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Hanging scroll
Type of scroll painting

A hanging scroll is one of the many traditional ways to display and exhibit East Asian painting and calligraphy. They are different from handscrolls, which are narrower and designed to be viewed flat on a table.

Hanging scrolls are generally intended to be displayed for short periods of time, after which they are rolled up and tied for storage. They are traditionally rotated according to season or occasion, rather than be on permanent display. Their artwork could be mounted with decorative brocade silk borders. The craft of creating a hanging scroll is considered an art in itself.

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History

Scrolls originated in their earliest form from texts written on bamboo strips and silk banners across ancient China.67 The earliest hanging scrolls are related to and developed from silk banners in early Chinese history.8910 These banners were long and hung vertically on walls.11 Such silk banners and hanging scroll paintings were found at Mawangdui dating back to the Han dynasty (206 BCE – 220 CE).1213 The aesthetic and structural objectives for hanging scrolls were summarized by the time of the Tang dynasty (618–907) and are still followed in the present day.14 During the early Song dynasty (960–1279), artists found that hanging scrolls were well suited to their art styles.1516

Originally introduced to Japan from China as a means of spreading Buddhism, hanging scrolls found a place in Japanese culture and art and plays an important role in interior decoration.17

Description

Hanging scrolls provide a vertical format to display art on walls.1819 They are one of the most common types of scrolls for Chinese painting and calligraphy.20 They are made in many different sizes and proportions.21 Horizontal hanging scrolls are also a common form.22

Hanging scrolls are different from the handscrolls. A handscroll is a long narrow scroll for displaying a series of scenes in Chinese painting.2324 It intended to be viewed section for section, flat on a table, during its unrolling.25 In contrast, a hanging scroll is appreciated in its entirety.2627

Mounting styles

There are several hanging scroll styles for mounting, such as:

  • Yisebiao (一色裱, one color mount)28
  • Ersebiao (二色裱, two color mount)29
  • Sansebiao (三色裱, three color mount)30
  • Xuanhezhuang (宣和裝, Xuanhe style),3132 also known as Songshibiao (宋式裱, Song dynasty mount)33

Arrangements and formats

Besides the previous styles of hanging scroll mountings, there are a few additional ways to format the hanging scroll.

  • Hall painting (中堂畫)
A hall painting is intended to be the centerpiece in a main hall.34 It is usually large, serves as a focal point in an interior, and often has a complicated subject.35
  • Four hanging scrolls (四條屏)
These hanging scrolls were developed from screen paintings.36 They comprise several narrow and long hanging scrolls usually hung next to each other on a wall, but they can also be hung separately.37 Their subjects have related themes,38 such as the Four Gentlemen (orchid, bamboo, chrysanthemum, plum blossom) or the Four Beauties (ladies renowned for their beauty).
  • Panoramic screen (通景屏)
The panoramic screen consists of several hanging scrolls that have continuous images, in which the subject continues further in another scroll.39 These hanging scrolls cover large areas of a wall and usually do not have a border in between.40
  • Couplet (對聯)
A couplet is two hanging scrolls placed side by side or accompanying a scroll in the middle. They have calligraphy in vertical writing. This style became popular during the Ming dynasty (1368–1644).41
  • Thin strip painting (條幅畫)
Narrow strip paintings intended for smaller rooms and spaces.

Features and materials

Chinese mounting and conservation techniques are considered a traditional craft and are believed to have developed around 2,000 years ago.42 This craft is considered an art unto itself.43 Careful attention was and still is paid to ensure the quality and variety of the silk and paper to protect and properly fit the artwork onto the mounting, as it gives form to the art.44 The art is fixed onto a four-sided inlay, made from paper or silk, thus providing a border.45

The artwork in the middle of the scroll is called huaxin (畫心; literally "painted heart").46 There is sometimes a section above the artwork called a shitang (詩塘; literally "poetic pool"), which is usually reserved for inscriptions onto the work of art, ranging from a short verse to poems and other inscriptions.47 These inscriptions are often done by people other than the artist.48 Although inscriptions can also be placed onto the material of the artwork itself.49 The upper part of the scroll is called tiantou (天頭; symbolizing "Heaven") and the lower part is called ditou (地頭; symbolizing "Earth").5051

At the top of the scroll is a thin wooden bar, called tiangan (天杆), on which a cord is attached for hanging the scroll.52 Two decorative strips, called jingyan (惊燕; literally "frighten swallows"), are sometimes attached to the top of the scroll.5354 At the bottom of the scroll is a wooden cylindrical bar, called digan (地杆), attached to give the scroll the necessary weight to hang properly onto a wall, but it also serves to roll up a scroll for storage when the artwork is not in display.55565758 The two knobs at the far ends of the lower wooden bar are called zhoutou (軸頭) and help to ease the rolling of the scroll.59 These could be ornamented with a variety of materials, such as jade, ivory, or horn.60

Method and processes

Traditional scroll mounters go through a lengthy process of backing the mounting silks with paper using paste before creating the borders for the scroll. Afterwards, the whole scroll is backed before the roller and fittings are attached. The whole process can take two weeks to nine months depending on how long the scroll is left on the wall to dry and stretch before finishing by polishing the back with Chinese wax and fitting the rod and roller at either end. This process is generally called 'wet mounting' due to the use of wet paste in the process.

