Mina Kakoauei, *Mahshid Kakouei Ezbarami, History, Technology, and Treatment *Subermanian Kumaran of a Painted 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- n Materials bed with a dragon on one side and gold 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 , 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 (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 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. It was yes (2-2 ratios) strong enough to allow it to be handled yes Water & ethanol and examined. However, a large amount (3-1 ratios) of dust and dirt had accumulated and tea Acetone no or water stains had marred the folding Trichloroethylene yes screen (Figure 2). There was also some Tetrachloroethylene physical damage to the surface. For ex- Soft rubber ample, small tears were visible on the Vacuum cleaner no no surface that may have been created by an Ethanol encounter with a sharp object (Figure 3). Table 2. Pigment used in Biological deterioration analysis identified by Skelton at the Winterthur Mu- The initial visual examinations showed seum & CIGNA and a researcher from the Art University of Isfahan. the object had suffered from biological damage. Some of the edges and the end Possible Identified Figure 3. Detached silk exposing the un- Colour derlying layer and tears in the surface of of one of the sheets showed evidence of pigments used elements the silk, evident in different areas. biological damage due to fungal growth, Bone black C + Ca (PO4) black caused by damp, dark conditions (Fig- White lead Pb, Ag gray Vermilion, white ure 4), and was also likely the result of Pb, Ag, Hg, Sn red dering way. This image was first seen dur- lead many years of being kept in the storage ing the Han Dynasty (202 B.C - 220 A.D). Organic compound Pb, Ag bright red It refers to one of the Chinese dragon’s room of the Golestan Palace in an un- & white lead suitable and uncontrolled environment. Indigo & white lead duties, which was to bring the spring rain. Pb, Ag blue However, the dyed layer on the test sam- ground Indigo & white lead bright ple showed no damage and had good Pb, Ag ground blue strength. n Methods Iron oxide & white Pb, Ag, Fe, K brown lead ground Analysis of the Silk Folding Screen Two methods were used to examine the Au golden Analysis of the structure Gamboge’s & fungi species of the deteriorated textile: Pb, Ag, K, Sn yellow The wefts and warps of the sample were the cotton swab and wool fibre tech- white lead investigated under Transmitted Optical niques. However, because of the destruc- White lead Pb, Ag white

tive effect of the wool fibre method in this case the cotton swab technique was applied. In the current technique, ster- ile swabs were used to distribute fungi on the media of malt extract agar from the surface of the object where fungal growth was observed in Petri dishes. The dishes were incubated at 28 °C for 4 weeks until the growth of colonies. For purification and identification of fungi, the fungi developed were isolated in pure culture on slants of the media [12]. The fungal species were identified according to standardised methods by consulting the appropriate manuals [13, 14].

Dye and pigment analysis Firstly the stability of the pigments was tested by rolling a slightly dampened cot- ton swab over their surface, gradually ex- posing them to moisture for a prolonged period of time. A review of literature on Figure 4. Infected areas of fungi at the edges of the folding screen. Chinese painted silk artifacts revealed

FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104) 71 of the folding screen. A summary of the 100 mm results can be found in Table 1.

Treatment of silk folding screen with fungicides Fungal deterioration can lead to the very fast decay of organic museum materials such as paper, textiles, wood, etc. [15 - 17]. The organic components of textiles and their ability to absorb and retain mois- ture from the surrounding environment in museums makes them highly suscep- tible to fungal deterioration. Also in this case high humidity accompanied by a lack of ventilation in storage rooms in the Golestan Museum enhances fungal growth on the silk folding screen. In ad- dition, such a historical case required Figure 5. SEM image with 100 µm magnification showing that the white background layer special knowledge to apply an appropri- of the sample was composed of white lead, similar to other Chinese paintings. ate biocide without any destructive effect on the object, either in the short or long term.

4500 There are a large number of studies that have been carried out on fungicides used 4000 in industry [18 - 20] and in conservation 3500 [21, 22] for the protection of museum textiles [8, 23 - 25]. The most impor- 3000 tant factors to select the best material as a fungicide used for the preservation of 2500 museum textiles were a low toxicity to humans, no negative effects on the prop- 2000

Absorbance erties of textiles or materials connected

1500 with it [25], and resistance to washing. In addition, repeated application of fungi- 1000 cides may damage the material, thus sin- gle - application solutions were needed 500 that would remain effective for a longer duration without being detrimental to

