Case Studies in the Treatment of Asian Scroll Paintings

Abstract

Works of art in the diverse Asian collections at the National Gallery of Australia (NGA) are regularly requested for display. These collections are routinely condition checked and, where appropriate, interventive treatments undertaken. Storage, in particular, has been continually improved. With the closure of the NGA during the initial Covid lockdown in March 2020, and the subsequent decreased demand to prepare works for exhibition, loan and travelling exhibitions, there was an opportunity to investigate Asian works in the NGA Study Collection, with the objective of identifying those excluded from display because of condition.

The time available meant that the NGA Paper Conservation team could examine and treat a number of Asian scroll paintings in this collection. The focus of this paper is three Japanese paintings and two Chinese paintings, all on silk supports, with various degraded paper and fabric mounts and backings. After initially viewing the works with Curatorial colleagues, treatment expectations were discussed and established. Background research was undertaken, in terms of generic style and period, together with limited analysis on supports and pigments in order to inform treatment. While further Curatorial research is ongoing, it was possible to agree appropriate potential mounting styles and materials, allowing treatments to progress.

Keywords:

• Hanging scroll
• scroll mounting
• painting on silk
• Asian painting

Acknowledgements

Thanks to James Ward for guiding treatments and editing the text; and to Micheline Ford for dyeing the silks and providing technical details of the process.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 Analysis was completed using standard staining techniques for fibre identification and using polarised light microscopy at x100 and x200 magnifications with an Olympus BX 60 microscope with polarising light and uv-fluorescence capability. Samples were mounted in DPX with a refractive index of 1.56.

2 Analysis was completed using standard techniques for pigment identification by polarised light microscopy at x 400 magnification with an Olympus BX 60 microscope with polarising light and uv-fluorescence capability. Samples were dispersed in water and mounted using Cargill Meltmount with a refractive index of 1.66.

3 Bermocoll E230 FQ WS EHEC – water soluble ethyl hydroxy ethyl cellulose adhesive.

4 Analysis was completed using standard staining techniques for fibre identification and using polarised light microscopy at x100 and x200 magnifications with an Olympus BX 60 microscope with polarising light and uv-fluorescence capability. Samples were mounted in DPX with a refractive index of 1.56.

5 Ciba Geigy Lanaset protein fibre dye and a hot-dye process were used. 8–10 samples were prepared to achieve a suitable colour of approximately 4% depth of shade. Recipes were tested using a mixture of yellow, navy, red and brown dyes, narrowing the range as the dye approached the correct colour and then extrapolating the calculations for 1½ metres of silk.

Additional information

Notes on contributors

Andrea Wise

Andrea Wise has a BA (Hons) in Industrial Design (Manchester, UK) and an MA in Conservation (University of Northumbria, UK). She is Senior Paper Conservator at the National Gallery of Australia.

Fiona Kemp

Fiona Kemp has a BA Visual Arts (Fine Arts) Charles Sturt University and a BAppSc Conservation of Cultural Materials University of Canberra. She has been a Paper Conservator at the National Gallery of Australia since 1996.