1 00:00:03,870 --> 00:00:11,790 First of all, I would like to thank the Lord, thank you so much and the organiser, 2 00:00:12,540 --> 00:00:17,730 especially my Renita and Julia, for making this happen, this project. 3 00:00:17,760 --> 00:00:28,740 Also, I would like to thank the generous donors which make this project happen and to share with you my lecture today, 4 00:00:29,070 --> 00:00:32,160 which is personal, like a book binding a journey. 5 00:00:32,700 --> 00:00:35,790 Its layers and conservation challenges. 6 00:00:36,180 --> 00:00:42,450 And of course, it's good to be here after five years. The last time I was here, it wasn't to run 2019. 7 00:00:42,450 --> 00:00:46,080 Right. So the time flies so fast. 8 00:00:46,950 --> 00:00:56,460 So this research, which I'm going to share with you, the methodology of the research, was actually based on literary sources, 9 00:00:56,850 --> 00:01:07,139 basically Persian historical medieval treatises, also primary and secondary resources, which is published and then more. 10 00:01:07,140 --> 00:01:19,770 And the main of my focus was in reconstruction of the Persian like or Bookbinding by help of the living traditional artists practices. 11 00:01:22,120 --> 00:01:31,900 The outlines of my talk today is I'm starting with the brief introduction of bookbinding. 12 00:01:32,860 --> 00:01:43,420 I will go through the historical review, a very brief terminology, subject matter and some renowned book binders to introduce to you. 13 00:01:43,900 --> 00:01:53,920 And we move to the material and techniques, which is my main subject today, and the conservation issues and its challenges. 14 00:01:57,030 --> 00:02:05,520 As you all know, the bookbinding has played a vital role in Persian civilisation's art and culture through the history, 15 00:02:06,540 --> 00:02:18,120 from the earliest Islamic era till the period in 19th century, we have seen the significant changes, innovations and improvements in this field. 16 00:02:19,110 --> 00:02:28,020 The lacquer bookbinding technique is just one of the several technical breakthroughs attributed to Persian artisans. 17 00:02:30,070 --> 00:02:41,200 In general, if we would like to actually categorise the book binding in the especially the Persian like a Persian bookbinding, we will see. 18 00:02:41,200 --> 00:02:48,970 There is a two main category is full leather bookbinding and Persian leather bookbinding. 19 00:02:49,690 --> 00:03:01,479 The mainly the full leather bookbinding it's used by goat or sheep is keen on sometimes chagrin and the partial little bookbinding. 20 00:03:01,480 --> 00:03:12,070 Why we say partial leather bookbinding because like, for example, lacquer bookbinding has this pine in leather, so it is partially leather also. 21 00:03:12,460 --> 00:03:21,490 And also cloth and paper with leather is pine also will go to this category, the manuscript which you see here. 22 00:03:21,640 --> 00:03:26,710 It is actually the budget document of Binder's decision, 23 00:03:27,670 --> 00:03:35,740 stating the binding style and material on the central library kept in the Central Library of University of Tehran. 24 00:03:36,070 --> 00:03:40,030 We have a tremendous manuscripts which document it. 25 00:03:40,210 --> 00:03:47,860 What kind of a binding the the bookbinder is deciding and why. 26 00:03:48,100 --> 00:03:53,380 And that is also another category of research which I'm not going through today. 27 00:03:54,970 --> 00:03:58,900 If as a introduction we just mentioned, 28 00:03:59,500 --> 00:04:06,970 I would like to mention a few techniques which involve also in some of the like a Persian Like or Bookbinding, which I show you today. 29 00:04:07,450 --> 00:04:13,240 It's spitting technique, which mainly the leather book binding we call it desire to be or to be there. 30 00:04:13,900 --> 00:04:23,620 Then we have a stamping or burning. We call it salt or suitable filigree, which we call it more rock lacquer in. 31 00:04:23,620 --> 00:04:31,420 Mainly we call it raw honey and textile on paper with the cloth and lettering, which is called Mark Z. 32 00:04:32,620 --> 00:04:39,429 Each of these technique have its own significant office style and motif being used in it, 33 00:04:39,430 --> 00:04:45,490 which also it is a big subject which I'm not going through today. 34 00:04:46,360 --> 00:04:49,600 Today we are discussing about peasant lacquer, bookbinding. 35 00:04:50,050 --> 00:04:56,140 The most important advancement in bookbinding technology, of course, was lacquer bookbinding, 36 00:04:56,140 --> 00:05:03,160 which was economically beneficial by using pasteboard rather than leather. 37 00:05:03,580 --> 00:05:11,350 And in the history of Persian bookbinding, lacquer covers allowed for a wider range of artistic design. 