Documentation of object
ARCLG142: Issues in conservation:
understanding objects
Course co-ordinatior: Renata Peter
2015-2016
Essay No. 1
LZKY9
Date: 31/3/2016
Word count: 3922
1. Introduction
The nature of the objects we conserve is interesting. To better conserve them, we need to know the ways in which the objects are made, regarded and used. The condition and the significance of the objects are also helpful in modern times. The object of mine is as shown in the picture. It was made of unique techniques far in South America and the Indonesia. In this essay I will make a comprehensive description for this object using the professional knowledge that I have learned, including raw materials, manufacture methods, the size, the color and so on. Then I will explain the significance of this object from the dimension of history, art and craft, culture, technique, aesthetic concern and etc. Next, I will make assessment of condition for both the overall condition and every specific part. This record will help to know more about the situation of conservation and help the preservation work in the future. The last part of this paper is a reflection, critical thinking and rethinking for my own efforts.
2. Description of object
2.1 Raw material
The raw material of this object is woven fabric. Ancient woven fabric objects usually used the animal fiber as raw material including wool, camel hair, horse hair, yak hair, rabbit hair, feather and so on. Wool was the main stream raw material at that time. What kind of specific woven fabric does this object belong, however, have yet to be identified.
2.2 Construction
The construction of objects refers to the warp and weft. This object, through preliminary analysis, was identified Tabby (Fr. taffetas, toile; Ger. Leinwandbindung; It. tela; Port. pano; Sp. plana,tela; Sw. tuskaft, lärftsbindning; Ch. 平纹) .
Fig: Textile Structure----Tabby
Basic binding system or weave based on a unit of two ends and two picks, in which each end passes over one and under one pick. The binding points are set over one end on successive picks. Balanced tabby with warp and weft is equal in weight and spacing. The relationship of spacing and weight in a tabby can vary from a completely warp-faced material to one in which nothing but the weft is visible.
Extended tabby: Tabby in which warp ends or weft picks, or both, move in groups of two or more. The warp is not visible too.
(Fr. louisine, natté; Ger. Panamabindung; It. Luisina, gro; Port. panamá; Sp. panama; Sw. panama; Ch. 重组织) (Burnham, D. 1964. 139)
Fig: Textile Structure---- Extended tabby
2.3 Size
2.3.1 Dimensions: length: 56cm, width: 39.5cm
The specific size has been as shown in the picture above
The size before stitching is 120*57 square centimeters
The width of the decorative unit is 11 centimeter.
2.3.2 Central part (dark brown and light brown part):
Weft density：16 pieces /cm
warp density：24pieces /cm
2.3.3 Rim part (black, red and yellow part):
Weft density：16 pieces /cm
warp density：32 pieces /cm (The density of the edge part is greater, which makes this object stronger and more durable.)
Fig: weft and warp density
2.3.4 Shape: rectangle
Made from the whole piece of big rectangular textile. Both sides had been stitched together into small rectangles.
2.3.5 Stitches:
Stitch methods
The methods of stitches are various and changeable, consisting of the beauty of the woven fabric and stitches. Common stitch methods include running stitch, hemming stitch, basting stitch, catch stitch, slip stitch, back stitch, overcast stitch and invisible stitch. The details has been shown in the picture above.
In this object, the stitch method is identified as hemming stitches. From this side of the object, the stitches are not that obvious. But it is still there instead of being invisible.
2.4 Color
The main colors of this object are black, red, yellow, light brown and dark brown. The dominant colors are light brown and dark brown. Red is a bright decorative color in this object. From the edge to the inside of the object are the red; Yellow (due to the lower edge of the stitched to the inside, so the red and yellow edge is not visible). Black; Yellow, red, black and white stripes; Dark brown light pattern; Black; Yellow, red, black and white stripes and the center part of the dark brown light pattern.
