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History, Technology, and Treatment of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran

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History, Technology, and Treatment of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran Mina Kakoauei, *Mahshid Kakouei Ezbarami, History, Technology, and Treatment *Subermanian Kumaran of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran Conservation Institute of Malek Museum, Abstract Baharestan, Tehran, Iran This study aimed to design and establish effective methods of conserving and restoring a double-sided silk folding screen in the Golestan museum of Iran. We examined the struc- *Department of Indian Studies, ture, techniques, pigments, silk type and extent of degradation of the artifact. Investiga- Faculty of Arts and Social Sciences, tions and analysis were used to identify the pigments using noninvasive methods. Fourier University of Malaysia, transform infrared spectroscopy (FT-IR), a Scanning Electron Microscope (SEM-EDX) and 50603 Kuala Lumpur, Malaysia, X-ray fluorescence (XRF) analysis were used for identifying the pigments and fibers. The E-mail: [email protected] first step was to estimate why the painted side did not have any noticeable degradation compared with the whole structure and dyed side, which had suffered substantial physi- cal decay. The effectiveness of several combinations of fungicides in preventing the fungal deterioration of the silk artifact was tested and Dichlorophen was selected. The cleaning process was carried out with low powered vacuum suction, a soft brush and soft rubber. To restore the folding screen, the paper conservation based method was used. Therefore the remounting process was done using self-adhesive Japanese tissue paper to attach the support to the silk in order to avoid stitching through the painted surface. Consolidation was not deemed necessary because the paint surface was not actively flaking. Since the treatment method applied in this study could successfully conserve and restore the artifact with minimal destructive impact, it is worth replicating in similar conservation projects. Key words: painted silk, Chinese folding screen, consolidation, fungicide, treatment. n Introduction ing method for the removal of adhesives that consolidate with acrylic resins [4]. The selection of appropriate conserva- Cleaning with a low suction cleaner com- tion and restoration methods for historic posed of 95% ethanol and 5% methanol textiles is a considerable problem. The and consolidation with Klucel G adhe- structure of these artifacts and the lack of sive were suggested by Anne Haldane knowledge pertaining to the destructive- (2008). Lascaux, Klucel G (SD), Tylose ness of various treatments increase the MH300(SD), Mowilith DM5 (E), and degree of vulnerability for historical tex- 498 HV (E) are other common materi- tiles, especially those in a non-standard als used for consolidating ancient textiles condition. The treatment plan suggested [1, 7]. for textile museum objects includes clean- ing, consolidation and restoration. Identi- Fungicides used for the preservation of fication of the type of textile is the first historical textiles are varied. Choosing step in the treatment process, followed the most appropriate depends on the type by non-destructive consolidation [1]. of fabric and the environmental condi- Choosing the consolidants, fungicides tions in which it will be used. Ekibon, and application methods are important which is composed of methyl bromide challenges faced during consolidation. (as an insecticide) and ethylene oxide (as For instance, some materials and meth- a fungicide), is a material used for treat- ods that are suitable to treat one part of ing silk artifacts that have deteriorated as the object may be harmful for other parts, a result of fungi and insect attacks [4]. or they damage ancient objects by fading Lichenicide 246 and Dichlorophene are dyes, creating dryness and decreasing fi- two of the most common fungicides bre strength [2]. used for historical textiles [8]. In a recent study by Abdel-Kareem, the combina- The history and structure of a folding tion of polymers and fungicides such as screen is one way of selecting a conserva- Neo-Desogon were also used, which is tion method. The type, age and weighting reduced degradation by fungal deteriora- agent on physical and chemical decay are tion [2]. additional items that must be considered when determining effective conservation This study dealt with a historical Chinese treatments [3 - 6]. folding screen from the Palace-Museum of Golestan in Iran. The folding screen There are a large number of chemical was a rare sample of silk folding screens, and non-chemical methods for cleaning and it had not been conserved or restored and preventing the fungal deterioration since it was transferred to Iran. Also any of textiles. Using enzymes is a clean- treatment process was highly sensitive. Kakoauei M, Kakouei Ezbarami