04 修護作業(舊版)
織品的修護之旅
FABRIC REPAIR JOURNEY
04
修護作業
Repair Process
每件織品文物都是獨一無二的至寶，如同人會老、會生病，東西也會老化、損壞，都需要有人來治療它、維護它。織品修護是份細膩的專業技術，需用耐心、謹慎、仔細的態度來面對，因此，織品文物修護時，應依循文物真實性、保留原始材料、修復材料可移除性、材料可辨視性及不作人為臆測等原則，避免織品文物因修護不當而失去價值。
- 真實性原則：尊重織品文物歷史及所屬地域文化的差異性，修復應因地制宜。織品原始材料是歷史與文化脈絡的物證，保留原始材料即為體現文物歷史的真實性。
- 可再處理原則：材料產出即開始老化，處理技法也會與時俱進，未來有需再被處理時，可能需要移除先前的材料與技法。因此，使用可移除性或可再處理的材料與技法，較能保障織品文物日後能再被處理的可能性。
- 最小干預原則：以維持織品文物結構穩定性及後續保存為主要目的，選擇適當的處理方式，對文物原件最小干預為原則，例如：移除不屬於原物且有危害的物質，為維持結構穩定添加之復護材料等，對文物影響且改變最小的方式。
- 可辨視性原則：為尊重織品文物的原始材料，修復處理若需添加新材料時，修護處應可辨視，並需就使用材料與處理方式等詳細記錄。
不可臆測原則：迭失或劣損的樣貌或圖紋，不作人為猜測。修護時，應先詳實調查，收集足夠的資訊，進行還原程度評估及討論。修護過程應詳細記錄修護前後的狀態。
Each textile artifact is one-of-a-kind treasure. Much like humans who age and get sick, textiles will also age and slowly break down. Eventually they need attention and repair to extend their lives. Textile repair is a delicate and professional process, one that requires patience, prudence, and attention to detail. When repairing textiles, there are several principles to follow to avoid any loss to the value of the textile due to improper repair. These principles are as follows:
- Authenticity: A need to respect the textile’s history and the unique characteristics of the culture from which it emerged. Repairs should be in line with local conditions and circumstances. The original materials of the textile serve as evidence of its historical and cultural context and thus their conservation is key to preserving the textile’s authenticity.
- Re-Repairs: As materials begin to age and repair techniques advance with time, it might be necessary to remove previously used materials or repairs. Therefore, it is important to use removable or reprocessable materials or techniques to ensure the textile can be easily re-repaired at a later date.
- Minimal Intervention: The central purpose of any repair is to maintain the structural stability of the textile—both at present and in any future conservation efforts. Therefore, when selecting a treatment method, the one that is least interventive is preferred. Except for removing items not original to the work or hazardous materials, or adding materials that assist in the stability of the textile, repairs should strive to be as minimally invasive as possible.
- Visibility: A need to respect the original materials of the textile. If new materials are added as part of the restoration process, these materials should be visible and identifiable, with all repair materials and methods carefully documented.
- Avoiding Guesswork: Avoid guessing at the appearance of a pattern that has been lost or is unclear. During repair, a detailed investigation should be first undertaken and sufficient data collected before assessing the degree of restoration needed. During the repair process detailed before/after records should be kept.
(1)
作品損壞狀況 Damage Status
灰塵與排遺
Dust and Flyspecks
作品尺寸
60x60x3cm 無框畫
創作媒材
咖啡粉、菸灰、膠水、繡線、織品
創作手法
以日常取得的素材仿製髒污，並以刺繡技法中的結粒效果，描摩經年累月堆積的沙塵與排遺，一層層使之附著與聚合。
Measurements
60x60x3cm No framed
Original materials
textiles
外來汙染物造成織品劣化的狀況，包含灰塵、水漬、油漬、移染、繡斑、黴斑等。
若是汙染物附著於表面或滲入纖維，改變織品原來的顏色，需要即時予以適當處理，避免時間越久無法復原。
Textiles are susceptible to partial or total color change as a result of foreign containments including dust, water stains, oil stains, dye migration, metal corrosion stains, mold stains, etc. These foreign containments can adhere to the surface of the textile or permeate its fibers causing discoloration. If proper decontamination is not carried out, stains and degradation will become harder to remove over time.
When the condition of the textile is still good, the corresponding cleaning method is to cover the textile with a mesh fabric before using a soft brush to gently sweep the surface. A vacuum specially designed for cultural artifacts is also used to remove any loose dust on the surface.
