This research focuses on a seascape oil painting by Yang San-lang (1907-1995), a pioneering and prominent artist in Taiwan. The artwork was executed on canvas and mounted onto a 3mm plywood board. Due to excessively high humidity in its storage environment, the wooden support underwent deformation, resulting in an outward curvature. As Yang San-lang was one of the core figures in the field of Taiwanese contemporary art, preserving his work is of vital importance. Failure to address the current deterioration would significantly compromise the long-term stability of the painting. Rather than applying traditional flattening methods that might damage the paint layer, this study utilizes a new flattening device designed for wooden supports. By evenly attaching traction points to the back of the board, the curved wooden base will gradually be stretched and adjusted. Once the wooden board is restored to a flat state, the traction points will be removed. Finally, a tailor-made lattice secondary frame will be placed between the painting and the outer frame to maintain its structural stability and flatness. This conservation method requires no removal of the original wooden support, and the adhesive leaves no residue on the artwork. As a highly appropriate and gentle approach, it fully embodies the core values of "reversibility" and "minimal intervention" within conservation ethics, ensuring the proper preservation of Taiwan's significant cultural heritage.

Authors:
Yi-Lin Yang, Cheng Shiu University, Taiwan
Wan-Ting Yang, Cheng Shiu University, Taiwan

About the Presenter(s)
Ms. Yi-Lin Yang is currently a research conservator in the Oil Painting and Wood Conservation Section at the Conservation and Research Center of Cheng Shiu University.

See this presentation on the full schedule – Saturday Schedule

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