Műtárgyvédelem, 2004 (Magyar Nemzeti Múzeum)
Összefoglalók
solvent after mild vacuum cleaning. The missing parts of the lining were completed with a simple cloth dyed to a colour similar to the background colour of the fabric. The completions were cut larger than necessary so that they could reinforce the weakened lining around the holes. They used starch to fix the textile lining back to the wood. LENDING, COMPROMISE, CONSERVATION Katalin E. Nagy - Anikó Pataki - Márta Tóth The Asia Society and Museum of New York organised an Islamic Conference and a large exhibition in 2003 under the title “Hunt for Paradise: Court Arts of Iran, 1501-1570”. On this occasion, they asked the Museum of Applied Arts to lend the so-called Persian applique to the exhibition. This textile is one of the prominent representatives of the Iranian art, which is preserved in the Textile Department of the Museum. The silk applique came from the time of I. Tahmäsb (1524 -1576) the second ruler of the Safavide dynasty (1501-1722). Its function and the exact time of its production is still an unsolved problem. The applied silk embroidery was injured during World War II. From 1949, it was preserved in the store-room of the museum and its extremely poor condition did not afford either exhibition or transportation. Methodical Iranian art historical studies could not develop in Hungary in the decades after the war as they did in other museums with large collections. Hungarian scientific publications on the piece of art represented diverse approaches regarding both the style and the technology. We lent the object in the hope that the distinguished foreign specialists of Iranian art history who arrive at the conference in New York can help us in the determination of the age of the unique silk .artefact. The museum that borrowed the item guaranteed that the textile would be exhibited in an environment that satisfies the most up-to- date demands of the protection of art objects. The textile restorers of the Museum of Applied Arts were charged with the task of bringing the large art object, which was difficult to handle and raised a number of problems regarding its restoration, into a condition that allowed its exhibition. The time allotted for this endeavour was too short to elaborate a conservation method for the treatment of the entire object. A solution was find which worked with the least compromise and, at the same time, secured that the transportation and the exhibition would not damage the object. In the introductory part of the article, we describe the court scene depicted in the picture field of the textile, the ornaments of the borders and the latest results of art historical research.Then we describe the production technology of the Persian applique, the condition after World War II and the history of the partial restorations between 1952 and 62. 156
