陶瓷文物的修復－黏合、填補與全色

The Restoration of Ceramics: Bonding, Filling, and Retouching

10.6686/MuseQ.202107_35(3).0005

陳澄波(Chen-Po Chen)

陶瓷修復 ； 黏合 ； 填補 ； 全色 ； 不可視 ； ceramic restoration ； bonding ； filling ； retouching ； invisible

博物館學季刊

35卷3期（2021 / 07 / 01）

79 - 95+97

繁體中文

陶瓷文物於博物館中屬較不易產生化學劣化之藏品，但卻易受外在物理性因素之影響，導致缺損或破碎等狀況，而修護之目的為使文物得以典藏、展示與持拿，故陶瓷藏品則會因其性質而有不同的修護策略，如在考古或人類學等面向中，填補與全色處理也許非為必要之選項，以期能符合該類文物於歷史上的價值，但倘若陶瓷文物為具有高度審美與工藝價值之藏品時，或許應適度考量其特性進行填補與全色等處理。然而過去因陶瓷修復領域曾長期使用硝化纖維素、環氧樹脂和蟲膠等材料，導致後續大量產生接著性能失效、黃化、變色與褪色等問題，遂使該領域認為修復不應處理至不可視之效果，因此少有文獻具體闡述應如何模擬出陶瓷特有之釉面質地。但隨著修復科學的發展，逐漸有研究認為如Paraloid B-72®、Hxtal NYL-1^(TM)以及Golden®壓克力顏料等合成材料，可穩定地用於博物館環境中，且不易產生過去常見的劣化情形。故本文以此3種修復材料為基礎，並結合陶瓷製作工藝之角度，將陶瓷的填補材料分為透明、半透明與不透明等性質，以符合各種陶瓷胎體的實際狀況，再以壓克力顏料混合透明壓克力樹脂，模擬出釉面特有之質地，使具審美價值之陶瓷文物非僅能以可辨識性的方法進行修復，同時也讓不可視的修復方法有再次被探討之空間。

Ceramics are less prone to deterioration in museum environments, but can be easily damaged or broken due to external physical factors. The objective of conservation is to enable cultural relics to be collected, displayed, and preserved. Conservation strategies may differ. From the archaeological or anthropological perspective, filling or retouching may be unnecessary due to the historical value of cultural relics. However, if a ceramic work has high aesthetic and artisanal value, filling or retouching should be carried out. Materials such as cellulose nitrate, epoxy resin, and shellac have been used for a long time, resulting in adhesive failure, yellowing, discoloration, and fading. This has led to the belief in conservation circles that restorations do not need to be invisible. Few detailed explanations on how to simulate the unique textures of ceramic glaze are available from the literature. With the rise of conservation science, synthetic materials such as Paraloid B-72®, Hxtal NYL-1^(TM), and Golden® acrylic paints have been developed for use in the museum environment. These are less prone to deterioration. Based on these three restoration materials, the properties of ceramic filling materials were categorized into transparent, semi-transparent, and non-transparent from the perspective of the ceramic manufacturing process to complement the properties of various types of ceramic objects. Moreover, acrylic paints were mixed with transparent acrylic resin to simulate the unique textures of glaze. Based on the results, identifiable methods may not be the only methods for restoring ceramic cultural relics of aesthetic value as there is room to revisit invisible restoration methods.

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