Adam Macklin, UvA, 2018 1
MA Conservation and Restoration Programme Book and Paper Specialisation
Master’s Thesis
*
What are the symptoms and causes for mechanical damage to multi-layered
scrolls and what can be done to prevent and treat them?
Adam Macklin 11353899
Supervisor: Elizabet Nijhoff Asser (UvA) RCE contact: Bill Wei (RCE)
Adam Macklin, UvA, 2018 2
Table of Contents
Abstract
4Abstract in English 4
Abstract in het Nederlands 5
1. Introduction
62. Context and Literature Review
82.1 Scrolls 8
2.2 Mechanical forces of scrolls 12
2.3 Materials 15
- Paper 15
- Parchment 16
- Silk 16
2.4 Cultural context of scrolls 16
2.5 Mechanical damage symptoms suffered by scrolls 19
2.6 Conservation treatments for mechanical damage 21
3. Method
253.1 Terminology 25
3.2 Mechanical Damage Terms 30
3. 3 Survey Method 34 Introduction 34 Motivation 34 Selection of scrolls 34 Survey methods 35 3.4 Models Method 36 Introduction 36 Motivation 36
Selection of materials and styles 36
Method of making the models 37
4. Results
39 4.1 Survey results 39 Folds 40 Planar Distortion 43 Parallel tears 45 Edge damage 47 Model results 495. Discussion
51 5.1 Folds 51 5.2 Planar distortion 56 5.3 Planar tears 57 5.4 Edge damage 59 5.5 Esther scroll 61Adam Macklin, UvA, 2018 3
6. Conclusion
65Acknowledgements
66Annotated Bibliography
67Appendices
701. Glossary of terms & mechanical terms 70
2. Database of survey 73
3. Reference for the survey 82
All figures or photos used herein are drawn or taken by Adam Macklin, if not referenced. *Cover Photo; detail of Gods of Longevity with Attendants, CBLC1222 © The Trustees of the Chester Beatty Library, Dublin.
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Abstract
This thesis for the Masters in Conservation and Restoration in the Book and Paper specialization will investigate the symptoms and causes of mechanical damage in multi-layered scrolls. Through the analysis of an international survey of scrolls and the building of models, this research will not only further our understanding of the structure of scrolls but also provide guidelines for handling, storing and displaying scrolls. The prime motivation for this study was an Esther scroll in the collection of the Jewish Historical Museum. This scroll is made from parchment and sewn to a silk backing. The parchment has been cut into to, leaving pictorial depictions of the story of Esther in the parchment. On permanent display, it shows mechanical damage including folds, planar distortion and edge damage. Despite its unique structure, as a multi-layered scroll it presents the same symptoms of mechanical damage that is present in Chinese and Japanese paper and silk scrolls.
The current literature on scroll damage and treatments frame this study. Most of the literature focuses on Far Eastern scrolls. Despite this and the fact that materials used vary, the same mechanical forces are present in all multilayered scrolls. The research this survey carried out was primarily in the form of a survey. The collections in Dublin’s Chester Beatty Library and Amsterdam’s Jewish Historical Museum provided a wealth of information on the symptoms of mechanical damage. The study focused on different directional folds and creases, planar distortion, tears and edge damage. The causes of these types of damage can be traced back to the display, storage and handling of scrolls. The making of models was also used to understand the construction and how the chosen materials immediately reacted when rolled up into a scroll.
The results from this study provide guidance for all scroll collections on the symptoms and causes of mechanical damage along with ways of preventing and treating the scrolls. By understanding the severity and location of certain types of mechanical damage it is possible to chart the origins of it. When understood, this mechanical damage can be treated or prevented. It will be shown that some mechanical damage may be inevitable due to the very nature of scrolls’ physical structure. Other symptoms can be reduced through considered care. This study will provide a point of reference for custodians of collections, whether conservators or curators, on the display, storage and handling of multi-layered scrolls.
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Abstract
Deze scriptie voor de Master onderzoekt de symptomen en oorzaken van mechanische schade in meerlagige boekrollen. Door de analyse van een internationaal overzicht van rollen en het bouwen van modellen, zal dit onderzoek niet alleen ons begrip van de structuur van de rollen verbeteren, maar ook richtlijnen bieden voor het hanteren, bewaren en weergeven van rollen. De voornaamste reden voor deze studie was een Esther-boekrol in de collectie van het Joods Historisch Museum. Deze ‘scroll’ is gemaakt van perkament en genaaid op een zijden ondergrond. In het perkament is het verhaal van Esther in afbeeldingen uitgesneden. Door het permanent tentoonstellen vertoont de rol mechanische schade, waaronder plooien, vlakke vervorming en beschadiging aan de randen. Ondanks zijn unieke structuur vertoont deze meerlagige rol dezelfde symptomen van mechanische schade die aanwezig is in Chinese en Japanse rollen van papier en zijde.
De huidige literatuur over schade en behandelingen van rollen geven de grenzen van deze studie aan. Het grootste deel van de literatuur concentreert zich op rollen uit het Verre Oosten. Ondanks dit en het feit dat de gebruikte materialen variëren, zijn dezelfde mechanische krachten aanwezig in alle meerlagige rollen. Het onderzoek dat is uitgevoerd vond voornamelijk plaats in de vorm van een enquête. De collecties in de Chester Beatty Library in Dublin en het Joods Historisch Museum in Amsterdam leverden een schat aan informatie over de symptomen van mechanische schade. De studie richtte zich op verschillende directionele plooien en vouwen, planaire vervorming, scheuren en randbeschadiging. De oorzaken van dit soort schade zijn terug te voeren op het tentoonstellen, opslaan en hanteren van rollen. Het maken van modellen werd ook gebruikt om de constructie te begrijpen en hoe de gekozen materialen onmiddellijk reageerden toen ze in een rol werden opgerold.
De resultaten van deze studie bieden richtlijnen voor alle rol-verzamelingen over de symptomen en oorzaken van mechanische schade, samen met manieren om schade te voorkomen en te behandelen. Door de ernst en locatie van bepaalde soorten mechanische schade te begrijpen, is het mogelijk om de oorsprong ervan in kaart te brengen. Wanneer begrepen, kan deze mechanische schade worden behandeld of voorkomen. Er zal worden aangetoond dat enige mechanische schade onvermijdelijk kan zijn vanwege de aard van de fysieke structuur van de rollen. Andere symptomen kunnen worden verminderd door zorgvuldig hanteren. Deze studie biedt een referentiepunt voor bewaarders van collecties, conservators of curatoren, voor het tentoonstellen, opslaan en hanteren van meerlagige rollen.
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1
Introduction
This thesis will explore the symptoms and causes of mechanical damage to multi-layered scrolls and examine treatment and prevention methods. By focusing on mechanical damage this work will not investigate chemical or biological deterioration. Rather, the focus will be on damage from handling, storing and displaying scrolls. The research has focused on multi-layered scrolls rather than single layered substrates that have been rolled up. The aim is to investigate the relationship between the artwork and its mounts. There are inherent issues with multi-layered scrolls’ structure. There are also problems resulting from handling, storing and exhibiting multi-layered scrolls. Scrolls can be stored in ways that neglect its condition or ways that aim to prolong its life. Displaying culturally important scrolls is unavoidable. The system and durations of this display can have a physical effect on the object. Terminology is an important facet for this thesis. Glossaries of terms have been provided in the Appendices to aid the reader. Where required, terms will be explained in more detail in the text.
