tion is a monument of history of culture and not a work of art which embodies the idea and the genius of its author. The main principle of such restoration is to leave the previously repaired and restored fragments intact.
. Reconstruction of the color and tonal unity of the composition. This principle, introduced and developed in the 1920-30s, remains the most popular today. In a restoration guided by this principle, the restorers try to recapture the original artistic unity of the work by developing the potential unity of the surviving fragments. The restorers efforts should be restricted to the revealing of the possibilities hidden in the fragments themselves, without committing a historical blunder or aesthetically damaging the work. This principle requires that the fill-ins (restorations) be made easily recognizable but at the same time invisible from a distance optimal for the viewing of the work; otherwise the work s unity, which is the main objective of such a kind of restoration, will be destroyed. Therefore, the fill-ins should match the original parts of the work in luminosity and chromatic quality.
Today, with the help of computers, anyone can engage in the restoration of icons without fear of irretrievably destroying a magnificent work of art. Digital reconstruction allows us to take a hypothetical look at some of the most damaged icons. In the example at the top of this page, I have reconstructed the damaged face of St. George lt; # 206 src= doc_zip32.jpg / gt;
Icons restoration and conservation should reduce the number of operations as much as possible, all newly added elements should be singled out, all additions executed in a modern style. Modern methods of restoration permit the application of all latest achievements of science and diverse physicochemical methods of research for the strengthening of object of art. Diverse materials may be used in the process of restoration but on the surface they should be close to the original materials of the icon and be reversible.and conservation of Russian icons and material culture more often has their reconstruction in the condition most close to the original for an object.the methods of clearing the latest layers from icons have been changed. Traditional ways of clearing by means of softening the retouching using compresses with organic dissolvents and then their removal with scalpel gave way for careful and scrupulous work under the microscope. Special micro instruments came up to take usual medical scalpels place. Macro- and microphotography became customary for everyday control of conservation conducting.
Restoration Process
It is important to understand that the restoration of icons requires an extremely careful and respectful approach at all stages of the process. An icon is piece of multilayer art, comprised of a wooden base, layers of gesso, canvas, and a painted layer which is often parcel gilt and, finally, covered with many layers of varnish. No two icons are exactly identical in their construction or painting technique.of icons begins with a careful examination, then the sub-surface layers are streightened with special glues and damage to these layers such as chips, cracks, bumps and flaking are restored. Only after these steps can restoration of a central painting field begin - the restorer has to choose between slight tints in some areas and complete repaints in other areas which sustained complete losses. After that, the outer layers are repaired, such as gilding and writing on the margins. Finally, the icon is coated with special varnishes for preservation purposes. The restorer always aims to blend the restored parts with original surfaces in order to create a unified appearance without clearly visible signs of restoration.
1. lt; http: //en.wikipedia/wiki/Feast_of_Orthodoxygt ;;
2. lt; http: //russianstore/restoration.htmgt ;;
3. lt; http: //myweb.rollins.edu/aboguslawski/Ruspaint/resto.htmlgt ;;
4. lt; http: //grashe/russianIcons_restoration.htmlgt ;.
