Suitability Study of Thick Application Techniques and Materials Used in Modern Nihonga

• Main Authors: Mei-Nan Lii, 李南楠
• Other Authors: Tsai, Fei-Wen
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/s6hzc8

碩士 === 國立臺南藝術大學 === 博物館學與古物維護研究所 === 105 === Traditional art Nihonga was from Japan to Taiwan, it had influenced by Japan and the West in recent years. The materials and techniques are also diversified development. There are many artists using new type materials and techniques in their creating works, but the number of conservation’s literatures or studies is very limited. Therefore, the main purpose of this study was to explore the applicability of such materials and techniques. In order to evaluate the materials and techniques of Modern Nihonga for conservation, the study used pigment of heap high, Gofun, Pumice and Crystal end as study objects. We added three kinds of surface pigments: Man-made gungo no.11, Man-made gungo (white), and Ohdo. To assess the applicability of such materials and techniques, we compared findings of different samples. The experimental procedure includes literature review, questionnaire survey and make the sample from consolidated data, and make accelerated aging. To explore the impacts of accelerated aging, this study employed scientific analysis by microstructure, optical and physical. After the experiment, three kinds of surface pigment have non-significant difference in terms of gloss and smoothness. Another aspect of heap high pigment, Gofun has structure destroyed, pigment becomes coarse, but the final adhesion is better than Pumice and Crystal end. In conclusion, although three kinds of pigments were found to have their own strengths, Gofun is slightly better on stability, which is thought to be irreplaceable as heap high pigment.