Its origins can be traced back to the Heian period. At that time, mounting was used to reinforce Buddhist scriptures and calligraphy by attaching cloth to them. Later, it evolved into a general practice of "mounting," which involves framing and backing calligraphy and other works with cloth or paper for preservation and appreciation, and then creating hanging scrolls, framed pictures, folding screens, partitions, and sliding doors.
Among KYO Hyogu (Art Mountings) mountings, hanging scrolls, hand-rolled scrolls, and framed artwork are used for decorating Japanese-style rooms such as alcoves, while folding screens, partitions, and sliding doors are used in everyday life in ordinary households as room dividers, windbreaks, and screens.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. For hanging scrolls and hand-rolled scrolls, the following techniques or methods shall be used:
  (1) Drying should be done by "temporary stretching".
  (2) The backing of the main paper and fabric shall be done by first applying a "skin backing," and then applying a "double backing" using a beating brush and a smoothing brush.
  (3) The joining of pieces shall be done by "attaching".
  (4) "Full backing" is the process of using torn Japanese paper and applying silk wrapping and a scroll support.
  (5) The final step is to "rub the back of the paper".

  2. In the case of sliding doors, folding screens, partitions, and framed artwork, the following techniques or methods shall be used:
  (1) The frame is constructed by assembling the frame and latticework using wooden needles and then inserting the corner boards. In this case, the frame is "returned" and the latticework is constructed using mortise and tenon joints.
  (2) The underlayment shall be made using the following methods: "frame binding," "body binding," "straw raincoat binding," and "straw raincoat binding."
  (3) The hinges of the folding screen shall be of the "wing-type," "butterfly-type," and "wrap-around type."
  (4) The "pan-pasting" should be done twice. In this case, the second time, torn Japanese paper should be used and pasted in a slightly offset position from the first time.
  (5) The finishing of the bonded parts shall be done by "overlay" or "edging".
  (6) The "reinforcement" of sliding doors and folding screens shall be done by folding or dovetail joints, and the outer frames of partitions and framed pictures shall be done by "fitting".

   

  raw materials

  1. The paper used must be handmade Japanese paper.

  2. The fabric shall be woven from natural materials.

  3. The glue shall be made from wheat gluten paste, seaweed paste, animal glue, or a material of equivalent quality.

  4. The wood used shall be cedar, paulownia, cypress, cherry, mulberry, magnolia, yew, or a material of equivalent quality.

   

• Work scene

  Work scene

  The mounting process involves creating the main artwork (calligraphy, paintings, or other works of art), Japanese paper (washi), and fabric (kireji). These materials are then subjected to several stages of processing, including repeated moistening with water and drying, before the final product is completed.

  Step 1: Choosing the fabrics

  The fabric is selected to complement the main image and be suitable for use as a hanging scroll, while ensuring harmony between the ichimonji (front border), nakaberi (middle border), and tenchi (top and bottom edges). The selection of the fabric is made with an emphasis on the characteristics of the main image, including its historical context, and the overall dignity of the hanging scroll.

  

  Step 2: Backing the fabric

  The fabric is stretched and fixed onto a board using water. The stretched portion is adjusted to ensure the warp and weft weaves of the fabric are aligned, correcting any distortion in the pattern.

  

  Cut the backing paper to the required size and spread the glue evenly from the center outwards.

  

  The backing paper is attached to the fabric and smoothed with a smoothing brush to secure it in place.

  

  Step 3: Adding extra lining

  Moisten the edge of the backing paper with water and use a bamboo spatula to tear it open, exposing the fibers.
  (Preparation for joining)

  

  To prevent the thickness of the overlapping sections from showing through to the front, the backing paper is torn and joined. The paper is then glued only at the fiber portion of the torn sections.

  

  Step 4: Adding extra lining to the middle edge.

  A backing process is applied to increase strength and further enhance the viewing experience.

  

  Step 5: Application (Tsukemawashi)

  The main paper is the centerpiece, and the characters are joined together in the order of single characters, pillars, middle borders, and top and bottom.

  

  Step 6: Full backing

  Place a piece of paper over the top layer of silk, tap it with a beating brush, remove the paper, and smooth it out.

  

  Step 7: Attaching the wind strips

  Fold the wind strip along the peak of the upper shaft, trim off the excess while leaving a seam allowance, and fold in the end to neaten it. Sew it to the designated position on the upper shaft with raw silk.

  

  Step 8: Finishing and Completion

  Attach the lower shaft and secure the wind ribbons with thread.

  

  工程9： 検品

  Hold the end of the scroll and lower it gently to prevent it from becoming distorted. From a short distance away, check and adjust to ensure the scroll is hanging correctly and horizontally.

  

   

• Close-up

  Close-up

  A refined aesthetic sense enhances the appeal of the artwork.

  Bringing out the best qualities of the artwork without the mounting being overly conspicuous... KYO Hyogu (Art Mountings), characterized by its advanced techniques and delicate aesthetic sense, is said to be the most refined form of mounting in Japan. This is deeply intertwined with Kyoto's unique culture and historical developments.

