Conservation 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 sepe
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