Deivės Nut žynės Udžarenesės sarkofago dangčio tyrimai ir restauravimas
LTStraipsnyje pristatoma doc. dr. Marijos Rudzinskaitės-Arcimavičienės (1885–1941) Senovės Egipto kūrinių rinkinio kaupimo ir saugojimo istorija. Supažindinama su deivės Nut žynės Udžarenesės sarkofago dangčio, saugomo Nacionaliniame M. K. Čiurlionio dailės muziejuje, medienos ir dažų sluoksnio būkle prieš restauravimą. Aprašomi atlikti mikrocheminiai, instrumentiniai polichromijos tyrimai, aptariamos restauravimo užduotys ir problemos, medžiagų parinkimas ir pats restauravimo procesas. Apibendrinami restauravimo darbų rezultatai. [Iš leidinio]Reikšminiai žodžiai: Egiptologija; M. Rudzinskaitė-Arcimavičienė, B. Turajevas, G. Lukjanovas, Egipto senienų kolekcija, deivės Nut žynė Udžarenesė, sarkofago dangtis, hieroglifai, sarkofago tyrimai, restauravimas; Meno kūriniai; Restauravimas; Sarkofagai; Senovės Egiptas; Ancient Egypt; B. Turajev; Collection of antiquities of Egypt; Cover of sarcophagus; Egyptology; G. Lukianov; Goggess Nut; Hieroglyphic; M. Rudzinskaite-Arcimaviciene; Researchs; Restoration; Sarcophagus; Sorceress Udzarenese; Work of art.
ENLarge collection of Ancient Egyptian treasures is kept in the M. K. Čiurlionis National Museum of Art. Number of valuable objects in it was increased by historian Marija Rudzinskaitė-Arcimavičienė (1885–1941) who accumulated a considerable set of Egyptian antiquities. In 1936 the sarcophagus lid, dated to the 7th century BC, was for the first time mentioned in the scientist’s collection. Sarcophagus has anthropoid shape and is made out of boards of sycamore fig (Ficus sycomorus), interconnected by plugs of an unidentified plant. It is painted with symbolic scenes and hieroglyphs from both sides. Inscriptions suggest that priestess of the goddess Nut, Desmont’s daughter Udjarnes should have been buried in sarcophagus. After clay between boards crumbled, parts of sarcophagus loosened and its structure became unstable. Layer of paint and primer in places was detached from wood, began crumbling. Wood in places became soft, was partially crumbled or damaged by pests. The surface was covered in dust and dirt. As a result, it was necessary to restore the sarcophagus. Using complex methods of microchemistry, optical microscopy and instrumental analysis, painting materials were identified, their structure examined, and technological features of the object described. Polychrome on the inner and outer sides of sarcophagus lid differs. Therefore, each side had to be restored by different methods and with different materials, chosen after detailed research.Painting on the outer side of sarcophagus was done on the linen canvas glued to wood with gluten glue. Coated with beeswax painting was sufficiently strong. During restoration loosened fragments of canvas was glued to wood with calf leather glue. A weak solution of it was also used for the removal of dust and dirt on the surface of painting. Surface of polychrome on the inner side of sarcophagus was matte. Accordingly, requirements for fixing materials were to keep optical properties of the surface of polychrome as well as to reinforce wood, as well as layers of paint and primer optimally. The paint was sensible to water; therefore, aqueous solutions were rejected. Cellulose ether Klucel GF and mixture of organic were selected because by nature it is very similar to the gum arabic, binding material of sarcophagus’ polychrome. Polychrome and surface of wood was reinforced; primer together with paint was glued to wood. Neither colour intensity nor matte changed. However, tar stain on the figure which has penetrated into paint could not be entirely removed. [From the publication]