38 00:05:11,350 --> 00:05:21,400 And that was the significance of this technique, which developed quite tremendously fast during 16 to 19 century. 39 00:05:22,390 --> 00:05:29,650 The lacquer technique we know that was known to be introduced to and used in Persia, 40 00:05:29,830 --> 00:05:35,260 not until the Timurid and early Safavid period between 15 to 16 century. 41 00:05:35,260 --> 00:05:40,600 However, lacquer may have been used already in pre-Islamic times, 42 00:05:40,900 --> 00:05:49,750 but we can only begin to reconstruct its history from textual sources and physical evidence during the Islamic period 43 00:05:50,740 --> 00:05:57,940 is studies and archaeological findings in Persia have revealed evidence that Persian painters were using lacquer, 44 00:05:58,210 --> 00:06:05,020 notably not only on Wooden but also on bone and metal artefacts from the early Islamic period. 45 00:06:05,890 --> 00:06:12,330 If you can see it, this image is actually regarding the right side we are at. 46 00:06:12,580 --> 00:06:17,560 I'm showing the robot Sharif Wooden lacquered in, which is in black and red and yellow, 47 00:06:17,980 --> 00:06:25,810 which was excavated and is attributed to the 11/12 century, maybe horizon in Iran. 48 00:06:29,110 --> 00:06:38,830 The earliest lacquer bookbinding was made of leather or parchment that had been heavily chocked and primed for illumination. 49 00:06:39,870 --> 00:06:47,940 Designs on patters were then painted over and the binding were finished with multiple coats of protective varnish. 50 00:06:48,420 --> 00:06:53,740 This is the exterior of a temporary bookbinding of often double most cavalry, 51 00:06:54,120 --> 00:07:00,090 which it is kept in the Uzbekistan Tashkent in Abu Ray, Hungary into this study. 52 00:07:00,390 --> 00:07:08,550 And you can see the lacquer or the paint was over the leather in the earlier time. 53 00:07:09,780 --> 00:07:19,290 The practice of applying paint directly to leather or parchment was known as utili or single layer or an Iraqi. 54 00:07:19,620 --> 00:07:23,280 After the name of the artist Maulana Murat ESFAHANI, 55 00:07:23,310 --> 00:07:33,120 who was one of the common Latin based topics student and invented a technique that served as a formation of his advancement in the later period. 56 00:07:34,150 --> 00:07:39,940 This technique was occasionally used in conjunction with other methods of leather binding, 57 00:07:39,940 --> 00:07:45,760 which I mentioned before, like xabi and soaked or beaten or stamping. 58 00:07:47,930 --> 00:07:53,210 Soon after the pair sport replaced leather as the most popular material. 59 00:07:53,240 --> 00:07:58,940 Scenes at the paint applied onto leather, often flaked off and split. 60 00:07:59,720 --> 00:08:06,590 So this also allowed the production of a range of binding covers in various hues and patterns. 61 00:08:07,100 --> 00:08:12,530 So this is also a one off the Bodleian Library Leather, 62 00:08:12,860 --> 00:08:25,010 which is actually the lacquer was their protective layer was over the leather and you can see the flaking off of the parts. 63 00:08:26,380 --> 00:08:31,030 In cities like Isfahan Enterprise in the 16th and 17th century, 64 00:08:31,030 --> 00:08:39,160 painters notebook binders were responsible for adopting the technique and its development and enormous popularity. 65 00:08:39,850 --> 00:08:44,600 Its peak popularity has during the 1819 century and budget period. 66 00:08:45,070 --> 00:08:51,370 While the leather bookbinding continued to play a prominent role throughout the Ijaw dynasty, 67 00:08:51,370 --> 00:08:54,940 the construction of leather bookbinding gradually decreased. 68 00:08:55,510 --> 00:09:05,500 This is also one of the a beautiful example of the lacquer in the late Safavian early order period in the Islamic Art Museum collection. 69 00:09:07,840 --> 00:09:16,150 Now we move to the terminology, the term bookbinder Slacker, which has been used to describe the lack of Islamic countries, 70 00:09:16,270 --> 00:09:20,380 is applied to both lack of binding and other three dimensional objects. 71 00:09:21,130 --> 00:09:28,360 The binding of these goods, including pen cases, mirror and inspectors, Case and other caskets were made. 72 00:09:28,360 --> 00:09:36,430 This piece of paper added one on top of the other with the outside layer of these sheets being elaborately painted and varnished. 73 00:09:37,000 --> 00:09:49,180 This is called Kieny, like her pen box, which shows the royal audience and is one of the example of the three dimensional lacquered work. 74 00:09:50,930 --> 00:09:58,340 As a terminology. In Persian, we have a different terms for lacquer binding. 