明代两件加彩木雕坐像的保护处理——以馆藏明代加彩木雕坐像的保护处理为例

Conservation of Ming Dynasty polychrome wood carvings

针对深圳博物馆收藏两件明代加彩木雕坐像存在的虫蛀、糟朽、彩绘脱落、开裂、残损等病害,急需进行保护处理的情况。本工作在前期调研和分析检测的基础上,即分别采集了木雕坐像的胎木、加彩层、污染物等样品,利用红外光谱、拉曼、扫描电镜等分析方法对其材质组成、制作工艺及病害进行了综合分析基础上,建立了坐像保护处理工艺步骤:原始档案建立、表面清理、菌虫防治处理、木质朽蚀部位和彩绘层渗透加固、破损及残缺部位修复补全、建立保护修复档案等。选择Primal SF-016作为两件木雕坐像的渗透加固材料,选择无水乙醇作为溶剂,采用较低浓度多次渗透的方法,保证了最佳的加固和防腐防虫效果;修补材料选择聚醋酸乙烯乳液和锯木屑调和补配。处理后的木雕文物器形完整,形态稳定,色泽协调,达到了理想的保护效果。这是对传世彩绘木质文物保护技术的有益探索,对日后同类文物的加固处理有借鉴意义。

The Shenzhen Museum has collected a large number of polychrome wood carvings from the Ming and Qing Dynasties. Most of them have been made from Chinese cedar （Phoebe Zhennanin） and camphor wood. The woodearvings have dense growth rings and a fine, smooth texture, rendering them resistant to deformation or cracking. These polychromes share some typical features of the wood carvings of the South China and are of significant value for collection and research purposes. However, due to the influence of all kinds of natural and human factors, many of these carvings have been affected by problems such as cracking, insect infestation, wood degradation, flaking and detachment of the paint layers, etc. , warranting urgent conservation treatment. This work is based on the investigation and analysis of each specific type of damage and its cause. The condition of wood preservation is also considered before initiating treatment. The best treatment plan, including selection of materials and conservation technique, is selected based on experimental results. After treatment, wood carvings are intact, morphological stable and showed minimal colour change. The results are very good and serve as examples for the conservation of similar ancient polychrome wood carvings.