|
|
|
|
|
|
|
Restoration of Chinese popular prints - nianhua For the exhibition of "Chinese Nianhua Popular Prints" in 2003 the Laboratory for Scientific Restoration of Graphic Works (V.A. Kozyreva, director and art restorers O.V. Mashneva, Ye.V. Rudakas, T.A.Sabyanina, V.I. Khovanova, Ye.I. Shashkova) prepared 205 pieces. Chinese popular prints were either made on fine Chinese paper in the technique of xylography then tinted by hand with aniline dyes, gouache and whitewash or printed in colour. It is very difficult to restore them because of the specific nature of the materials used in their production. The works were executed on paper which was weakly imbued with glue and very fine in texture. Its chief property is high hydroscopic nature, which ensures that water soluble paints are quickly absorbed in the process of printing or tinting. One special difficulty for restorers was posed by works with paint layers that immediately and irreversibly run when in contact with moisture. In these circumstances only minimal moisturizing was permissible. Due to the fact that the foundation of Chinese pictures is noted for unusual fineness (stamps, inventory numbers and inscriptions done in ink invariably pass through to the other side) superficial soiling was removed very carefully using a soft brush and rubber. Some of the works had suffered from the flood of 1924 and had extensive water traces and spots of varying kinds which formed due to the runny nature of aniline dyes. These defects were diminished by working with moist tampons on the reverse side (placing a piece of filter paper beforehand under the section being worked on). This process was applied until the paint stopped passing through the filter paper. For this work a water and alcohol solvent in 1:1 proportion was used and the paper was changed as needed. When restoring popular prints most often the problem was damaged paper. The many tears and lost fragments were filled in using Chinese paper of similar thickness, texture and colour to the original. The tears were glued together and strengthened using thin Japanese paper and a glue made from wheat starch in a mixture of 1:1 or 1:2. Due to the quickly running nature of the paints and the weak mechanical rigidity of the paper, there is usually little reason to put backing on Chinese pictures. However, when restorers were unable to avoid this operation, all its steps were carefully thought through and the tools and materials were prepared in advance, so that the work could be carried out as efficiently as possible. The paintings were then mounted on a thin evenly rigid paper using the Japanese method. Special attention was paid to the condition of the paint layer. In order not to let it run, during the application of the glue the painting was placed on filter paper and when the mounting sheet was set down a papyrus paper was used with the help of a broad brush. To even out deformations in the paper base, the pictures were placed between swathes of cloth in a small press. The final drying between sheets of filter paper and chrome-ersatz cardboard took around two weeks. For the exhibition, the Chinese nianhua pictures were placed in passe-partouts made from neutral cardboard and mounted in frames. |
|
|||||
|
Copyright © 2006 State Hermitage Museum |
