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Problems of reconstruction are one of the most composite and difficult issues in the art of conservation, and should be examined individually in the case of each subject. The presented reconstruction solutions were conducted as part of diploma studies written in the Chair for the Conservation and Restoration of Old Prints and Graphic Works. The background of the discussion is composed of reflections inspired by the philosophy of Umberto Eco concerning the idea of the „open work” and the equal rights enjoyed by various interpretation conceptions, from the viewpoint of the conservation and restoration of a work of art. The examined conservation studies are divided into two categories, owing to the character of the reconstruction — those which restore exhibition merits to the art work, and those which additionally aim at restoring its utilitarian function.
EN
The author discusses two Japanese polysaccharides from the viewpoint of their application as the doubling binder for paintings on silk and silken fabrics — the non-gluten wheat starch shofu and the seaweed glue funori. Detailed research concerned the quality of the wheat starch. Subsequently, the author compared the properties of the two polysaccharides. Following studies concerned the rheology, resistance and rigidity of the binder as well as the artificial aging of samples of silk fabric and Japanese paper containing the glues in question. The aging of both natural binders was conducted in a climatic chamber for 24 days in a temperature of 65°C and with a humidity of 55% RH, as well as by means of exposure to a xenon lamp for 240 hours. The results indicated the extremely stable optical properties of the funori glue and its positive impact upon the resistance of silk. Research conducted with the aid of SEM (electronic scanning microscope) indicates the way in which the glue spreads on the surface of the fabric.
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