“Wooden archaeological objects from the Chu Kingdom (V-III sec. b.C.). A study of the Chinese lacquers used and conservation intervention”. The works of the study originate from an archaeological context, in particular, burials from the south-central area of China related to the Chu Kingdom (Warring States period 475-221 b.C).The artefacts are three wooden artefacts: A wooden sculpture depicting an anthropomorphic standing figure in the role of an attendant; A zoomorphic wooden sculpture - consisting of two wooden elements - which is a tomb guardian (monster zhenmushou); 10 wooden elements forming part of the frame of a ritual drum. The study has the aim to contextualize the artefacts from a historical and artistic point of view by providing a broad overview of the local, social and religious contexts in which the works had originated. The items were subjected to long diagnostic analyses to obtain a thorough knowledge of their techniques and states of conservation. In order to understand in detail the different phases of the works, we have given particular attention to the use of lacquer for decorative purposes and the study of the lacquerware. Then, we addressed the issue of restoration in two distinct ways: Eastern and Western, which lead to profoundly different operational choices because they originate from different contexts and needs. Additionally, experimental tests were done that would allow us to support the choices of restoration intervention. We analysed two types of consolidating substances by testing samples, and then, we chose the "funori," which is the consolidating substance that is able to ensure compliance with conservative choices for the attendant figure and the consolidation of the lacquer. We hope that this study may provide an additional contribution to the knowledge of lacquered objects from the Chu Dynasty. We also hope that the choice of restoration may open a debate about the approach to archaeological restoration, a continuous equilibrium between the needs of conservation and those related to the utilisation of that kind of works.

1. Università degli Studi di Torino
Corso di Laurea Magistrale in
Conservazione e Restauro dei Beni Culturali
Relatore
Francesca Spagnoli
Referente storico-artistico
Prof. Maria Beatrice Failla
Referente scientifico
Prof. Eliano Diana
A.A. 2011-2012
PROVA FINALE
WOODEN ARCHAEOLOGICAL OBJECTS FROM THE CHU KINGDOM (V-III SEC.
B.C.). A STUDY OF THE CHINESE LACQUERS USED AND CONSERVATION
INTERVENTION”.
Corelatori
Dott. Tiziana Cavaleri
Dott. Flavio Ruffinatto
Dott. Anna Piccirillo
Candidata
Simonetta Capetta

2. ATTENDANT TOMB GUARDIAN
DRUM ELEMENTS
front back front back
Polychrome wooden artefacts coming from the south-central China at the Museo di Arte Orientale (MAO) of
Turin.
.
ARCHAEOLOGICAL WOODEN OBJECT FROM THE CHU KINGDOM: description 2

3. .
THE CHU KINGDOM: burials
Maximum expansion of the Chu Kingdom.
3
The works come from a funerary equipment belonging to
the Chu kingdom aristocracy.
The Kingdom developed from the seventh to the third
century BC had an important influence in the formation of
Chinese civilization and spreaded over most of southern
China.

4. .
THE CHU KINGDOM: burials
Manufatti lignei policromi
provenienti dall’area centro-
meridionale della Cina
2 Tomb at Baoshan.
Wooden coffins and external boxes.
4
The burials for the aristocracy were formed by multilayer
coffins located in a deep hole, surrounded by a layer of
charcoal and a thicker white clay.
Tombs with steps and one or more ramps covered with
mounds of different land fill.
The space between the outer chamber and the walls of the
coffin was often filled with funerary objects.

5. .
THE CHU KINGDOM : lacquers
Bird lacquered
wooden base shaped
like a tiger
Horned Deer in
lacquered wood.
Lacquered vase for liquids
(dou).
Launched a study and
experimentation on
Chinese lacquer to support
decisions about the
restoration choices.
Lacquers, known in ancient
China from the Neolithic
period, a by the Chu
craftsmen.
re subsequently adopted
5
Lacquered coffin.

6. Figure Attendant used in burials as a helper of the
deceased on his journey into the underworld
The status is constituted by a single element of wood
ATTENDANT: executive tecnique
Chessboard decorations for the garment.
A red belt at the waist wraps around the figure
on the front and back.
In front are visible two elements referable to a
sort of pendant.
Comparisons with similar figures of attendants in carved wood (IV-III century BC.).
6
Sizes: 120x540x70 mm.

7. SUBSTRATE:
Shrinkage cracks caused by quick thermo-hygrometric
changes. Deep cracks.
Lacunae of wooden fragments in the area of the base.
Lacunae of elements: removable arms and feet.
ATTENDANT: conservation status
POLYCHROMY:
Presence of lacunae.
Crimp and pulverization of the lacquer.
Discoloration.
7

8. 7
TOMB GUARDIAN: executive tecnique
The guardian of the tomb was used to protect the deceased
from evil spirits, and he has a long tongue and protruding eyes.
He is made by two wooden elements manufactured in a single
piece of wood.
The basement is carved according to simple
geometric planes.
The body is inserted into the base through a
recess on the top.
The red decorations on the sculpture consist
in swirls and spirals, combined with simple
motif like meander and crossed lines.
8
Size: 2250x395x190 mm.
Comparison with a similar figure of Guardian of the
tomb Zhenmushou.

