1.3.02026-10-07konserveringsrapportRådata10023817arkivdokumentStatens museer för världskultur - Östasiatiska museetSMVK-OMDokumenthttp://kulturarvsdata.se/SMVK-OM/arkivdokument/100238172019-09-05, OM-1988-0091Conservation treatment report Orchid Painting Museum of Far Eastern Antiquities, National Museums of World Culture 2019 Jung-jae Conservation Center Conservation Institute Jung-jae Conservation Center Conservation Period February 27th , 2019 ~ September 5th , 2019 Contents 1. General Information 2. Preliminary Research 3. Conservation Process 4. Comparison Photos before and after the Conservation Treatment 1. General Information 1) Conservation project information (1) Subject : Orchid painting (2) Owner : Museum of Far Eastern Antiquities, National Museums of World Culture (3) Institute : Jung-jae Conservation Center (4) Period : February 27th, 2019 ~ September 5th ,2019 (5) Content : Conservation treatment of Orchid(No.OM-1988-0091) painting (6) Subject summary: Name Orchid Material Black silk Date 19C Amount One hanging scroll 2. Preliminary Research 1) Size Unit: 尺(cm) Unit: 尺(cm) 2) Damage Top rod : Bottom rod : (1) Damage type a. Creases The overall surface of the painting showed traces of horizontal creases that often appeared in hanging scrolls. b. Detached silk Some parts of mounted silks were detached from the backing sheets. Horizontal creases Horizontal creases Detached silk c. Mold and water stain Five dots of mold stain found on the left part of the painting and dust with mold found at the reverse of the painting. Also, the left part of the painting showed water stain from the top to the bottom. Mold stain Mold stain Water stain Water stain d. Ink remains Ink marking written ARNE PILTZ found on the top rod. Ink marking (2) Damage map Crease Detached silk Water stain Mold 3) Scientific analysis [point] Location microscope x300 XRF ppm ① Black silk Loosen part Ca Fe Mn Cu 67792 1049 399 343 ② Black silk Tighten part Ca Fe Mn Cu 43044 746 279 258 ③ Orchid Gold Cu Ca Zn 36246 26484 6404 ④ Seal Ca Fe Hg Cu 53437 771 556 324 ⑤ Mounting Ca Fe Mn Cu 76761 780 295 252 3. Conservation Process 1) Preliminary research (1) Size, depth, and damages were recorded with photo evidence. (2) Forms of pigment surfaces were examined by magnifying the analyzed areas by a video microscope (IMS-M-345, Sometech Vision) (3) A portable X-ray Fluorescence Analyzer(Oxford Z-MET 5100) was used to identify the qualitative and quantitative composition of the pigments. XRF recording Size measuring Microscope (4) Analysis on referenced artifacts Scientific analysis on the gold pigment of Orchid painting revealed that the pigments was composed with copper (Cu) and Zinc(Zn) instead of gold(Au). Three referenced artifacts that have gold pigment on the black silk were analyzed to compare with the Orchid painting. Zing Lee <산수도> XRF Choong Hyo Jeon <괴석초충도> XRF Jae Hae Jin <송하인물도> XRF Below is analyzed information of three paintings. Subject Microscope XRF ppm Pigment a. Zing Lee <산수도> Au Ca Ag Br 11553 4633 1141 235 Gold b. Choonghyo Jeon <괴석초충도> Au Ca Fe 10328 3088 1055 Gold c. Jaehae Jin <송하인물도> Ca As Br Sn 7192 730 266 192 a. Zing Lee <산수도> b. Choonghyo Jeon c. <괴석조충도> c. Jaehae Jin <송하인물도> d. Dismantling the top and bottom silk mounting The top and bottom silk mounting was carefully dismantled from the painting. e. Removing the outer backing papers (1) Outer backing papers on the revers of the painting were removed. (2) Side part of the silk mounting was dismantled from the painting. Dismantling silk Dismantling silk Removing backing paper Dismantling side silk f. Applying animal glue To avoid scaling of pigments from the surface, 1% of animal glue was applied on the gold colored pigment. g. Removing the inner backing papers Inner backing papers were removed Removing backing paper Applying animal glue Reverse side after removing backing paper h. Lining The painting was not clear to see because the white backing papers were visible through the gaps between black silk threads of the painting. This disturbs the clearance of the painting. To avoid this problem, the old white papers were removed completely during the conservation process, and then the black papers that were dyed as same color of background of the painting were used for the lining. . Before treatment After treatment i. Dry cleaning of silk Dismantled silks were cleaned by Dry Sponge Eraser. j. Dismantling silks and rods (1) Two rings attached on the top rod were removed. (2) Pencil marks written on the top and bottom rods were found Dry cleaning Pencil mark on the top rod Pencil mark of the bottom rod Removing rings k. Removing backing paper of silk Backing papers were carefully removed from the silk. Dismantling silk strip Original color revealed after dismantling Dismantling backing paper Removing backing paper of silk Stain transferred to backing paper Stain transferred to backing paper l. Wet cleaning of silk Dismantled silks were cleaned by spray of water. m. Suction cleaning of silk Mold stains on the silk were lightened by suction cleaning. Wet cleaning Dry after wet cleaning Suction cleaning on mold stains n. Silk lining Once removing backing papers and wet cleaning of silks, the silks were lined o. Joining the painting and mounting silks Once sufficiently dried, the painting was removed from the drying board. Unnecessary papers were cut away. Painting and mounting silks were joined together as an appear Lining silk Pasting the strips to prevent creases Re-mounting Re-mounting p. Lining q. The paper attached on the reverse side of the painting The paper attached on the reverse side of the painting was stained with dirt and mold. The written character was cut and applied on the new paper and relocated on the original location. Last layer of lining Last layer of lining Cut off characters Lining Removing backing paper on top of characters Applying r. Dry The painting was lined and flattened on the drying board to be dried sufficiently. s. Remounting as a hangking scroll Storage Sufficiently dried painting was removed from the drying board. Excess paper surrounding the painting was cut away, and wooden rods were fixed at the top and bottom of the scroll to be completed. The finished painting was rolled onto a wider rolling stick made from paulownia wood and stored in a box, also made of paulownia wood. Fixing bottom rod Wider rolling stick Attaching strip and ring Rubbing 4. Comparison Photos Before and After the Conservation Treatment 1) Entire Before treatment After treatment [size - before treatment] Unit: 尺 (cm) [size - after treatment] Unit: 尺 (cm) 2) Details before after Blurry seal Blurry gold pigment Crease Crease Detached silk Creases and sepeimage/jpeghttps://collections.smvk.se/carlotta-om/web/image/blob/10023822/2019-09-05%28OM-1988-0091%29.jpghttps://collections.smvk.se/carlotta-om/web/image/zoom/10023823/2019-09-05%28OM-1988-0091%29.jpghttps://collections.smvk.se/carlotta-om/web/image/blob/10023820/2019-09-05%28OM-1988-0091%29.pdfhttp://kulturarvsdata.se/resurser/License#by-nc-ndÖstasiatiska museetStatens museer för världskulturhttp://kulturarvsdata.se/SMVK-OM/objekt/104508http://kulturarvsdata.se/SMVK-OM/arkivdokument/html/10023817http://kulturarvsdata.se/SMVK-OM/arkivdokument/xml/10023817http://kulturarvsdata.se/SMVK-OM/arkivdokument/rdf/10023817