Mounting and caring for your Chinese painting

    A good mounting service ensures your paintings display age. Upon the complition of an artwork of Chinese Calligraphy and Painting, it is usually mounted on another, larger sheet. The mounting process, if done correctly, will ensure that the finished process is flattened out, and any wrinkling that results from the drying of the Ink will be eliminated. Such mounted works may then be framed set into a banner or scroll format.

    There are two mounting types

    1. Mount on silk brocades for future framing. This style is called jing-pian (镜片) that requires couple of processes including: holding up the core, attaching damask and coving the back. It is made for framing. There is no rod shaft added to the painting.


    2. Hanging scroll. Artworks can be mounted as horizontal hanging scroll (横轴画)and vertical hanging scroll (竖轴画). Hanging scroll is the most traditional style that can easily hang on the walls.  





    Note: In the process of art work mounting, Calligraphy of China mounting specialist will choose the right color and material based on the content of the painting and calligraphy artworks. If you have special preferences, please specify in the order, or contact and confirm with our online customer service.


    Mounting a Chinese Artwork

    The paper on which the work is to be mounted should be considerably larger than the work itself. It is important to have a good margin of error. Remember: you can cut the mounted work later, so it’s better to have a slightly large mount rather than one that ends up being too small.

    Start by laying out your glass pane. It should be cleaned thoroughly, as the work will be face down on it and any dirt could mark up your work. Place the work face down on the pane. Starting in the middle and working to the sides of the page, use the paste brush to apply a generous amount of paste to the entirety of the work. There is no need to fret too much about wrinkles at this point: being too forceful could tear the work. Gently stretch out the work until it is relatively flat. At some point, you will notice that the work is sliding on the glass as you brush: this is the desired result.

    Wipe excess paste off the back of the work, and remove it from the pane using you paper towels. Roll your mounting paper around your dowel. Now, using the mounting brush, fix the mounting paper to the work as you unroll it off the dowel. You should use brisk, long and firm strokes. Now, continue brushing until there are no major wrinkles or air-pockets between two sheets.

    Place your newsprint over both sheets. Continue brushing with the mounting brush. Now is when you can afford to apply the most pressure to really ensure that the two sheets are firmly fixed and flattened. When you have done a few passes over the whole sheet, remove the newsprint. There should be moisture visible on the bottom once you remove it.

    Dying the Mounted Painting

    Starting at one corner, use your knife or painting trowel to gently peel up both sheets together. Be wary or them separating at this stage. Once you have a good amount lifted, you can use the mounting brush to keep the lifting pressure broad and consistent until the whole piece is off the glass.

    Now, go over to your board and fix the edges of the mounting sheet to it, using the mounting brush once again to stretch the work out as much as possible. Apply the brush only to the margin. Do not be too concerned about air being trapped underneath the mounting sheet: at this point there should be no air between the two sheets, which is the most important factor.

    As the paste dries, the work will stretch until it is totally flat. All that is left is use to let it dry, and then cut away some of the margin to free the work from the board. Now, the two sheets can be cut to the desired size, and the piece is ready to be framed.