Sho Japanese Calligraphy. Christopher J. Earnshaw

alt="Image"/>

      Sometimes not all of the interior of the frame will be lined and the middle simply cut out for economy. Edges of the work should then be trimmed with a large paper cutter instead of scissors and then glued lightly in place. Use perspex instead of glass if you can. It may be more expensive, but it is lighter and will not break even if it does scratch. There should be a slight gap of a centimeter or two between the glass or perspex and the work.

      It is possible to hire frames, but it should be remembered that each time a picture is put into and removed from a frame the backing gets a little thinner at the edges and there is a danger the picture might be ripped. Transfers can only be done twice or so before a permanent frame must be found. In extreme cases backing can be done once more, but this is risky work. See illustration for several examples of mounting.

      Notice that the boundaries at the top and bottom are in many cases elongated. Smaller works, seal carving for example, are often raised within a deep frame.

      It is possible to obtain “reusable” hanging scrolls. The borders are already made up and one has but to attach his work. The disadvantage here, however, is that since it is cheap, it looks cheap and half done so it can be a detriment to a good work. I have often been asked why there are two strips of material hanging down from the top of these hanging scrolls and the story is this. These attachments date from days in old China when people were fond of holding parties outdoors in the summer. They would sing songs, recite poems and perhaps practise a bit of calligraphy-to commemorate the occasion much like we might take a photograph nowadays. To keep birds away they hung ribbons in the trees and the ribbons on the scrolls originated from that custom, Japanese call them “tsubame odokashi”, scarecrows. The work is mounted on material donsu brocade which has been backed with paper. The material may have a Chinesey pattern and if gold is interwoven in it it will be called Kinran donsu. Just at the top and bottom of the work there are often strips of material in a contrasting colour ichimonji “the figure one” the top will be slightly wider than the bottom at a ratio of 3:2.

      Two fūchin weights are suspended from the bar at the bottom of these scrolls. Works that have been stored rolled up for a long time tend to remain curled so these weights straighten them out and also prevent their moving about in draughts as doors are opened and closed. The traditional place to hang a scrool is in the alcove tokonoma in the main room of Japanese homes. Here one’s most treasured possessions are shown off. Lastly nearly all old forms of calligraphy come in a scroll form known as makimono or kakejiku and they come in boxes that are signed at the outside by the artist. Most Japanese collectors will not accept a piece of calligraphy at its apparent value without the original box.

      Modern styles of mounting do away with side borders altogether. Of course works may also be just mounted on a board, but they get soiled in time by repeated handling and dust clings to the fibres in the paper. Still another attractive means of presenting one’s work is as a folding screen, byōbu. This may be two or three panels, but always use one already made as they are not as easy to construct as they look. They are particularly effective covered in gold foil.

      Carved Calligraphy

      This sort of work obviously need not be framed as framing tends to be expensive and will often detract from an elaborate work. Still, saying that, I think the pros may outweigh the cons for these reasons: Kokuji, carved calligraphy, is so detailed it is difficult to keep clean. Once framed, a work will often appear more finished and complete and smaller works will be given a proper bearing. In large exhibitions there may be a couple of hundred entrants in the carved calligraphy category alone and works are usually stacked against a wall someplace and shifted from place to place by students, so the risk to your work is considerable if you expect to sell it at the end of the exhibition. Dents in gold leaf or the wood, chips, scratches and knocked off bits are inevitable with even the most care, so a frame will protect the work. Works in excess of 70cm x 140cm need not be framed as they look and are too bulky.

      The lining in these frames can be of coarser materials than for written calligraphy sho without any cheapening effect. Be certain the wood and the colour of the lining contrast -light wood and a light lining look lost. Frames must furthermore be deeper set than otherwise might be necessary to accommodate three centimeters or more of wood. Some have resorted to the clever use of frames just for exhibitions and then switching the contents, but judging by recent exhibitions the life span of a frame is only a couple of years. A double frame will often set a work off well especially if the work is on thinner materials of a centimeter or less.

      Exhibitions

      In most group exhibitions one has no say as to where his work will be displayed and it may occasionally be someplace among three tiers as much as three to four meters above ground.

      A work by Kusakabe Meikaku in the author’s collection.