Removal and replacement of degraded western fills on lower moulding - 下辺枠部の劣化した西洋の充填材の除去と交換

mazarin, chest, conservation, project, lacquer, japan

  • Degraded western fill on lower moulding prior to conservation - 修理前の劣化した西洋の充填材

    Degraded western fill on lower moulding prior to conservation 修理前の劣化した西洋の充填材

    The Mazarin Chest has several areas of loss from its lower moulding. The poorly executed gesso (a mixture of animal glue and powdered chalk) fills used in the past to remedy this were neither level nor smooth, and were painted in black and gold in poor imitation of the original decoration. Retouching extended over the edges of the fills, obscuring parts of the original surface, and the whole moulding had been varnished in an attempt to make the repairs less noticeable. It can be seen in this image how the areas of repair were themselves damaged over time.

    マザラン･チェストの下辺枠部には欠損が数箇所見られます。この充填に使われたジェッソ材（アニマルグルーと石膏粉の混合）は均等に施されておらず、その上に、元の装飾に模して稚拙に塗った黒と金の塗料が見られます。修理部分を目立たなくするために、元の塗膜と充填部の境目を覆って塗料が施され、枠部全体にワニスがかけられています。この写真から、これらの修理部分にも損傷が見られます。

  • Extent of loss of lacquer from moulding visible after removal of old gesso fill - 劣化したジェッソ材除去後の漆の欠損状態

    Extent of loss of lacquer from moulding visible after removal of old gesso fill 劣化したジェッソ材除去後の漆の欠損状態

    This shows an area of damage to the lower moulding after removal of the poor quality gesso fill. It can be seen how the loss extended right down to the wooden substrate.

    この写真はジェッソ材による質の劣る充填材を除去した後の下辺枠部の損傷状態を示すものです。欠損が木地にまで及んでいることがうかがわれます。

  • Area of loss on moulding after application of bedding fill - クッション材で充填した後の枠部の欠損部分

    Area of loss on moulding after application of bedding fill クッション材で充填した後の枠部の欠損部分

    The brown area on the right-hand side of this image is the bedding fill made of phenolic micro-balloons mixed with synthetic resin applied to a section of the lower moulding where an old gesso fill had been removed. This was to ensure that the new fill would be softer than adjacent areas of original lacquer and would absorb any potentially damaging movement (through crushing of the micro-balloons) in the event of dimensional change caused by fluctuations in RH. Work on the fill visible on the left hand-side of the image is at a more advanced stage.

    この写真右側の茶色の部分は、下辺枠部のジェッソ材が取り除かれた跡を、フェノリック･マイクロ･バルーンに合成樹脂を混合したクッション材で埋めたところです。これは、周囲の漆部分より軟らかい素材を使うことにより、相対湿度の変動による寸法変化をマイクロ･バルーンの潰れに吸収させようとするものです。写真左側は作業がより進行した充填部を示すものです。

  • Area of loss on moulding during application of kokuso - 刻苧を施す作業中の枠部の欠損部

    Area of loss on moulding during application of kokuso 刻苧を施す作業中の枠部の欠損部

    Two thin layers of kokuso, an urushi-based filling material bulked with sawdust, were used to build up the fill. Great care was taken not to cover or damage the original surface.

    漆に木粉を混ぜた充填材である刻苧を薄く二層施し、欠損部を充填しました。元の漆面を覆ったり、損傷しないよう細心の注意が払われました。

  • Levelling of kokuso applied to area of loss on moulding - 欠損部に施した刻苧をならす作業

    Levelling of kokuso applied to area of loss on moulding 欠損部に施した刻苧をならす作業

    Once the kokuso had hardened, the surface of the fill was levelled with a steel blade in preparation for finishing.

    刻苧が固まったところ、表面を鑿でならし、仕上げの準備をします。

  • Colour-matching tests - 色合わせの実験

    Colour-matching tests 色合わせの実験

    After extensive consultation with the project team, it was decided to aim for a dark grey colour that would blend in with the aged silver background of the original togidashi maki-e finish of the moulding. A range of chemical solutions was used to patinate new silver powder. The patinated samples were applied to test boards like the one in this image and compared against the moulding of the Mazarin Chest. Four shades of patinated silver powder were chosen to match the tonal variety of the original surface.