Figure 1.1 A section of the Esther scroll M000433 at the Jewish Historical Museum, photo courtesy of the JHM.
The motivation for this thesis is to expand our knowledge of scrolls. The Esther scroll at the Jewish Historical Museum in Amsterdam, see figure 1.1, exhibits severe mechanical damage. It is a central piece for the museum and has been on display for over 20 years. It exhibits strong planar distortion making it hard to display and read. Its condition is not
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fully understood which makes any treatment complicated. For conservators to prolong the life of such an important object more research must be carried out on the mechanics of scrolls.
Conservation has opened up greatly to science and uses chemistry and biology readily. However, mechanics is less understood by conservators. This thesis aims to advance the process of inculcating mechanics into book and paper conservation 1. Aside from work on Far Eastern art there is little coherent study of mechanical damage to scrolls. This thesis aims to redress this gap in our understanding.
Culturally, there are differences in the approach to the care of heritage objects. For example, the West will seek to maintain the original materials of an object and continuously display important works. This is different from the approach in the Far East, which sees objects of cultural importance in more fluid terms. As fragile works age they are repaired and remounted with new materials in the traditional methods. In Japan, scrolls spend one eighth of their life on display2. The rest of the time is spent in carefully managed
storage.
This thesis will review the current knowledge of scroll care. By carrying out surveys and constructing model scrolls, damage can be categorised and analysed. From this trends in damage can be investigated and the causes will be indicated along with ways of preventing further damage.
1 Book conservation has briefly used certain terms like compression and tension Conroy, T. “The Movement
of the Book Spine”, The Book and Paper Group Annual, Volume 6, 1987, The American Institute for Conservation.
2 Hare, A., “Guidelines for the care of East Asian paintings: Display, storage and handling”, The Paper Conservator, 30:1, 2006, pp 83 – 85.
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2
Context and Literature Review
2.1 Scrolls
Scrolls are complicated and beautiful objects. They can be used for legal documents, religious texts or paintings. The media, when rolled has little direct exposure to air; therefore oxidation levels are low. Light exposure is also reduced or removed, which prevents deterioration such as pigments fading3. An owner of a scroll will also enjoy the
advantage of space saving. Some scrolls encountered in the course of this thesis are over 8 meters long. By rolling such an object, the media and its substrate are not just protected but cheaper to store than when flat.
Despite these advantages, rolling an object into a scroll has disadvantages. The media and its substrate come into direct contact with the verso surface of the scroll. This can cause abrasion and rub away some of the ink or paint, as well as the substrate. Other problems involve the quality of the construction. It is important to note that rolling a flat object may protect the media, but will expose the structure to mechanical forces. The geometry of rolling, discussed below, is an important part of understanding the mechanical damage scrolls suffer from.
Figure 2.1 A flat material rolled into a scroll.
A flat substrate, be it paper, parchment or papyrus, is rolled from one end until the entire object is rolled into a scroll (see figure 2.1).
3Washizuka, H., ‘Historical Traditions in the Preservation of Japanese Art’, from Hirayama, I., et al., eds., “Restoration of Japanese Art in European and American Collections”, 1995, Tokyo: Chuokoron-sha, p 121.
Adam Macklin, UvA, 2018 9 Figure 2.2 A scroll with a spindle.
For some scrolls a spindle is used to roll the work around (see figure 2.2). A spindle, rod, or roller, is normally made of wood and runs the height, or width, of the scroll. This can be attached to the scroll in a number of ways4. In Japanese, the cylindrical rod at the base of a hanging scroll is known as a jikugi5. Often there are knobs at each end. Their use and their quality are important for handling. At the top of hanging scrolls there are rods that retain the shape of the scrolls when hung. These are different from spindles, as the scroll will not be rolled around this. In Japanese hanging scrolls the cross-section of these rods is semi-circular.
4 This will be discussed in more detail in the “Methods” chapter, but includes wrapping the substrate and
mounts around the spindle and sewing or adhering in place or drilling holes in the spindle for a thread to pass through and then stitch to the substrate.
5 Masako Koyano, “Japanese Scroll Paintings – a Handbook of Mounting Techniques”, 1979, Foundation of
Adam Macklin, UvA, 2018 10 Figure 2.3 A scroll with two spindles.
For some long handscrolls, two spindles are used to allow rolling and counter-rolling whilst reading a certain section of the text or painting (see figure 2.3). Torahs are an example of this type of scroll.
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Figure 2.4. A typical Japanese hanging scroll, unrolled, top, and rolled, bottom.
In China and Japan paintings and religiously significant works are often mounted for hanging on a wall (see figure 2.4).
The structure of a scroll is important to understand. All scrolls, no matter the cultural style, life cycle or materials, are subject to the same laws of mechanics. The different cultural uses and methods of care will be discussed. But first the mechanical forces present in scrolls and the resulting damage will be explained.
Adam Macklin, UvA, 2018 12 2.2 Mechanic Forces of scrolls
By its very nature a multi-layered scroll will challenge its structure and materials. A scroll is composed of materials that are made as flat objects, adhered or attached and then rolled up. There is an inner layer, often with artwork, and an outer layer, used as a backing. When rolled the layers are placed under certain forms of stress. To understand this better it can be imagined that a ream of paper, much like the physical form of this thesis, is attached on one edge, the binding. The sheets of paper have the exact same dimensions. Starting at this bound edge the ream can be rolled. The bound edge remains the only part connecting the scroll. The rest of each sheet can move independently. As the layers are rolled up the opposite edge becomes fanned out, see figure 2.5.
Figure 2.5. The geometry of rolling two layers of the same dimensions.
The fanning of these layers is simple geometry. The above diagram shows a two layered “scroll”, with one fixed end. It is rolled from the fixed end. The even sheets are rolled with the top sheet becoming the inner layer and the lower sheet becoming the outer layer. As the diagram shows the inner layer is rolled slightly tighter. As it is the inner layer it has less distance to cover than the outer layer. This results in the inner layer’s end extending beyond the outer layer’s end. The outer layer, rolled around the inner layer, has further to go and can slide over the inner layer. This shows that the natural reaction of the two layers when rolled is to fan out beyond one another.
Multi-layered scrolls are fixed throughout their structure and therefore come under stress because the layers cannot slide over each other and react as above. The fact that the layers cannot extend to their natural positions creates stress, not just between the layers but within the layers. The outer layer is under tension in order to reach the same end point as the inner layer. At the same time the inner layer is being compressed, due to its adherence to the outer layer, so that it can reach the same end point. The outer layer when stretched is therefore susceptible to tearing as it can become thinner, depending on the material. This is especially the case if there is a weakness in the structure (at points known as stress raisers). The inner layer will buckle and crease at a certain level of stress or after a certain duration of stress.
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In terms of damage caused by stress and strain it is possible to differentiate between reversible and permanent damage. In mechanics these are referred to as elastic deformation and plastic deformation. Elastic deformation has a purely linear relationship between stress and strain. As stress increases so does strain. The relative amounts depend on the material in question. Stress is defined as the relationship between load and area placed on the load. Strain is described as proportional change in length after the load is applied6.
