織品修護之旅
織品的修護之旅
A Journey into Textile Conservation
01
前置作業
Prepatation
織品文物保存狀況與樣態處理可分為穩定性維護與修護處理兩大類。穩定性維護主要目的為減緩織品劣化與損壞，通常不會大幅度修整，而是設法維持織品目前的樣貌與狀態，改善保存環境。修護處理則是改善織品損壞狀況，強化織品結構，減緩劣化的速度，多適用於失去功能或劣化嚴重的織品。
The conservation and handling of textile cultural artifacts can be divided into the two main directions: stabilization maintenance and conservation treatment. The goal of stabilization maintenance is to slow the deterioration and damage found in textiles. It does not usually involve large scale restoration, but instead looks to maintain the current state and condition of the textile by improving how it is stored and preserved. Restoration treatment, on the other hand, looks to address and improve damaged areas by strengthening the textile’s composition and slowing down the rate of deterioration. This method is generally used with textiles that have already lost their original function or show serious deterioration.
A
修護評估
Conservation Assessment
脆弱易損的織品在執行任何處理前，需先進⾏調查與評估，包括原有保存環境、劣損狀態、劣損程度與處理效益等項目，以評估處理的必要性及處理方式。例如：
- 織品狀況是否良好？
- 劣損處會不會持續惡化？
- 改善環境是否達到保護的效果？
- 處理後之保存時間能否延長?
Before handling any fragile textiles, an investigation should be undertaken. Conservators investigate the textile’s background and evaluation, including environment in which it was (or is) stored, the state of deterioration,degree of deterioration, and the possible benefits of restoration to assess the necessity of repair and which treatments are the most optimal.
Some questions that would be asked are:
- What is the condition of the textile?
- Will damaged areas continue to deteriorate?
- Can changing the environment in which the textile is stored achieve conservation goals?
- Will conservation to the textile lengthen its lifespan
B
修護前作業
Preparation Treatment
修護處理多為脆弱且劣化嚴重的織品文物，因修護作業需進行移地修護時，應先完善規劃，包括避免短時間溫度及相對濕度劇烈變化對文物產生影響、因應文物移入進行保存空間整備、文物轉移的安全防護機制(如包裝、運送、協調等)、移入後的追踪評估等，方可減少意外事件發生。
The decision to undertake conservation treatment is usually carried out on extremely fragile and severely deteriorated textiles. When ex situ treatment is required, no part is left to chance, including the avoidance of any temperature or humidity spikes that could stress the textile. In preparation for ex situ treatment, many facets need to be considered, including the preparation of the treatment space, safety and protection mechanisms during the transfer of the textile (including packing, transportation, coordination), and tracking assessments following the transfer. All of these steps can help reduce chances of any accidents.
案例ㄧ：「臺南市臺疆祖廟大觀音亭暨祀典興濟宮大悲出相圖」保存維護計畫大型織品彩繪安全包裝。
Tainan City Taijiang Ancestral Temples Da Guanyi Temple and Xingji Temple “Great Compassion Mantra Illustrations” Conservation and Maintenance Plan
大悲出相圖為位於大觀音亭後殿龍虎邊之織品彩繪壁畫，依88句大悲咒的咒文意涵，採圖文並茂形式繪製不同形象圖像。因發現底布有橫向明顯裂痕、破損、圖像顏料脫落、鏽蝕等劣化狀況，需進行修護處理以避免損壞持續擴大，影響後續保存。因現場條件不適合進行修護作業，大悲出相圖於安全防護包裝後，移入修護研究室進行修護處理。
The Great Compassion Mantra Illustrations is a painted fabric mural that hangs in the dragon (right) and tiger (left) sections of the rear hall of the Da Guanyin Temple.
Within the mural, each of the 88 lines of the Great Compassion Mantra are expressed through images and accompanying text. Due to the discovery of lateral cracks running through the foundation of the mural, pigment peeling in the illustrations, rust spots, as wells as evidence of other damage and deterioration, the option to restore was chosen to address the deterioration that was affecting the mural’s conservation viability. As in situ conditions were not ideal to undertake conservation, the piece was carefully wrapped and packaged before being moved ex situ.
案例二：雲林縣一般古物「北港飛龍團大龍旗」保存修護計畫修護前整備作業。
Great Dragon Banners, Beigang Flying Dragon Troupe ”designated as general antiquity by Yunlin County Government
陣頭旗幟為華人特有的民俗文物，「北港飛龍團大龍旗」為西元1926年(昭和元年)製作，是目前臺灣已指定的織繡古物中，尺寸最大的三角旗幟，素有「台灣第一旗（奇），車倒三間店」之稱，三邊尺寸各為535公分、454公分及673公分。主要材質為布、金蔥、棉花、繡線等，雙面圖案呈半立體凸出旗布，繡有巨龍、水族、帶騎人物及北港飛龍團字樣等。
The lead flags held aloft in traditional battle array performances and parades serve as important Chinese cultural artifacts. The Beigang Flying Dragon Troupe’s Dragon Banners were made in 1926 and is the largest triangular banners among Taiwan’s designated embroidered antiquities, which size is 5.35 meters by 4.54 meters by 6.73 meters. The difficulty of creating such a large flag later led to the popular saying: “Taiwan’s number one banner, made three embroidery shops closed.” The flag is made fromsilk, cotton andmetallic embroidery threadsetc. Its double sided pattern is semi-three dimensional and features embroidered dragons, aquatic life, men on horseback, as well as Chinese characters that spell out “Beigang Flying Dragon Troupe.
