【摘要】：近幾年對古舊字畫的修復(fù)裝裱研究和學(xué)習(xí)中,對于中國傳統(tǒng)書畫裝裱修復(fù)有所認(rèn)識和了解,隨著科技的進(jìn)步,書畫裝裱技術(shù)也隨之融入更多的現(xiàn)代科技成分.傳統(tǒng)修復(fù)裝裱技術(shù)與現(xiàn)代修復(fù)裝裱技術(shù)在書畫的保護(hù)上都起到的重要的作用.“修舊如舊”的這種復(fù)原性原則已經(jīng)成為書畫修復(fù)的默許原則,但因為修復(fù)后的效果以及對書畫后續(xù)的保護(hù)程度的差異而引起爭論。特別是現(xiàn)代裝裱修復(fù)技術(shù)的引進(jìn)更加彰顯出對傳統(tǒng)修復(fù)裝裱的理念的挑戰(zhàn)。以實踐為主,理論與實踐結(jié)合,通過實際操作進(jìn)而將傳統(tǒng)書畫裝裱修復(fù)與現(xiàn)代裝裱修復(fù)相比較,不僅要從宏觀掌握更要微觀研究.
[Abstract]:In recent years, in the research and study of the restoration and mounting of the ancient calligraphy and painting, we have some knowledge and understanding of the Chinese traditional painting and calligraphy mounting. With the progress of science and technology, the painting and calligraphy mounting technology has also been integrated into more modern scientific and technological elements. Traditional repair mounting technology and modern repair mounting technology play an important role in the protection of painting and calligraphy. The restorative principle of "repairing old as old" has become the tacit principle of painting and calligraphy restoration, but it is controversial because of the effect of restoration and the difference of protection degree of painting and calligraphy. In particular, the introduction of modern mounting and repair technology highlights the challenge to the traditional concept of repair and mounting. By combining theory with practice and comparing traditional painting and calligraphy mount repair with modern mounting repair, we should not only master but also study microcosmic from macroscopic view.
【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J211.7

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