2.5 Dyeing
The dyes and dyeing methods used in Indonesian textiles are special because on the one hand "the outside observer has not been able to identify all components that go into the process" (VanStan, 2016, pp.14-15) and on the other hand the dyeing process itself relates to the religious beliefs. The ingredients of dyes are mineral pigments such as ferruginous mud and soot and coal; animal products and etc.
The colors in this objects, according to the paper named A Peruvian Ikat from Pachacamac, are dyed from the following ingredients. Red is a popular color for fabrics, but the dyes used for are various. Some reddish wood, bark, or root is used. Yellow is "achieved by using either Curcuma(turmeric) or Corthamus tinctorius (safflower)". (VanStan, 2016, pp.14-15) The dark or deep brown was dyed similarly to the red color.
The dye methods are pretty traditional of the object. It was sized before dyeing. Then boiling of the extract was used to prepare for the fibers for the dye bath. It was time-consuming to dye, stretch, and dry in the textile production.
2.6 Methods of manufacture:
The manufacture method of this object is to use the machine, the body-tension loom. This kind of machine is used to weave the fabrics. This method was very popular among the whole eastern Indonesia and South America. Loom is a traditional simple mechanism to produce cloth or other stuffs. Body-tension Looms are portable, generally including warp beam, cloth beam, back strap, heddle rod and string heddle, shed stick and sword. Sword is the most important part. The first step was to set up the warp while the second one was to warp with string heddle, heddle rod, and shed stick. This step including setting up for tabby weave and setting up in preparation for Ikat. Then, the next setp is to stroke the warp. (VanStan, 2016, pp.14-15)
Another manufacture method in the whole process is Ikat. Ikat, according to The Oxford Essential Dictionary of Foreign Terms, refers to "a fabric made using" an Indonesian technique of textile decoration in which warp or weft threads, or both, are tied at intervals and dyed before weaving." (Oxford Dictionary, 2016) It was called "endek"and "gerinsing" in Indonesia, "asab" in Arab, and "patola" in north India. It was popular in India and Indochina. Ikat includes weft ikat, double ikat and warp ikat. It not only refers to the fabrics, but also refers to the manufacture method of this kind of fabrics that employs a resist dyeing process before dyeing and weaving the fabric.
3. Significance
Firstly, this object is unique because of the technique. It is difficult to find a same one with this object. The charm of the Ikat lies in that in most techniques, the patterns were added into the cloth. In dyeing, printing, and embroidery manufacture methods, the cloth is the basis for the pattern. The Ikat technique, however, is different from the methods above. It is fantastic that the patterns lies in every thread. Before weaving, they dyed every piece of the threads. Then these threads were arrayed into the cloth. It is the dyeing process before the weaving. Given this unique method, there are slight and subtle displacement on the final work. Thus, the fading away fuzzy and vague edges have been formed with a beauty of random.
Secondly, the aesthetic value of this object is great. As mentioned above, the beauty of vagueness and the beauty of random on this object attract many people. There are a little bit of subtle differences in this object. If a person loves to savor the secret behind it, he or she will never tireless. The colors and patterns on the object themselves are very beautiful. We can infer the aesthetic taste of local people at that time. The beauty never fades away with time. So does the beauty on this object.
Thirdly, the significance of this object lies in the efforts behind it. Since Ikat is a extremely time consuming and hard work, it is less and less in the world. Every piece of work created by this method is rare and valuable because it is really difficult and hard working to finish this object. In fact, the more simple design is more difficult because it must be accurate. The simple patterns are easily to identify when there is an error. The traditional works and techniques are really of synergy. As we can see from the picture, the pattern of this object is really exquisite and complicated. The great efforts from the Crafters and the artists are really amazing, which gives more significance for this object.
Fourthly, this object is of vital importance in the field of art and crafts. We can identify the development and history of this traditional manufacture method and study how this method was applied into this object. Thus, it reflected the manufacture techniques in the best way because it is the product of the craft technique.