Figure 2.6. The linear relationship between Strain (on the x-axis) and Stress (on the y-axis) when there is elastic deformation.
When the relationship between the stress and strain is linear the ensuing deformation is elastic and can be charted as shown in figure 2.6. The degree of slope represents the stiffness. When the applied load is released the object returns to its original shape immediately. Some materials can be anelastic, which requires more time for the object to return to its original shape. The amount of stress that a material can withstand before it breaks in tension is known as the tensile strength. It is the stress at the highest point of the stress-ctrain curve. This relates directly to the amount of stress the material receives.
6 Callister, W. D., “Materials Science and Engineering, an Introduction – Fourth Edition”, 1997, John Wiley
and Sons, Inc. Toronto, pp 110 – 116.
Elastic Stress - Strain
Relationship
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Figure 2.7. The relationship between Strain (on the x-axis, horizontal) and Stress (on the y-axis, vertical) when plastic deformation is attained.
However, some loads can permanently deform the object. Such forces change the relationship between stress and strain in the object, from a linear, straight line on the graph, to a curved line (figure 2.7). This is known as plastic deformation. It is therefore desirable to know at what point this starts. It is known as the phenomenon of yielding7. The yield strength is the level of strain that differentiates between elastic and plastic deformation. Yield strength therefore relates directly to the amount of stress the material receives. Callister points out that on the atomic level, “plastic deformation corresponds to the breaking of bonds with the original atom neighbours and then reforming bonds with new neighbours” as the atoms move relative to each other8. Most of what Callister discusses concerns metals, but his work is applicable to other materials. The materials that are used are important and will be discussed below.
Figure 2.8. The curvature of two different sized circles.
7 Callister, W. D., 1997, pp 119 – 120. 8 Callister, W. D., 1997, pp 119 – 120.
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A further geometric point worth explaining is that the smaller the spindle circumference of the scroll the more tension is placed on the layer rolled around it. Taking two circles of different sizes, the curve at any given distance on the small circle (a) is greater than the same distance on the larger circle (b). See figure 2.8. The curve on circle b, in the diagram is flatter between the points. This indicates that the smaller the spindle the more curved the scroll must be. This increased curvature heightens the stress on the scroll’s layers.
2.3 Materials
Certain dimensions and general characteristics of the materials have an important effect on the mechanics of a scroll. The thickness of the layer in a scroll is important. A thick layer will have a greater resistence than a thin layer of the same material. This thickness may or may not affect another feature, the material’s flexibility. This flexibility can introduce easier movement or brittleness to the structure. A materials homogeny can also affect the movement and the stresses it faces when used within a scroll. A material like a good quality paper is generally made from evenly laid fibres throughout its structure. Parchment however, is made of different layers of skin. The reaction of the flesh-side will differ from the hair-side. For example, the flesh-side is generally more flexible than the tougher skin-side and will stretch or compress more readily, and more elastically.
The materials discussed below are selected as the most common substrates found in scrolls.
Paper
Paper has a relatively high tensile strength in certain directions. Some papers can be weak in terms of shear forces and when bent. Conroy, points out that paper can be vulnerable to breaking when bent under tension9. However, when placed under compression the material
can withstand high levels of stress and strain. The fibre direction and length is important here. Handmade papers will have a less pronounced fibre direction. Japanese papers, especially gampi papers, tend to have long fibres which are very strong. Chinese papers tend to have shorter fibres. This gives Chinese papers less resistence to tears and folds. Paper, as with other materials, has a yield strength where the stress-strain relationship changes from elastic to plastic deformation. For paper as the inner layer, this manifests most likely as buckling and creasing. Conroy, talking about spine linings, believes that the use of paper is unwise due to its propensity to break from tension. In scrolls this can lead to further weakening over time and eventually tears can result.
Paper that folds will rise at certain points, which can cause abrasion of the surface of the art work when rolled. This can lead to loss of the substrate and any paint or ink, for example. For the outer layer, paper can be pulled thin and torn. In most Japanese scrolls, thick, strong paper is often used for the backing mount. This provides a strong support that is resistant to tears. However, there must be balance here. If the paper is too thick planar distortion, in the form of cupping can occur10.
Paper’s tensile and yield strength are affected over time as the papers age. This is particularly true when the paper is exposed to light and humidity. Most of the papers that
9 Conroy, T., “The Movement of the Book Spine”, The Book and Paper Group Annual, Volume 6, 1987, The
American Institute for Conservation, accessed online ( https://cool.conservation-us.org/coolaic/sg/bpg/annual/v06/bp06-01.html) on 03/05/2018.
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were surveyed in this thesis were long-fibred Japanese paper. Longer fibre lengths increase the tensile and yield strengths. Compared to harder substances like steel or wood, paper is more flexible. Steel and wood are stiffer, and the gradient of the slope (like that of figure 2.5) would be steeper than that of paper. The tensile strength of paper compared to metals and wood is much lower. The yield strength for paper, because of its more shallow line (its relationship between stress and strain) is often higher than for metals and wood, which are less flexible.
Parchment
Parchment like paper can withstand high levels of of stress and strain. Conroy notes that parchment, in terms of a spine lining, is the “material of choice” as it has been pre-stretched11. The fibre direction of parchment varies depending on the part of the hide used. It is more uniform around the spinal area and less uniform around the belly area. Parchment can be tough and durable. It is hard to tear parchment across the fibre direction. Parchment is vulnerable to deformation from light, heat and humidity. This changes its properties which can have a mechanical effect. For example, high humidity can cause parchment to swell and soften. When parchment is written on, it is the flesh side that acts as the the recto. This is something to consider when discussing parchment scrolls.
The yield strength of parchment is similar to paper as it is more flexible than steel and wood. But parchment is often stiffer than paper, especially over time and if it is exposed to light and humidity. Therefore its tensile strength is higher than paper’s, although this remains lower than that of metals and wood. This is, of course, affected by the thickness of the parchment, with thicker parchment being stiffer.
Silk
Silk provides a very different substrate from paper and parchment. Woven silk is commonly used as a substrate for Chinese and Japanese paintings and as a backing for scrolls in the Far East and in the West. The warp and weft weave makes the material flexible and resistant to compression and stretching. This can be affected by the media or adhesive when mounting. In comparison with paper and parchment, silk’s yield strength is normally higher. Its tensile strength, because of its weave, also means that it has a higher tensile strength. However, it is believed12, that once degradation starts on silk, the process accelerates.
2.4 Cultural context of scrolls
Scrolls are culturally significant throughout the world. Used for writing and art, scrolls were very much the preserve of the literate, either for legal or political documents, or for artistic endeavors. Scrolls date back to the great libraries of antiquity like that of Alexandria.