75 00:09:58,610 --> 00:10:09,800 We call it jelly roll candy or the binding or gel, the zero, any underlier old binding or Gildersleeve low key lacquer bonder layer binding. 76 00:10:10,220 --> 00:10:18,590 So these are all terms has been used for in different period of time in the lacquer book binding to be addressed. 77 00:10:20,190 --> 00:10:24,079 Now we move to the subject matter. As mentioned, 78 00:10:24,080 --> 00:10:32,810 the lacquered bookbinding technique has advantage for producing a variety of books with various topics objects in multi-colour and design. 79 00:10:33,710 --> 00:10:40,640 The lack of bookbinding, craftsmen and painters were greatly affected by the design and production methods of 80 00:10:40,640 --> 00:10:46,490 miniature painting and illuminated manuscripts when deciding on the team for the production. 81 00:10:46,910 --> 00:10:54,049 This is also one of the beautiful work of art Bookbinding from Islamic Art Museum, 82 00:10:54,050 --> 00:11:03,230 Malaysia and the subject matter, which in general we can categorise them in eight is floral. 83 00:11:03,230 --> 00:11:11,000 We call it Calabar Flower and bucket, collaborative flower and botanical galore more geometric shape animals, 84 00:11:11,000 --> 00:11:15,410 human portrait, marble and cloths, inscription and calligraphy. 85 00:11:15,440 --> 00:11:20,330 And you can see the range of the different subject matter in lacquer bookbinding. 86 00:11:20,960 --> 00:11:33,590 All these through the time of the history. If you do a research, of course we can see some of the motifs have been used more in earlier period, 87 00:11:33,590 --> 00:11:40,819 like Safavi and some in Zand, and Ijaw is more popular in different motifs. 88 00:11:40,820 --> 00:11:49,040 For example, Medallion Goldberg and more is very popular in Safavi period, whereas the Paisley Live, 89 00:11:49,250 --> 00:11:55,780 Arab and Islamic in Haiti and also great cross there are Lily Flower and also Shamar. 90 00:11:55,790 --> 00:12:02,480 You know the figures are very, very popular in the period in late 18th and 19th century. 91 00:12:04,180 --> 00:12:11,290 I show you some of the examples of the beautiful collection of lacquer Bookbinding of Bodleian Library. 92 00:12:11,950 --> 00:12:18,820 The first one in the left is the a nice example of flower on bear gold work. 93 00:12:19,330 --> 00:12:27,220 And in the right side is a Flaubert. I leave Goldbach, which is belonging to 18/19 century. 94 00:12:29,310 --> 00:12:34,980 This is also an example of Flaubert and Bouckaert collaborating and a calligraphic 95 00:12:34,980 --> 00:12:39,810 inscription around the border from the Islamic Art Museum collection. 96 00:12:40,990 --> 00:12:48,430 And Lily Bucket and also Medallion with the lie track and slobber on bird design. 97 00:12:48,760 --> 00:12:54,790 It is also in the right side that you can see from Tehran, Goldston Palace, Library and Museum. 98 00:12:57,920 --> 00:13:03,660 These are also another example of the lack of mining. 99 00:13:03,680 --> 00:13:15,049 This is a beautiful work of Fateh Ali Shah and Nasreddin Shah in 19th century order period from the Islamic Art Museum collection. 100 00:13:15,050 --> 00:13:25,070 And you can see how beautifully it has been depicted, the colour there and what the figures and drawings like a miniature painting. 101 00:13:26,960 --> 00:13:35,180 And as I mentioned, there are human and portraits also was very popular during Bhaijaan period. 102 00:13:35,540 --> 00:13:45,140 And also the animals was sometimes in the part of the story which you can see the example here from Islamic Art Museum collection. 103 00:13:47,200 --> 00:14:01,120 Also Paisley Leaf Medallion and some kind of ivory impression is style in Central Medallion also is the example of that period in jar, 104 00:14:01,480 --> 00:14:13,390 which is quite interesting. And also it is very nicely the design and the motif and structure has been depicted. 105 00:14:15,380 --> 00:14:18,980 Now we move to the renowned lacquer book binding artist. 106 00:14:19,430 --> 00:14:27,020 Iranian book commanders typically avoided using their name and sign on their work. 107 00:14:27,050 --> 00:14:34,340 However, some of the sources and still we can trace the renowned artist, for example, 108 00:14:34,340 --> 00:14:43,730 in Safavi we have an of Iraq or Ali earlier drop it or Kaka which is very very 109 00:14:44,780 --> 00:14:50,209 popular and during the Safavi period and in our period also still we have 110 00:14:50,210 --> 00:15:02,150 a number of the like our bookbinder like Musa by Aboutalebi materials and also of Iraq in the tattoo period also in early time and Mohammad Zaman. 