1200 1000 800 600 the materials [26]. In this study, several methods were investigated to find the Wavenumbers, cm-1 best one to prevent fungal growth and increase the fibre strength of the sample. Figure 6. Raman microscopic diagram showing that the white background layer of the sample was composed of white lead. n Results and discussions that there is no splitting in the painted py of Henry Francis du Pont Winterthur Analysis of silk folding screen area in silk ground fabrics because the Museum in Delaware, United States of The results of the folding screen`s mor- use of white leads to characteristic bright America were used to identify the dyed phology revealed that the screen material colors [3]. Therefore, to study about the layer that had migrated. XRF analysis of is a silk taffeta made from threads of low reason behind the good condition of fold- non-migrating parts was done in the Art twist, which is more suitable for painting ing screen during the past hundred years, Laboratory at the University of Isfahan. the medium on the sample was examined because of short interlacements; smaller using XRF. There was also concern that twist of threads can make the fabric sur- an aqueous treatment would exacerbate Evaluating the cleaning process face smoother and also more suitable for the problem by creating an environ- suggested painting. In the sample, thirty-eight warps and forty wefts are used per 1 cm2 [27]. ment that would cause the degradation The purpose of cleaning is to remove of the silk. It was therefore necessary to harmful materials which may cause phys- formally identify the pigments present. The results of the inoculation showed ical or chemical damage to a sample. The However, because of the lack of portable that Acremonium, Cladosporium, Alter- non-destructive XRF in the Art Labora- selection of suitable cleaning methods naria, Aspergillus and Penicillium were tory at the University of Isfahan, it was and materials depends on the structure the most dominant fungal species found not possible to model all the pigments. and condition of the sample. Several sub- on the historical Chinese folding screen. Therefore, the result of Raman microsco- stances were tested against the pathology The pH test indicated that the mean pH

72 FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104) value of the area that was infected by 100 fungi was 5 and the other, unaffected parts had a pH of 7. 90

80 A list of possible pigments and identified elements can be found in Table 2 (see 70 page 71), which are the result of an XRF pigment analysis done by Skelton and 60 the Art Laboratory at the University of 50 Isfahan. The following typically Chinese pigment characteristics are demonstrated 40 in the Table 2. % Transmitance, 30

Results of the FT-IR, SEM (Figure 5) and 20 Raman microscopic diagrams (Figure 6) showed that the white dye and white 10 ground layer of the sample consisted of a pigment that contained white lead (Fig- 3500 3000 2500 2000 1500 1000 . Wavenumbers, cm-1 ure 7). White lead (2PbCO3 Pb(OH)2) was used in other Chinese paintings. The Figure 7. FT-IR analysis showing the white dye of the sample. As is the case with most silk was prepared with a white back- Chinese paintings, it was composed of white lead. ground 50 µm thick and then a black colour was used to form the principle lines of the image (Figure 8). This col- 100 our could have also been combined with 98 others without losing its power [3]. The 96 technique of the present folding screen is 94 92 called the Chinese white technique. Hul- ton states that “In this technique white 90 88 paint is used to form a base to give greater 86 depth to the paint laid over it. Also details 84 can be painted onto the white paint with- 82 out a loss of clarity and it can be mixed 80

with other colours to alter the strength of % Transmitance, 78 the tones” [28]. White lead creates a layer 76 that resists most mediums. The saponifi- 74 cation properties of white lead result in 72 a smooth surface on the fibres, thus the 70 light absorption was decreased and only 68 a small amount of structural damage dis- 4000 3500 3000 2500 2000 1500 1000 500 covered [29, 30]. That is the reason why Wavenumbers, cm-1 all the pigments were found to be in good condition and showed no sign of degra- Figure 8. FT-IR analysis showing that the white background layer of the sample, like other dation. Chinese paintings, was composed of white lead.

An observation of the medium solution to be sensitive under moisture and there- pany used for stain removal when the revealed that the medium of the sample fore needed to be fixed because a large various solvents did not have a satisfac- was a protein-based material (fish glue), amount of water would be introduced tory effect on the stains. Any remaining much like other Chinese watercolour during the cleaning process. Moreover bits of rubber were removed by a low paintings. water can cause shrinkage, stress and powered vacuum cleaner. This cleaning distortion, therefore the cleaning process was the most important factor in the im- proved appearance that was the result of n was carried out with low powered vacu- Strategic plan for conservation um suction, a soft brush and soft rubber. the entire treatment. Cleaning process These methods are the most common and The pathology of the sample showed safest used to clean textiles [30, 32]. Fumigation that the largest problem facing the fold- Fungal deterioration was one example ing screen was the accumulation of dust The surface dirt was wiped off with a soft of decay of the folding screen, there- and some tea and water stains on the brush and low powered vacuum suction fore emergency treatment against fungal surface of the fabric. In Table 1, several [33]. Where the surface was determined growth was undertaken. The impreg- materials are shown that were tested for durable enough, cleaning was continued nation method was used as it had been cleaning the sample. The results of the in- with the soft rubber, which was a rubber confirmed that the compound of 1% vestigation show that all colours proved sponge produced by the Lascaux Com- dicholophen (2,2-methylenebis(4-chlo-

FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104) 73 tears on the surface of the sample was the next step.

