05 預防性保存

織品的修護之旅

A Journey into Textile Conservation

05 預防性保存
Preventative Conservation

生老病死是生命發展的規律，文物從製造、使用、損壞到消失也是自然的規律，良好的預防性保存措施，容易被忽略，卻是文物延緩老化、降低受損劣化的重要關鍵。織品文物屬於有機材質，容易受環境的溫濕度、光線、空氣污染或生物侵害而造成傷害，因此，定期進行藏品檢視、溫濕度、照度、污染物、蟲菌害等保存監測，當藏品或保存條件發現異常時能即時處理，以維持織品文物的安全性及穩定性。

Birth, old age, sickness, and death are all parts of the rhythm of our life. The same holds true for cultural relics which are manufactured, used, and suffer damage before eventually disappearing. Proper preventative conservation methods are easy to forget or ignore, but they play a key role in extending the life of cultural relics, reducing both damage and deterioration. Textile artifacts are made with organic materials. As such, they are particularly vulnerable to environmental factors such as humidity, light, air pollution, or pests. Proper control of temperature, humidity, pollution, light, and insect pests requires regular inspections of storage areas. If adverse conditions are found, they can be dealt with immediately, thereby maintaining the stability and safety of the textile artifact over the long-term.

A

環境控制
Environment Control

光照、溫度、濕度、微生物、害蟲、空氣污染物等因子，皆是造成織品危害的隱形殺手，適當的環境控制可減緩織品劣化的發生。

一般來說，織品適宜的保存環境，溫度為21±3°C、相對濕度為55±5%RH，因此室內應放置溫濕度紀錄器，以長時間記錄溫濕度變化。

光對有機材質藏品有很強的破壞力，自然光及日光燈皆含有紫外線(UV)，若織品長時間置於光照下，容易造成織品褪色及纖維強度變弱等無法逆轉的損壞。因此，存放地點應當有避光與防紫外線裝置，並儘量減少開燈時間和降低光照強度。為避免有害氣體和灰塵，織品文物應儘量密封或放置在空氣清潔處，並定期清潔保存環境，杜絕黴菌孢子來源，妥善管理存放環境。

Light, heat, humidity, micro-organisms, insects, and air pollutants are all invisible killers that can cause large damage to textiles. They can be countered, however, by using appropriate environment control measures which reduce textile deterioration.

In general, a suitable environment for storing textiles will feature a controlled temperature of 213℃ and a controlled humidly of 555%RH. Therefore, storage rooms are equipped with temperature and humidity recording instruments that also notify the conservator team when temperatures or humidity exceed set parameters.

Light has an ability to break down organic materials, whether it be natural or florescent light as both contain UV rays. If a textile is subject to direct light for long periods of time irreversible damage can occur, such as color fading or the weakening of the tensile strength of fibers.

As such, textiles should be stored in locations free from light or UV rays. Time spent under lights should be minimized and light intensity reduced to a bare minimum. To avoid harmful gases and dust, textile artifacts are sealed or protected by air filtration systems. Storage areas are also cleaned at regular intervals to prevent the growth of mold or mildew.

B

織品保存
Textile Conservation

織品在存放前應先檢查有無蟲黴危害；移除非保存材料的物件，如報紙等；拆除有害的附加物，如大頭針、訂書釘等；清潔織品，以毛刷或吸塵器進行表面清潔等。織品存放的箱、櫃、墊或內襯板等，必須是對藏品無害的穩定材料。由於文物存放櫃和文物會直接或間接接觸，如材料中含有氯、硫或其他酸性成分，容易損害織品。

存放時應依據織品的特性(如材質、尺寸、結構、狀況)、預算、空間、櫃架等綜合考量，選擇適合的存放方式。常見的存放方式有平放、捲藏、摺疊、懸掛等，其中平放方式可避免因地心引力造成織品拉伸或變形。

無論選擇何種存放方式，都需要有適當的保存材料作為織品的襯墊、支撐、覆蓋或隔離等。常用的保存材料有無酸性紙材(薄紙、紙板、瓦楞紙板)、去漿未漂白的原色棉布、聚酯製品(纖維、薄片)、聚乙烯發泡材等。若無法使用保存材料時，可以鋁箔、聚酯片、聚乙烯膠膜隔離再使用，以避免酸性或有害物質影響織品保存。

Before a textile is placed in storage it is checked for any insect pets or mold. Non-preservable materials such as newspaper are removed, as well as any foreign materials that might harm the textile such as pins or staples. When cleaning a textile, a brush and special vacuum is used. Any boxes, cabinets, pads, or lining boards which the textile comes in contact with should be free from materials or chemical compounds that might damage it. Direct or indirect contact with materials that have chlorine, sulfur, or acidic compounds can damage the textile over the long-term.

How a textile is stored not only depends on the characteristics of the fabric (such as its material, size, structure, and condition) but other factors such as budget, available space, size of storage racks, etc. Common storage methods include flat storage, rolled storage, folded storage, and even hanging storage. Laying the textile flat helps to avoid any stretching or deformation of the textile due to gravity.