修護方式一：乾式清潔
指不用溶劑或水洗的除塵方式，除去表面或嵌入纖維的灰塵、昆蟲排遺等污染物，避免污染物殘存於纖維間隙或滲入纖 維內部，影響織品保存，造成後續處理困難。歷史性織品的纖維多已劣化，淸潔可採刷、吸、吹、黏、擦、夾等方式， 淸除織品表面累積之外來污染物，淸潔時需審愼評估，可於局部先進行測試。脆弱織品吸塵時，表面可加鋪網布保護。
Repair Method One: Dry Cleaning
This refers to dust removal methods without solvents or water that aim to remove dust and flyspecks from the textile’s surface or from within its fibers to prevent containments from remaining in the spaces between fibers or in the fibers themselves which can lead to problems in future conservation and repair. Many of the fibers found in historical textiles show signs of deterioration. In this case, cleaning can be done through brushing, suction, blowing, adhesion, wiping, or tweezing methods. To removed foreign containments that have accumulated on the surface of a textile, careful evaluation is required, with tests performed in small areas at first. When vacuuming a fragile textile, the textile can be covered in a mesh to protect it.
修護方式二：濕式清潔
指依纖維種類、髒污類別及程度，使用去離子水、蒸餾水或純水為洗劑，或視情況添加織品修護用中性淸洗劑，以去除累積在織品表面及纖維內部的髒污。歷史性織品不同於一般濕洗，脆弱或損壞嚴重部位，應先進行安全性保護措施。濕洗前宜先進行測試，避免造成掉色或收縮現象。
Repair Method Two: Wet Cleaning
Depending on the type of fabric or stain, or degree of contamination, wet cleaning refers to
the use of deionized water, distilled water, or pure water as cleaning agents, or (when
necessary) the use of neutral PH cleaning agents to remove accumulated dirt or stains from
the textile’s surface or fibers. The process of wet cleaning is carried out differently with
historical textiles. In particularly fragile or damaged areas, safety measures protecting the
textile are first carried out. Before wet cleaning, tests are usually first done to avoid any
color bleeding or fabric shrinkage.
(2)
作品損壞狀況 Damage Status
撕裂和裂縫
Tears and Splits
作品尺寸
40x60x8cm 無框畫
創作媒材
壓克力、爆裂媒介、石膏粉、樹脂膠、織品
創作手法
以特殊塗料打底，使織品表面產生自然裂紋效果，從中取樣裁切並以石膏混合樹脂加強硬化，整體以拼貼手法形塑裂化斑駁感。
Measurements
40x60x8cm No frame
Original materials
textiles
織品老化後，布面容易因不當保存、持拿、懸掛等方式造成裂痕或裂口。例如，摺疊處易產生線性裂縫、接縫處易造成開裂；而布面脆弱處，也容易因外力造成紗線斷裂；若是懸掛裝飾較重的織品，也常因向下拉伸力形成布面撕裂等。
In older textiles, it is common to see cracks and splits insurfaces due to improper storage or hanging. Linear cracks are often found at the folds of a textile. In fragile or damaged areas, improper application of external forcescan easily cause a breaking of the textile’s yarns. There can also be cracks at the seams of the textile. This is oftenfound with heavier textiles that are hung, as their weight eventually causes tears at the seams.
修護方式一：縫補
視織品劣損情況，選擇適當的修復針、修復線及支撐面料，運用針縫補強，使織品裂痕或裂口維持穩定狀態。老化織品的劣損處，可視情況使用支撐面料。支撐面料及針縫補強屬可移除的織品修護方法及材料，縫線使用首尾不打結方式。
修護常用針法：平針縫、回針縫、釘線縫、直針縫、藏線縫等。
Repair Method One: Sewing and Mending
Different sewing needles, threads, and supporting fabrics will be used depending on the textile’s condition. Stitch reinforcement helps stabilize damaged areas and prevents tears and splits from growing in severity and size. In older, damaged textiles, supporting fabrics may be used when appropriate. Both supporting fabrics and stitch reinforcement are introduced in a manner where they can be later removed if needed. With the same logic, threads are not knotted at their beginning or end.
Commonly used sewing techniques: running stitch, back stitch, couching stitch, straight stitch, and hidden stitch.
(3)
作品損壞狀況 Damage Status
皺摺與摺痕
Wrinkles and Creases
作品尺寸
42x83x15cm 木框畫
創作媒材
木框、織品、樹脂膠、棉線
創作手法
以軟雕塑為發想的起點，使用樹脂膠浸泡織品，取出後放置風乾，待其自然膠合褶皺後，再以手縫塑形以加強細節。
Measurements
42x83x15cm Wooden frame
Original materials
Wooden frame, textiles, resin adhesive
織品遭受擠壓、折疊、擰扭等外力，而形成較短而不規則的皺紋，或較長且尖銳的線狀痕跡。老化的織品因纖維變得脆弱，皺褶與摺痕一旦產生，就不易恢復原來平整的外觀。
When textiles have been subject to external extrusion, folding, or twisting forces, short and irregular wrinkles or longer, sharper creases can appear. As fibers in older textiles are more brittle, it becomes difficult to return wrinkled or creased areas back to their original, flat appearance. Wrinkles and creases may also appear in the same textile.
A common method to deal with wrinkles and creases is to increase humidity in the area using deionized or distilled water. With the increased moisture, fibers become softer and more flexible. Afterwards, the textile is carefully flattened. Its edges are compressed with a cloth weight or fixed with silk needles to allow the textile to naturally straighten as it dries.