Several investigations were carried out to find the type of paper and adhesive that would be compatible with the tex- tile. Fortunately there were not any areas that had suffered extensive loss where silk was required to fill the holes or loose threads which needed to be stitched to a support. In addition, the thickness of the folding screen was the main reason Figure 9. The old paper support was re- for avoiding the stitching method for Figure 10. The self-adhesive tissue paper moved using tweezers or fingers. was heated with a 50 °C iron to attach it to restoration. Hence the method used for the Chinese folding screen. paper conservation was to produce a pre- rophenol)) in ethyl alcohol was the best prepared paper film that could be solvent method of application in the long term The self-adhesive tissue paper was heat- re-activated in situ. Extensive methods ed with a 50 °C iron to attach it to the protection of textile from fungus. There were considered to find an appropriate was no change in the colour of the sam- textile (Figure 10). The use of heat-set combination of the paper type and adhe- adhesives allowed to avoid the use of ple and no apparent damage after the fu- sive concentration that would work for moisture during the restoration process; migation process [8, 34, 35]. textiles. however, the support fabric used with Evaluating the method suggested these adhesives was very lightweight. Experiments included dissolving Las- for the restoration process There are pros and cons of the method caux 498 HV in water. Among the vari- described. The mends were intended After fumigation of the sample with di- ety of tissue papers, the lightest weight only to hold the split together, flat, in chlorophen, a restoration method was paper tested was Tengujo, with Lascaux plane, and without pulling which would selected that would not cause further 498 HV diluted with water (10%). This create more tension. If the screen is ever damage to the silk and pigments. Many type of adhesive has a pH of 8 - 9 and strained again, the lightly attached mends treatment materials can cause irreversible great elasticity; it is reversible and per- will split before the screen itself. damage to silk objects. In the first step, manently soluble in acetone, toluene and the old paper support was removed using xylene but insoluble in water once dry. In At the end of the conservation and treat- tweezers, a scalpel or fingers. This pro- addition, the manufacturer claims that the ment process, lost pigment was retouched cess took several hours and did not use polymer is non-cross linking and non- using watercolour paint (Figure 11). any water (Figure 9). Restoring the small yellowing [1, 36].

n Conclusions a) b) The painted side of the Chinese silk fold- ing screen was evaluated to determine the structure, techniques and extent of degradation in relation to the medium. FT-IR, SEM-EDX and XRF analyses were carried out to identify the pigments, medium and type of silk.

The results of FT-IR analysis show that the painted side of the folding screen was made of raw silk without any further processing such as the addition of sizing. The medium contained a large amount of white lead. The saponification properties of white lead resulted in a smooth surface on the fibres, thus the light absorption was decreased and only a small amount of structural damage was discovered.

A proper conservation approach should include steps such as cleaning, rein- forcement and restoration methods. This research did not undertake a fungicide study to evaluate the effect of various combinations on the degraded fabric. Figure 11. Image of the sample: a) before and b) after restoration. Only the fungicide dichlorophen was

74 FIBRES & TEXTILES in Eastern Europe 2014, Vol. 22, No. 2(104) used for treatment of the sample because with Fungicides. Scientific analysis of 22. Abdel-Kareem O. The Long-term Ef- it completely prevented fungal growth ancient and historic textiles: informing fect of Selected Conservation Materials and was the least harmful to the histori- preservation, display and interpretation: used in Treatment of Museum Artefacts cal textile. postprints. In: The First Annual Confer- on some Properties of Textiles. Polym. ence. 13-15 July 2004, London UK, pp. Degrad. Stab. 2005; 87: 121- 130. 57-65. The cleaning method and adhesive sug- 23. Allsopp C, Allsopp D. An update survey of 9. Rezvani ME, Qaziha F. Memoirs of 3th gested, Lascaux 498 HV, examined in this commercial products used to protect ma- Travel of Naser al-Din Shah to Foreign. study were suitable and effective for use publication of National Library & Ar- terials against bio deterioration. Int. 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