In the late 20th century a new method was created called 'dry mounting' which involves the use of heat activated silicone sheets in lieu of paste which reduced the amount of time from a few weeks to just a few hours. This new method is generally used for mass-produced artwork rather than serious art or conservation as mounting done this way tends not to be as robust as wet mounting whose scrolls can last for over a century before it requires remounting.

See also

References

  1. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  2. "A Look at Chinese Painting". The Metropolitan Museum of Art. Retrieved 14 August 2011. http://www.metmuseum.org/explore/Chinese/html_pages/glossary.htm#thirty ↩

  3. Andrews, Julia F. (1994). Painters and politics in the People's Republic of China: 1949 – 1979. Berkeley: University of California Press. p. 232. ISBN 978-0-520-07981-6. 978-0-520-07981-6 ↩

  4. "A Look at Chinese Painting". The Metropolitan Museum of Art. Retrieved 14 August 2011. http://www.metmuseum.org/explore/Chinese/html_pages/glossary.htm#thirty ↩

  5. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  6. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  7. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  8. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  9. "Technical Aspects of Painting". Retrieved 15 August 2011. http://depts.washington.edu/chinaciv/painting/4ptgtech.htm ↩

  10. Sullivan, Michael (1984). The arts of China (3rd ed.). London: University of California Press. p. 71. ISBN 978-0-520-04918-5. 978-0-520-04918-5 ↩

  11. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  12. "Technical Aspects of Painting". Retrieved 15 August 2011. http://depts.washington.edu/chinaciv/painting/4ptgtech.htm ↩

  13. Sullivan, Michael (1984). The arts of China (3rd ed.). London: University of California Press. p. 71. ISBN 978-0-520-04918-5. 978-0-520-04918-5 ↩

  14. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  15. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  16. "Technical Aspects of Painting". Retrieved 15 August 2011. http://depts.washington.edu/chinaciv/painting/4ptgtech.htm ↩

  17. "Hanging Scroll(2018)". Les Ateliers de Japon. https://ateliers-japon.com/#hangingscroll ↩

  18. "A Look at Chinese Painting". The Metropolitan Museum of Art. Retrieved 14 August 2011. http://www.metmuseum.org/explore/Chinese/html_pages/glossary.htm#thirty ↩

  19. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  20. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  21. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  22. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  23. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  24. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  25. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  26. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  27. "Technical Aspects of Painting". Retrieved 15 August 2011. http://depts.washington.edu/chinaciv/painting/4ptgtech.htm ↩

  28. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  29. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  30. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  31. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  32. "宣和装". National Palace Museum. Archived from the original on 7 September 2016. Retrieved 16 August 2011. https://web.archive.org/web/20160907012133/http://www.npm.gov.tw/dm/album/htm/note005.htm ↩

  33. "宣和装". National Palace Museum. Archived from the original on 7 September 2016. Retrieved 16 August 2011. https://web.archive.org/web/20160907012133/http://www.npm.gov.tw/dm/album/htm/note005.htm ↩

  34. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  35. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  36. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

  37. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

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  40. Qu, Lei Lei (2008). The simple art of Chinese brush painting. New York: Sterling. pp. 58–9. ISBN 978-1-4027-5391-6. 978-1-4027-5391-6 ↩

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  42. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  43. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  44. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  45. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  46. "立軸". National Palace Museum. Retrieved 16 August 2011. http://www.npm.gov.tw/dm/album/htm/note004.htm ↩

  47. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  48. Dillon, Michael (1998). China: A historical and cultural dictionary. Richmond: Curzon. p. 273. ISBN 978-0-7007-0439-2. 978-0-7007-0439-2 ↩

  49. "Technical Aspects of Painting". Retrieved 15 August 2011. http://depts.washington.edu/chinaciv/painting/4ptgtech.htm ↩

  50. "立軸". National Palace Museum. Retrieved 16 August 2011. http://www.npm.gov.tw/dm/album/htm/note004.htm ↩

  51. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  52. "A Look at Chinese Painting". The Metropolitan Museum of Art. Retrieved 14 August 2011. http://www.metmuseum.org/explore/Chinese/html_pages/glossary.htm#thirty ↩

  53. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  54. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  55. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  56. "A Look at Chinese Painting". The Metropolitan Museum of Art. Retrieved 14 August 2011. http://www.metmuseum.org/explore/Chinese/html_pages/glossary.htm#thirty ↩

  57. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩

  58. Spielvogel, Jackson J.; Duiker, William J. (2010). The essential world history, Volume 1: To 1800 (6th ed.). Boston, MA: Wadsworth/Cengage Learning. p. 258. ISBN 978-0-495-90291-1. 978-0-495-90291-1 ↩

  59. Lee, Valerie; Gu, Xiangmei; Hou, Yuan-Li (2003). "The treatment of Chinese ancestor portraits: An introduction to Chinese painting conservation techniques". Journal of the American Institute for Conservation. 42 (3): 463–477. doi:10.2307/3179868. JSTOR 3179868. http://cool.conservation-us.org/jaic/articles/jaic42-03-007.html ↩

  60. Sze, Mai-Mai (1957). The Tao of painting. Taylor & Francis. pp. 62–65. Retrieved 15 August 2011. https://books.google.com/books?id=zJ89AAAAIAAJ ↩