M, Kumaran S. History, Technology, and Treatment of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran. 69 FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104): 69-75. important role in the decorations of a folding screen [5]. Description of the folding screen This study examined a Chinese folding screen from the late 19th century located in the Palace-Museum of Golestan. The screen has different designs and orna- ments on both sides of a silk background. Metal embroidery on a background of dark silk is visible on one side of the screen. A painting on non-dyed silk is visible on other side of the screen. In 1306 A.H (1889 A. D.) Naser al-Din Shah, during his third trip to Europe, vis- ited Paris when an exhibition of the art and industry of China and Japan was be- ing held. During his visit to the exhibi- tion, he purchased many artifacts and in- Figure 1. Chinese folding screen examined in this study. struments to be used in the royal palace. One of these was referred to as a “jelo- The special ornamental aspects of this folding screen based on paper conserva- takhtekhabi” (translated as “front bed”) screen presented cleaning and fumigating tion at the Golestan Museum. in the book Memoires of Third Travel of challenges for conservators because the Naser al-Din Shah, Volume I: “… A front silk folding screen was painted with min- bed with a dragon on one side and gold n Materials eral pigments that are sensitive to clean- embroidery and a peacock on the other ing materials. This paper illustrates the Chinese folding screen side...” [9]. wide range of materials that are present Historically silk has been used for vari- in this textile object and demonstrates the ous purposes because of its strength and This folding screen is the only object importance of understanding the proper- elegance. One of the many ways silk fab- in the inventory of the Qajar monarchy ties of these component materials when rics have been used is painting on silk, that is comparable to the jelotakhtekhabi. formulating conservation strategies for which is an old Asian technique which The screen is composed of four symmet- this object. The main aim of this study has led to the creation of significant and ric sheets which are 194.2 cm high and 74.6 cm wide, depicting a war with a was to develop and establish a strategic exquisite artifacts. In the production of dragon. Each sheet is composed of one plan for the conservation of a historical such works of art, Chinese painted silks, piece of light silk with a plain weave. with their extraordinary visual grace, The wooden frames have metal relief or- were considered; therefore, these objects naments. are preserved and protected throughout the world [5]. Folding screen ornamentation From ancient times, China, Japan and The motif of war with a dragon that is other eastern countries have used fold- painted on the folding screen (Figure 1) ing screens as decorative elements. The is a popular theme in the mythology of oldest recorded use dates back to the 8th China, India and Iran. It was used to in- century B.C, and some samples were re- dicate a God or hero experiencing an ex- ported in Han Dynasty (2 B.C – 2 A.D) traordinary event [10]. This motif has the same interpretation in the mythologies of tombs. In Japan, a standing folding other nations. In other national cultures, screen in a single form was reported on the dragon would be satisfied only by a Buddhist altars in the Horyu-ji tomb of sacrifice, usually a virgin princess, and Nara. The base of these folding screens killing the dragon becomes an impor- is composed of wood, covered by several tant part of the story. Frequently the hero layers of paper connected with starch kills the dragon by cutting off its head (or glue [4]. heads) and the princess marries him out of appreciation. Most of the fine artwork found on fold- ing screens was done on silk or paper. The dragon in the picture on the fold- Two different silk painting methods were ing screen has a pulled flaked body used. In the first method, thick, golden with a long mustache, horn and four colours were used, whereas the second claws, similar to Song Dynasty dragons Figure 2. Accumulation of dust and some tea and water stains on the surface of the method relied on mineral pigments and (960 - 1127 A.D). The dragon floats in fabric. thin colors. Calligraphy also played an clouds, which is an allegory of the mean- 70 FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104) Light Microscopy to determine the weav- Table 1. Cleaning and solubility test. ing technique. Fibres from warp and weft Migration of colour of: yarns of the object were examined in Solvent motifs medium longitudinal views at a magnification of Water (moist soap) 400× [11]. Water (cold steam) yes Water (hot steam) A visual inspection of the sample re- Water & ethanol little vealed that the folding screen was de- (1-2 ratios) migration Water & ethanol graded but still in fair condition.
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