111 00:15:02,570 --> 00:15:10,940 So these are also some of the names. Of course, there are other names which we cannot go to in detail today. 112 00:15:11,840 --> 00:15:22,250 And now we move to the main topic of our subject, which is material and techniques of Persian lacquer bookbinding. 113 00:15:23,780 --> 00:15:28,140 Let's start first with the raw materials. The raw materials. 114 00:15:28,160 --> 00:15:33,500 The first layer is paper board, which we call it boom, or more of law. 115 00:15:34,610 --> 00:15:40,310 The second layer we'd be on, we call it boutonniere, which is primer or filler. 116 00:15:40,880 --> 00:15:47,660 The third is going to be all or the Spirit Varnishes or Rogue on Common or not. 117 00:15:48,230 --> 00:15:56,670 And of course, there are many, many different layers, which I am going to explain each of them with different techniques. 118 00:15:56,690 --> 00:16:01,400 And of course, in the top, the paint dyes and pigments. 119 00:16:02,790 --> 00:16:06,720 And again, Warren is in there over the whole thing. 120 00:16:08,370 --> 00:16:16,109 So if we start with the boom and we'll have what the two different types of board used in the structure of the bookbinding, 121 00:16:16,110 --> 00:16:23,190 either wisely, which is created by layering water, the base paper sheets with adhesive. 122 00:16:23,670 --> 00:16:31,860 And the second technique was called committee pasteboard, which is created by needing pieces of paper or cloth, 123 00:16:32,130 --> 00:16:36,210 and then moulding is made under pressure to give the cardboard texture. 124 00:16:36,420 --> 00:16:47,870 And this is a strength. Both methods involved some adhesive which the main is syringe which enemy roofs a popular 125 00:16:47,870 --> 00:16:53,870 vegetable adhesive to bind the paper layers to reach the appropriate thickness of the pasteboard. 126 00:16:57,130 --> 00:17:06,580 The second layer after you have the paper support, then we have a filler or primer, which is by to name a button. 127 00:17:06,580 --> 00:17:16,590 It is one of the most significant traditional fillers that was utilised for the initial layer in most paste boards and then minerals like Tong. 128 00:17:16,990 --> 00:17:25,570 We like, for example, white clay and chalk are combined with the water based gum or ADC, which mentioned a series. 129 00:17:26,110 --> 00:17:29,319 A white filler known as meal is created. 130 00:17:29,320 --> 00:17:42,580 So in Persian this layer is called milled. So this smell is a combination of the filler and ADC and recent scientific investigation. 131 00:17:43,320 --> 00:17:47,380 It was revealed and found that white calcium sulphate, 132 00:17:47,680 --> 00:17:55,509 sometimes known as a plaster of Paris or gypsum, was employed as a filler and mixture of animal glue. 133 00:17:55,510 --> 00:18:02,910 Right. Silicone and grape syrup was occasionally used in place of series, which was emerus. 134 00:18:02,920 --> 00:18:12,580 So there are you can expect different kind of adhesive to be mixed for there making the mill, making the filler. 135 00:18:14,550 --> 00:18:17,550 Another very important ingredient is oil. 136 00:18:17,550 --> 00:18:27,240 And this spirit launches in Persia, The traditional ingredient used to coat objects with a protective layer was an oil known as Roman. 137 00:18:27,240 --> 00:18:33,459 Come on. Mixture of linseed oil, which we call it in Persian or kind of outside and sun. 138 00:18:33,460 --> 00:18:44,280 The which is we call it sand narrows. The mixture was initially used to coat the bows used in archery and that is archery in Persian is common. 139 00:18:44,580 --> 00:18:56,850 So that is some people actually believe that this name has come because it's derived from the archery protection, which was called Rowhani. 140 00:18:56,850 --> 00:19:02,639 Come on. And Rowhani come on was used in different, as I mentioned before, 141 00:19:02,640 --> 00:19:09,960 also in wood on a different in the bone and even in the metal for different purposes. 142 00:19:11,800 --> 00:19:21,730 Rouhani Come on in Persian historical treatises is very much discussed and the ingredients is proportioned and is manufactured, 143 00:19:21,730 --> 00:19:24,820 is very, very well documented. 144 00:19:25,450 --> 00:19:30,760 Like, for example, double hair number by initial it is in 12th century. 145 00:19:31,180 --> 00:19:40,300 Golisano junior by moon ship will meet in 16th century, all known also bar and casual or year 16 and 19th century. 146 00:19:40,870 --> 00:19:51,759 So the I would like to just show you an example of Poland when I was over there, saw the big offshore talking about how to make raw money. 147 00:19:51,760 --> 00:20:00,340 Come on. Which is the oil used for these lacquer bookbinding beautifully in poetry. 