This episode will focus on understanding the different parts of a mounted painting. The most popular traditional Chinese mounting method is the hanging scroll, which is a vertically displayed mounting form, appearing as a long strip, so the composition and text are also mostly arranged vertically. However, handscrolls are more expensive, as they are a horizontal format, but they are not as popular nowadays. In the past, Chinese people were more low-key and preferred using handscrolls, which were suitable for small audiences to view up close for a long time. This is a change brought about by the times.
The title slip is a mark on a mounted painting, indicating the author and title of the work. On the right side of a handscroll is the “sky”, with a cord similar to the hanging scroll to bind the scroll tightly, which is usually of high value. There is a heading, used to write the title, and next to it is the secondary border, then the main border, and finally the painting itself. After that, the secondary border and main border are repeated, then comes the end part, where the mounting is written, and finally the roller end.
Couplets have existed since the Qin and Han dynasties, when everyone knew to place couplets, or the two door gods, to drive away evil spirits. Later, it evolved into the couplets we know today. In Dream of the Red Chamber, the hall of a wealthy family must have a hanging scroll in the center, with a horizontal scroll above, and couplets on the sides. With paintings, calligraphy, and depth of field, these all demonstrate the breadth of the young lady of the household. There are also some ceramic furnishings as accompaniment, which not only show wealth, but also cultural taste.