Framing calligraphy and displaying manuscripts well allows collectors to live with these works without placing them at risk. The right frame acts as a protective microenvironment; the wrong one can cause lasting harm. The principles below reflect widely accepted conservation framing practice.
Conservation Framing Principles
The guiding idea is reversibility: nothing done during framing should be impossible to undo. Every material in contact with the work should be chemically stable and suitable for long-term use.
- Archival mount board: acid-free, preferably museum-quality rag or conservation board.
- Reversible hinging: Japanese tissue hinges with starch paste, or photo corners, rather than tape or glue.
- Window mount: a mount that keeps the glazing from touching the surface.
- UV-filtering glazing: to slow fading of inks, pigments and gold.
- Sealed backing: to limit dust and pests.
Special Considerations for Calligraphy
Ottoman and Persian calligraphic panels, or levhas, were often already mounted on card with decorated borders. These original mounts are part of the object’s history and should normally be preserved. Do not trim margins or remove old mounts without professional advice.
Gold illumination and opaque pigments may be fragile. If paint is flaking, acrylic glazing may be unsuitable because of static. Discuss options with a framer experienced in conservation work and, where necessary, a paper conservator. Learn more about these traditions in our calligraphy category.
Displaying Bound Manuscripts
A bound manuscript should never be pressed open flat. Use a book cradle shaped to support both covers at a modest opening angle, so the spine is not strained. Polyester strapping can gently hold pages in place.
Because the open pages receive all the light exposure, many institutions turn pages periodically. A display case helps protect against dust and handling.
Choosing Where to Hang
Location matters as much as the frame. Avoid direct sunlight, exterior walls prone to damp, and areas near heat sources or humidity. Low, controlled lighting, ideally from LED sources that emit little UV or heat, is preferable. Rotating works into storage gives them rest from light.
Check frames periodically for signs of condensation, mould, insect activity or slipping hinges, and consult a conservator if you notice changes.
Working with Professionals
Choose a framer with demonstrable experience in conservation framing, and ask what materials they use. For valuable or fragile works, involve a professional conservator before framing. Our specialists in Islamic and Ottoman arts are also happy to discuss presentation when you get in touch.
Documenting Framed Works
Framing can conceal important information on the reverse of a sheet, such as inscriptions, seals, collectors’ marks or earlier mount labels. Before framing, it is good practice to photograph both sides of a work in good light and keep these images with your records.
Ask your framer to note the materials used and the date of framing on the backing, and retain any original labels or documents in a safe archival sleeve. Such records help future conservators, cataloguers and owners understand the object and its history. When a work is eventually offered for sale or loan, clear documentation of its condition and framing also supports accurate cataloguing and reassures potential buyers or institutions.
Frequently Asked Questions
Should I use glass or acrylic glazing?
Both are available with UV filtering. Acrylic is lighter and less likely to shatter but can carry static, which may lift flaking pigment, so a framer experienced in conservation work should advise.
Can calligraphy be glued to a backing board?
No. Adhesive mounting is generally irreversible. Conservation practice uses reversible hinges or corners so the work can be safely removed later.
How should an open manuscript be displayed?
Use a book cradle that supports the binding at a gentle opening angle, turn pages periodically, and keep light levels low.