The art of restoring and mounting works of art on paper and silk has been practiced in the Far East for nearly two millennia. Originating first in China at the beginning of the Christian era, conservation techniques and materials then spread to Japan where they developed into the refined art that we now know as hyogu.
The word hyogu means a picture or piece of calligraphy lined with paper and mounted as a hanging scroll. The words hyogushi, hyoguya and kyoji refer to the mounter/conservators of Japan who not only repair and mount hanging scrolls but also conserve other forms of pictorial art such as the handscroll, screens, sliding doors, murals etc.
The hyogushi of today is required to undergo a long and strict period of training. During this time he or she learns not only the skills which will enable him to conserve scrolls, screens etc, but also the knowledge and sensitivity required to present them in their correct context. He must know the appropriate style of mount used for any subject and be aware, for example, of the meanings associated with the patterned silks used with such mounts. He or she must also know how and where an object will be used as this will often dictate the materials and techniques employed in its conservation.
Like the Western bookbinder, the hyogushi is responsible for objects which must be both functional and aesthetically pleasing. The objects he is conserving are made to be opened and closed, rolled and unrolled and, apart from the demands of conservation and aesthetics, the hyogushi must always bear in mind that they are to be constantly handled and not merely looked at.
The word hyogu means a picture or piece of calligraphy lined with paper and mounted as a hanging scroll. The words hyogushi, hyoguya and kyoji refer to the mounter/conservators of Japan who not only repair and mount hanging scrolls but also conserve other forms of pictorial art such as the handscroll, screens, sliding doors, murals etc.
The hyogushi of today is required to undergo a long and strict period of training. During this time he or she learns not only the skills which will enable him to conserve scrolls, screens etc, but also the knowledge and sensitivity required to present them in their correct context. He must know the appropriate style of mount used for any subject and be aware, for example, of the meanings associated with the patterned silks used with such mounts. He or she must also know how and where an object will be used as this will often dictate the materials and techniques employed in its conservation.
Like the Western bookbinder, the hyogushi is responsible for objects which must be both functional and aesthetically pleasing. The objects he is conserving are made to be opened and closed, rolled and unrolled and, apart from the demands of conservation and aesthetics, the hyogushi must always bear in mind that they are to be constantly handled and not merely looked at.
