布画唐卡的修复与装裱

Mounting and restoration of cloth painting Tangka

唐卡是西藏绘画艺术中的一朵奇葩,其装裱与修复有别于中原传统的装裱而具有独特的工序和手法,因此在传统的装裱修复基础上,加大科技含量就显得尤为重要。通过对《八思巴》、《药师佛》两幅唐卡的实际修复为基础,阐述了唐卡装裱和修复的具体手法。修复和装裱的方法大致分为拍摄原貌以做对比;清理画心背面污布;贴补破洞和粘贴补料;托料;剔除废边等。除了以上这些方法外,还应当对西藏传统唐卡的起壳变形、烟熏的镶边、贴补部位、唐卡画心的加固等需要按照传统唐卡的装裱工艺进行修复,切不可照搬硬套接笔补色的国画修复方法。这样一来,在最大限度的技术可能的前提下,可以在实践中对唐卡修复与装裱的技术做出基本性的总结。

Tangka is a rare part of Tibetan drawing art. The technique of mounting and restoration of Tangka is of unique procedure and style that are different from the mainland tradition. It is of vital importance to introduce new technology to the traditional mounting and restoration methods. On the basis of practicing restoration of the two Tangkas - Pakpa and the Medicine Buddha, the article elaborates on the specific skill of mounting and restoration of Tangka. Some methods of mounting and restoration are as follows ： taking a picture of the original Tangkas for later comparison, cleaning the back of the center part of painting, patching up the damaged hole and pasting up supplementary materials, and backing up the whole painting with a supplementary material, wiping out the edges, etc. In addition to these methods, the traditional Thangka mounting processes should be taken, such as the restoration of protuberance, deformation, selvage of sootiness, the complementarity of broken parts, and the reinforcement the core of Thangka and so on, rather than the copy of the color - patching method of Chinese painting restoration. It is thus possible to make a fundamental summary of the technology of mounting and restoring a Thangka painting through the use of all possible techniques.