Somogyi Múzeumok Közleményei 4. ( 1981)

Nemes Takách László: Kelet-ázsiai lakkművek kémiai, technikai jellemzői és rastaurálásuk problémái

166 N. TAKÁCH LÁSZLÓ IRODALOM 1. DIVALD KORNÉL; Az iparművészet könyve II. Bp. 1912. 298. 2. BOHAĈKOVA, LIBUSE: Die Kunst Japans. 1961. Artia, Praha. 3. DR. KOVÁCS LÁSZLÓ: Lakk és festék zsebkönyv. Bp. 1962. 4. FERENCZY LÁSZLÓ: Ars decorativa I. (1973) 117. 5. FRANKE ANITA: Arbeitsblätter I. (1976) 31. 6. MORANT, HENRY de: Az iparművészet története a kezdetektől napjainkig. Bp. 1976. 83-125. 7. JEDRZEJEWSKA HANNA: A műtárgyak kiegészítésének problémái. Bp. 1979. 29. 8. N. TAKÁCH LÁSZLÓ: Műtárgyvédelem 5. (1978) 127. 9. WETERING, ERNST van de: A műtárgyak kiegészítésének problémái. Bp. 1979. 37. We call objects lacquer-ware (japanned-ware) contrary to objects simply varnished wohse „kernel" is covered with more coats of lacquer mixed With different kinds of additives during the processing. The lacquer-ware produced in the Far East and in other geographical territories differ wildly in their raw material and in their technology of production. There can be found more than ten different types of trees in China, Japan, Indo-China, India and Persia from which resinous sap can be obtained which is good for malking lacquer. The quality of the sap is very different depending on the species, the tree itself, the geographical territory and the season. In the beginning the sticky, solidifying sap was presumably used as glue. According to Chinese tomb finds lacquering existed already in the third century B. C. During the long flourishing time of this decorative art as craft the surface of buildings, bridges and gates were lacquered and from plates to smoker's sets, from combs to weapons objects with thousand kinds of purposes and uses were preserved and decorated with lacquer. Lacquer of really excellent quality can be produced from the sap of the Rhus Vernicifera D. C. The substance solidifying in the open air forms a corrosion-proof protective coating resisting the rigours of weather and also provides excellent protection against insect pests and fungoid growth. The lacquer made of it is soil id, cold resists even concentrated acids and is insoluble im water and a'lcoho'l. The main component of the sap of Rhus Vernicifera is „urushi-ol", a mixture of 3-substituted catechols with a saturated and unsaturated olefinic chain of 15 carbon atoms. The sap is a water-in-oil type latex. In the substance in dispersed water-drops there can be found solutions of poilysacdbarides wich are soluble in water. The percentage of „Rhus laccose" 10. JU KUMANOTANI-MUNEO ACHIWA-RYUICHI OSHIMA-KIMIKAZU ADACHI: International Symposium on the Conservation and Restoration ot Cultural Proverty. Tokyo 1979. 51. 11. TOSHIKO KENIO-HISAO MABUCHI: International Symposium on the Conservation and Restoration of Cultural Property. Tokyo 1979. 63. 12. GERNET, JACQUES: Kína hétköznapjai a mongol hódítás előestéjén 1250-1276. Bp. 1980. 13. ITO NOBUO-MALDA ТАШ-MIYAGAWA TORAOYOSHIZAWA CHU: Japán művészet. Bp. 1980. 14. MASAAKI SAWADA: Arbeitsblätter I. (1981) 31. 15. FERENCZY LÁSZLÓ: Japán iparművészet XVII-XIX. század. Bp. 1982. a kind of vegetable enzym in the sap is of decisive importance. During the processing the sap after being clarified from mechaniical impurities and being filtrated was poured into flat plates and stirred with sticks and dribbled for some hours. The sap in the meantime using O2 from the air in the presence of the catalyzing laccase enzym undergoes polymerization, the cateöhol becomes oxidized turning into the proper quinone partly forming dimers, partly turning into ligandum of oligomer chains, in the meantime the unsaturated chains probably become dehydrogenated and turn into pirocatechin. The possibility of forming network grows with the increase of the unsaturation of the chains. Presumably also polysaccharides play an important part in polymerization and forming network but its chemical processes have not been elucidated perfectly. During the processing prepolymerized substance was produced from the sap the quality of which was improved by different additives and different colouring lacquers were prepared by the help of colouring agents. The air in the workshops wehere lacquerware was made was damp and they generally waited for each coat to dry up and form netork for 1—2 months. The solid coating before being lacquered again was carefully emerized. Its aim was to make the surface rough. The undercoating of lacquer-ware of averagely good quality consisted of about 35-40 coats. Their structure is determined by the substance of the „kernel" which is covered by the lacquer coat as well as the type of ornament. Professional articles concentrating on the history of art name more than one hundred different lacquering techniques. Most of them, however, were named after their master or the depicted motif or some of the used substance. There can be specified about 60 kinds of techniques LÁSZLÓ N. TAKÁCH: THE CHEMICAL AND TECHNOLOGICAL CHARACTERISTICS OF LACQUERWARE FROM THE FAR EAST AND THE PROBLEMS OF THEIR RESTORATION