129

In preparation for the planned reinstallation of the lacquer screen in the
reopened Weltmuseum Wien, the Conservation Department carried out a
first evaluation of the object’s state of preservation in late 2010. This revealed
numerous deep structural cracks in the wood on both the front and the
reverse, which had already led to large areas of loss to the ground and lacquer
layers (compare the diagram in section 3. Technological Findings).
A vertical crack in the wood of the middle panel displayed traces of old
repair with an animal glue that had flooded the surrounding, finely carved
lacquer areas, covering and clogging the decoration (figs. 36 to 38).
What was already evident on close observation with the naked eye was clearly
visible under UV light: The entire red carved lacquer surface of the front is
coated with a non-original, very glossy

varnish32

(see section 3.2.3 on the
binding medium analysis), which had partly flowed over the edges to the
unvarnished reverse of the object (figs. 39 and 40). Under the varnish on the
front, numerous accumulations of a white waxy substance could be observed,
which – as already described – were identified as ibota wax and thus probably
attributable to maintenance measures at the location of origin.
The reverse also showed tented deformations of large lacquer areas, severe
local abrasion, and further superficial damage to the black lacquer layer.
Retouching extending far over the original and ‘temporary’ facings and considerable
 surface soiling also contributed to the abject appearance of the
once splendid object.
This condition suggested that the damages already documented at the
beginning of the twentieth century before the shipment to Austria and on
cataloguing in the Imperial and Royal Natural History Court Museum had

32	 The coating lies over dirt and other accumulations in the depths.

4. CONDITION AND REASONS FOR  
	 CONSERVATION

Fig. 40: Secondary coating in UV light, with drips.

CHINESE

LACQUER SCREEN