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湿壁画简介

————杨明炀(艺术家)

在保持潮湿的新鲜石灰石泥墙面上用水调合矿物颜料绘制而成的壁画被称为湿壁画。

经过精细研磨加工的矿物质色粉经水稀释调合而被新鲜潮湿的石灰泥层充分吸入，干固后，便与墙面形成一体，可历经千年而不褪色。因此，湿壁画也被视为永久性绘画。然而，作为神秘的地中海区域性画种，湿壁画与墙壁一体的特性，复杂而严格的工艺，高昂的制作成本以及对制作者和基础材料等每个环节都格外挑剔的条件要求，注定其难以普及和发展。

如今，即便是在湿壁画王国意大利，仍袭用这种古老技法来从事艺术研究和创作的相关人员也是凤毛麟角。而正由于湿壁画制作的高难度和局限性，它的鲜活色彩和独特光泽才更加令人神往。拜因缘所赐，我在1992年至1999年旅居意大利期间，有幸接触并掌握了完整的湿壁画制作工艺，这种迷人的绘画工艺在之后的创作中不断地带给我惊喜。

湿壁画制作，墙面基础是关键。灰泥层的处理若不过关，绘制作品时就会出现墙面塌落而前功尽弃。灰水泥分粗细两种，分别用粗细两种水洗沙与熟化半年以上的优质石灰膏搅拌合成。制作时，粗灰泥用来做底及头层，细灰泥抹二层，最后薄刮一层净灰膏，凉置不稀软沾手即可开始绘画上色。绘制过程中必须随时往墙面上喷水保湿以保证矿物颜料被灰水泥充分吸入。作品完成后，待画面基本干透，便可进入墙皮转移揭裱的工序。先用分离胶布将壁画表层揭下，再用固定胶将分离胶布上的画面墙皮固定至亚麻布上，而后洗画打磨，去掉分离胶布，上框绷平、晾干，最后做旧、护理……

得益于墙皮转移揭裱技术的应用，湿壁画作品受困于墙壁的局限被美妙自然的布上墙面所取代，移动的湿壁画已然成为现实。

视界---明炀壁画展

瑞吉艺术中心（THE CROSS YINNA YANG ART CENTER）

展览时间：2010//11/6----2010/12/3

开放时间：星期二到星期日，上午10点到下午5点

telephone 13601203399

Email  yinna.yang@163.com

地点：通州区宋庄画廊一条街，THE CROSS  1号馆

电话：13601203399

邮箱： yinna.yang@163.com

Buon Fresco

                         杨明炀Yang Mingyang

A Fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method, where the paint is applied on plaster on walls or ceilings. The Buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors. Although as one of the most ancient related mural painting types that originate in the Mediterranean Area, the complicated workmanship, pernickety requirements and high cost prohibit its popularization.

Even if in the land of Fresco painting－Italy, artists who stipulate for using the technique centuries old in their researches and creations are a rarity of rarities there. Nevertheless, I was fortunate enough to make the acquaintance of this art — my Muse, and had labored assiduously to acquire the whole picture of her, during my stay in Italy from 1992 to 1999.

In painting Buon fresco, a rough foundation plaster coat called the Arriccio, is daubed to the whole area to be painted, which was followed by a layer of fine lime putty and allowed it to dry for some days till it’s non-tacky. On the day of painting, a thinner, smoother layer of fine putty, the Intonaco coat, is plastered to the amount of wall that can be expected to be completed in a day. The fresco style can give splendid results, but requires a perfect mastery of the technique and the ability to paint with rapidity and confidence as this method, very different from other painting techniques, does not allow hesitations or corrections as the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.

Furthermore, because of the deadline associated with the drying plaster, thus, during the course of painting, the painter is supposed to keeping spray water to moisten the completed part to the effect that pigment is fully absorbed by the wet plaster.

After having created the fresco you must then wait for the painted plaster to dry completely. A canvas is glued onto the latter and is then stripped. In this way the painting is removed, which remains stuck to the canvas in a "negative". You then move on to the "retrieval" phase to transfer the positive of the painting. A second canvas is glued to the back of the first one, whereas the first glue is dissolved and removed, and the fresco has been transferred to the second. This method is called "Calicot" or the strappo method. Afterwards, by going through a serial of final processes like washing, polishing, aging and so on and then finally ended in a removable Buon fresco painting!

Thanks to this procedure we can obtain authentic frescos on canvas. The finished fresco can be fixed onto a frame and hung like a picture, or sent without a frame to then be stuck directly to a wall or other support.