process was particularly aimed at preservation, and this heralded the beginning of scroll painting. Painters and calligraphers paid great attention to how their works were handled, and some, such as Han Nien and Mi Fei were themselves skilled in mounting techniques.

After the Sung dynasty, works of art were more appreciated for their intrinsic artistic value rather than just for their religious significance. Bird, flower and landscape paintings came to the fore. But the quality of mounting was still valued, and standards were based on Sung and Tang styles. The secret of mounting was handed down orally from generation to generation, and is still preserved today.

Mounting shops are usually small, and have a characteristic odor of the materials used. The mounting table is placed against the wall, and under it are numerous rolls of silk and cotton along with the tools of the trade. On top of the table, paper, paste, ruler and brush all have their place. To one side, piled up against the wall, are the mounting boards, while another wall is covered with art works which have been already mounted. One craftsman described his work this way: "We are like tailors. We make 'clothes' to fit the body and character of each painting."

Whether the painting is mounted on silk or paper, the method is the same. First, a sheet of soft cotton paper is pasted on the back of the painting, and covered with a sheet of paperboard. After the painting has dried on the mounting board, another sheet of paper and paperboard is pasted on top. Finally, at the top and bottom, wooden strips are placed. A string is attached to the top one for hanging, and the bottom one is used to roll the painting up.

Apart from mounting, the art of repairing old paintings presents a formidable challenge to craftsman. The National Palace Museum in Taipei houses about 15,000 paintings which over the years have been subject to the ravages of time. Before putting its old paintings on display, the museum hires the services of a professional to repair them. Chiu Ching-jen, aged 50, is one of the most esteemed menders and mounters of paintings in the Republic of China today.

Most of the damage to old paintings consists of tears and small holes. But if the damage is too great, the painting must be removed from its old mounting and re-mounted. Before the painting is removed, the old silk must be stripped off and the painting washed by placing it on a board and slowly wetting it with a brush or spray gun. After the cotton paper has been dampened, each layer can be removed from the back of the painting. This task requires great patience and concentration, since there is not the slightest room for error. The paper backing must be removed without damaging the original painting, otherwise its color, and the mood of the whole painting, might be changed.

After the painting has been removed, then repairs can begin. Thick paper is placed on the back where the painting is damaged, and surrounded by a special "repair paper." When the painting is remounted, it is again surrounded by silk backed with paper, and the wooden strips are attached to the top and bottom. Then, a perfectly restored painting is ready to be put on public display.

It takes between two and three months to repair and re-mount a single painting. "Every time I am given a painting, I feel nervous, because I realize that it embodies the inspiration and hard work of my forebears. If I make a single mistake, I feel I have slighted my ancestors and my contemporaries as well," said Chiu.

Mounting is a craft that has played a major role in preserving Chinese art. Thanks to the efforts of people like Chiu, it will continue to be developed from one generation to the next as it has in the past.

[Picture Caption]

Chiu Ching-jen is one of the top rated mounters and repairers of paintings in the Republic of China. He is currently employed by the National Palace Museum to repair old paintings.

1) & 4) The first step in mounting consists of pasting a sheet of cotton paper on the back of the painting. 3) Then the painting is attached to a mounting board to dry. 2) When mounting is completed, paintings are hung on the shop's walls.

1) Chiu Ching-jen remounting an old painting. 2) Paintings are now often framed so they can fit more easily in modern homes with low ceilings. 3) Scrolls show up traditional Chinese wooden furniture to the best effect.

The first step in mounting consists of pasting a sheet of cotton paper on the back of the painting.

The first step in mounting consists of pasting a sheet of cotton paper on the back of the painting.

When mounting is completed, paintings are hung on the shop's walls.

The first step in mounting consists of pasting a sheet of cotton paper on the back of the painting.

Chiu Ching-jen remounting an old painting.

Paintings are now often framed so they can fit more easily in modern homes with low ceilings.

Paintings are now often framed so they can fit more easily in modern homes with low ceilings.

Scrolls show up traditional Chinese wooden furniture to the best effect.