Restoration and Preservation of Water-damaged Painting and Calligraphy Yeh Hungyi National Palace Museum & Bureau of Archives Administration Yeh Chihcheng Ph.D student, Dept. Chemical Eng. & Materials Science, Yuan Ze U. Introduction In recent years, climate warming influenced Taiwan. The weather was volatile and rainy all the time, and extreme typhoons and rainstorms occurred frequently, such as Typhoon Sudi in 2015, it caused 12 deaths and 185 injuries in total. Typhoon Sudi invaded Taiwan on 8 th August in 2015, resulting power outages of more than 4 million households, which broke the blackout record caused by Typhoon; serious flooding happened in many places, typhoon Morakot in 2009 broke the record for maximum rainfall per day of all the meteorological station in Taiwan. Typhoon Toraji heavily hit Taiwan in 2001, and 921 earthquake led to large-scale debris flow disaster of soft rock. According to these events, the rainfall patterns in Taiwan have changed and the intensity of rainfall has been concentrated and intensified, leading to more floods in the river. This has impacted the drainage function of river drainage facilities in cities at all levels in Taiwan, resulting in severe flooding in low-lying areas, negative influence on people's lives and serious hit and loss of painting and calligraphy. Climate change is bound to impact flooding disaster in Taiwan. According to my work experience in the restoration field, it is much more difficult to deal with the water-damaged painting and calligraphy than others. The proportion of painting and calligraphy takes a large part to the collections in museum, and they are easy to be damaged, such as water damage, getting yellowish, breakage, embrittlement, acidification and damaged by worms and mold, etc., all were caused by poor environment or changes in the mounting material and those factors interacted with one another. All of these will affect the management and use of painting and calligraphy. Since the industrial revolution, anthropogenic activities such as emissions from factories and motor vehicles significantly increased the concentration of greenhouse gases, which will cause a serious threat to low-lying coastal areas and the islands. Moreover, the greenhouse effect will also cause far-reaching and unknowable
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Restoration and Preservation of Water-damaged
Painting and Calligraphy
Yeh HungyiNational Palace Museum & Bureau of Archives Administration
Yeh Chihcheng
Ph.D student, Dept. Chemical Eng. & Materials Science, Yuan Ze U.
IntroductionIn recent years, climate warming influenced Taiwan. The weather was volatile
and rainy all the time, and extreme typhoons and rainstorms occurred frequently, such
as Typhoon Sudi in 2015, it caused 12 deaths and 185 injuries in total. Typhoon Sudi
invaded Taiwan on 8thAugust in 2015, resulting power outages of more than 4 million
households, which broke the blackout record caused by Typhoon; serious flooding
happened in many places, typhoon Morakot in 2009 broke the record for maximum
rainfall per day of all the meteorological station in Taiwan. Typhoon Toraji heavily hit
Taiwan in 2001, and 921 earthquake led to large-scale debris flow disaster of soft rock.
According to these events, the rainfall patterns in Taiwan have changed and the
intensity of rainfall has been concentrated and intensified, leading to more floods in
the river. This has impacted the drainage function of river drainage facilities in cities
at all levels in Taiwan, resulting in severe flooding in low-lying areas, negative
influence on people's lives and serious hit and loss of painting and calligraphy.
Climate change is bound to impact flooding disaster in Taiwan.
According to my work experience in the restoration field, it is much more
difficult to deal with the water-damaged painting and calligraphy than others. The
proportion of painting and calligraphy takes a large part to the collections in museum,
and they are easy to be damaged, such as water damage, getting yellowish, breakage,
embrittlement, acidification and damaged by worms and mold, etc., all were caused
by poor environment or changes in the mounting material and those factors interacted
with one another. All of these will affect the management and use of painting and
calligraphy. Since the industrial revolution, anthropogenic activities such as emissions
from factories and motor vehicles significantly increased the concentration of
greenhouse gases, which will cause a serious threat to low-lying coastal areas and the
islands. Moreover, the greenhouse effect will also cause far-reaching and unknowable
1. Man-made water damage to the roof or the wall of storehouse, water pipe leakage
by accident, and burst of air conditioning system.