148 00:20:00,670 --> 00:20:13,140 I just recite two couplets, Big a sun that will apart each man is between ship and war, which can be diggy know cannot be conjured on board, 149 00:20:13,450 --> 00:20:21,830 book on batik, done on the ball or the bat on YAF rules or attach a tease Zeppelin duties attached. 150 00:20:21,880 --> 00:20:32,110 My part he's just is very politically as usual that the lot of recipes is in Persian. 151 00:20:32,770 --> 00:20:36,820 It sounds like a love kind of a message. 152 00:20:37,330 --> 00:20:44,170 It is there. So it is a take one man pure sandrich break it with a hammer to the size of hazelnuts. 153 00:20:44,440 --> 00:20:49,990 Take a few pot that can fit all, heat the empty pot over its stove and so on. 154 00:20:50,230 --> 00:21:01,930 So all the details has been recited, has been organised and composed, a beautiful rhyme which they could actually memorise it easily. 155 00:21:03,280 --> 00:21:14,170 So however, all to the use of a and sand roots was reference in early Islamic bookbinding treatises, and both were well known to 15th century artists. 156 00:21:14,620 --> 00:21:19,420 Their creative potential was not fully achieved until much later. 157 00:21:20,020 --> 00:21:28,180 So prior to the 16th century, their primary source appears to have been sun rose or sun rose rather than like. 158 00:21:28,570 --> 00:21:34,809 So if you do analytical work in earlier period, like in Tomb Re or earlier, 159 00:21:34,810 --> 00:21:40,720 even you might find more sun the roots rather than lack in the in these techniques. 160 00:21:42,000 --> 00:21:50,900 And Rouhani. Come on. Or this all spirit is applied on the pasteboard in numerous layers. 161 00:21:50,950 --> 00:21:55,470 You can imagine how many layers. Sometimes it goes 12 layers. 162 00:21:55,500 --> 00:22:02,460 And each layer you'll have to wait for like maybe one month or one and a half months. 163 00:22:02,880 --> 00:22:13,980 So it is a quite tedious process when you want to have a proper, high quality lacquer bookbinding. 164 00:22:16,010 --> 00:22:20,850 Sometimes I've been troubled. Each layer takes a month. 165 00:22:21,490 --> 00:22:26,320 Yes, because. Because each layer needs to dry. 166 00:22:27,220 --> 00:22:30,760 Then another layer, then another layer. 167 00:22:31,270 --> 00:22:36,430 And sometimes, of course, two, three layer may be there, but it has to go. 168 00:22:36,460 --> 00:22:44,680 I will show you the process. It takes quite time to to be a proper lacquer. 169 00:22:45,280 --> 00:22:54,550 So the colourless lacquer, which is colourless, but it is it sometimes they tinted it. 170 00:22:54,610 --> 00:23:01,870 And I will show you some of the example that the lacquer was tinted using both organic dyes and 171 00:23:01,890 --> 00:23:09,250 inorganic pigments to produce a translucent or transparent surface in various colour tones, 172 00:23:09,250 --> 00:23:13,059 such as red and green. Actually, 173 00:23:13,060 --> 00:23:21,490 the recent scientific studies on this with all of our lacquer collection at the Harvard Art Museum have indicated that Cushing oil 174 00:23:21,790 --> 00:23:31,180 is the primary organic dyes organic red found for colouring the colourless lacquer and copper salts are used for the green hue. 175 00:23:32,080 --> 00:23:39,580 So this also is another process for certain techniques, which I'm going to show you later on. 176 00:23:39,580 --> 00:23:51,309 But because I was working with the traditional living artists and of course some of the material is changed mainly Robyn, 177 00:23:51,310 --> 00:23:55,720 come on, is a quite tedious, difficult process to do. 178 00:23:56,060 --> 00:24:02,440 They it was used to do in the outside the village because it was so smelly. 179 00:24:02,740 --> 00:24:10,000 It was it was a firing and all this was quite a difficult process. 180 00:24:10,210 --> 00:24:14,680 So now due to Rowhani, come on, challenging preparation method, 181 00:24:14,680 --> 00:24:24,760 current traditional artist frequently use commercial all varnish that are sold in the market and industrial old one each with their name. 182 00:24:24,770 --> 00:24:32,080 Kupol is one of the popular oil varnish used by modern traditional craftsmen to create lacquer bookbinding. 183 00:24:34,370 --> 00:24:38,990 Another important ingredient is, of course, lack and shellac. 184 00:24:39,650 --> 00:24:48,680 Female like insects secret. A red resin is thick, like from which like dye and the shellac raising are obtained for dyeing. 185 00:24:48,680 --> 00:24:51,440 The colourant is separated from the receipt. 186 00:24:51,800 --> 00:25:00,500 It is then referred to as lac extract, which is red dye extract from the scale insect like if higher lacquer is produced. 