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Conservation of the Korean Buddhist painting Vulture Peak | Museum Artwork
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- Опубликовано: 8 мар 2016
- From September 2010 to August 2011 visitors were able to observe the conservation of a large eighteenth-century Korean Buddhist painting, "Buddha Seokamoni (Shakyamuni) Preaching to the Assembly on Vulture Peak". Work on this delicate painting on silk took place in public view.
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So interesting to see the process of preserving a silk painting! I wish we could have seen the end result. Thank you for sharing nonetheless!
So y’all gon let me see this whole damn video and not show me an end result? Bet.
i wanted to see the end result
I would say they must have completely wrecked it, or else they would have shown us.
Ezza You're an idiot.
No I'm not Doreen, you are.
They video was released prior to the completion of the conservation. Conservation is a really slow process. Completed image below.
upload.wikimedia.org/wikipedia/commons/6/61/Buddha_Seokgamoni_%28Shakyamuni%29_Preaching_to_the_Assembly_on_Vulture_Peak_LACMA_AC1998.268.1_%281_of_11%29.jpg
Same here
Fabulous piece of art
So brilliant!
wow that is amazing work.
I will never understand what possess a person to cut up a painting.
Where is the rest?
What adhesive is used for tissue paper lining?
🙏🙏🙏🙏🙏🙏🙏🙏🙏
I know they are experts and doing exactly what they should to conserve the artwork but watching them spray water on it made my stomach upset😥
Doreen Rapheal they clearly say they use water you pretentious bitch. I may not have a working knowledge of restoration but I do understand spoken word.
Code Name calm down. i don’t know what that person said but obviously they didn’t mean harm unlike you.
Code Name my heart was in my mouth whilst they were doing that bit.
GothicaBeauty.
Why? They use it to relax the fabric. Sometimes they also “wash” it in water by submerging it completely.
@@purvdragon-sensei Correct! I'm training as a textile conservator, and we use those same sorts of misters to introduce humidity to a textile. It allows us to make a brittle piece more malleable, making it safer to handle. You don't always need a detergent to clean a piece; sometimes, water is more than enough. See how dirty the paper is as they remove it? The water helps lift off the grime, which is then absorbed by the paper, cleaning the piece with little need for mechanical action. We've done the same process in my classes, except we use cotton muslin instead of paper. It works wonders, especially on textiles whose dyes aren't colorfast and cannot be entirely submerged in water for cleaning. Textile and painting conservation are different, but we overlap techniques quite a bit, depending on the piece.
Good heavens! This woman yanks and pulls at this delicate piece of art - never mind flooding it with water to put the Washi Kozo paper on! And then grinding at it with tweezers…. Please either use a palette knife to separate the two layers or gentle scrape it with a dull scalpel which you can control. Eek. This was painful to watch.
I'm late to answer, but I'm training as a textile conservator and was sent this video to watch for one of my classes. They're doing everything as they should be! They are not "flooding" the piece with water; they are reintroducing humidity to the silk to make it more malleable. If they skipped this step, the piece would remain brittle, and there would be a more significant loss of pigment as they handled it. Also, the old backing paper was likely attached with a water-soluble adhesive. They needed to introduce water to perform the treatment. Trust me, the water didn't harm the painting in the slightest. The paper and adhesive likely absorbed most of it. If anything, it also helped clean the painting. Notice how dirty the paper is as they remove it? The water helped remove much of the surface grime, which the paper then absorbed. We've done something similar in my classes when we were cleaning a textile that had dyes that weren't color-fast. We introduced water to the area to be cleaned, used clean cotton muslin to absorb the water, and it also helped remove the dirt.
They were also not "grinding" on the piece with the tweezers. It's a gentle pressure, a back-and-forth motion to encourage the backing paper to lift off the silk and allow the conservator to peel it away. The tweezers were likely chosen for control. It's easier to get under the paper with a fine point, and there is less risk of cutting the silk with a tweezer than with a scalpel, no matter how dull it is. This isn't a piece on canvas; it's far more delicate. The palette knife also wouldn't have worked; the backing paper isn't applied in one sheet but in many sheets, meaning they couldn't just get between the silk and the paper and lift it away all in one go.
These folks are professionals and well-versed in handling and conserving these paintings. It's why LACMA brought them in from Korea, where the artwork is from. Every conservation job is different. The tools are different, the course of action is different, everything. And the painting turned out beautifully at the end of the treatment. It's been returned to its state as a single piece instead of multiple parts, and it can be safely hung in the galleries for viewing:
upload.wikimedia.org/wikipedia/commons/6/61/Buddha_Seokgamoni_%28Shakyamuni%29_Preaching_to_the_Assembly_on_Vulture_Peak_LACMA_AC1998.268.1_%281_of_11%29.jpg
unframed.lacma.org/2011/12/15/a-korean-masterpiece-restored
Sorry to reply to such an old comment. I figured I'd offer some insight to those who were concerned!