    プロジェクト･チームとの広範な協議の結果、枠部の本来の研出蒔絵の銀地の古色と調和する濃灰色が選ばれました。新しい灰色粉を古色化するために化学溶剤が幾つか使用されました。この写真に見られるように、手板に古色試料が塗布され、それがマザラン･チェストの枠部の色と比較されました。元の表面の色調に合う古色銀粉が四種類選ばれました。

  • View of completed new fill to area of loss on moulding - 枠部の欠損部の修理が完成したところ

    View of completed new fill to area of loss on moulding 枠部の欠損部の修理が完成したところ

    This image shows the new fill ready for the final stage of colour-matching. The surface had to be as perfect as possible, for any flaws remaining at this stage would be visible in the finished surface.

    この写真は修理が完成し、最終の色合わせの段階に向けて準備が整ったところです。表面はできる限り完全に仕上がっている必要があります。この段階で仕損じがあると、最終仕上げの表面に残って出てしまうためです。

  • Polishing shitaji on area of loss on moulding - 枠部の欠損部の下地研ぎ

    Polishing shitaji on area of loss on moulding 枠部の欠損部の下地研ぎ

    Polishing of the shitaji layer was carried out with a small, shaped water-stone. This was followed by the application of lacquer (urushi) to seal the surface and a further round of polishing. The sealing and polishing process was repeated until the surface was perfectly flat and non-porous.

    下地は小さな砥石を使って研ぎます。この上に漆を含浸させ、さらに研ぎます。この含浸と研ぎが、表面に完全に平滑な無孔質膜が形成されるまで繰り返されます。

  • Applying shitaji to area of loss on moulding - 枠部の欠損部の下地付け

    Applying shitaji to area of loss on moulding 枠部の欠損部の下地付け

    This shows the application with a wooden spatula of a thin layer of shitaji made from lacquer (urushi) mixed with fine clay. Once hardened, this could be polished down to a very smooth finish.

    この写真は漆と細かい粘土粉を混ぜた下地を木のへらで薄く塗っているところです。乾固後、研いでなめらかな仕上げとします。

  • Barrier layer test board - バリアー層の試験手板

    Barrier layer test board バリアー層の試験手板

    Since finishing of the fill carried the risk of abrasion, it was decided to apply a temporary barrier layer to adjacent areas of original decoration. The testing of the solubility range and abrasion resistance of several different materials resulted in the selection of Regalrez 1126.

    修理の仕上げの際に周囲の元の加飾部を摩損する危険性を避けるため、一時的にバリアー層を設けることにしました。数種の材料の可溶範囲と耐磨耗性の実験にもとづき、レガルレズ1126が選ばれました。

  • Filtering silver powder in preparation for colour-matching - 色合わせの準備段階で銀粉を篩い落としているところ

    Filtering silver powder in preparation for colour-matching 色合わせの準備段階で銀粉を篩い落としているところ

    A sprinkling tube (funzutsu) with a fine mesh was used to sieve the patinated silver particles for use in colour-matching the replacement fill.

    目の細かい粉筒を使い、充填部に使う古色銀粉を篩い落としました。

  • Applying lacquer (urushi) to new fill to area of loss on moulding - 枠部の修理箇所に漆を塗布するところ

    Applying lacquer (urushi) to new fill to area of loss on moulding 枠部の修理箇所に漆を塗布するところ

    A specially prepared blend of kijomi and roiro urushi was applied by brush to the surface of the fill as the adhesive for the patinated silver powders.

    特別に用意した生正味漆と呂色漆の調合を古色銀粉の接着剤として修理箇所の表面に筆で塗布しました。

  • Area of loss on moulding after application of patinated silver powders - 古色銀粉塗布後の修理箇所

    Area of loss on moulding after application of patinated silver powders 古色銀粉塗布後の修理箇所

    This image shows the new fill after application of the four different shades of patinated silver powder. The lacquer (urushi) on to which the silver powders had been sprinkled was left to dry, after which lacquer diluted with solvent was used to adjust the colour of the fill and to ensure the silver powder was fully adhered.

    この写真は四種類の色調の古色銀粉を塗布した後の修理箇所を示します。銀粉が蒔かれた漆面が乾いた後、溶剤で希釈した漆を塗り、色の調整と銀粉の接着を行います。

  • Area of loss on moulding after conservation - 修理後の枠部

    Area of loss on moulding after conservation 修理後の枠部

    A combination of Japanese and western techniques was used to produce the replacement fill. It is very difficult to match togidashi maki-e and the project team were extremely satisfied with the final result.

    欠損部の充填には日本と西洋の保存修復技法が組み合わせて使われました。研出蒔絵の色調を再現するのはきわめて難しいことに鑑み、プロジェクト･チームは満足のいく最終成果に大きな達成感を得ることができました。