Rudaminos dvaro rūmų (Lazdijų r.) eksterjero sienų tapybos dekoro konservavimo problemos

LTStraipsnyje pristatomos Lietuvoje unikalios baroko sienų tapybos Rudaminos dvaro rūmų (Lazdijų r.) eksterjere išsaugojimo problemos, kurios iškilo ir sprendžiamos atliekant taikomuosius tyrimus bei konservavimo darbus. Pateikiamas architektų, polichromijos specialistų požiūris į neabejotinai vertingą kultūros paveldo išsaugojimą. Svarstoma, kokie konservavimo būdai turėtų būti taikomi, kai tenka tvarkyti ankstesnių panašių darbų padarytą žalą arba kai dėl įvairių priežasčių tarp natūros tyrimų ir dekoro konservavimo darbų praeina ne vieneri metai, per kuriuos nyksta atidengtas tapybos sluoksnis. Kokios turi būti taikomos laikinos priemonės, kad atidengta tapyba būtų apsaugota nuo žalingų aplinkos ir klimato poveikių? Finansavimo trūkumas dažnai lemia nedovanotinai lėtą, su ilgais pertrūkiais darbų eigą. Pristatoma, kokie Rudaminos rūmų eksterjero tapybos konservavimo metodai buvo pasirinkti ir kas juos lėmė. [Iš leidinio]Reikšminiai žodžiai: Rudaminos dvaro rūmai (Lazdijų r.); Barokas; Sienų tapyba; Konservavimas; Restauravimas; Rudamina manor house (Lazdijai district); Baroque; Mural painting; Conservation; Restoration.

ENThe construction of the Rudamina manor began in 1536–1537 by the efforts of the nobleman Petras Plikis. In 1740–1744 the treasurer of the Trakai Voivodeship, Mikołaj Turczynowicz Suszycki, reconstructed the manor and folwark buildings, and expanded the estate. In the post-war years the estate housed a kolkhoz. In 2001 Ramūnas Valiokas and his wife Zita Ambrutytė acquired the manor house and started the research and restoration works of the building. Scouting polychromic research on the interior and exterior of the manor house (led by Idalija Bėčienė) was conducted in May 2003. Fragments of valuable décor from the second half of the 18th century were discovered in the exterior. However, it was not until a decade after the first scouting research that concern was expressed over the polychromy of the façades of the manor house. In 2012 the roof of the building and water leakage was fixed. It was noticed that the fragments of wall painting décor uncovered during the probing had been faded, and plaster surfaces had been damaged by chemical corrosion. It was established that mural paintings were overpainted and plastered several times, and the socle part of the eastern façade was plastered with cement mortar of unknown origin. The top layers of overpainting were thick and strongly bonded with the painting layer; authentic plaster with painting was flaked off the base and cracked. The painting layer under cement replastering on the lower part of the walls was unstable, dry, weakly attached to the plaster, and was falling off together with the cement plaster. The poor condition of the exterior walls of the Rudamina manor house urgently required conservation works. It was decided to remove the cement plaster, reinforce the wall painting that was in critical condition, and perform additional detailed polychromic research that would provide more information for preparing a project of the restoration of polychromy and architecture.At this stage it was decided to keep the decorative cement plaster of unknown origin in the lower part of the east façade, as it was strongly bonded with the painting layer. The cracked borders of authentic plaster were removed. The weakly adhering edges of authentic plaster were reinforced with restoration plaster. Authentic plaster weakly adhering to the base was attached to the bricks by injections. In problematic places, where the walls were damp, bricks were covered with “curative” lime plaster. The losses of authentic plaster were fixed with restoration lime mortar. The unstable layer of painting that had come off was fixed with glue. Desalination and antiseptic treatment was performed. As soon as the critical condition of mural painting on all façades had been stabilised, the conservation works of the four fragments of décor that survived in better shape were continued: a painting layer was uncovered, authentic plaster was reinforced and glued, the losses of plaster were restored, desalination and antiseptic treatment was performed, and the painting layer was glued, cleaned and reinforced. Conservation works on the fragment of the lower part of the dado of the east façade with a medallion motif were performed by applying the transfer method. In the next stage the works of detailed polychromic research, restoration of painting décor and conservation of painting are to be continued. It is expected that the financial burden on the manor owners will be eased, as in 2015 the surviving fragments of the manor estate were declared a state-protected object of cultural heritage. [From the publication]