Paper Conservation: Decisions & Compromises

porting the reverse of severe creases. Finally, the
fold-dyed papers with their lining were flattened
on the drying board to prepare them for placement
back onto the folding screens. These in-fills
not only even up the fold-dyed papers in structure,
but also provide continuous patterns to
compensate losses in aesthetic effect (Fig. 4).
Besides compensating the large losses, digital
printings were also used in the covers of the
hinges. Since those hinge covers appeared dirty
and severely damaged (Fig. 3) they were replaced
with new ones. The screen after completion of
the treatment is show in Fig. 4.
Conclusion
In this case, using digital in-fills was successful
in compensating losses on the fold-dyed paper
with regular patterns. In addition, this case
shows the possibility exists to print the image
on a thin handmade paper though temporary
lining. However, this technique should always be
carefully considered and thought through prior
to treatment. Before using digital in-fills, conservators
should think about the following:
1. The digital image must have a strong reference
in order to support the original both aesthetically
and historically.
2. Discuss with curator: Where is the digital infill
going to be and will it change the context
of the original?
3. Digital in-fills can be a less time-consuming
and more effective technique than other traditional
techniques.
4. The digital in-fills will not be confused with
the original by the viewer and they are reversible.
References
Rogerson, Cordelia, 2002. ‘A study if material
and digital transformation: the
conservation of two ancient Egyptian
beaded items of dress’. In 13 th Triennial
Meeting ICOM-Committee for Conservation,
Rio de Janeirom preprints, pp.741-
746, London: James & James.
Hartog, Frances, 2009. ‘Digital in-fills
for a carpet’. Conservation Journal, 58.
Retrieved December 11, 2012, from http://
www.vam.ac.uk/content/journals/conservation-journal/autumn-2009-issue-58/
digital-in-fills-for-a-carpet/
McClintock, T. K., 2003. ‘Compensating
for losses in historic wallpapers’. In
Postprints of the Image Re-integration
Conference 15 th -17 th September 2003, pp.
35-43, Newcastle Upon Tyne: Northumbria
University Press.
Chen, Melody, 2012 ‘Digital in-filling on
Japanese prints’, Poster presented at the
40th AIC Annual Meeting in Albuquerque,
NM.
‘Digital FineArt Collection: Rice Paper’,
n.d. Retrieved December 11, 2012 from
http://www.hahnemuehle.com/media/
ricepaper_rev00.pdf
‘Epson Stylus Pro4900-Print Permanence
Ratings’, 2010. Retrieved December 11,
2012 from http://www.wilhelm-research.
com/epson/ESP4900.html
Material and equipment
Sekishu Paper
Nishida Washi Kobo
1548 Furuichiba Misumi
Hamada Shimane
Japan 699-3225
Epson Stylus Pro 4900 printer
Epson America, Inc.
185 Renfrew Drive Markham
Ontario
Acknowledgements
I would like to thank the following
MFA colleagues. I am grateful for the
supervision of this Conservation Project:
Deities of the Tanni-sho, by Munakata
Shikô from Joan Wright, Bettina Burr
Asian Conservator and Philip Meredith,
Higashiyama-kaii Japanese Paintings
Conservator. Thank to Jacki Elgar, Head
of Asian Conservation Studio, Jing Gao,
Cornelius Van der Starr Conservator of
Chinese Paintings, Tanya Uyeda, Associate
Conservator, Yi-Hsia Hsiao, Fellow
in Asian Conservation Studio and John
Woolf, Digital Systems Manager for all
their generous support and encouragement.
Author
Hsin-Chen Tsai
Assistant Conservator, Asian Conservation,
Museum of Fine Arts, Boston.
465 Huntington Avenue, Boston,
MA 02115
htsai@mfa.org
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