Thu, Jun 2, 2022
The repair work of the Kamakura-period masterpiece painting “Raigo of Amida (Amitabha) and Twenty-five Attendants” — otherwise known as “Hayaraigo” — began in the spring of 2019 and saw its completion in March 2022. Looking back on the three-year work process will give us an insight into how conservation, involving a number of conservators and craftspeople, is practiced in Japan.
The well-known Buddhist painting (late 13th century-early 14th century) is a government-designated national treasure owned by the Chion-in temple in Kyoto and entrusted to the Kyoto National Museum, where the repair work was conducted. Nearly square-shaped (1.45 meters by 1.55 meters), it features a detailed representation of Amida (Amitabha) and a retinue of saints descending on clouds to receive a dying person, who is reciting a Buddhist invocation in the hopes of entering paradise.
The repair work of “Raigo of Amida (Amitabha) and Twenty-five Attendants” was supported by the Tsumugu Project (a joint initiative of Japan’s Cultural Affairs Agency, Imperial Household Agency and national daily newspaper The Yomiuri Shimbun). The project, since 2019, has been using a part of the proceeds from the art exhibitions it hosts to help conserve the nation’s artistic treasures.
The first repair since 1934 was conducted at the Conservation Center for Cultural Properties inside the Kyoto National Museum. The repair work comprised several tasks: Preventing the peeling of paint; cleaning the surface of the painting; renewing the hadaura-gami backing paper supporting the main silk where the work is painted on; and making over the mountings.
The difference was obvious when the repair was over. The background of the painting, which was quite dim before the repair, was now much brighter. The pale blue color of the water and the strong representation of the mountain surface was much more articulate.
The drastic change is due to the renewed hadaura-gami. A layer of a substance resembling heavy mud had been sticking on to the back of the main silk, but nothing had been done about that when the last repair was conducted nearly 90 years ago. The dark layer seen through the silk was what caused the dim background.
This time, the old backing paper was removed and replaced with a new one of light brown color. The old paper was dampened with a wetted brush, then massaged and removed with tweezers. The arduous task took about three months to finish.
Once the old backing paper was removed, images were taken from the back of the painting using a microscope camera, infrared light and fluorescent X-rays for analysis. A chance like this to closely observe the painting comes around only once in a century. The pigment and rough sketch were scrutinized before applying two new layers of backing paper to the main silk.
Paintings on silk or paper will inevitably deteriorate over time and develop cracks and creases. To mend the cracks and creases, thin strips of paper three millimeters in width are pasted over them with tools that resemble a spatula.
The mounting cloth to frame the main silk was newly made. It was attached along the edge of the painting after extra backing paper was applied to it and the main silk so they would level with each other. Backing was applied overall twice more to firmly support the painting.
New silk, intentionally deteriorated to match the tenacity of the old silk, was used to fill holes found in the main silk. Supplementary coloring made the new silk blend in with the old.
Conservators worked carefully to prevent the mended part from standing out too much. But they also had to make sure the added silk stays noticeable for later generations. The balancing act was toilsome. Special care was taken when they colored the mended part of Amida’s cheek.
A box to store the hanging scroll was newly made as part of the repair work. Heretofore, the hanging scroll will be kept in the box and protected under appropriate temperature and humidity. The overall condition of the hanging scroll will be inspected every few months.
Using infrared light, researchers managed to visualize the rough sketch in black ink underneath the pigment. By analyzing the sketch, it was learned that the painting was very faithful to the original plan, which likely means that the composition was carefully planned from the very beginning. Although the artist remains unknown, experts now believe that the painting was produced by a master painter in Kyoto.
Furthermore, it was learned that the golden Amida was painted white on the back, which suggests that the painting was produced using a rather old technique. Experts are now speculating that the painting was produced in the late 13th century-early 14th century, which is somewhat earlier than was presumed.
The gold brocade used as mounting cloth to frame the painting was made anew by conservators involved in the repair. To re-create the texture of the ancient past, plant dye was used to color the silk for a mottled finish.
Uneven strips of gold leaf were used to make the gold thread in the embroidery. According to a fabric wholesaler involved in the repair work, makers of gold thread have become scarce in number. Without the expertise, conservation efforts with regard to cultural assets would be unsustainable.
Metal fittings on the roller knob of the hanging scroll were also made anew. The custom-made arabesque openwork is a thing of beauty.
The arabesque pattern is based on designs found on keko flower baskets used to scatter flowers in Buddhist rituals. The back was plated with silver in hopes that in a hundred years from now, conservators will change the silver plate, which will tarnish over time, but keep using the main part.
(From The Yomiuri Shimbun and other sources)
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