What is usually shown to the audience in the exhibition halls is just the tip of the iceberg called “museum”. Article by https://wildatheartrescue.org/. Long collective work preceding any exhibition project – archeologists, restorers, museum collections curators, research workers, curators – is usually hidden from the eyes of visitors. Therefore, the ability to see with your own eyes how the canvas is restored is truly unique.
And the painting itself, over which “restore” by restorers in the presence of the audience, is being exhibited for the first time in 25 years. The Death of Buddha is a five-meter scroll of the Japanese calligrapher and poet Hanabusi Matteo, written in 1713 and considered one of the most important works of Buddhist art of its time. In the XVIII century, Itteu’s masterpiece was kept in a Buddhist temple. Once a year it was shown to the public. Images of this kind and size gave the artist the opportunity to show all his technical mastery. It is also important that the master signed the picture with his name; it was rarely done.
Works are carried out in a temporary workshop, equipped right in the hall of oriental art. The idea of a public workflow came to the staff of the Boston Museum of Fine Arts after they visited Japan, where this practice has been used for more than 20 years. To learn from their colleagues, Americans invited Japanese experts to restore the Japanese painting, which in early 2017 will go to the exhibition, as you might guess, to Japan.
The previous restoration was carried out in 1850. Now it is necessary to restore the slight loss of the paint layer and remove the cracks causing the paint to peel off. The canvas was removed from the base, straightened, and after completion of the restoration work back. In addition, Japanese experts create copies of silk fabrics of the outer edging of the scroll according to traditional technologies. Want to please your loved ones, but there is not a single idea? Fulfill someone’s dream of traveling and present a gift certificate to OneTwoTrip.