   

  KYO Hyogu (Art Mountings), which has developed and become integrated into daily life.

  Mounting and framing were introduced from China along with Buddhism, beginning with the creation of Buddhist scriptures. Eventually, the production of Buddhist images for worship became the basis for modern mounting (hanging scrolls and hanging scrolls). With the advent of the Shoin-zukuri architectural style from the medieval Heian period onward, the tokonoma (alcove) was created, and from the late Muromachi period through the Momoyama and Edo periods, the tea ceremony flourished, and painting became popular. As a result, mounting and framing techniques were developed to suit the lifestyles and the shapes and content of calligraphy, paintings, and other works of art. Kyoto mounting and KYO Hyogu (Art Mountings), said to be the most refined in Japan, was born from this historical transformation in Kyoto, which was long the center of politics and culture. "Its specifications were repeatedly discussed and refined among tea masters, literati, and painters. That's how its unique elegance was cultivated," says Yukio Yamamoto, the current chairman of KYO Hyogu (Art Mountings) and Framing Cooperative Association.

  A comprehensive art form woven from technique, sensibility, and aesthetic taste.

  Mounters have lived alongside cultural figures and refined individuals of each era, working with the "honshi"—calligraphy and paintings—known as the "honshi." Therefore, they were required to possess specialized knowledge of tea ceremony and flower arrangement to satisfy the discerning aesthetic sensibilities of these refined individuals. "Understanding the meaning of the honshi, and completing the mounting with an arrangement that captures its intention and background—that kind of delicate skill, sense, and aesthetic sensibility has been required," says Yamamoto. Born into a family of mounters, he himself has lived as a craftsman for 50 years. "Something that isn't too flashy, yet something you can look at for a long time without getting tired of it." That's something that has gradually seeped into his heart. "What I find appealing, regardless of the subject matter, all boils down to this one point."

  No matter what it is, our feelings towards this newspaper are the same.

  For a scroll mounter, the feeling they have when facing the treasured artwork (the main piece) entrusted to them by each family is the same, regardless of the value of the calligraphy or painting itself. They believe that the feelings of anyone who entrusts their artwork to a scroll mounter are the same, no matter what it may be. KYO Hyogu (Art Mountings) is about understanding the world behind the artwork and bringing out its full potential. This spirit has been passed down through generations of scroll mounters.

  We stake our manufacturing dreams on a thousand-year tradition.

  Mounting and framing is "a world where, even if you try to create something better and experiment with new combinations, if you mess with it poorly, the original traditional methods are often far superior." It is that difficult, he says. In the present day, people's living environments are changing dramatically from traditional Japanese houses to Western-style houses. As "Japanese-style rooms" and "alcoves" disappear, the mounters who have created calligraphy and paintings in the form of hanging scrolls, sliding doors, framed pictures, folding screens, scrolls, and picture albums are also searching for new avenues. It is precisely because of these times that "even if we exhibit KYO Hyogu (Art Mountings) mounting and framing at exhibitions, we want to provide something of such a high level that the design, technique, and sense cannot be easily stolen. We want to create at least one piece that makes people look at it and think, 'Ah, this is what Japan has to offer. This is "KYO Hyogu (Art Mountings)," and I am telling the members of the association, "Let's do that. The tradition of KYO Hyogu (Art Mountings) and framing, which has lasted for over 1000 years, cannot be preserved just by trying to protect it." Mr. Yamamoto's words are passionate: "Instead of playing it safe, we must challenge ourselves to go further, to maintain the status quo." "It's difficult to convey what you're thinking to others." He believes that from now on, "it's important for craftsmen to convey the intentions of the creators themselves." That's why, "it's always a learning experience for them," he says, he makes an effort to create opportunities for picture mounters to "explain the intentions behind their own works" at picture mount exhibitions and other events. Connecting people and things is Mr. Yamamoto's challenge as chairman.

  Craftsman Profile

  ​Yukio Yamamoto

  Born February 27, 1935. KYO Hyogu (Art Mountings) mounter.
  the current,
  Chairman of KYO Hyogu (Art Mountings) Cooperative Association Federation
  Chairman of the Judging Committee for Traditional KYO Hyogu (Art Mountings) Craftsmen
  He serves as an advisor to KYO Hyogu (Art Mountings).

  

  Anecdotes

  A calm and timeless charm that never gets old

  Due to changes in lifestyles, Japanese-style rooms and alcoves are becoming less common in homes.
  On the other hand, it's also true that more and more people are seeking a "Japanese" aesthetic in their interior design. Hanging scrolls, which were originally displayed in the tokonoma (alcove), are now being hung on consoles and other surfaces in guest rooms with wooden floors as "interior decorations that evoke the seasons."
  KYO Hyogu (Art Mountings), with its timeless and refined aesthetic, possesses a不思議な charm that allows it to blend seamlessly into this new living space.

  •