Szilágyi András (szerk.): Ars Decorativa 16. (Budapest, 1997)
ASZTALOS Zoltán-KELÉNYI Béla: Egy mongol rituális táncmaszk restaurálása
I placed it in a glass container for forty-eight hours. Disinfenction was followed by mechanical cleaning. I did this in such a way as not to damage the various peeling layers. Cleaning involved no chemical intervention, and I removed dead insects from their runs using an anatomical needle and a hand-operated vaccum pump. I secured the peeling layers of paint to the base surface using 5 per cent gelatine solution. Gelatine was chosen because over time the whitened primer, and in places the paper visible from underneath, should change as little as possible in colour and composition. To strengthen and consolidate the material of the base I used warm gelatine plus 0,5 per cent alcohol plus sterogenol solution, 19 which, with the help of a syringe, I injected into the artefact by way of the insect runs. Aesthetic restoration began by sticking back the broken-off ear part; this I did using an Araldite AW106-type, two-component synthetic resin. Admittedly, this glue makes an permanent (moderately soluble in special solvents) bond, but it was necessary that the join be strong since the heavy earring had to be fastened to it. For the augmentation work I mixed 4 per cent methyl cellulose with shredded paper and with very small pieces of cotton. 20 I then placed the material on the artefact layer by layer, following the traditional technique used in making such masks. 21 1 substituted an infra-red lamp for the sun's warmth when drying each new layer. 22 After putting on the pulp, I pressed together the layers with a restorer's iron. On the last layer underneath the paint I placed japan paper cut to measure, thus achieving a smooth surface adjusted to the artefact. Replacement of the missing layers of paint I held to be warranted from the point of view of making the mask uniform. The priming I performed with bologna chalk, which I touched up with aquarelle. Owing to the repeated repaintings, the original paint layer was not uncovered. This was primarily because during a possible subsequent intervention, additions will presumably have to be remvoed, and secondly because the aim was to preserve the fabric of the mask. During the restoration we took into account the fact that the repaintings were part of the history of the artefact, since it probably repainted again and again before each new ritual. After the aesthetic restoration was finished, I coated the additions with protective aquarelle varnish. After drying and after the crown parts had been put back, the mask was in its post-restoration state. (Z.A.)