No matter what storage method is chosen, they all include materials to help cushion, support, cover, or insulate the textile in question. Commonly used materials include acid-free tissue paper, cardboard, corrugated board, unbleached cotton, polyester threads or sheets, and polyethylene foam. If these materials are not available, aluminum foil, mylar, and polyethylene film can be used in their stead in order to avoid acidic or harmful substances from harming the textile.

以「北港集雅軒繡製彩旗」為例

原先的文物展示以約70度角度接近垂直懸吊的方式展出，垂墜的凸繡長時間受重力拉扯加劇了基底材撕裂破損變形。為減少古物展示時所造成的裂
化風險，於未展示時平放至制訂的無酸保存盒中典藏。

案例ㄧ：中原部落原住民服飾保存

Example One: Conservation of Alang Nakahara Indigenous Peoples Clothing Items

臺灣原住民部落中，存在許多日治時期珍貴織物，因保存維護知識不足及典藏技術困乏等問題，導致無法妥善保存而持續劣化。

南投縣仁愛鄉互助村中原部落發現一批賽德克傳統老布，係南投縣傳統工藝保存者高雪珠女士和林喜美女士所持有，極具保存價值。惟該批傳統老布因年代久遠，部份已有褪色、摺痕、粉屑化及線條脫落等現象，亟待更為妥善的保存條件。今(111)年1月22日至26日由文化部文化資產局、輔仁大學織品服裝學院及中原部落三方通力合作，透過傳統老布保存作業實習，實際協助中原部落進行老布盤點、造冊及初步保存整理作業，達成部落重要織品文物保存，深具意義。

Among Taiwan’s Alang Nakahara indigenous people, there exists many beautiful textiles that date back to the Japanese colonial era. Due to a lack of proper maintenance and storage techniques, however, many of these valuable pieces show signs of deterioration.

In Nantou County’s Huzhu Village, members of the Alang Nakahara tribe discovered traditional fabrics and textiles manufactured by the Seediq people, fabrics now owned by Ms. Gao Xuezhu and Ms. Lin Ximei—two major collectors of traditional crafts in Nantou. Many of the fabrics showed signs of fading, creasing, powdering, as well as loose embroidery threads. In sum, the artifacts desperately needed better conservation to prevent them from deteriorating further. From January 22-26, 2022, the Bureau of Cultural Heritage of the Ministry of Culture, and the College of Fashion and Textiles at Fu Jen Catholic University joined with the Alang Nakahara tribe to carry out cultural artifact inventorying, bookkeeping, sorting, and preliminary conversation steps so to better preserve the tribe’s culturally and historically important textiles.

擬定保存方式 Proposed conservation methods

製作支撐墊 Creating a support cushion

放支撐材料 Placing supporting material

固定流蘇 Fixing the textile’s fringes

放入保護盒 Placing the textile in a protective case

檢查流蘇 Checking the fringes for creases

蓋上無酸紙 Covering textile with acid-free paper

綁帶固定 Binding the textile in place

測試 Testing stablity of the binding

蓋上保護盒上蓋 Placing cover on protective case

案例二：鹿港雅正齋南管樂團涼傘保存

Conservation of Lugang’s Ya Cheng Zai Nanguan Ensemble

鹿港雅正齋南管樂團涼傘原始狀況損害十分嚴重。

The parasols of Lugang’s Ya Cheng Zai Nanguan Ensemble show serious damage

「鹿港雅正齋南管樂團」為彰化縣南管文化傳承之重要標竿，南管於正式演奏時，涼傘為不可缺少之重要儀式器物。該團保存兩件曲館先賢傳承之「涼傘」，為彰化縣南管文化重要見證文物，亟富歷史意義及保存價值。但因年代久遠且劣損嚴重，有粉屑化、破損、褪色、繡線鬆脫、流梳糾結、副料缺失等狀況。為預防涼傘因糾結流梳的拉扯，造成布面撕裂或形成更大損傷，進行流梳預防性防護作業及初步保存處理。

Lugang’s Ya Cheng Zai Nanguan Ensemble is an important repository for the culture of the Nanguan music tradition in Changhua. When Nanguan music is performed, ceremonial parasols are an important part of the performance. The Ensemble has preserved two parasols that were used in the Nanguan music clubs of the day. As important “witnesses” to the Nanguan culture of Changhua County, they possess great historical significance and conservation value. However due to their long history of use and resulting damage, today the parasols suffer from powdering, fabric damage, fading, detached threads, entangled fringes, and missing auxiliary items. To prevent the tangle of fringes from pulling on the parasol and causing more damage in the form of tears, the first step was the unraveling of the tangle of fringes, followed by other preliminary conversation steps.

05 預防性保存

05

預防性保存
Preventative Conservation

A

環境控制
Environment Control

B