Nedegto molio skulptūrėlių iš Šiaulių „Aušros“ muziejaus rinkinių restauravimas

LTLietuvos muziejuose nedegto molio skulptūros sudaro labai nedidelę rinkinių dalį; daugiausia tai tautodailininkų lipdiniai, patrauklūs betarpiška menine išraiška ir savita technologija. Šiaulių „Aušros“ muziejaus rinkiniuose saugomas tautodailininkės Julijos Vilkaitės-Markienės (1897–1968) nedegto molio skulptūrėlių ciklas ,,Linų apdorojimas“. Šios tautodailininkės unikalūs kūriniai atspindi kaimo žmonių pasaulėjautą, papročius ir buitį. Linų auginimo tradicijos Lietuvoje siekia kelis tūkstantmečius. Linai lietuvius rengė, maitino, gydė bei telkė bendram darbui – jų motyvas lietuvių kultūroje gana dažnas.

ENIn its collections, Šiauliai Aušros Museum has a series of unfired clay statuettes by Julija Vilkaitė-Markienė (1897–1968), entitled Linų Apdorojimas (Flax Production). In 2018, four sculptural compositions by J. Vilkaitė-Markienė were brought to the Lithuanian Art Museum Pranas Gudynas Centre for Restoration ceramics workshop: Arimas (Ploughing) (inv. No. ŠAM D-K 712), Pakulas Kedena (Tousling the Oakum) (inv. No. ŠAM D-K 701), Virvę Veja (Braiding the Rope) (inv. No. ŠAM D-K 699) and Žlugtą Skalbia (Doing the Laundry) (inv. No. ŠAM D-K 711). The artist created the statuettes from brown clay with a wire frame inside. After the clay dried, she coloured the pieces in polychrome oil paint. The exhibits where brought in for restoration due to multiple instances of mechanical damage: most of the thinnest parts of the sculptural compositions are broken as well as base plates, some parts of the figurines have snapped off and the clay material has crumbled in many places. The oil paint is adhering to the clay rather well.Before choosing the restoration method and materials, physical and chemical examinations were carried out. An X-ray examination revealed the internal wire frame and helped evaluate the state of the pieces more precisely. Examinations of the clay matter, the fibres found within in, polychrome pigments and binding agents used in the statuettes have been carried out using the methods of micro chemical qualitative analysis, infra-red (IR) spectroscopy and morphological analysis. During the examination, additives in the clay were identified – chalk, protein-based glue, sand and fibres. These additives gave strength to the clay pieces. An ethyl alcohol solution of polyvinyl butyral (PVB) was chosen for gluing the cracks. Putty for recreating lost parts and smoothing out seams was created from fine dry unfired clay powder with sand and flax fibre additives, mixed with an ethyl alcohol solution of PVB. The restoration material bonded well with authentic clay. Restored fragments were retouched with watercolour and tempera. The statuettes were finished in synthetic microcrystalline wax. Restored figurine compositions regained their initial appearance and became much stronger.When restoring museum pieces, especially on reverse sides, restorers sometimes find imprints and pieces of materials that were used by the artists as aids in the technological process. A piece of newspaper was found stuck under the base of the sculptural composition Arimas (Ploughing). It was removed and restored. Under the unfired clay base of another museum piece at Šiauliai Aušros Museum, a sculptural composition entitled Kas Nedirba, Tas Nevalgo (He Who Does Not Work Neither Shall He Eat) (inv. No. ŠAM D-K 721) by Valerija Dauginienė (born 1925), an imprint of text in a school notebook was found, written in blue ink. Such findings provide additional information about the artists’ creative environment and working conditions. In Lithuanian museum collections, unfired clay sculptures comprise only a very small part, mostly being works of folk artists. When returning restored sculptures to museums, it is important to remind them of recommendations on safekeeping, to ensure that these pieces, made from such a fragile material, survive for as long as possible.