Finally, the historical and cultural values of this object make it more significant. Every craft, object, or antique reflects the aesthetic demands behind it. This one is no exception. From this object, we can seek for the preference of that era and age, as well as the cultural taste at that time. For example, the Falls and Smith mentioned that “A handful of scholars have recently pioneered a critical inquiry into the role and character of textiles in Cambodian history”. (Falls and Smith, 2016, pp 257) Also, some philosophical ideas behind this craft will give the later viewer more information. Because every object was a pursuit for beauty. Moreover, through the identification of the raw materials, we can learn more about the customs and practices at that time, sometimes the living standard or living situation in where the object was found. On other hand, we also know about the manufacture methods at that time.
4. Assessment of condition.
4.1 The overall condition of the object;
The preservation of this object is good and intact. There is no obvious flaw. This object is generally of its original appearance so that the further study and researches are provided convenience.
4.2 Condition of its structure, surface and decoration
Fig: a profile of the object:
Fig: interior
Fig：exterior
Fig: size
(Fig1 profile add annotations①②③④ layers Fig3 add annotations)
The first part: lines on the left side of the edge have all crushed and threads left there. There are slightly folds on the margin. The overall situation is good. The color is bright and the decorative patterns are clear. The preservation is good. The middle part of front side of this object have been slightly faded. The back side of the object, apart from the margin side, has been seriously faded and full of dust.
The second part: the over preservation is intact. Colors remain bright. In the margin part, however, all threads have been worn out. There are remained threads and the heavy folds. The front side and the back side are the same.
The third part: margins of the upper side are intact and good, no obvious phenomenon of off-line. There is no obvious fold on it. The preservation is really good. The front side of it is bright-coloured while the decorative pattern is clear. The back side of it has some fading phenomenon with some dirt.
The fourth part: the upper edge of it suffered heavy off-line phenomenon, and have worn traces. There is no obvious fold. The preservation is intact. The front part is bright-coloured, and decorative pattern is clear. With dirt on the back side, there is fading phenomenon.
(The front side is the externally exposed part while back side is not visible in the internal part.)
The bottom: this part has been well preserved with the dense and stong stitches. There is no off-line phenomenon, basically. The dust accumulation of internal part at the two angles are very serious. The bottom of the border between Part3 and Part4 has label. One side was written provenance "S. America Peru" while the other side recorded the number and function "I.25 Cloth".
4.3 Identification of any previous treatments and their current success/ stability/ suitability
There are sewing marks and stitch traces on the left part at the front side of the first part. But the usage still remains unknown.
Changes in condition since earlier examination/report/photograph (if in existence);
N/A
4.4 how the object’s current condition relates to possible future action
Current situation：white papers in the drawer ; wrapping paper: preserved by the parcel
Future action：museum exhibition or store in the museum. Better store in museum, because it is not so value and old in whole Ikat remains.
5. Proposal for preventive conservation.
5.1 Cleaning:
Buried long, the relic fades severely and its color can hardly be recognized. Even though, before cleaning, a decolonization experiment should be conducted. First, prepare distilled water, a cold cup and a warm cup, and press the relic slightly with a soaking cotton swab. No wiping because the tough surface of the swab can easily affect the silk shine, resulting in raw edges. Then remove the cotton swab. If the swab isn’t dyed, the relic won’t decolour. Neutral cleaning agent can be adopted to deal with the pollution of the relic.
Wrap and fix the wrinkled marginal ribbon scattering around with proper sized habotai, avoiding further tearing with the water current wobbling. Put respectively a pure white habotai under and on the relic, and roll the silk textile inward evenly on a cylindrical rod. Then put them wholly into cleaning pit and unroll the white habotai along with the brocade. From one side of the relic, add enough deionized water until submerged; then press them with hands gently and shake to accelerate swamping and water flowing between the rips to clean up weakly attached pollutants. Finally, along the rip, clean the habotai with a pastry brush, for one thing, to protect the silk shine and for another, to prevent the rips extending further in the cleaning process.