修護方式一：加濕處理
歷史性織品可利用加濕處理，使纖維處於膨潤、鬆弛且較柔軟的狀態下，讓織品保持平放，調整變形外觀、縐褶及經緯布紋，攤平時宜控制施力大小，並視情況選擇布鎮、絲針等適當方式固定至自然乾躁，使織品回復到較平整的狀態。
Repair Method One: Using Humidification
Historical textiles can be treated using humidification. Increased moisture leaves fibers in a swollen, slack, and soft state. The textile is kept flat while adjustments are made to malformed surface areas, wrinkles, and misaligned warp and weft weaves. When flatting a textile the intensity of the stretch on the fabric needs to be carefully controlled. Depending on the material, cloth weights or silk needles can be used to fix the textile in place, helping to return it a relatively flat state as it dries.
(4)
作品損壞狀況 Damage Status
基底破洞與缺失
Holes and missing sections in foundation
作品尺寸
50x60x3cm 木框畫
創作媒材
織品、竹香、木框、金屬五金
創作手法
引起破洞狀況的因子通常是半人為，為呼應此現象，在織品表面點燃竹香，留下自然擴散的燒灼痕跡，也衍生出形態的變化。
Measurements
50x60x3cm Wooden frame
Original materials
Textiles, firecrackers or bamboo incense,wooden frame, various types of wire
當織品因纖維、紗線或副料等原始材料遺失，或纖維因外力造成斷裂、缺失、移位或扭曲變形，將會產生孔隙或破洞的現象。主要原因有鈎紗、紗線斷裂、人為疏失、蟲蛀、鼠咬、鐵銹、藥劑腐蝕、燃燒或摩擦等。
When a textile has missing fibers, yarns, auxiliary materials, or has broken, missing, displaced, or distorted fibers, textiles will often evidence noticeable pores or holes. These can come about due to snagging of the fabric, breaking of threads, human negligence, moths, rats, rust, chemical corrosion, fire damage, or friction.
Fabric conservators often use pieces of restored fabric to address missing sections or areas that need stabilization. The damaged area is first laid flat, and then a patch of the size of the damaged area is measured out, before being sewed onto the damaged area. This can help to strengthen the textile’s overall structure.
案例一：布面有缺失
修護方式二：濕式清潔
(5)
作品損壞狀況 Damage Status
繡線或副料鬆脫或缺失
Detached or missing threads
or auxiliary materials
作品尺寸
56x100x6cm 無框畫
創作媒材
織品、繡線、金蒼線、毛線、鋪棉
創作手法
在織布應施繡的區域留白，原有繡線自然垂墜於框外。
Measurements
56x100x6cm No framed
Original materials
Textiles, embroidery thread, gold thread, yarn
織品上的繡線、金屬蔥線與副料，常因斷裂而造成鬆脫或缺失的現象。
When the embroidered threads of a textile break, loosen, or fall off, the result is often a tangle of threads.
After careful inspection and analysis, the detached threads are returned to their original place and appearance in a process that retains the original appearance, materials, and craftmanship. Original patterns or motifs are preserved so that the work’s traditional craftsmanship can be enjoyed by later generations.
Under the conservator’s fingertips are hundreds of years of history. Every step is done in respect and acknowledgment of this history.
修護方式一
圖紋線材及副料完整時，僅進行調查紀錄及清潔。或清潔後，依原圖紋、原工藝技術進行材料加固，保留原樣貌。
Repair Method One:
If the threads and auxiliary materials of a pattern are all present, only a recording and cleaning of the piece is undertaken. Alternatively, after cleaning, a reinforcement of materials is undertaken in accordance with their original pattern and craftmanship.
修護方式二
圖紋線材鬆脫但材料留存時，依工藝技術調查結果，以原圖紋、原比例、原工藝技術進行試繡，待確認工藝技術無誤後，再依原圖紋、原工藝技術進行理線、復位及加固，還原圖紋原貌。副料鬆脫但材料留存者，依原位加固。
Repair Method Two:
If a pattern has detached threads but the original materials are present, after an investigation into the craftmanship of the piece, a trial embroidery is created according to the area’s original pattern, dimensions, and craftmanship. Once this trial repair is found to be without mistakes, the threads are then straightened, reset, and reinforced, once again in line with the original pattern and craftmanship. If there are detached auxiliary materials, they are reinforced as well in accordance with their original positions.
修護方式三
圖紋、線材或副料發生缺失時，依工藝技術調查結果，紀錄原圖紋、原比例、原材料、原工藝技術，以備後續研究參考。缺失處清理後保存原樣，不做圖紋臆測、不增添新材料。
Repair Method Three:
When patterns, threads, or auxiliary materials are missing in toto, after an investigation into the original craftmanship of the piece, a record of the piece’s patterns, dimensions, materials, and craftmanship is created for future reference. Incomplete sections are cleaned but kept as they are. There is no guessing of the original pattern or adding of new materials.