In the Middle East the Jewish community wrote important religious texts, like the Torah or the story of Esther, onto scrolls. They wrote on gevil – a Jewish version of parchment, an animal hide treated in a specific way with salt, flour and gallnuts13. There is an important cultural significance of scrolls in Jewish culture as they are used for religious texts. In terms of structure, Torah scrolls were nearly always made with two spindles, see figure
11 Conroy, 1987. 12 Sasaki, 2006, p 58.
13https://mezuzahstore.com/blogs/mezuzah-blog/2718562-gevil accessed on 13/05/2018 and
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2.9. The scroll could therefore be rolled and counter-rolled in order to find a specific passage for public reading. Other scrolls, such as Esther scrolls (Megillah), were traditionally made with just one spindle, see figure 2.10. The scroll would then be pulled out further as the story unfolded.
Figure 2.9. A photo of a Torah scroll, (taken from
https://il.bidspirit.com/portal/?lang=en&#!/lotPage/source/catalog/auction/2242/lot/76322/Complete-Small-Torah-Scroll-On).
Figure 2.10. An Esther scroll at the Jewish Historical Museum, Amsterdam.
Japan first received paper scrolls in the form of Chinese Buddhist sutras in the 7th century CE. Koyano discusses the cultural significance of hanging scrolls in Japan, separating
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them into three main divisions of importance; Shin, Gyo and So14. These types vary in formality, which dictates their construction and use. Within these types there are sub styles, further stratifying their make up and cultural standing. An understanding of the Japanese approach to scrolls and art is important.
One important cultural influence in Japan makes people aware of the fragility of certain objects; Temae. This translates as the Japanese care of objects. By understanding that some objects are fragile it is impossible to take them for granted. Therefore, an object is more than a conduit of art or writing; it is a materialistic thing15.
“Japanese art objects are undeniably fragile”16. Japanese art is vulnerable due to its construction and the materials used. Art in the West uses more durable materials like canvas, parchment and thicker paper. There is a keen awareness of this difference throughout the literature17. The Japanese understand that scrolls need constant care. Throughout its life cycle, owners are encouraged to balance display with storage18, air the scroll at particular points in the year, and to remount the work when required. Kyotaro Nishikawa points out the different cultures of care for these objects19. The Western tendency is to always display important objects with a hesitancy towards changing the structure of the object. In Japan, art spends more time in storage and is remounted or updated when it begins to show signs of deterioration. Yoshiyuki Nishio points out there is a contrast in the Asian approach to mounting and the concept of modern conservation developed in the West that aims to keep old materials as much as possible to preserve the history of the object20.
Scrolls are used to protect and present art in Japan. Takemitsu Oba argues that a work of art is mounted to provide an environment for its appreciation as well as for its protection21. Andrew Thompson believes that hanging scrolls are a combination of strength and flexibility22. He argues that the scrolls must balance the materials used in order to achieve uniform functionality. He points out that scrolls must be displayed for short periods and handled carefully in order to prolong their existence. Burdett and Thomson echo these points. They point out that a painting “will often have been remounted at least once during
14 Koyano, 1979, pp 16 – 25. Other works refer to this stratification of cultural importance, such as Burdett,
S. and S. Thomson, ‘The Japanese hanging scroll: A deconstruction’, IIC: Preprints of Baltimore Congress, Works of Art on Paper: Books, Documents and Photographs, Techniques and Conservation, eds. V. Daniels, A. Donnithorne and P. Smith (London:International Institute for Conservation, 2002) p 32 – 35; and Oba, T., ’Kakemono: The Japanese hanging scroll’, The Paper Conservator 9 (1985): pp 13 – 23.
15 Interview with Andrew Thompson and Sydney Thomson on 30/05/2018. 16 Nishikawa, K., in Hirayama, I., 1995, p 111.
17 Ibid., pp 109 – 113. Also see Hare, A., “Guidelines for the care of East Asian paintings: Display, storage
and handling”, The Paper Conservator, 30:1, 2006, pp 73 – 92; Sasaki, S., “Soura uchikae: Replacement of the final backing layer in hanging scrolls”, from The Paper Conservator, Vol. 30, 2006, pp 57 – 60.
18 Hare, A., 2006, pp 73 – 76, suggests there is a ratio of 1:8 to displaying a scroll to storing it. 19 Nishikawa, K., in Hirayama, I., 1995, p 119.
20 Nishio, Y., ‘Maintenance of East Asian Paintings II – Minor Treatment of Scroll Paintings’, The Book and
Paper Group Annual 20 (Washington DC: American Institute for Conservation, 2001) p 15.
21 Oba, 1985, p 13.
22 Thompson, A., ‘The construction of a Japanese hanging scroll’, SSCR Preprints of Glasgow Conference,
Paper and Textiles: The Common Ground, comp. F. Butterfield and L. Eaton (Glasgow: Scottish Society for Conservation and Restoration, 1991) p 91.
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its history 23. So despite the materials’ fragility, scrolls offer a balanced, flexible and strong structure.
Figures 2.11. Damage to a Japanese hanging scroll, especially the “futai”, the decorative strips running from the top of the scroll.
Sasaki reviews different types of treatment that can be carried out on hanging scrolls. She has found that certain parts of the scrolls, such as the decorative fabric strips, futai, are “often damaged due to their function and from mishandling as they are loosely hung from the hanging rod”24. This can be seen quite easily on the paper futai in Figure 2.11. This is an example that certain areas of scrolls come under greater mechanical stress and are exposed to damage from handling.
2.5 Mechanical damage suffered by scrolls
Cracks and folds can appear parallel to the spindles. Washizuki describes this as the result of the mounting paste being too thick and hardening as it is forced to roll up25. This point is not built upon, but assumes that the rolling of the object contributes to the stress and eventual breaking of the substrate because of the thicker layer of paste. He briefly talks about creases, perpendicular to the rollers, as the result of too-tightly rolled scrolls26. The cultural difference in the approach to conservation can be seen by the recognition of damage. Another article in Hirayama et. al.’s book, by Katsuhiko Masuda and Kazunori Oryu, describes typical damage occurring on Japanese paintings mounted as hanging scrolls27. Creases and cracks, delamination and losses are described. This however, focuses
23 Burdett, S. and S. Thomson, 2002 p 32. 24 Sasaki, S., 2006, p 60.
25 Washizuka, H., in Hirayama, I., 1995, p 121. 26 Ibid, p 123, again, without expanding on the reasons.
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on the damage to the painting, not the scroll as a complete object. The implication is that the essence of the scroll, the painting, is what needs to be restored and conserved, not the mounting.
Nishio, in his 1993 article, notes that there are several common forms of damage28. Creases and cracks are mentioned, although the direction of them is unspecified. The main reason for these creases and cracks are the repetitive rolling and unrolling. These actions cause compression on the inside layer and stretches the outside layer when rolled and causes the inside layer to stretch compresses the outside layer when unrolled. This makes sense, mechanically. Ted Stanley, in an article on early Russian Manuscript scrolls, also notices that the mechanical action of rolling and unrolling exacerbated the negative condition of the scrolls29. Nishio does not designate particular locations for crease damage, except when reinforcement strips are applied. Revisiting this article in 2001, Nishio does more to specify the direction of the common creasing as “horizontal” (to the hanging scroll’s rollers). Koyano, also mentions folds as a form of damage, saying that the majority occur at “right angles to the direction of rolling and unrolling; however, in hand scrolls creases are often found horizontally as well”30. This is quite ambiguous, as horizontal creasing on a hand scroll could be assumed to be at right angles to the rolling direction.