大龍旗因旗面破損、繡線鬆脫、副料脫落或遺失、髒污等劣化狀況影響保存，進行修護處理，但因文物尺寸大、重量重、正反布面起伏不平，修護前需製作移動用大型捲軸(直徑約38~40公分，長度約500~510公分)及工作緩衝襯墊，使立體刺繡鑲埋於襯墊，文物布面能平整平放，修護工作方能順利進行。(襯墊有實物樣本)
Today the banners suffer from surface damage, loose threads, auxiliary materials which are falling off or lost, as well as stains and dirt. Considering the banner’s present condition, it was decided to undertake conservation. However, due to the size of the banner, its weight, and its 3D protrusions, before any conservation work could occur it was necessary to create a large tube for transport (38-40cm in circumference and 500-510cm in length), as well as a cushioned sheet so that the banner’s protrusions would be properly supported when the banner was laid flat. With these preparations completed, the conservation work could proceed.
C
暫時性加固
雲林縣⼀般古物「北港震威團⾶虎旗」為雙⾯刺繡菜⼑旗，因保存環境不佳，造成旗⾯破損嚴重且脆弱，在經費有限情況下，採表⾯暫時性加固穩定現況，以降低後續保存或移動時的劣化風險，亦可避免後續作業造成損壞擴增。織品⽂物暫時性加固為修復前的應急性保護措施，「北港震威團⾶虎旗」暫時性加固前，先進⾏基本資料及原貌影像紀錄，依劣損情況評估規劃加固⽅法及可落針位置，並製作⽀撐襯板固定旗⾯。加固時，將⾶虎旗置於⽀撐板上，以尼龍六⾓網紗全⾯覆蓋，於損壞區域針縫固定。詳實記錄加固位置，以提供後續修復時移除之參考。
「北港震威團⾶虎旗」保存剖⾯⽰意圖
暫時性加固前後對照圖
D
除蟲除黴
Insect Pest and Mildew Removal
臺灣氣候高濕高熱，適合昆蟲及黴菌的繁殖生長。織品為有機材質文物，易受害蟲蛀蝕及其排遺污染，增加保存維護的風險，因此，感染蟲黴的織品需緊急處理以穩定狀況。織品文物主要除蟲方式有化學藥劑除蟲、加熱除蟲、冷凍除蟲與低氧除蟲。目前以冷凍除蟲或低氧法是文物除蟲的新趨勢。
Taiwan’s climate is both hot and humid leading to the easy proliferation and growth of pests and mildew. As textiles are organic materials, they are particularly vulnerable to insect pests and the damage they may cause, making this an important area of consideration in any conservation effort. Mildew- or insect-infested textiles require immediate attention to stabilize their condition. The primary methods for insect pest removal are through chemicals, heat, freezing, or anoxia. Currently, insect pest removal through freezing or anoxia are the preferred methods when dealing with cultural artifacts.
織品的黴菌處理需從環境因素著手，藉由降低環境濕度、增加空氣對流、緊急乾燥等方式抑制黴菌生長，方能改善織品文物黴害狀況。
The key to dealing with mildew in textiles starts with addressing environmental factors. By lowering humidity, improving airflow, and undertaking emergency drying, the growth of mildew can be inhibited, thus improving the condition of the cultural artifact.
案例：「臺南市臺疆祖廟大觀音亭暨祀典興濟宮大悲出相圖」保存維護計畫織品彩繪低氧除蟲。 Tainan City Taijiang Ancestral Temples Da Guanyi Temple and Xingji Temple “Great Compassion Mantra Illustrations” Conservation and Maintenance Plan
修護前先進行低氧除蟲作業，處理步驟：
Before conservation, insect pest removal through anoxia is undertaken.
案例：「109-110年度臺中市一般古物『同治拾年下哩仔庄迎媽祖大旗』修護及展藏保存推廣」。
The Great Banner for the Mazu Pilgrimage at Wuri in 1871, designated as “General antiquity” by Taichung City Government.
修護前先進行低氧除蟲作業，本計劃使用氮氣除蟲法，為物理性除蟲，處理步驟：
・步驟１：將文物以PP絕氧袋封包。
・步驟２：將氮氣調節過溫濕度後灌入袋中，將待中空氣置慢慢換成高濃度氮氣，形成低氧狀態。
・步驟３：讓氧氣含量降低至0.3％以下，使文物中的昆蟲因缺氧而打開氣孔呼吸，並造成脫水乾燥死亡。
・步驟４：低氧法處理時間需較長，約2至3週左右。
Before any treatment, anoxic insect pest removal is required. This project uses a nitrogen anoxic treatment to remove insect pests.
Step 1: The textile is packed in a PP oxygen impermeable bag.
Step 2: After adjusting the temperature and humidity levels of the nitrogen, it is blown into the bag. Slowly all the oxygen in the bag is replaced with highly concentrated nitrogen gas which creates an anoxic environment.
Step 3: The oxygen in the bag is reduced to under 0.3%. Perceiving a lack of oxygen, insects will open their stoma to breath, after which they die of dehydration.
Step 4: An anoxic treatment requires a bit more time than other methods, usually taking 2 to 3 weeks.
與化學燻蒸除蟲相比，物理性除蟲方式不會殘留可能導致文物劣化之毒性與化學成分
Compared to fumigation, anoxic treatment will not leave chemical or toxic residues that may damage the fabric of the textile.