9. SUBSTRATE:
Shrinkage cracks caused by quick thermo-
hygrometric changes. Deep cracks.
Lacunae of fragments of wood in the area of the
base and the head.
Lacunae of elements: horns.
TOMB GUARDIAN: conservation status 9
POLYCHROME:
Lacunae of polychrome and surface severely
depleted.

10. TOMB GUARDIAN: conservation status 10
PREVIOUS INTERVENTIONS:
Presence of a pin in fiberglass.
Filling of deep cracks on the base and on the
body of the monster.
Repainting.

11. Wood elements belonging to one or more drums rituals, assembled together to form a circular frame supported
by pillars representing cranes.
Presence of holes for the housing of the wooden pins to tension the drum skins. The Cromia consists of a rather
impoverished black layer, with some traces of red. Presence of lacunae.
.
DRUM’S ELEMENTS: executive technique and conservation status 11
Grafico che identifica la perdita della curvatura originale.
Drum support.
Lacquer craquelure
Typical cracks "buttonhole", caused by a quick
collapse of the cellular structure.
Drum elements

12. ATTENDANT
Minor wood density in the
base of the figure as a result
of the degradation of the
substrate.
.
NON INVASIVE ANALYSIS: X-ray
Tomb guardian
Attendant figure.
Drum elements.
12
TOMB GUARDIAN
Difference in radio-opacity in
the peripheral areas of the
base caused by the filling of
cracks.
Evidence of the depth of
insertion of the fiberglass
pin.
DRUM’S ELEMENTS
Evidence of cracks and
porous ring.
100 a 200 KV e da 4,5 mA a 8 mA.

13. The red pigment (cinabro) gives a yellow-green colouration.
NON INVASIVE ANALYSIS Infrared in false color
Attendant figure, detail of the decoration of
the belt; microscope image in false color.
Tomb guardian, detail of the decoration of the
basement; microscope image in false color.
13
Tomb guardian.Attendent figure
Touch microscope

14. NON INVASIVE ANALYSIS Ultra violet 14
Tomb guardian, ultra-violet images.
Previous interventions:
Higher fluorescence in the areas of bonding (yellow boxes) and in the presence of fillings (red box).

15. Wood species recognition by
optical microscopy
observation of anatomical
characters.
FIGURE OF ATTENDANT,
THE GUARDIAN BASEMENT
Lauraceae family,
Medang group.
More than 35-45 genera and
difficulties in discriminating
between species for the
presence of similar anatomical
characters.
DRUM ELEMENTS
Lauraceae family,
Medang group,
Gender Sassafrass
BODY OF THE TOMB
GUARDIAN
Gender Populos (Pioplar).
.
Radial section,drums elements. Transversal section, attendant figure.
Radial section, tomb guardian basement. Tangential section, tomb guardian body.
15NON INVASIVE ANALYSIS : wood species recognition

16. 16NON INVASIVE ANALYSIS : wood species recognition
The most popular genera
are:
Lindera,
Litsea,
Machilus,
Neolitsea,
Phoebe,
Sassafrass.
Areas of greatest expansion of the Chu kingdom in relation to current areas of diffusion of the
different species of the Lauraceae family in the Chinese territory

17. .
NON INVASIVE ANALYSIS : Micro-Raman, Pyrolysis mass
Raman spectrum from the sample of black patina.
Black coal.
Raman spectrum from the sample of red pigment.
Cinnabar.
17
Diagnostic studies have been useful in
reconstructing of the conservation
history and the technique of the
artifacts.
• Micro Raman to investigate the nature
of the pigments;
• Fourier transform infrared spectroscopy
(FT-IR) in micro ATR (attenuated total
reflectance) to identify the nature of
the organic or inorganic materials;
• Pyrolysis mass coupled to gas
chromatography-spettometry mass
(Py-GC-MS) to identify the lacquers
used in the decoration of the artifacts.
PYROLYSIS MASS results
ATTENDANT FIGURE
Lacquer: The presence of glycerol.

18. .
ANALISI MICRO-INVASIVE: FT-IR
FTIR results
DRUMS ELEMENTS
Wood: GLYCEROL
ATTENDANT FIGURE
Wood: PEG
Black lacquer: GLYCEROL, PEG
Red lacquer: GLYCEROL
Ear glue: POLIVINILBUTIRALE
TOMB GUARDIAN
Wood : PEG
Black lacquer : PEG
Basement grey preparation: KAOLIN
Basement glue: EPOXY RESIN
Basement stuccoes: ACRILIC RESIN,
KAOLIN
18

19. .
EXPERIMENT: test of chinese lacquer - preparation
Preparation of the black carbon pigment.
Climatic chamber, made with 100 g of
sodium dibasic heptahydrate
(Na2HPO4.7H2O) in 100 ml of water.
Draft of chinese lacquer.
Lacquer specimen
19
Specimen laurel
wood with drafts
of Chinese lacquer.
Use of carbon
black and
cinnabar.