For hanging scrolls, Nishio states that tears “occur always near the bottom and top rods”31. He does not describe this in any further detail. These areas of a hanging scroll do indeed receive a great deal of pressure and tears are common. When displayed, a hanging scroll can twist through handling, catching on someone’s clothes for instance, or from a breeze or gust of air. Although the central areas of a scroll are flexible to this movement, the substrate and mount areas around the spindles are placed under more tension. This is because these areas are closer to a rigid part of the object and cannot flex as the rest of the scroll does. Tears are also due to the weight of the scroll pulling down on the object, creating further tension. This can exacerbate existing tears. But there are other areas on the scroll as Hare has noted32, although he does not fully locate these for the reader.
Nishio says that delamination is a common type of damage33. Delamination can be the result of aging paste, the paste being too weak, excessive rubbing (with rosary beads) as part of the mounting process, and the swelling of paste that has been applied too thickly and kept in humid conditions. Masuda and Oryu specify that this can occur when the paste is unevenly applied or smoothed out. As well as separating the layers, this can cause folds and creasing34.
Hirayama et. al. set out clear symptoms of damage on scrolls. As mentioned above, by rolling a painting or manuscript, the media come into contact with the verso side of the scroll. This leads to abrasion and loss of media. This can be exacerbated by creases and
28 Nishio, Y., ‘Maintenance of East Asian Painting (Examination)’, The Book and Paper Group Annual 12
(Washington DC: American Institute for Conservation), 1993, p 33 -35.
29 Ted Stanley, “The Treatment of Early Russian Manuscript Scrolls”, from the Book and Paper Group
Annual, Volume 11, 1992. The American Institute for Conservation. Accessed online https://cool.conservation-us.org/coolaic/sg/bpg/annual/v11/bp11-40.html on 09/05/2018.
30 Koyano, 1979, p 57. 31 Nishio, 2001, p 21 32 Hare, 2006, p 85 33 Nishio, 1993, p 33.
Adam Macklin, UvA, 2018 21
reinforcement strips as Washizuka has described35. Losses, from insect’s eating the scroll, can be exacerbated over time without infills as this creates an area of weakness in an object under constant tension.
Nishio describes distortion of hanging scrolls as the result of humidity affecting the verso and recto differently. He suggests that the recto can sometimes shrink more than the reverse side. This causes internal tensions. The causes for this are laid at the feet of the mounter. Also, the paste for the narrow edge sections of hanging scrolls has a tendency to shrink more causing distortion36. His reasoning is not included in the article and he does not fully describe the distortion and what it looks like. Andrew Hare briefly mentions that planar distortion can occur from hanging a scroll for a long period without a support37. This resembles the cupping encountered in the condition surveys for this thesis.
Damage from chemical changes is mentioned throughout the literature, such as the fading of artwork from exposure to light; blackened surface from the nearby burning of incense; and the effects of humidity the object. These will not be discussed in this thesis.
One type of damage not expressly referred to in the literature is the tendency of scrolls to form a wave pattern when unrolled. This can be linked to the creases, as they tend to appear as the peaks in the wave pattern. Edge damage is not considered separately in the literature from folds and tears, except by Nishio. He states that general wear and tear can abrade and tear the edges causing loss. Edge damage can be caused by exposing the edge of the scroll to a hard surface, especially when stored in a box. If the box is too small the scroll can be forced into it, causing damage to the edge. If the box is too big, the scroll can move around within the box where the edges receive most of the force if say the box is tilted. The damage is increased if the scroll is telescoped.
Spindle or knob damage is also not discussed in the literature. As mentioned above, the prime reason for these omissions could be the focus for many Japanese conservators on the artwork and not the mount when treating a scroll. Damage that does not affect the artwork is therefore secondary and can be considered less significant.
2.6 Conservation treatments for mechanical damage
Types of treatment generally discussed in the literature tend to be minor repairs such as reinforcing substrates at areas of folding38, or preventive measures such as handling and storage39. Koyano is the exception here as he goes into great detail on the remounting of
hanging scrolls40. This is complicated treatment that demands a high level of experience and skill from the conservator.
Andrew Hare’s article41 on the guidelines for care of East Asian art is particularly relevant to this thesis and forms the bedrock of guideline in institutions around the world. Using his own experiences he has put together a structured response to a lack of knowledge in Europe and America of Far Eastern scrolls. By looking at methods of displaying, storing
35 Washizuka, H., in Hirayama, I., 1995, p 123. 36 Nishio, 1993, p 34. 37 Hare, 2006, p 75. 38 Sasaki, 2006, p 58. 39 Hare, 2006, pp 74 – 80. 40 Koyano, 1979, p 44 – 95. 41 Hare, 2006, p 73.
Adam Macklin, UvA, 2018 22
and handling objects, Hare informs the reader of methods to prevent and reduce damage. East Asian art, including scrolls, is subject to three interrelated types of deterioration: chemical, biological and physical damage. Of these, the most important to this study is the latter.
To avoid damage such as creasing and tears there is literary consensus that rolling and unrolling must be done properly. Warnings of malpractice here are plentiful. “Rolling a scroll might appear to be a simple operation, yet a great deal of practice and skill is needed to roll a painting not too tight, not too loose, and absolutely evenly, so the mounting is neatly aligned and does not ride to either side”42. This is the only reference found on telescoping. Hare describes in detail ways to unroll hanging scrolls whilst assessing damage43. Close attention is paid to the handling of the object so no further damage is incurred. He recommends that scrolls not be fully unrolled. This is practical for scrolls over 8 meters long, and also prevents exposing the whole scroll at once. Hare also states that unrolling the full scroll is unwise as it can cause the scroll to deform. Mechanically, this makes sense, as the rolled object is at its most comfortable when it is rolled; unrolling the object fully increases the tension across the whole object. It cannot relax into its most comfortable state at any stage. It is therefore advisable, when unrolling a scroll, to counter-roll it, preventing too much tension to take place across the sccounter-roll.
Another preventive method of avoiding creasing is cognisant of the spindle’s diameter and the geometry of scrolls. Tightly rolling the scroll causes perpendicular (to the spindle) folds. During the Meiji period (1868 – 1912) a wooden roller clamp, with a wide circumference (futomaki soejiku) was introduced, see figures 2.12 and 2.13. This would fit around the extant roller, reducing the stress to the inside surface by avoiding the possibility of the scroll being too tightly rolled44. Often, as Nishio explains, it is used after the scroll
has been repaired.
Figure 2.12. A Futomaki, taken from Nishio, 2001, p18.
42 Washizuka, H., in Hirayama, I., 1995, p 121. 43 Hare, 2006, p 85
Adam Macklin, UvA, 2018 23 Figure 2.13. A Futomaki in use, taken from Nishio, 2001, p18.
The ultimate treatment or repair for a creased and cracked scroll is to remount the artwork. This is the best treatment for many scrolls. Japanese scrolls are expected to be remounted at some point in their life45. However, completely remounting a scroll changes the nature of the object. It is also a time-consuming and expensive treatment that can only successfully be carried out by a highly skilled individual. Remounting is a dying art even in Japan. It is becoming a purely conservator-led craft, with many commercial mounting studios closing through lack of work46.