187 00:25:00,920 --> 00:25:10,310 So this light might have been used also for tinting the or the raw on come on or in different process. 188 00:25:10,580 --> 00:25:16,760 And shellac which was the regime is also used to make from this product the 189 00:25:16,760 --> 00:25:23,300 teak sticky shellac is then dried into a flat sheet and broken into flakes, 190 00:25:23,960 --> 00:25:28,370 then crushes into a fine powder and mixed with a tide. 191 00:25:28,430 --> 00:25:32,810 Alcohol before used to dissolve the flakes and make liquid shellac. 192 00:25:33,650 --> 00:25:37,610 According to traditional artists in Persian lacquer bookbinding pasteboard, 193 00:25:37,610 --> 00:25:45,230 The final coat on the paint layer is either all of our initial uncommon or a spirit varnish such as shellac. 194 00:25:46,040 --> 00:25:58,220 So both of these media are actually you can expect to be involved in the Persian lacquer bookbinding in different stages and in different layers. 195 00:26:00,020 --> 00:26:05,690 And we move to the dyes and pigment which is used for the painting. 196 00:26:06,440 --> 00:26:14,180 A variety of diverse palettes of natural and synthetic pigments were used by Persian lacquer artists. 197 00:26:14,510 --> 00:26:23,480 Sampler centuries and Sammy later period during the 19th century, with the development of new synthetic pigments in European market, 198 00:26:24,560 --> 00:26:34,170 a natural mineral pigment like lapis lazuli, blue colour and red, and also yellow or demand, for example, traditional synthetic. 199 00:26:34,190 --> 00:26:41,509 Of course, everybody know that is a red led vermillion and led white and the later synthetic pigment 200 00:26:41,510 --> 00:26:49,729 which actually is found based on the some of the scientific analyses is emerald green, 201 00:26:49,730 --> 00:26:54,080 yellow led chromate and composed of copper, arsenic and acetate. 202 00:26:55,710 --> 00:27:01,800 No. Let's move to the different techniques of pasteboard. 203 00:27:02,610 --> 00:27:10,500 So for like a person, like or bookbinding, we have a different type of board, the pasteboard we call it. 204 00:27:11,070 --> 00:27:19,860 So either it could be plain, which is booming Saudi, it could be marsh, which is a market site. 205 00:27:20,700 --> 00:27:26,549 Or it could be golden, which is Tallahassee or Undertone Gold Papali'i. 206 00:27:26,550 --> 00:27:35,910 We call it Zadok, smoking marbles and maybe a lawn painted or with all these technique to be painted. 207 00:27:37,420 --> 00:27:47,440 So let's move each passport and the layer of how it is actually constructed. 208 00:27:48,350 --> 00:27:54,650 White, female or male was prepared from a mixture of white mineral, as I mentioned, 209 00:27:55,190 --> 00:27:59,600 and vegetable garden with water, bass, gum or other seafood such as Irish. 210 00:27:59,630 --> 00:28:07,760 It was make a gesso paste. So gesso was applied on the primary board and after it was dried, 211 00:28:07,760 --> 00:28:16,790 it was polished and burnished with emery or sandpaper to actually come up with a very smooth surface. 212 00:28:19,650 --> 00:28:29,080 After polishing and cleaning the surface layers of all varnish were applied after the layer of oil is dried completely. 213 00:28:29,100 --> 00:28:34,240 It was polished again, if necessary, followed by the application of varnish layer. 214 00:28:34,980 --> 00:28:41,430 So we have a primary board, then we have a varnish, then we have a gesso and then again varnish. 215 00:28:41,730 --> 00:28:46,800 So you will get maybe few layers to reach to that. 216 00:28:48,150 --> 00:29:01,969 Not the Zionist that artists once. There is a very, very well known pasteboard, we call it Marcus, a sparkling pasteboard known as Boom. 217 00:29:01,970 --> 00:29:10,520 And Mark actually is created by applying a layer of fine particles of an iron rich mineral directly over this thick, 218 00:29:10,520 --> 00:29:14,030 a ground layer followed by an oil varnish application. 219 00:29:14,660 --> 00:29:20,150 So we have a plain board, then varnish, then mark as a particle, and then again once. 220 00:29:20,570 --> 00:29:29,030 So these are actually the there is a stone, which actually I have brought the example for the conservation lab. 221 00:29:29,480 --> 00:29:38,800 It is it going to be powdered and then applied, which is this is the picture of the hall. 222 00:29:38,810 --> 00:29:42,260 It looks the mark outside the mark large the stone. 223 00:29:42,260 --> 00:29:53,120 And then when you grind it, it becomes like a sparkling kind of a work, which when you put it on the board and then when you warm the sheet, 224 00:29:53,390 --> 00:30:01,510 it becomes as some kind of a beautiful, beautiful, sparkling nice colour on, on your work. 225 00:30:01,520 --> 00:30:07,310 And then of course you can put a paint on it later. But the background is a marsh. 