Restoration of the Monk Nitiren sculpture. Japan, 17th century

A sculpture portraying the monk Nitiren, who is venerated by the Japanese Buddhist sect called Nitirenshu, was acquired by the State Hermitage in 1966. The figure is carved from several blocks of wood that have been glued together. It is 19 cm high and is decorated with polychrome painting. The eyes are inlaid with crystal under which lies a paper with the image of a pupil and an iris. Hieroglyphic inscriptions on the pedestal indicate the province of Iga, where the sculpture was made, the date of its creation - in late October - early November 1691, and the name of the sculptor - Bodzikuri. The inner surface bears hieroglyphs which are presumed to be a text from the Lotus Sutra.

When the exhibit entered the Laboratory for Scientific Restoration of Works of Applied Art Made of Organic Materials (T.A. Baranova, director) in 2003, it had lost parts of the paint layer together with the ground and there were gaps. From the fact that some areas with missing paint layer were strengthened with glassy (sturgeon) glue, it was evident there had been previous attempts at restoration.

All of the exposed surface of the sculpture was covered with a dense layer of black colour. In some places one could see under this layer the true polychrome painting with ornamentation and a design in relief. Dendrological analysis indicated that the figure was made from Japanese cypress wood.

Before the restorer Ye.G. Klemeshova started to work, research was carried out which made it possible to determine the peculiarities of the techniques used to make the sculpture, to identify the several stages of later renewal, and to choose the methodology best suited to conservation and restoration. An analysis was made of the ground, the pigments, the surface layers and coatings. An X-ray and fluorescent analysis showed the basic paint pigments to be: red, from cinnabar; yellow-brown, from ochre; green, from a copper base; and also gold.

Chemical analysis indicated that the black coating of the surface was a mixture of charcoal, animal glue (gelatin) and a small amount of oil. The coating was applied to cover up the many worn and lost parts of the original paint layer. In the process of removing this layer streaks of dark lacquer which did not dissolve in traditional solvents appeared. Research conducted in the State Hermitage's Department of Scientific and Technical Scientificise (A.I. Kosolapov, director) indicated that this is the Japanese lacquer known as urushi. One could see brushstrokes under the lacquer in dark paint or thick dark lacquer. The investigations which have been carried out enable us to speak of two restorations from different times, one of which was likely done when the work was still in Japan.

The series of conservation and restoration measures taken included strengthening of the paint layer and ground, removal of superficial soil and later accretions. In the process of restoration the genuine decorative design was discovered: it is remarkable for the elegance of line and brightness of colour. The monk's garments are decorated with a pattern consisting of small squares which alternate in a checkerboard fashion: on a black background we see the depiction of a large flower made with red and green colours and outlined in gold; on a gold background there is the depiction of a vegetal ornamentation made using black pigment. Part of the clothing is decorated with gold ornamentation on a dark brown background. After removing a layer of writing from the back of the sculpture, hieroglyphic inscriptions were discovered.

Sculpture of the Monk Nitiren
Before restoration
Larger view

General view of the front side of the sculpture. During restoration
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Fragment of the front side of the sculpture
After cleaning
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General view of the back side of the sculpture
Before restoration
Larger view