However, as Washizuka points out, creased areas can be reinforced with narrow strips of paper applied to the verso47. Sasaki also advises this treatment for creasing48. Nishio offers a system of removing a section of the backing and replacing it with a stronger supportive patch. On the recto, he moistens the crease to swell it slightly, so that it shrinks with the backing before gentle pounding49.
Losses are treated with infills and a backing support. It is important to treat losses to avoid further loss. Areas of loss must be infilled with a material matching the support50. Nishio, again, looks to remove some of the existing support before interleaving a replacement layer. Losses to pigment and ink will not be part of this research but are similarly infilled or retouched51.
One possible recourse to avoid abrasion and loss of the media not found in the literature, but seen in some of the collections visited in the course of this thesis is a soft, independent and protective layer of tissue paper or thin Japanese paper rolled within the scroll.
45 Burdett, S. and S. Thomson, 2002 p 32.
46 Conversations with Thompson, A. and S. Thomson, 2018. 47 Washizuka, H., in Hirayama, I., 1995, p 123.
48 Sasaki, 2006, p 58. 49 Nishio, 2001, pp 16 – 18.
50 Washizuka, H., in Hirayama, I., 1995, p 123.
51 See Washizuka, H., in Hirayama, I., 1995, p 125, and Tabuchi, T and Miyasako, M, in Hirayama, I., 1995,
Adam Macklin, UvA, 2018 24
Tears are treated in similar methods to creasing and losses; namely a narrow strip of paper on the backing. Nishio assumes the location of tears is always at the top or bottom rod, and treats them accordingly52. Removing the mounting around the roller, he takes a section away and replaces this with new layers of both misu and uda paper.
Figure 2.14. A J-hook in use, taken from Hare, 2006, p 75.
Preventive measures, as Andrew Hare relates, can also help prevent damage occurring in the first place. For example, Hare recommends the use of J-hooks to support hanging scrolls when displayed53. By lessening the gravitational pull, the supports will reduce distortion in the scroll. He also suggests that hanging scrolls have the right number of hooks at the top. The number of hooks is relative to the width of a hanging scroll54. For handscrolls that are on display, Hare suggests that they be exhibited at no more that 35 degrees, and held in place with Melinex strips to keep the scroll in place.
In terms of storage, cases need to be selected that fit the scroll. Boxes that are too small will cause obvious damage when squeezing and crushing the scroll into them. Boxes that are too big will allow movement within them. This can damage the scroll, especially at the edges as it rattles inside the box when moved. Japanese cedar or paulownia boxes act as microclimates and are able to insulate scrolls from changes in humidity outside55. Despite this, there is a small level of off-gassing that must be considered, along with the risk of catching fire. Nishikawa outlines the full extent of storing Japanese art; the cedar or paulownia box is placed into a storage box, with stilts, and then stored in a wooden building that moderates the passage of temperature and humidity from outside56.
52 Nishio, 2001, pp 21 – 22. 53 Hare, 2006, p 75
54 Ibid, p 74 55 Ibid, pp 77 – 79.
Adam Macklin, UvA, 2018 25
3
Method
In order to understand scrolls and the mechanical damage they suffer two exercises were carried out; a damage survey of 48 scrolls, and making models. The survey was carried out between two collections as well as one scroll privately owned. The Chester Beatty Library (CBL) in Dublin provided 30 scrolls and the Jewish Historical Museum (JHM) in Amsterdam provided 17, one of which was the cut parchment Esther scroll. Andra Danila kindly donated a Japanese hanging scroll to this study. To further understand mechanical damage and its causes, models of three types of scrolls were made and the damage they suffered from was reviewed.
3.1 Terminology
In order to proceed without ambiguity certain terminology needs to be established. Throughout the literature, terminology is used interchangeably and a level of confusion ensues. A level of clarity towards the language of scroll conservation and, in particular, the mechanical damage encountered must be set out. This uniformity of language will not only aid the present work, but also help future research into scroll damage and treatments. Therefore, this study has used several terms to distinguish particular forms of mechanical damage.
Figure 3.1 Topography of a scroll.
With this in mind, the component parts of a scroll should be defined and named. Scrolls can take many forms. In Japan, the main distinction between scrolls is that between
Adam Macklin, UvA, 2018 26
handscrolls and hanging scrolls. Japanese scrolls have exact terminology for the parts of a scroll, most notably for hanging scrolls57. The terminology of scroll parts for this thesis can be seen in Figure 3.1. Below are some important components of all of the scrolls surveyed in this thesis.
Adhesive: A binding material between the substrate and backing or mount. This includes
starch paste and animal glue.
Backing: A layer at the verso of the substrate. This is slightly different from a mount in
that a backing is normally sewn to the substrate as opposed to being pasted to the substrate.
Figure 3.2. Cedar box for CBLJ1110, © The Trustees of the Chester Beatty Library, Dublin.
Box: A package that a scroll can be stored in, see figure 3.2. In Japan cedar and paulownia
wood is often preferred.
Adam Macklin, UvA, 2018 27 Figure 3.3. Esther scroll M000438 at the JHM with a bone case.
Case: A housing for the scroll that can be made of wood, silver, bone, ivory, etc. See
figure 3.3. A form of a case can be the wrap used to protect the scroll within its storage box, this is described separately below.
Figures 3.4 (left) Esther scroll M000405 at the JHM with a silk cord; and 3.5 (right) Japanese scroll CBLJ1130.1 from the CBL with a silk cord © The Trustees of the Chester Beatty Library, Dublin.
Cord: Used as a tie to hold the scroll in rolled tension. Mostly made from silk, see figures
Adam Macklin, UvA, 2018 28
Figure 3.6. Esther scroll M000433 at the JHM with a silk edging at both top and bottom edges.
Edging: At the top and bottom edge of a scroll there can be a reinforced layer, see Figure
3.6.
End: The finishing stage of the scroll where the main spindle is attached
Figures 3.7 ( top left) Japanese scroll CBLJ1110 at the CBL with a pasted join, © The Trustees of the Chester Beatty Library, Dublin; 3.8 (top right) Esther scroll M000405 at the JHM; 3.9, 3.10, 3.11 (bottom row) Esther scroll M000437 at the JHM showing interleaved or threaded parchment joint (verso on the roll, recto and verso, respectively).
Adam Macklin, UvA, 2018 29
Join: Where sections of the substrate meet. In most scrolls the substrate is made up of
several leaves of paper, silk or parchment. They can be joined through adhesion, sewing or interleaving the leaves see figures 3.7 to 3.11.
Figures 3.12 Chinese hanging scroll CBLC1224 detail of the rolling knob © The Trustees of the Chester Beatty Library, Dublin; 3.13 Esther scroll M000418 with traditional Jewish spindle handles; and 3.14 Esther scroll M00413 with a screwed on knob.
Knob: These act as handles to the spindle. They can be attached with an adhesive or
screwed onto the spindle, see figures 3.12 to 3.14.
Adam Macklin, UvA, 2018 30
Mount: The backing of a multi-layered scroll, normally referred to as a mount in Far
Eastern scrolls.
Recto: The front of the document or painting; the inner face of a scroll. Sewing: Stitching used to combine the substrate, or edging, with the backing.
Spindle: A rod or roller used to roll up a scroll. In most scrolls there is one main spindle.
