Senojo Egipto kultūros ženklai Lietuvoje: Saulės dievo Amono dainininkės sarkofagas

LTStraipsnyje pristatoma M. Rudzinskaitės- Arcimavičienės senojo Egipto kūrinių rinkinio kaupimo ir saugojimo istorija. Įvertinta Saulės dievo Amono dainininkės sarkofago medienos ir dažų sluoksnio būklė prieš konservavimą. Aprašomi atlikti mikrocheminiai, instrumentiniai polichromijos tyrimai, aptariamos konservavimo užduotys ir problemos, konservavimo medžiagų parinkimas ir darbo procesas. Apibendrinami šio unikalaus kūrinio konservavimo darbų rezultatai. [Iš leidinio]Reikšminiai žodžiai: Egipto mėlynasis pigmentas; Egipto senienų kolekcija; Konservavimas; Marija Rudzinskaitė-Arcimavičienė; Mumija; Polichromuotas medinis sarkofagas; Restauravimas; Sarkofagas; Sarkofago konservavimas; Saulės dievo Amono dainininkė; Senovės Egiptas; Sikomoro fikusas; Ancient Egypt; Collection of Egyptian antiquities; Conservation; Egyptian Blue; Marija Rudzinskaitė-Arcimavičienė; Mummy; Polychromatic wooden Sarcophagus; Preservation of sarcophagus; Restoration; Sarcophagus; Singer of Sun god Amon; Sycamore fig tree.

ENFair number of the old Egyptian treasures is stored in the National M. K. Čiurlionis Art Museum. Especially valuable works increasing it have been added by historian Mary Rudzinskaitė- Arcimavičienė (1885-1941), who had accumulated a significant collection of Egyptian antiquities. During her travel to Egypt during 1924, the researcher obtained a number of smaller articles and Luxor surroundings found in a sarcophagus with the mummy, dating back to the l0th – 9th c.c. BC, at the Cairo Museum. Sarcophagus is abundantly decorated with painted symbolic scenes and hieroglyphs . Inscriptions on the walls of the sarcophagus say that it is the mummy a singer of the Sun God Amon. Anthropoid-shaped sarcophagus has been made of boards of sycamore fig tree growing in Egypt (Ficus Sycomore), and interconnected by sumac (Rhus tripartita) pins. The coat of paint and ground-colour of the sarcophagus in some places had lost its connection with wood, which had softened, damaged by moisture and pests. As a result, it was necessary to preserve the sarcophagus. Painting materials, its structure and technologies had been identified through an integrated microchemical, optical microscopy and analytical instrumental analysis. Sarcophagus preservation techniques and restorative materials had been chosen, based on extensive complex research data. Polychromic surface of the sarcophagus is opaque, and because of that the cementation has to be made according to the requirements : 1) it shouldn’t change the optical properties surface (color strength, gloss); 2) it has to be optimal reinforcement to the wood, ground-colour and paint layers.Paint was very sensitive to water, due to this fact it was decided to refuse aqueous solutions. Acrylic-based polymers also did not work: paint color was darkening, the surfaces has got undesirable shine. Cellulose ethers which had been worked- out are close to gum arabie - the original sarcophagus polychromy binder. Klucel GF selected in the organic solvent mixture. Polychromy and wood surface have been strengthened, and ground-colour along paint adhered to the wood, neither colour intensity nor opaquity changed. This technologically unique in Lithuania historical heritage artefact, has been successfully preserved through modem research findings and analysis based on the available information. During the work process a very useful expertise has been gained. [From the publication]