20. With the type A aging the degradation obtained
enter into the category of the deterioration of
Chinese lacquer on wooden substrate.
.
EXPERIMENT: test of chinese lacquer– aging and colorimetric measurements 20
Aging of type A, changes in temperature and relative humidity.
Simulation of the state of conservation of the object:
Type A: 42 cycles of 12 hours alternately placing the specimens
in a climatic chamber (T 22-25 ° c and RH 65-95%) and in a
stove at 40 ° C.
type B: specimens immersed in saline solution at 0.9% by 360
hours at a temperature of 40 ° C.

21. .
EXPERIMENT: test of chinese lacquer– aging and colorimetric measurements 21
Invecchiamento di tipo B, immersione in acqua.
campione ∆b
7 13,5
8 10,6
9 10,93
10 14.9
11 14.9
12 15,5
13 7,8
14 13,6
15 10,7
16 2,9
The aging of type B caused
a strong yellowing of the lacquer,
a clearing and a
loss of surface gloss of the specimens.
Evident variations in the dimensions of
(1mm)
Surfaces of lacquer
chromatically altered.

22. Giannandrea G., Jervis A.V., Mercalli M., Ioele M., Priori G. 2008 – Pellicole pittoriche fortemente decoese su supporto cartaceo: sperimentazione di prodotti consolidanti.
22
CONSOLIDANT: funori ed aquazol
«Funori usato spesso nel consolidamento delle statue in legno dipinte o finite a lacca quando il pigmento è
polveroso o sollevato a scaglie, e per far riaderire lo strato di rivestimento della lacca sulla superficie».
da Carnazza P., Corak Rinesi K., Consolidamento Funori: adesivo di origine vegetale. Test di consolidamento di
pittura su tela e consolidamento compatibile con le superfici opache su carta.
Aquazol 200 and 500 in solution with acetone and ethanol (1: 1) at concentrations of 2-2,5-3%.
Pure and purified Funori, in concentrations of 1, 2 and 3%, warmed.
Funori warmed. The funori dried after the purification
The procedure results in the loss of much of the initial
material.
With an initial amount of 20 g of pure funori were
obtained 2 g of purified dried funori.

23. EXPERIMENT: wooden specimens- colorimetry 23
A high difference
between the
component SCI and
SCE identifies a glossy
surface.
Higher glossing in
the use of aquazol,
higher with the 500.
Graphic shows how the difference between SCI and SCE increases after consolidation
(Δ2) in the case of the specimens 7-8-9-10-11-12.
The funori not lead to any changes of glossing,
and other color variations.

24. Both consolidating give more
cohesion to the pigment.
This happens much more in the
case of funori applied by brush,
because the material removed
in the peeling test is on the
order of 1 mg.
.
EXPERIMENT: wooden and coloured specimens- peeling test
- test di peeling
24
Layers of lacquer treated with aquazol 200 and 500.
Layers of lacquer treated with funori purified and pure.
Funori purified and pure have
the same consolidating
power. With nebulization
requires two coats of funori
to get the same consolidation
of brush application.
Diagrams of the amount of pigment removed before
and after consolidation.

25. Spolveratura, tassello di pulitura Spolveratura, tassello di pulitura
Dusting with the aid of soft brushes.
Improving the reading of the decoration.
.
RESTORATION: Tomb guardian 25

26. Bonding of wood elements.
Bonding of wood elements.
Gluing wood elements (Sturgeon glue in
aqueous solution 1:10)
.
RESTORATION: Tomb guardian 26

27. Dusting.
Bonding ear (bone glue in aqueous solution 1: 1)
Gluing wood elements (sturgeon glue in aqueous
solution 1:10)
.
RESTORATION: attendant 27
Dusting.
Gluing wood elements.Bonding ear.

28. Nebulisation funori (in 1% concentration) in two drafts.
Brush application of funori for all areas in which the
wooden elements needed further strengthening.
.
RESTORATION: attendant 28
Nebulizzation of funori Funori brush application

29. .
RESTORATION: attendant 29
∆L ∆a ∆b ∆E
1 -4,1 0,2 -1,0 4,2
a -3,7 -0,3 -1,3 3,9
b -3,5 -0,5 -1,4 3,8
Colorimetric measurements
points.
Colorimetric measurements made on three
significant points have shown that:
the surface lightens slightly in all three cases
(ΔL negative);
(
there are no significant changes respect
to the parameters a and b components red /
green and yellow / blue).
ΔE within the parameters of acceptability
slightly perceptible by the human eye.
Attendant figure, particular area of
lacquer with strong surface lacquer
crack.
Panel a: first consolidation;
panel b: after consolidation.