This can be seen in figures 2.2, 3.1 and 3.13.
Start: The beginning of the document, story, etc. In most cases for Far Eastern, Arabic and
Jewish scrolls the start is on the right and the scroll is rolled (and read) to the left.
Substrate: This is the surface use for the media.
Verso: The back surface of the scroll. This will be backside of the backing or mount in a
multi-layered scroll, or the backside of the substrate in a single layered scroll.
Figure 3.15. A silk wrap for the Japanese scroll CBL CBLC1127 © The Trustees of the Chester Beatty Library, Dublin.
Wrap: This is used to protect the scroll, when rolled, in storage and can include silk, see
figure 3.15, or sheets of tissue paper.
3.2 Mechanical Damage Terms
There are many different types of damage a scroll can suffer from. As has been discussed, the literature talks of certain types of damage including; folds, creases and cracks; tears
Adam Macklin, UvA, 2018 31
and losses; distortion; cord damage; and delamination. This thesis focuses on 6 types of mechanical damage: parallel folds; perpendicular folds; parallel waves; cupping; parallel tears and edge damage. These also require explanations in order to avoid ambiguity.
Figure 3.16. Directional folds.
Creases and folds are often referred to in the literature without reference to their direction. When a direction is mentioned the terms horizontal and vertical are used loosely. A horizontal fold on a handscroll runs in a different direction from a horizontal fold on a hanging scroll. In order to fully explain a crease or fold on a scroll it is necessary to describe its direction in relation to the spindle or spindles. This thesis will therefore use the terms parallel folds (those folds running parallel to the spindles) and perpendicular folds (those running perpendicular to the spindles), see Figure 3.16, regardless of how the scroll is read.
Adam Macklin, UvA, 2018 32
Tears can be described in the same way as folds. Parallel tears are those that run parallel to the spindle, as seen in figure 3.17. These tears can originate as edge damage or parallel folds.
Figure 3.18. What telescoping looks like, schematically.
Edge damage refers to damage in the direct vicinity of the top or bottom of a handscroll,
and the left or right edges of a hanging scroll. This type of damage can include small tears, loss, and folded over sections of the edge, see figure 3.17. It can be the result of handling and of telescoping, figure 3.18. If placed in a box when telescoped, the edges of a scroll will therefore receive damage if the box is tilted.
Figure 3.19. Parallel waves.
Parallel waves indicate the deformation of the scroll along a parallel axis, to the spindles.
Peeks and troughs occur run parallel to the spindles, as seen in figure 3.19. This is caused by the setting of the rolled scroll. A scroll that has been rolled, sets over time into a rolled form. When this rolled object is unrolled the setting causes it to deform into waves. It places stress at certain points resulting, in some cases, in folds or creases.
Adam Macklin, UvA, 2018 33 Figure 3.20. Cupping.
Cupping is when the edges of the scroll curl up, see figure 3.20. The edges rise higher
than the centre of the scroll. As suggested by Hare for hanging scrolls, this can be caused by being displayed for too long, i.e. hung for too long58. Andrew Thompson and Sydney Thomson suggested that this is common in scrolls, both hanging scrolls and handscrolls, which have been mounted with too much paste59.
3.3 Survey Method Introduction
A survey was designed to gain a greater familiarity and understanding of scrolls of varying origin. This survey included scrolls from the Far East and from Jewish communities.
Motivation
Surveying scrolls provides more than a familiarity with scrolls. A survey also gives an understanding of the types of damage suffered by scrolls in a collection. Analysis of these types of damage is important. By contextualising one type of damage in terms of other types of damage, or in terms of other features of the scroll, like its materials or dimensions, causes of the damage can be indicated. The aim, therefore, of the survey is to gain as much information on the selected scrolls that can help indicate causes of certain types of damage.
Selection of scrolls
In order to survey a varied group of scrolls two collections were contacted. The Jewish Historical Museum had already graciously allowed access to the Esther scroll, M000433, and extended this access to 16 other Esther scrolls. These scrolls were principally picked out with the help of the head of Conservation at the Museum, Netty Wenderich. The scrolls surveyed were all in storage; aside from the cut parchment Esther scroll.
It was important to survey objects that they were comparable to the initial Esther scroll. It is also important for the thesis that as many of the scrolls were multi-layered. Of the 17 scrolls surveyed, only 7 were multilayered. The reason for this was that there were not many multi-layered scrolls in the collection. Some of those considered single had lost their silk backing, with the sewing holes still in evidence. Of those Esther scrolls selected, all had parchment substrates, of varying thickness. There were some that had spindles, of wood, bone, and silver. Some of these had cases of the same materials. Others had no spindle or case.
58 Hare, 2006, p 75.
Adam Macklin, UvA, 2018 34
None of the other scrolls selected had cut parchment. There were also no scrolls with two effective spindles like the Esther scroll M000433. This is testament to the uniqueness of this particular Esther scroll.
30 scrolls were made available for this research at the Chester Beatty Library in Dublin. The CBL has a wide and varied collection of Middle Eastern, Jewish and Asian scrolls. The head of collections, Jessica Baldwin, graciously allowed access to this collection. The primary aim was to survey the Chinese and Japanese collection of scrolls, placing the emphasis on multi-layered scrolls. Only one of the scrolls surveyed at the CBL is single layered. This is a hanging scroll missing its mount. It was included as it existed as a multi-layered scroll and could therefore exhibit the same types of damage.
A discussion about which scrolls took place with Jessica Baldwin and Mary Redfern, the Curator of the East Asian Collection as to which scrolls would be suitable for the study, and to which were available. The museum wanted to review some of their stored scrolls for future exhibitions. They were happy to allow access to multi-layered scrolls and provided a representative balance of handscrolls and hanging scrolls.
Survey methods
It was important to take as much information as possible. This would set the framework for the data that could be recorded. Before starting the survey it is easy to underestimate the amount of information needed to make solid conclusions. Therefore, it was decided to record as much information as possible. The following information was recorded. (The complete spreadsheet can be found in the appendices (Appendix II).)
Scroll title, date of making, origin, maker, calligrapher or artist: This is the standard descriptive information for objects and was recorded where possible.
Layers: This is a description of whether the scroll is single or multi-layered.
Substrate material: The material used to write, draw, print or paint on was recorded. This is the primary support for the media.
Measuring the height/width, length and depth of the scroll: The dimensions of the scroll were recorded where possible. The thickness (depth) of the substrate of the artwork or document was recorded in the case of the parchment Esther scrolls. The thickness was divided into three types: Thin – less than 0.12cm; Medium – between 0.12 and 0.17cm; Thick – more than 0.17cm.
Backing material: The material used to back, or mount the substrate. Spindle material: The material used for the spindle.
Spindle diameter: The diameter was measured when the scroll was fully opened, or when the end of the scroll was reached and the spindle was exposed. The circumference of the diameter was not calculated, but the fact that the larger the diameter the larger the circumference was inferred though the equation C=2πr.
Adam Macklin, UvA, 2018 35
Knob material and case material: The material used to as knobs and cases. The media: The media used was to be recorded.
