Restoration of two lids of Chinese vases topped by the figures of lions

In the spring of 2004 the Laboratory for Scientific Restoration of Works of Applied Art (A.I. Bantikov, director) restored two lids of Chinese vases topped by the figures of lions. The vases were going to be put on exhibition in Novgorod the Great, but when they were received at the Sector of Restoration of Porcelain, Ceramics and Glass, they were not in condition to be displayed.

The surface of the porcelain was covered with various types of dirt and in places the enamel and gilding were missing. The top of the lid of the first vase still had fragments on it, while the fragile gilding peeled off; the top of the lid of the second vase was entirely lost and had been replaced by a restorer's substitute made of plaster polymer given a bronze tint. The filled in part lost its attractiveness due to crumbling of the plaster, gaps in the tinting and loss of the upper part of the head of the lion.

Prior to beginning the restoration work, N.A. Bolshakova faced the task of restoring the lost top, because the absence created a disharmony in the outer appearance of the article and therefore it appeared to be justified to reconstruct it.

For restoration of the lost crowns, preliminary investigative work was undertaken: special literature was studied to examine pictures of similar vases. The restorers studied the Chinese porcelain holdings of the Oriental Department. By juxtaposing the vase lids with lids of similar vases, the proportions of the lions to the lids were calculated. The restorer established the height of the piece to be recreated, after which the reserve collection was used to provide a stylistically close model of the lion which corresponded to the needed parameters.

After visual examination of the model, it became clear that it itself needed restoration: the cold-method gilding of the surface was covered with craquelure, and there were also areas of peeling and gaps. The figure of the lion was cleaned carefully under a magnifying glass using a soft brush moistened with a warm solution of children's soap. Then the gilded surface was covered in sturgeon glue and the detached parts were carefully evened out and laid down using the front part of a soft brush. After cleansing and conservation, the model was ready for use.

The complicated sculpture of the model made it necessary to prepare a five-part mould. Before the moulding, the surface of the porcelain was coated in vaseline and the open jaws of the lion were filled in. In order to obtain the cast, the three parts of the mould of the body were put together, held in place by a rubber band and placed on the glass. A plaster polymer was poured into the mould gradually through a funnel (the neck of the lion). The halves of the mould of the head were filled separately and were fixed to one another and to the body. After the casting was extracted from the mould, it was worked and made suitable for application to the place where the original lion was missing, then it was glued down.

After this work was completed, the question arose of what colour to give to the additions. A polychrome solution similar to the model did not look good on the test castings and seemed mismatched with the vases; for that reason it was decided to use a neutral tint close to bronze. As a result, the two vases from the collection of the Oriental Department of the State Hermitage were given an appearance suitable for public display.

Covered vase
China. Second half of the 18th century
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Cover of a vase topped with the figurine of a lion
Before restoration
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Fragment of the cover of a Chinese vase
During restoration
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Model of a lion figurine selected in the museum stocks to replace the missing one
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Cover of the Chinese vase with the restored finial
After restoration
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