Ⅳ other disasters:
1. Other accidents such as an explosion or a major construction disaster.
Part two Situation of Water DamageWater in water-damaged painting and calligraphy can be further divided into free
water and bound water. The formation reasons of these two types are as following:
Free water: attached to the painting and calligraphy, it can be easily removed by
centrifugation, filtration or general drying temperature. Free water is the main cause
of corruption of dried materials, since microorganism could use it.
Bound water: Ingredients that formed with hydrogen bonds in the painting and
calligraphy, such as water in protein or carbohydrate. Because of its close integration
with the material, bound water is difficult to be separated by general methods or be
used by microorganism.2
In the course of paper making process, steaming and boiling raw materials firstly,
mashing and evenly dispersing disintegrated fibers in the water to make pulp; and
then, mixing the pulp with water well, and letting it go through the bamboo web to
filter extra water. Pressing and drying the materials, and making the materials for
painting and calligraphy according to paper quality; however, water vapor in the air is
also one of the factors leading to hydrolysis and degradation of paper. Paper is
interconnected by hydrogen bonding. The paper fiber set up the water bridge when it
meets water, which results in the loss of original hydrogen bond between the fibers; so
wet paper is less strong than dry paper. Water bridge is broken after the paper dried,
and hydrogen bonding connects the fibers again, the strength of paper increases.
Therefore, the water can be described as double-edged sword, which cannot be
underestimated, since it can support the preservation of painting and calligraphy, but
also upset the conservation. Rice paper is combined and interwoven by paper fiber. As
the paper fiber looks like capillary, and capillary is also different due to paper
materials.
____________________
1 Research center for climate, weather and disaster, the characteristics of floods in
Taiwan.
http://www.wcdr.ntu.edu.tw/28153277002879723475332873845028797.html2. Li Pengzhi, pharmacy by Lyophilization and application of biography technologyand science. http://www.ceci.org.tw/book/56/ch56_6.htm
Ⅰ Rescue
If water-damaged painting and calligraphy are of many vertical axis, they can be
packaged by plastic zipper bag, and registered in bag individually, in order to support
the freezer or the storehouse for freezing the soaking painting, rescuing flooding
framed painting. One of the principles of rescue process is to remove the frame, and
stand the painting frame against the wall. When the lens is removed, the laying a
clean absorbent paper and putting damped upside of work up and restoring within 48
hours. Inhibit mold treatment should be considered if the time is over 48 hours.
1. Record → firstly, dry and record, package each piece with adhesive tape properly.
2. Put into the box → putting paintings into the box, labeling, specifying the source,
such as the museum name, the original location. →putting into the frozen truck→
sending to the cold room.
3. Frozen → minus 25℃ frozen.
4. Low-voltage → expose plastic bags, depressurize to 4 ~ 6mbar in vacuum.
5. Drying →drying be heating needs 5 to 6 days or so, drying only by ventilation
needs 8 to 12 days. Rare painting of painting and calligraphy must be treated
individually.
6. Finishing → flattening, restoration, restoring 8 to 10% moisture in the paper by
self-regulation in natural environment. If necessary, add mold removal process.
Picture 26. Overview of large-scale deacidification of paper relics
Ⅳ painting and painting of the cleanup and finishing
(Ⅰ)Removing dirt method
Removing dirt method includes mechanical dust removal, it is the use of a certain
external force to separate dust or sludge in the paper fiber, and it is a method to
remove the dust from the surface of the painting by physical vibration. Moreover,
other dirt removal methods also include picking and scraping dirt by blade, rubbing
by soft rubber eraser made by plant or rubber soft eraser made by fine powder,
tweezers folder, dipping clean water with cotton swabs, vacuum cleaner, hand
pressure ear washing bulb, sweeping by wool brush and other actions. Wiping the
surface and edge of the work with a sponge (if necessary, patting softly), and cleaning
the stubborn sludge until the drying treatment. Pressing the work lightly with the
clean hands after the work is reinforcement, (do not give heavy pressure, for fear of
damaging paper structure or pressing ash into paper.