Prepare neutral cleaning agent containing active enzyme. Though the agent is neutral and with active enzyme, a high concentration of the enzyme can destroy the relic. Therefore, mix the cleaning agent and active enzyme, at the proportion of 1:1, with deionized water to protect the relic from direct contact with chemicals. Drain the pit and add new deionized water until the bottom is submerged. Using a pastry brush soaked with cleaning agent, clean the relic through brushing the habotai. After cleaning, rinse the remaining agent with deionized water repeatedly, during which process, press well around the habotai with lead. Don’t damage the relic further for water current. Rinse until the ph value is 7; then drain the water in the pit. Roll the relic with a rod and dehydrate it.
5.2 Arranging the shape
Spread out a plastic cloth on a table to segregate water. Unroll the relic together with the habotai on the plastic cloth; put filter paper and cotton cloth on the habotai; press the surface slightly. Replace the filter paper repeatedly to absorb the remaining water and control the moisture to half-dry state. Following the law of the meridians and wefts, arrange the silk strings released from the textile pattern and the margin. With needle and forceps, rearrange wefts of the crossing rips in order because though the meridians were broken, many wefts remain. Rearranging the wefts can hide the rips and strengthen the completeness of the relic, which is helpful for the ornamental patterns restoration. After the rearrangement, control drying speed; spray water to the spots where the dehydration goes too fast. Assure the room temperature at 16℃ to avoid the moist relic molding. Don’t dry up or dehydrate the relic too fast, because if so, the silk strings will be aged and broken.
6. Photograph(s), sketch(es) and/or diagram(s) of object
Fig: front view
Fig: back view
Fig：micrograph
Fig: The front of the label
Fig: The back of the label
Fig:colorful obverse
Fig:Internal faded badly
Fig: The bottom edge to take off the line
Fig: Overlap unit design
Fig: object margin
Fig: Stitching at the bottom of the part
Fig: The bottom corner of the label
Fig: Mended traces But purpose is unknown
Fig: Bare parallel
7. Evaluate completed condition assessment and statement of significance.
It is important to compose a statement of the significance for objects before conservation. The reasons are as follows. To understand the significance of the object itself is valuable. First, if something is worth to be well conserved, then it is valuable and of vital significance. The objects themselves have significance. Secondly, to understand the significance of the objects helps us to conserve them in a better way.
To approach the writing of the statement of significance, I firstly seek for information reflected through the appearance of the object. Then I would like to get more information from the Internet or books about it, and about the manufacture method, about the raw material and so on.
Different people might value the same object in different, sometimes conflicting ways because their roles are different, such as artists, collectors, the merchant, the museum, ordinary people and etc. They grow from different backgrounds and their social positions are various. From all walks of life, sharing different interests, they treat the objects differently.
My object is a special fabric from Indonesia using the unique dyeing techniques. Firstly, it has long history, which means the historical value is great. Next, the special manufacture method of this object is unique and famous for the religious rites during the manufacture process. Potential stakeholders are those who are interested in fabrics, cloth, and history or customs in Indonesia.
From a personal point of view, rethinking and writing about the significance of the objects help the stakeholders to know more about the objects. Then they might know how the object values to them and what cost they would like to bear to own this object. If the objects belong to who really love them or who really need them, I think these objects will be better preserved. If a stakeholder who do not know about the value of the objects or who cannot fulfill the potential of the objects, then the objects will not be well protected as in the owners’ hands who really cherish the objects. In addition, knowing about the significance of the object helps to preserve the object with target. For example, an object with religious value and little historic value, then the stakeholders should focus on the religious significance of the object. Thus, both writing about the significance before conservation and better understanding the stakeholders affect the methods preserving objects and the extent for conserving them.
8. Online documentation of object
Raw material
The raw material of this object is woven fabric.
Construction
The construction of objects refers to the warp and weft.
Extended tabby: Tabby in which warp ends or weft picks, or both, move in groups of two or more. The warp is not visible.
