2. Japanese Paper TENGU
  3. TENGU and Restoration
  4. Use Case: KIBI Conservation Studio

I. Use in the conservation of Wooden sculpture (TENGU 3.5g/㎡ had been used)

1.SENSOJI in Tokyo: Niouson Ungyozo at Nioumon (Hozomon) Gate

Ungyozo is a statue at the Nioumon gate exposed to the elements, especially salty winds.  Because of this environment, the surface paint of the Ungyozo had begun to peel.  In order to stop this peeling, the damage was touched up and then covered with tengu.

Since the paper is very thin, by carrying out special processing on the surface, the paper fibers are not conspicuous.


Protection after pasting peeled sections, with tengu

Protection after pasting peeled sections, with tengu on the body

Protection after pasting peeled sections, with tengu on the clothing


2.Nichijyu Shyōnin

This sculpture was previously repainted, however that paint layer eventually cracked and peeled as well.

In order to restore it to its original state the following steps were taken. First any excess paint was removed, then the damaged parts were covered with tengu, and lastly they were again repainted.


Before restoration, front-view

Before restoration, front-view

After removing excess paint, front-view

Left knee after removing excess paint with tengu applied

After removing excess paint

With tengu, having paste applied

Applying coloring

After restoration, front-view

After conservation work, front view


II. Use in the conservation of oil paintings, using TENGU 2.1g/㎡

3. 6 6 oil paintings by Katsuji Makino

The paint layer of these oil paintings had cracked and begun peeling due to exposure to rain.  The paintings needed to be moved from Okayama prefecture to Tokyo, about 740km away, where repairs would be performed. Tengu was used in this case for temporary protection during transportation.

Since tengu is very thin, and clear, the condition of the damaged work remains visible even after application.


Before using tengu

After using tengu

Partial picture of the head:
Tengu is barely recognizable

Partial picture of the chin:
Tengu is barely recognizable

After using tengu

“Landscape of Kojima”:
Temporary modification for protection of the canvas shape and size.

Bonding the deficient parts of the painting

Surface sizing with pen and bonding a silicon protective film using an electric iron.
After drying, tengu and excess glue were removed with a wet swab.


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