Medinių paveldo objektų polichromija, jų užtapymų

LTStraipsnyje aptariamos Lietuvai bei kitiems Europos regionams būdingos istorinės medinio skulptūrinio dekoro užtapymų / uždažymų atsiradimo priežastys, pateikiama stratigrafinės (dažų sluoksnių) analizės proceso apžvalga bei šių veiksnių reikšmė sprendžiant dėl užtapymų / uždažymų sluoksnių šalinimo konservavimo ir restauravimo metu. Reikšminiai žodžiai: medinė polichromuota skulptūra, polichromijos užtapymai, polichromijos uždažymai, stratigrafinė analizė. [Iš leidinio]

ENThe decision-making regarding the overpaint removal from the polychrome wooden artwork is a highly complex process since it inevitably depends on several factors such as condition of the overpaint, the technology which was used to accomplish the desired decor, the chemical characteristics of the materials used and the interactions between the earlier layers and later additions. A more recent conservation approach addresses the quality and the value of the overpaint that needs to be considered in the current context. However, it is rather complicated to find compiled information or guidlines that address the overpaint removal topic thoroughly. Therefore, the main objective of this article is to look into the complexity of this decisionmaking in order to share the insights that could be of use to anyone facing similar challenges during the conservation of the overpainted wooden polychrome artefacts. The first part of the study focuses on the reasons for the overpaints of wooden polychrome objects of worship and the means of these reasons for the overpaint removal decision-making. Geographywise the research concerns Lithuanian religious artefacts in the context of the other European regions. The second part is dedicated to highlighting the significance of the absolute and relative stratigraphic analysis. Finally, a case study of the XVIII century 2nd half wooden polychrome reliquary is used to illustrate the whole process that starts with the thorough analysis (the technology of the polychromy, possible reasons for the overpaints, the condition of different paint) of different aspects up until the final decision to remove certain overpaint layers in this particular case. [From the publication]