__________________
10 Ibid. Note 7
(Ⅱ) Equipment for removing mold
Equipment for removing mold includes the dust removal cabinet and vacuum
cleaners, soft wool brush, watercolor brush and other tools. Vacuum cleaner should be
equipped with filter mold, which can be used to filter and inhale mold spores, and to
prevent the respreads of mold spores in the air again. Fittings or hose of vacuum
cleaner should always be cleaned after removing mold, and 75% alcohol solution can
be used for cleaning and disinfection. Soft brush and watercolor brush are mainly
used to remove mold spores, and brush made of soft material should be used to
protect works. Different-sized brushes should be prepared to replace during mold
removal process, in order to deal with different situations. Vacuum cleaner can be
used to clean the dirty brush, and brushes should be cleaned and disinfected by using
75 % alcohol and dry every day.
1. What should be noticed when you use the tools to restore moldy painting and
calligraphy damaged by water?
(1) Avoid the vacuum hose touching painting and calligraphy.
(2) Wrap suction outlet of vacuum by silk or gauze fastened with rubber band, to
prevent inhalation of debris.
(3) Seriously deteriorated vertical axis should avoid contacting the painting or
calligraphy, you can use a thick cardboard to dig the painting, fill the fine screen to
fasten the work, lay and press the moldy part of the work, and suction outlet of
vacuum will prevent debris from being inhaled.
(4) 75% alcohol can be used in a small area of moldy work to test reaction, please
notice if it will cause fading by using alcohol as solvent.
(5) Choose chemical disinfectant with characters such as good permeability,
long-acting effect, low toxicity, no offensive smell, or non-corrosive etc.
Picture 27. Vacuum cleaners for cultural relics
Picture 28. Wind speed control of vacuum cleaners for cultural relics
Picture 29. The seal of vacuum cleaners for Cultural relics is with a small screen to
trap, to prevent inhalation of fragile debris
Picture 30. Cleaning of cultural relics
Picture 31. Purple mold and black mold on the back of paper frame
Picture 32. Back of paper frame is wet, remove the wooden frame
Picture 33. Fix gauze and left back of hose, and prevent the contact with painting, and
slow down the wind to decrease damage by inhalation
Picture 34. Damaged work fastened by card paper and removed mold by fine gauze
Picture 35. Removing the mold on the front of work by wool brush
Picture 36. Removing the mold on the front of work by wool brush and Vacuum
Cleaner
Picture 37. Removing the mold on back of work
Picture 38. Removing the mold on back of work
Ⅴ Cleaning by water
Stains removal method: Generally, the work needs to be washed or soaked in
water, because water can dissolve many substances, and it is the most important
solvent. Not only can it soften the paste, but also remove dust and stains on the
surface of painting and calligraphy due to age. Placing the painting or calligraphy on
worktable or in a large sink, and putting the work in room-temperature water. Firstly,
using tilting plate and pure water to shower the work, and wool brush to brush stains
on the work slowly. Then, placing absorbent paper under the work, and holding it
carefully, since it is pone to produce creases, to be tore and breached. When 80%
water has dried, put absorbent paper on the surface of the works and pressure the
paper to dry the work. The absorbent paper should be replaced for several times. The
front side of the paper should be put on the top and spray the water on it, rolling the
towel to cylindrical roller, squeeze the towel from the center to the four sides to dry
the water, repeated watering until the work has been cleaned up. Absorbent paper can
accelerate the speed of absorbing moisture and removing stain. Chemicals and 75%
alcohol can be used to remove the stubborn and serious mold.
Picture 39. Water damage stains
Picture 40. Water-damaged scroll work by Ren Xun
Picture 41. Floated work after water damage
Picture 42. Floated back of the work after water damage
Picture 43. Drying by squeezing Towel
Picture 44. Sewage
Ⅵ peeling off paper
(Ⅰ) restoration process:
1. Remove frame, and try to take off moldy, inks stained glass.
2. Place the cotton paper or chemical fiber paper under the middle of painting when
peeling off the work. Spraying water to wet the work, and try to peel the work from
sides, and then peel the back paper and small paper.