226 00:30:08,650 --> 00:30:14,830 So contemporary icons refer to the use of Marcus side and period, also known as Fool's Gold, 227 00:30:15,160 --> 00:30:21,130 both with the same same chemical formula of items will fight with different crystal systems. 228 00:30:21,970 --> 00:30:29,590 Analysis of samples from selected lacquer was recently revealed the presence of haematite and iron oxide minerals. 229 00:30:29,590 --> 00:30:36,999 So if you analyse the markers you might find mean the pasteboard which looks like mark. 230 00:30:37,000 --> 00:30:40,870 I might find fool's gold or mark outside spirit. 231 00:30:41,230 --> 00:30:46,240 So you you should expect that in your analysis. 232 00:30:47,290 --> 00:30:50,560 Now we move to the golden pallor. Your passport. 233 00:30:51,440 --> 00:30:55,130 For obtaining golden passport. The sheets of gold were made. 234 00:30:55,700 --> 00:31:02,120 Traditionally, gold metal was beaten between their skin or leather to get a flat fine sheet of gold. 235 00:31:03,200 --> 00:31:04,909 Then warnings such as come on, 236 00:31:04,910 --> 00:31:13,310 oil and shellac or animal glue solution can be applied on the primary plane board to create a sticky surface to apply the gold layer. 237 00:31:14,380 --> 00:31:22,600 Then the gold sheet were applied and smoothened with hand or burnished carefully with agate stone, followed by coat of varnish. 238 00:31:23,140 --> 00:31:27,290 So we have a plane bought here and then oil or spirit. 239 00:31:27,290 --> 00:31:37,060 Roll on, come on. Or like. And then for the gold, sometimes you expect that they use the animal glue and then the gold sheets again the ones. 240 00:31:37,630 --> 00:31:46,600 So in this a Bodleian Library University collection, you can see a beautiful golden pasteboard, 241 00:31:46,600 --> 00:31:54,010 which on the top it has been painted very finely with the high quality work. 242 00:31:55,840 --> 00:32:05,499 Then we have another kind of a pasteboard. We call it Undertone, a gold pathology, which for obtaining this pasteboard, 243 00:32:05,500 --> 00:32:12,459 the same process as the golden pasteboard, was followed after the gold sheet was applied on the dried varnish. 244 00:32:12,460 --> 00:32:19,720 Primary layer tinted varnish was made by adding dyes such as black and other shades of colour, 245 00:32:19,720 --> 00:32:24,820 such as green, blue and red to the varnish and applied on the surface. 246 00:32:25,390 --> 00:32:35,530 So if you look at this beautiful colours, it is actually on top of the gold, which is done by tinted warns. 247 00:32:37,040 --> 00:32:43,310 And again, this is the example of how the pathology looks on the paint over it. 248 00:32:46,230 --> 00:32:53,970 This is sometimes the technique is Meek's with Marcus and Tatler for making Medallion, for example. 249 00:32:54,450 --> 00:32:59,190 So this is a marriage board which they put they would like to have. 250 00:32:59,310 --> 00:33:02,770 For example, the medallion, the gold pattullo medallion. 251 00:33:03,180 --> 00:33:11,730 So the gold was pasted on the page on the board, and then the tinted varnish has been applied over. 252 00:33:15,000 --> 00:33:23,489 Now another passport, which sometimes is confused by marriage because it's quite tricky. 253 00:33:23,490 --> 00:33:27,570 Sometimes if you look you can distinguish is Zarek. 254 00:33:28,290 --> 00:33:36,630 Zarek is a while. A sparkling effect is created by marsh technique with Zarek is smooth, gold background is achieved. 255 00:33:37,890 --> 00:33:45,480 So for obtaining Zarek the golden pasteboard or tallow was quoted and varnish followed by the spreading 256 00:33:45,480 --> 00:33:53,940 gold or brass flakes on the whole surface to obtain a sparkling gold after it was completely dried. 257 00:33:53,970 --> 00:33:59,520 Number of layers of varnish were applied on the surface to seal the metallic layer. 258 00:34:00,030 --> 00:34:11,609 So this is actually the effect which you have a gold layer and then the Zarek ee There could be the gold particles or a lot. 259 00:34:11,610 --> 00:34:17,990 We have seen brass flakes which also give that kind of an effect. 260 00:34:18,000 --> 00:34:24,420 Of course, it will give also the deterioration factors, which that is our concern later. 261 00:34:26,980 --> 00:34:30,550 Another technique is Smokey. Do the. 262 00:34:31,470 --> 00:34:35,100 Four opinion marbled kind of pasteboard. 