The grading for the next factors was important. Simplicity was implemented to remove as much subjectivity as possible from the damage survey. No discernable damage was graded with 0. Mild damage is damage that does not require treatment; that allows the object to be used or displayed. Severe damage requires treatment and prevents the object from being displayed or handled without a conservator.
Parallel folds: A grading was selected of 0, indicating no parallel folds; 1, for mild parallel folds; and 2, exhibiting severe parallel folds.
Perpendicular folds: A grading was selected of 0, indicating no perpendicular folds; 1, for mild perpendicular folds; and 2, exhibiting severe perpendicular folds.
Cupping: A grading was selected of 0, indicating no cupping; 1, for mild cupping; and 2, exhibiting severe cupping.
Parallel waves: A grading was selected of 0, indicating no parallel waves; 1, for mild parallel waves; and 2, exhibiting severe parallel waves.
Parallel tears: A grading was selected of 0, indicating no parallel tears; 1, for mild parallel tears; and 2, exhibiting severe parallel tears.
Perpendicular tears: A grading was selected of 0, indicating no perpendicular tears; 1, for mild perpendicular tears; and 2, exhibiting severe perpendicular tears.
Delamination: A grading was selected of 0, indicating no delamination; 1, for mild delamination; and 2, exhibiting severe delamination.
Edge damage: A grading was selected of 0, indicating no edge damage; 1, for mild edge damage; and 2, exhibiting severe edge damage.
Spindle damage: A grading was selected of 0, indicating no spindle damage; 1, for mild spindle damage; and 2, exhibiting severe spindle damage.
Notes: Notes were taken to describe any further point of interest.
Photos were taken of all of the scrolls and the damage was recorded according to the above criteria. 2 and half days were spent at the Chester Beatty Library. This amounted to 17 hours of surveying. 1 day, 7 hours, was spent at the Jewish Historical Museum surveying the Esther scrolls. Care was taken throughout the survey. Handling techniques learnt from the literature60 were implemented. Throughout the course of handling the scrolls the author developed a strong understanding of handling scrolls and techniques that helped care for the objects when rolling and unrolling them.
60 Of particular use here was Hare, 2006, and, “The Chester Beatty Library Guidelines for Handling Scrolls”,
Adam Macklin, UvA, 2018 36 3.4 Model Making Method
Introduction
Through the construction of models a greater understanding of the materials, styles and methods of making scrolls could be obtained. These models were designed to compliment and improve on the knowledge gained from the survey. Using mechanics to predict what will happen, there should be an immediate effect from rolling up the materials. Once the scroll is rolled up, geometry dictates that there will be immediate pressure on the inner layer. Few ageing or weathering techniques could be implemented to simulate the life cycle of a scroll.
Motivation
The aim of making the models was to see how the construction and materials would be affected by rolling into a scroll. This could be witnessed from the scrolls’ reaction to being rolled up and stored for a short period of time, 24 hours.
Selection of materials and styles
The selection of the materials and styles was determined by the literature and the focus of the study, the Esther scroll M000433. The latter dictated the necessity for a cut parchment scroll, backed with silk to be made. The parchment selected for the scroll is quite thick. Another thicker hide was stitched to the cut segment to see how this would react. Thin parchment was not available, but this parchment would still answer questions.
Two other types of scroll were selected using the literature, in particular Andrew Thompson’s article, “The construction of a Japanese hanging scroll”. His techniques were followed, under some consultation with other sources61, in order to make two small handscrolls. One scroll was made with Japanese paper substrate and a silk mount. The other was made with Japanese paper substrate and a thicker Japanese paper mount. No spindles were used for these. Instead the diameter of the scrolls was kept at a constant measurement of 2.8cm. Three models were therefore decided upon which would use paper, parchment and silk.
Method of making the models
The cut parchment model was made according to the dimensions and the basic design of the Esther scroll M000433. Although not 2 meters long, the parchment was cut to be 11 cm wide. A similar design was cut on the parchment, with sections kept solid, and the areas around it cut out with a scalpel or Japanese hole-punch.
Once the design was complete the additional section of parchment was sewn to the cut section. White cotton thread was used to stitch the two pieces of parchment together. This was noted to be the stitching used on the original Esther scroll, see figure 3.21. No silk edging was found to apply to the model. Instead, it was decided to sew one. This took the shape of sewing around the edge, see figure 3.22.
Adam Macklin, UvA, 2018 37
Figures 3.21 (top) and 3.22 (bottom). Model 1: The construction of the cut parchment model (top), and the edging (bottom)
The Japanese model scrolls were made according to the article of Thompson, supplemented by Oba. These provide well-defined guidelines for mounting scrolls, which
Adam Macklin, UvA, 2018 38
were applied to two smaller substrates. The mounts, both paper and silk, were washed and dried twice before they were pasted, with wheat starch paste, to the substrate. In the case of model 2, which had a thin paper mount (of gampi fibres) and a silk mount, the former was pasted first and then the silk mount was pasted when this had fully dried. To dry, they were dried on a Karibari board.
Figures 3.23 and 3.24. The construction of the Japanese-style paper and paper & silk models: Model 2 (left) and Model 3 (right).
The scrolls were then rolled up using the same spindle used for the parchment scroll and held in place to match the spindle diameter of 2.8cm. All three scrolls were rolled and stored for 24 hours and the damage surveyed.
Adam Macklin, UvA, 2018 39
4
Results
This chapter will relate the results that are important to this study. It will show the results from the survey and cross-reference them. Discussion and analysis of these results and their meaning will happen in the next chapter.
4.1 Survey results
There were 48 scrolls surveyed; 17 are in the Jewish Historical Museum and 30 are in the Chester Beatty Library; and a scroll was lent to this thesis by Andra Danila from her private collection.
This thesis will focus on the following types of damage: parallel folds, perpendicular folds, parallel waves, parallel tears, cupping, and edge damage, see tables 4.1 and 4.2.
The damage, when there was any, was surveyed in 3 levels of severity; no damage, mild damage and severe damage. No damage was assigned 0; mild damage was assigned 1; and severe damage was assigned 2.
Damage Type 0 1 or 2 Parallel Folds 0% 100% Perpendicular Folds 31% 69% Cupping 58% 42% Parallel Waves 6% 94% Parallel Tears 58% 42% Edge Damage 12% 88% TOTAL SCROLLS 48 48
Table 4.1. Results of damage assessment showing those with damage and those without.
Damage type 0 1 2 Parallel Folds 0% 48% 52% Perpendicular Folds 31% 60% 8% Cupping 58% 29% 13% Parallel Waves 6% 46% 48% Parallel Tears 58% 29% 13% Edge Damage 12% 56% 31% TOTAL SCROLLS 48 48 48
Adam Macklin, UvA, 2018 40 FOLDS:
Figures 4.1 and 4.2. Mild parallel folds on CBLC1127 (left) and severe parallel folds (right) on CBLJ1110 © The Trustees of the Chester Beatty Library, Dublin.
Damage type No damage Damage
Parallel Folds 0% 100%
Perpendicular Folds 31% 69%
Table 4.3. Results showing those with fold damage and those without.
- All of the 48 scrolls surveyed present parallel folds. Of these 48% (23) are mild in appearance, see figure 4.1 and 52% (25) are severe, see figure 4.2. The scrolls all have folds emanating from the edges of the scrolls.
