The Dyeing of Traditional Painting Restoration---a case study of Chinese ink painting “Orchids” ---

• Main Authors: Su Ling-Chun, 蘇玲君
• Other Authors: Yuan-Feng Chang
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/46859613810229707596

碩士 === 國立臺南藝術大學 === 古物維護研究所 === 94 === Mounting is a necessary step in the conservation of a traditional painting piece. Proper mounting not only ensures the longevity of the piece, it enhances the aesthetic aspect as well. Old paintings are often plagued by water stain, dirt, pest, breakage, partial loss or other forms of damages. When such damages are discovered, it is necessary to perform conservation treatments to restore the painting and its mountings. A guiding conservation principle is to restore the original colorings of the painting. This paper explores the subjects of properly choosing conservation materials and the subsequent dyeing procedures for conservation of original colors. To repair the damages and to restore the original grandeur, in addition to repair the painting itself, one must also consider the appropriate mounting materials and mounting forms that will best suit the painting. The dyeing of conservation materials is an important step in the overall conservation procedure. These materials include: patch paper, first lining paper, and silk. For patching the painting itself, one usually chooses a patch that is made of same materials or has similar patterns and texture as the original painting. After dyeing, the patch can be applied to the painting and subsequent inpainting can proceed. The first lining paper is the layer behind the actual painting. In addition to choosing the proper fiber strength, one must also consider the effect the first lining paper would have on the painting. The colors of the first lining paper may affect the resulting piece, after the painting is mounted onto the first lining paper. Careful trials and dyeing of the lining paper is essential for proper restoration treatment. This paper uses an early Taiwan painting – Lin Shun’s Lily Flower – as an example to explore the colors issues surrounding restoration tasks. We discuss the issues and considerations that go into the selection of appropriate patch, first lining paper, and silk material for this particular piece. In addition, we discuss the selection of dyeing materials and dyeing procedures, and also focus on the stability and suitability of the various choices and the overall assessment, then finally the actual application of these materials and procedures to the actual piece, and the final results.