絹本畫心小托的材料與方法-以「宋人畫彩芝仙」為例

Materials and Techniques of Initial Lining on Silk Paintings: A Case Study of“Tsai Zhi Xian by Song Dynasty Artist”

國立故宮博物院所藏佚名「宋人畫采芝仙」圖軸，因折痕、破損嚴重與全色造成變色，已不適合展出，必須重新裝裱。裝裱過程中，小托是一項非常重要的工序，會影響文物未來的保存。修復過程中發現本幅小托使用「網網絹」為命絹，命絹四周背後又有加固一層不規則網網絹。本文透過歷代裝裱文獻與現代裝裱所使用的小托材料及方法加以探討，發現以絹為命絹小托，有其裝裱、修復上的優點，但經過比較後認為以楮皮紙與宣紙作為本幅畫心的小托材料較佳，在最後裝裱與展示達到「厚薄勻調，潤潔平穩」之標準。

'Tsai Zhi Xian by Song Dynasty Artist'' is a silk painting hanging scroll in the collections of the National Palace Museum. The painting had to be remounted because of serious creases, damaged parts, and inappropriate in-painting, leaving the paintig unsuitable for exhibition. During remounting, initial lining is a very important technique that will have an effect on the future of the restoration. Usually paper is used as the first lining material–the so-called backing paper. In this restoration ''Wang Wang silk'' was used as the initial lining and also as a support around the painting. ''Wang Wang silk'' is a thin textile. There are many initial lining materials mentioned in historical documents on mounting and this article discusses the various advantages and disadvantages of using silk as a first lining material. As discussed in the book Records of Historical Famous Painting written by Zhang Yan-Yuan during the Tang Dynasty, to achieve an even thickness, immaculate and smooth surface are prerequisites of an excellent scroll. Accordingly, this case-history chooses kozo and xuan paper as the first lining materials since they are better than the original material.