Picture 45. Front side of work sticks to the glasses
Picture 46. Glass-stuck work
Picture 47. Peeling off the back paper
Picture 48. Peeling off the back paper
Picture 49. Peeling off the back paper
Picture 50.peeling off the front paper
Picture 51. Mold on the back of the painting center
Picture 52. Mold on the front side of the painting center
Picture 53. Wetting by spraying water
Picture 54. Brushing
Picture 55. Peeling off the back paper
Picture 56. Peeling off the back paper
Ⅶ Adhesive (paste)
(Ⅰ) Mechanical principle of adhesive
Paste and fiber are affected by pure mechanical inset and inlay between sticky
materials. Any object surface looks very smooth by naked eyes, actually, it is rough
and uneven after zooming in to see details, since some surfaces are but multiparous.
In the paste process, numerous tiny "pins" were formed to stick and connect two
fibers together. According to this theory, the strength of the paste only depends on the
adhesive concentration and cohesive strength of adhered.
(Ⅱ) Basic principles of preparing wheat starch paste
1. Wetting the dry starch completely with cold water or warm water less than 30 ℃
before boiling the starch, the following, and making sure that there is no clump in the
paste.
2. Low temperature, short time boiling and uneven mixing will negatively influence
the viscosity, adhesive strength and color.
3. Gelatinization temperature. Heating the starch in water, and the particle will absorb
water and be swelled after heating, and the cross will disappear, which lead to the
increasing of adhesive strength, and this process is known as gelatinization
temperature, and the temperature is around 60-70 °C.
4. Test must be done before using the new materials to measure the best ration of
starch and water, boiling temperature and time, as well as the stirring degree.(Ⅲ) Example of preparing wheat starch pasteProcess of preparing wheat starch paste in restoration room:1. Weigh 500 Cheng powder, and pouring 500ml water into power and stirring2. Filling 1500 ml / g water into a double pan pot and heating the water to at least
100 ° C. Then, pouring the hot water slowly into the starch slurry, stirring rapidly until
the gelatinization completely mixed.
3. Cover the lid. Boiling the pot for about 30 minutes, and stirring every ten minutes.
The range of wheat starch gelatinization temperature is 60 ~ 70 ℃. When the starch
suspension is heated to a critical temperature, the hydrogen bonds of particles begin to
be destroyed, so that the particle volume will expand to several times. This
phenomenon is known as starch gelatinization. Gelatinization degree of the starch
during heating depends on the starch variety, temperature and water quantity. If the
temperature is lower than the gelatinization starting temperature, the starch will not
gelatinize. If the temperature is between the paste starting temperature and the
completion temperature, part of the starch will not be gelatinized, no matter how long
the heating time is. The starch could be completely gelatinized in a short time, if
temperature is above gelatinization completion temperature.
The property of starch gelatinization property is shown after the starch heated to a
certain temperature with excess water. Starch undergoes the disintegration of the
starch crystallization area and loose expansion of the granular structure, and the
increasing of mobility of amylose molecule, resulting in the loss of rigidity of the
starch molecule, and becoming flexible. At the same time, the double-helix structure
of amylose is opened and separated from the particles by the difference of
concentration of amylose molecules inside starch granule and certain heat energy,
which exists in starch paste system in an amorphous structure. Amylopectin is fully
expanded or even rupture, resulting in starch paste.
4. Cooling the paste before use. The hardness of the paste increases as time advanced,
which due to the aggregation between the molecular chains, i.e. retrogradation (aging)
phenomenon. Starch molecules form hard colloid due to strength bonding between
hydrogen bonding, and they increased interaction and generated crystallization as the
time advance. Starch crystallization is of three steps: (1) generation of crystal
nucleation; (2) crystal growth; (3) mature. So the crystallization of starch is the
rod-like growth of crystal after generation of crystal nucleation. Amylose is the first
dissolution after gelatinization and forms as the network structure, therefore,
crystallization formed in short time is mainly amylose-based; and the crystallization
of amylopectin is slow. After paste has formed a semisolid mass, filtering it by
passing through a sieve and crushing Unqualified by the using an electric pulper.
5. Store the paste in the refrigerator, and paste viscosity decreased as the time passes.
Paste can be maintained for about one week.
Picture 59. 500 grams Cheng powder
Picture 60. 500㏄ pure water
Picture 61. Room temperature, mix 500 ㏄ pure water into the Cheng powder
Picture 62. Pouring 1500㏄ boiling water into the pot and stirring
Picture 63. Paste
Picture 64. Paste steamed and boiled by double-boiler
Picture 65. Sticky filament
Picture 66. To be cooled
VIII, Paper
(Ⅰ) Tools and materials
Brown brush, gluten wheat starch (paste), thin pure mulberry paper, paste pots,
wooden feet, water jug, paste brush, water, tweezers, 274 tissue paper, etc.