Size
1. Dimensions: length: 56cm, width: 39.5cm
The specific size has been as shown in the picture above
The size before stitching is 120*57 square centimeters
The width of the decorative unit is 11 centimeter.
2. Central part (dark brown and light brown part):
Weft density：16 pieces /cm
warp density：24pieces /cm
3. Rim part (black, red and yellow part):
Weft density：16 pieces /cm
warp density：32 pieces /cm (The density of the edge part is greater, which makes this object stronger and more durable.)
4. Shape: rectangle
Made from the whole piece of big rectangular textile. Both sides had been stitched together into small rectangles.
5. Stitches:
In this object, the stitch method is identified as hemming stitches. From this side of the object, the stitches are not that obvious. But it is still there instead of being invisible.
Color
The main colors of this object are black, red, yellow, light brown and dark brown.
Methods of manufacture:
The manufacture method of this object is to use the machine, the body-tension loom. This kind of machine is used to weave the fabrics. This method was very popular among the whole eastern Indonesia and South America.
Significance
Firstly, this object is unique because of the technique. It is difficult to find a same one with this object. Secondly, the aesthetic value of this object is great. As mentioned above, the beauty of vagueness and the beauty of random on this object attract many people. Thirdly, the significance of this object lies in the efforts behind it. Since Ikat is a extremely time consuming and hard work, it is less and less in the world. Fourthly, this object is of vital importance in the field of art and crafts. Fourthly, this object is of vital importance in the field of art and crafts.
The overall condition of the object;
The preservation of this object is good and intact. There is no obvious flaw. This object is generally of its original appearance so that the further study and researches are provided convenience.
Condition of its structure, surface and decoration
(Fig1 profile add annotations①②③④ layers Fig3 add annotations)
Identification of any previous treatments and their current success/ stability/ suitability
There are sewing marks and stitch traces on the left part at the front side of the first part. But the usage still remains unknown.
Changes in condition since earlier examination/report/photograph (if in existence);
N/A
Fig: a profile of the object:
Fig: interior
Fig：exterior
Fig: size
Fig: front view:
Fig: back view
Fig：micrograph
Fig: The front of the label
Fig: The back of the label
Fig:colorful obverse
Fig:Internal faded badly
Fig: The bottom edge to take off the line
Fig: Overlap unit design
Fig: object margin
Fig: Stitching at the bottom of the part
Fig: The bottom corner of the label
Fig: Mended traces But purpose is unknown
Fig: Bare parallel
9. Conclusion
Through the reflection for myself, and the thinking for this project, I found that to write about the significance and to analyse the stakeholders really helps to better preserve the object. This not only requires us to have qualified and sufficient knowledge for the object we identify, but also requires the experience to know what different stakeholders are thinking.
References
1. I. VanStan. (1957). A Peruvian Ikat from Pachacamac.Society for American Archaeology. Vol. 23, No. 2 (Oct., 1957), pp. 150-159. Published by: Society for American Archaeology
2. F, Susan and S, Jessica. (2016). Branding Authenticity: Cambodian Ikat in Transnational Artisan Partnerships (TAPs). Journal of Design History.Vol. 24 No. 3, pp 255-271.
3. J, Hichet. (2010) Incomparable Ikat. Middle East, Mar 2010, Issue 409, p.63
4. C, Buckley. (2012) Investigating Cultural Evolution Using Phylogenetic Analysis. PLoS One, Dec 2012, Vol.7(12) [Peer Reviewed Journal]
5. G, Reichel‐dolmatoff. (1957) On the Discovery of the Ikat‐Technique in Colombia, S. A. American Anthropologist, 1957, Vol.59(1), pp.133-133 [Peer Reviewed Journal]
6. H, Wang. (2005) Exploratory study of the origin of the ancient Ikat dyeing technique and its spread in China. Journal of The Textile Institute, 2005, Vol.96(2), p.105-108 [Peer Reviewed Journal]
