Взаємовплив методики реставрації та походження у східній лаковій мініатюрі

Abstract

У статті висвітлено проблематику дослідження похо-дження творів східної лакової мініатюри та співвідношення їхньго хімічного складу і реставрації. Розглянуто основні методи сучасної реставрації таких творів і здійснено порівняльну характеристику з фундаментальними методами. The article highlights the problems of studying the origin of objects of the East lacquer miniature and the mutual influence of the origin and method of restoration. The main methods of modern and traditional restoration of eastern lacquer works are considered. From ancient times, the technology and techniques of oriental varnishes were kept secret, diverse and extremely specific. The main film-forming juice is a mixture of combinations of the pyrocatechin series, i.e. «Urushiol» forms a polymer with a high degree of polymerization and unique physical and chemical properties, which have made from this colorful material a legend. Urushi in the first stages is very muddy, but after hardening, it becomes clear, in the color range from very light to dark amber. This varnish is long-lasting, insoluble in water and solvents, but it also has its own vulnerable properties – the varnish film degrades under the influence of sunlight. Therefore, in museum preservation of such products it is necessary to minimize the influence of sunlight, and observe the humidity of 50–60%. In addition, urusi juice is very allergic, and in most cases, it negatively affects the health of the restorer. In the sixteenth and seventeenth centuries, European trade with China and Japan increased. As a result, the museums of the western world have large collections of oriental varnishes. These are garments and horse harnesses, cups, umbrellas, caskets. Which are presented in Victoria and Albert Museum (London, Great Britain), the Rubin Museum of Art (New York, USA), the Royal Ontario Museum (Canada), the Freer Gallery of Art (Washington, USA), the Museum of East Asian Arts (London, UK) and others. All oriental lacquers (Chinese, Japanese, Burmese and others) require a fundamentally different approach to museum conservation and restoration than works of art made in traditional techniques for Europeans. Because of the variability of the varnish composition and the specificity of the technique of each object, the restorer must apply an individual approach. In some layers, varnish can contain various fillers and modifiers (clay, powder of iron, oil, etc.). In this regard, in recent decades, museums around the world have carried out extensive research and conferences, in which scientists present their methods and approaches to the restoration of oriental varnishes. Advantages in the application of oriental varnish is that it has many characteristics of modern plastics: it easily takes shape, opposes mold and biological degradation, the varnish film remains flexible.