- Japanese Aesthetics
- Kakejiku (Hanging Scroll)
- — Parts Name of Kakejiku
- — Formats of Kakejiku
- Hyougu (Mounting)
- — Mounted Works
- — Remounted Works
- Japanese-style Painting
News / Blog
Movie: Mounting & Remounting Operations
Remove Old Backing Papers
The kakejiku is produced through several “urauchi” backings. Urauchi is the act of applying paper to the back of paper, silk, or fabric with paste for reinforcement.
The first step in remounting kakejiku is to remove the old backing papers carefully.
Generally, there are three backing papers. They are applied in the order of “hada ura-uchi”(the first), “mashi urauchi”(the second), “sou urauchi”(the final) from the back of a “honshi” main artwork. When removing the papers, we start working on with outside, “sou urauchi”(the final) in reverse order.
Backing (Urauchi) and Drying
Backing (called “urauchi”) is the act of applying paper to the back of paper, silk, or fabric with paste for reinforcement. The paper to be used is selected by the craftsman (hyougushi) depending on the effect that is trying to be achieved and the condition of the main work. In mounting a “kakejiku” (hanging scroll), the first backing called “hada-urauchi,” is applied directly onto the back of the main work. In this process, relatively thin, firm paper is used.
During the process of the first backing, the main work and mounting fabric will have acquired moisture and become somewhat stretched. By applying paste to the edges, and placing the main work and the mounting fabric on a “karibari” board, stress on the main work and the mounting fabric can be adjusted, and will become flat as they dry. This way it will be possible to create a balance between the two when the main work is mounted as a kakejiku.
Creases result from repeated rolling and unrolling of a kakejiku (hanging scroll). They are the cause of friction in fabric or the main work as well as exfoliation of the pigments. We apply infill paper to creases or cracks on the backside of the main work after initial or subsidiary backing. Narrow strips of strong but thin pieces of Japanese paper are used. This crease reinforcement strip is called “ore-fuse” or “ore-ate.” Ore-fuse is applied from the back of the backing paper. We can reinforce creases and prevent them from occuring again. This operation is very delicate and time-consuming.
Additional Toning (Hosai)
If the condition of a work is bad, a part of the artwork may be lost. Even with a backing, the work may still appear unnatural because of extensive deterioration. After obtaining the permission of a client, we sometimes add lines or color in order to fill in lost parts on the work.
This operation is very delicate because it requires an understanding about the work, a sensitivity to colors and a specialized knowledge about painting materials.
Cut and Join (Tsukemawashi, Kiritsugi), Cutting to Size (Tachiawase), Folding over of the Edge (Mimi-ori)
– Tsukemawashi, Kiritsugi / Cut and Join –
Cut-and-join, which is also called “tsukemawashi,” is the process by which the main work and the mounting fabric are joined to make a kakejiku. After removing the main work from the karibari board, it is adjusted into the correct rectangular shape. Then, the main work and the mounting fabric are adhered together with fresh paste, and ready to be mounted as a kakejiku.
– Tachiawase / Cutting to size –
Cutting a hanging scroll or hand scroll to size after the second backing.
– Mimi-ori / Folding over of the edge –
Also called “hashi-ori”. Folding the left and right edges of a hanging scroll back approximately 3 to 4.5 mm. This width differs according to the size of the hanging scroll. It is executed after cut-and-join and before the final backing.
A hanging rod is attached to the top of the kakejiku, while a roller rod with knobs is attached to the bottom. Decorative fabric strips (fuutai) are sewn onto the hanging rod if necessary, and ring tacks are hammered in the rod and a hanging cord and a wrapping cord are attached.
Clean Art Work
We remove dirt of a kakejiku with our own, unique method. We must not spoil the antique beauty of the work that has caused its aesthetic value to grow over the years. It doesn’t always mean best to clean the work thoroughly. This is a very difficult decision.