本文選題：書畫文物　切入點：裝裱修復(fù)　出處：《東南文化》2017年05期

【摘要】：我國的書畫文物裝裱修復(fù)理念與實踐有著悠久的傳統(tǒng),現(xiàn)階段由于借鑒西方修復(fù)理論以及運用現(xiàn)代科技手段,已逐步形成了"最小干預(yù)原則"、"最大信息保留原則"、"安全性原則"、"可再處理性原則"等原則,提升并完善了修復(fù)前期調(diào)查、修復(fù)技術(shù)路線與修復(fù)效果評估等工作。特別是在轉(zhuǎn)變書畫文物裝裱修復(fù)理念的基礎(chǔ)上,通過對文化遺產(chǎn)保護修復(fù)工作的再認(rèn)識,總結(jié)了"保留原裱"、"還舊裝裱"、"重新裝裱"等三種修復(fù)技術(shù)路線。這些理念轉(zhuǎn)變與實踐探索不斷完善了符合中國特色、適宜中國國情的書畫文物裝裱修復(fù)理論體系。
[Abstract]:There is a long tradition in the idea and practice of painting and calligraphy cultural relic mount and repair in our country. At this stage, because of drawing lessons from western restoration theory and using modern scientific and technological means, The principles of "minimum intervention principle", "maximum Information retention principle", "Safety principle", "reprocessing principle" and so on have been gradually formed. Especially on the basis of changing the idea of painting and calligraphy cultural relics mount and repair, through the re-understanding of cultural heritage protection and restoration work, This paper summarizes three kinds of repairing technical routes, such as "retaining original mounting", "returning old mounting", "remounting", and so on. These changes and practical explorations have continuously improved the theoretical system of mount and repair of Chinese calligraphy and painting relics suitable for China's national conditions.
【作者單位】： 紙質(zhì)文物保護國家文物局重點科研基地南京博物院;
【基金】：聯(lián)合國教科文組織項目《紙質(zhì)文物修復(fù)導(dǎo)則——書畫文物修復(fù)導(dǎo)則(中國篇)》
【分類號】：G264.3
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本文編號：1690766