(Ⅱ) the restoration process:
1 prepare hand-made paste the day before restoration
2. Prepare pad, 274 tissue, spray the paper, and brush
3. Put the front of work down, spray to the paper, brush.
4. Hongxing Xuan paper, brush the paste, and brush the back of paint.
5. Use Xuan paper and thin pure mulberry parchment to repair the holes and torn
edge.
6. Dry the paper by suspending, spray the paper and, put the painting on the board.
Picture 67. Spray and wet the pad paper
Picture 68. Brush small Tu Chu parchment by Sticky brush
Picture 69. Brushing raw paper
Picture 70. Holding the cover
Picture 71. Overlay
Picture 72. Brushing
IX Mounting
(Ⅰ) tools and materials
Brown brush, no gluten wheat starch (paste), 3 × 6 feet Red Star single paper + Chupi
9. Collections in the museum are usually rotated between showrooms and storage
rooms. It should be noted that the heat transfer from the outside wall and switching
light could change the surface temperature of the collections, evaporate water and
damage the structure of collection even if collections are in a temperature and
humidity controlled environment. Moreover, when the collection moves from the
lower temperature storage room to the higher temperature display room, surface
temperature of the work will gradually increase, then the internal humidity will
gradually float and condense water on the surface, and result in moisture transfer
phenomenon. This phenomenon will accelerate the aging of collection.
Table 3 Suggestions for Choosing Paper 26
TypeApplicable
archive typeAdvantages Disadvantages Note
Alkalinedocumentbox forverticalstorage
Permanent
Archives
1. Shelter light,
temperature and
humidity outside
2. Archives are fixed,
which avoid
damage
3. Protect by hard box,
avoid squeeze
1.expensive and
time-consuming
2. Heavy
3.cannot read
directly
4.Tags should be
put on the box
Alkalineprint boxfor flatstorage
Permanent
Archives
1. Shelter light,
temperature and
humidity
outside
2. Archives are
fixed, which
avoid damage
3. Protect by hard box,
avoid squeeze
1.expensive and
time-consuming
2. Heavy
3.cannot read
directly
4.Tags should be
put on the box
Polyesterfilm
pockets
1. Archives
made of
non-carbo
n power
1. High
transparency
2. Avoid
contacting
1. Bad
Permeability,
it is not
applicable to
Absorbent
paper could
be used to
test
2. Archives
protected
periodical
ly
archives directly
3. Easy to take
acid materials,
for it may
accelerate the
acidity in the
archives
2. Easy to
produce
electrostatic,
and lead to
falling off of
power
archives. If
the archives
shows the
black stain,
it is not
applicable
to be
preserved in
Polyester
film
pockets
Polyesterfilm Lweld
1.Archives
made of
non-carbon
power
2.Archives
protected
periodically
1.High transparency
2.Avoid contacting
archives directly
3.Easy to take
1. Bad
Permeabili
ty, it is not
applicable
to acid
materials,
for it may
accelerate
the acidity
in the
archives
2. Easy to produce
electrostatic, and
lead to falling off
of power
Absorbent
paper could
be used to
test
archives. If
the archives
shows the
black stain,
it is not
applicable
to be
preserved in
Polyester
film L weld
Acid-freefolder) Any types of
Archives
1.simple structure
2.convient to take
1. Files are not
fixed, so it is easy
to be scattered
Acid-freePaper) Any types of
Archives
1. Light
3.simple structure
2.convient to take
1. Files are not
fixed, so it is easy
to be scattered
Ⅴ Conclusion
We have the obligation to preserve and pass the integrity and essence of painting
and calligraphy to the next generation, since painting and calligraphy are historical
and artistic culture relics with scientific value left by the human social activities.
