The Shanghai style restoration technique of ancient calligraphy and painting is a traditional technique that uses rice paper, silk, natural mineral and plant pigments for Chinese calligraphy and painting and other materials and undergoes more than 30 main processes of pure manual operation. It restores the ancient calligraphy and painting that are improperly preserved, incomplete and damaged on the basis of well-documented evidence and respect for historical features, and once again shows the artistic brilliance of ancient calligraphy and painting works, making it easier to appreciate, protect and study. In ancient times, the art of calligraphy and painting restoration and mounting was called "decoration" or "mounting pond". According to historical records, it began at the latest in the Wei and Jin Dynasties, and in the Tang Dynasty, the decoration of calligraphy and painting had already taken on a court form and became mature. In the early 20th century, Shanghai was crowded with merchants and collectors, and a large number of famous mounting craftsmen from Jiangsu and Zhejiang gathered in Shanghai. The art of calligraphy and painting restoration and mounting developed and quickly occupied the market. In 1958, the Shanghai Museum established a cultural relic restoration workshop and hired restoration masters such as Liu Dingzhi (Su Bang) and Huang Guizhi (Yang Bang) to repair the collection of calligraphy and paintings. Since then, the art of calligraphy and painting restoration has been fully inherited in the Shanghai Museum, and the technical expertise of the "Su Gang" and "Yang Gang" has been integrated to form an exquisite and unique Shanghai-style restoration art of ancient calligraphy and painting, which has restored a large number of precious ancient calligraphy and painting cultural relics. The restoration and mounting techniques of the Shanghai Museum use rice paper, silk satin, natural mineral and plant pigments for Chinese calligraphy and painting and other materials. After more than 30 main processes, it is purely manual. In view of the problems of stains, insect bites, mildew, breakage, tearing and incompleteness caused by improper preservation of Chinese calligraphy and painting, it explores and studies and formulates a practical and optimal restoration plan. The restoration work is mainly carried out in five major processes: cleaning the painting core, uncovering the painting core, filling the hole, supporting the painting core, and connecting the pen in full color. Finally, the Chinese calligraphy and painting cultural relics in the form of vertical scrolls, couplets, lenses, albums, hand scrolls, horizontal scrolls, etc. are completed.