For understanding the problems faced by preservation of painting and calligraphy,
Stefan Michalski, from Canadian Conservation Institute, proposed the five measures
for culture relics preservation, namely:
1. Avoid the occurrence of deterioration (Avoid)
2. Block the impact of deterioration. (Block)
3. Detect the deterioration phenomena. (Detect)
4. Respond mode of deterioration reaction (Respond)
5. Recover the damaged environment and Treat the cultural relics (Recover / Treat),
such as stabilizing the status of cultural relics or restoring it. 27
The Restorer is required to deal with painting and calligraphy by professional
process: Usually, collecting the basic data of painting and calligraphy before
restoration is the first step, and then, viewing the status of painting and calligraphy,
then taking photos of and making a restoration plan, and then communicating
restoration concept with the collector before carrying out restoration process, then
taking photos after finishing restoration and writing a restoration report. Therefore,
the modern restorer of painting and calligraphy have to study relevant physical,
chemical, biological courses in school, in order to have a comprehensive
understanding of the characteristics, function and principle of every materials and
technology used during restoration. The cross-boundary study is for the understanding
scientific principles of materials and technology used, but note just for promoting the
advancement of science. If using the traditional materials with expected
characteristics or functions, and preserving environment, it can still be selected to use
the object, or careful manual processing of more expensive modern technology, the
effect of the machine is good, is still feasible. 28
Restorer should strictly adhere to the basic principles of restoration (to maintain
the original object, the minimum intervention, reversibility and the principle of
similarity); use the proper materials and methods with the spirit and methods of
science. Thus, restoration work on painting and calligraphy can be perfect "To
maximize the life of painting and calligraphy." Only to understand its feasibility, you
can understand the infeasible restoration time and occasions. Painting and calligraphy
can be used as the important evidence for historical research, repair works, and
planning and design of reuse, as well as be a wider range of applications in the world.
Restoration and preventive protection calligraphy are complementary; because
painting and calligraphy will still be destroyed by the poor environment or improper
storage, if they are without proper follow-up protection work after restoration, and
restoration work of painting and calligraphy will be meaningless.
_____________________
26Management Guidebook of National Archives, p10-3, July,27 By Stefan Michalski The Ideal Climate, Risk Management, the ASHRAE Chapter,Proofed Fluctuations,and Toward a Full Risk Analysis Modelhttp://www.getty.edu/conservation/our_projects/science/climate/paper_michalski.pdf2016/11/1828 Yan Sufen, The boundary and cross-boundary of Relics Preservation. Museum and
Culture (3), p 65-84, 2012.6
References
1. Zhang Lin, Discussion on the Trend of Conservation of Temperature and
Humidity for Cultural Relics, Museology, 26(4):183-196, National Museum of
Natural Science 2012.10
2. Cai Yulin & Zhang Shanrong & Luo Hongwen, Discussion on Emergency
Treatment and Drying Operation of Flooded Books, Journal of Cultural Asset
Preservation, 2012(20), p103-106
3. Peng Yuanxing & Xu Jianguo, Decorative painting and calligraphy materials and
color matching, Taiwan Musuem Journal 68(1):1-18, 2015
DOI:10.6532/JNTM.2015.68(1).01
4. Peng Yuanxing & Xu Jianguo, Observation and judgment of Paper Fiber, Taiwan
Musuem Journal 67(1):1-12, 2014
5. Wu Zherui, Discussion on Acidification of Paper Archives, 98.09.27
6. Xu Jianguo, Common preservation and treatment of painting and calligraphy, Art
of Painting and Calligraphy (15)
7. Qian Jingxing, Discussing on wrinkling of paper, Taiwan Forestry, 1998.12
8. Archives Administration of the State Development Commission, Management
Guidebook of National Archives
9. Chapter one, Introduction to Air Conditioning Humidification Technology,
http://www.bestav.com.tw/www/ele-00.pdf
10. Yan Sufen, The boundary and cross-boundary of Relics Preservation. Museum and
Culture (3), p 65-84, 2012.6
11. Lai Wenxin, A Collection of Cultural Relics – Taking Museum of Fu Jen Catholic
University as an Example, 2008.10.25
12. Crystal maitland, Microscopy for Paper Conservation: Comparing Various
Adhesives and Examining Wheat Starch Paste Preparation Methods
13. Li Pengzhi, pharmacy by Lyophilization and application of biography technology
and science. http://www.ceci.org.tw/book/56/ch56_6.htm