263 00:34:35,100 --> 00:34:39,860 The primary board was coated with a layer of light shape colours such as oak. 264 00:34:40,920 --> 00:34:46,170 After the boat was completely dry, the common oil was applied over it. 265 00:34:47,460 --> 00:34:53,070 Then, with the use of oil that can create smoke such as cotton, oil, paraffin or wax, 266 00:34:53,070 --> 00:34:59,820 with the help of lamp and funnel that is placed below, the pasteboard designs were made with careful movement. 267 00:35:00,660 --> 00:35:05,190 Finally, the pasteboard was coated with varnish and was led to dry. 268 00:35:06,000 --> 00:35:10,620 So this is the beautiful example of this technique. 269 00:35:11,040 --> 00:35:21,210 And you can see here that smoky or marble or do they call it in Persian is created by this technique. 270 00:35:21,360 --> 00:35:25,020 But then the paint is applied over it. 271 00:35:28,830 --> 00:35:36,420 We have another is paper or marbling for obtaining marble pasteboard mucilage after a garcon or 272 00:35:36,420 --> 00:35:44,490 Katie raw or fenugreek seed to mention barley or rice is starch was obtained and placed in a vat. 273 00:35:45,650 --> 00:35:54,180 Then different desires. Shades of colours were applied to the surface, like the same technique as paper marbling. 274 00:35:54,200 --> 00:35:58,640 The plane pasteboard was placed on the surface to transfer the design. 275 00:35:59,120 --> 00:36:03,170 This is what we did in the workshop, which we had in butter, 276 00:36:03,650 --> 00:36:16,549 and we did actually a technique to to experiment with the pen box and using the marbling technique for this. 277 00:36:16,550 --> 00:36:27,380 And this is the historical lacquer bookbinding of this technique, which the pasteboard was completely after, is dried, the varnish was applied over. 278 00:36:28,090 --> 00:36:31,940 So there you can see the marbling technique here. 279 00:36:31,940 --> 00:36:35,660 And this could be also the varnish on the top layer. 280 00:36:36,110 --> 00:36:39,440 And finally, we have a painted pasteboard. 281 00:36:40,100 --> 00:36:45,290 But there is is some trick and some kind of interesting process. 282 00:36:46,820 --> 00:36:57,380 After the final coat of varnish was applied on the surface of desired pasteboard and it was completely dry the excess of oil. 283 00:36:57,530 --> 00:37:05,210 Because you put oil or the varnish, the excess of oil was removed by a technique called voxel. 284 00:37:06,310 --> 00:37:14,469 So this wash technique is actually using animal grou or silicone to make the surface 285 00:37:14,470 --> 00:37:20,050 ready for the painting and to remove the excess of the oil from the surface. 286 00:37:20,740 --> 00:37:32,140 So this is a very, very trick on the actually to get the good paint on the surface to make sure that there is no oil, excess of oil on the board. 287 00:37:35,900 --> 00:37:43,040 And then, of course, designs were transferred, followed by paint with the brush and layers of varnish over the paint layer. 288 00:37:43,790 --> 00:37:52,430 Design could be transferred from paper to a template in three different thickness by pricking, punting or drawing with freehand. 289 00:37:53,750 --> 00:38:00,860 So all these three technique, as usual, could be used on the top of the either you have a totally, 290 00:38:00,860 --> 00:38:05,060 either you have a marsh or Zadok or whatever the pasteboard you have. 291 00:38:05,420 --> 00:38:13,340 You have this freedom to make the paint, whatever design you would like to have it over. 292 00:38:13,520 --> 00:38:20,000 So that is the beauty of Persian lacquer bookbinding, because you have a freedom to create whatever you imagine. 293 00:38:22,330 --> 00:38:26,740 Now let's go to conservation issues. 294 00:38:27,130 --> 00:38:31,570 Okay. So I hope everybody's still here. 295 00:38:32,170 --> 00:38:45,880 Okay. Yeah, well, as imagine how many layers is involved in the person like or bookbinding from paper support, 296 00:38:46,660 --> 00:38:52,270 primer filler, all on the spirit varnish Metal layers. 297 00:38:53,220 --> 00:39:02,280 If it's Zarek or if it's, you know, Golden Talalay or stone and all spirit varnish again. 298 00:39:02,490 --> 00:39:05,730 And then paint. And then once again. 299 00:39:06,710 --> 00:39:11,270 So you see how many layers is involved in this. 300 00:39:11,270 --> 00:39:20,480 And then, of course, the complexity of these layers means that several different chemical processes may occur at the same time. 301 00:39:23,160 --> 00:39:31,710 So the damages, of course, it could be chemical, physical and biological deterioration. 302 00:39:32,280 --> 00:39:42,420 Natural ageing, light temperature and relative humidity affect a layer of lacquer, bookbinding and cause damages such as separation of layers, 303 00:39:42,750 --> 00:39:55,020 croaking haze, clotting and bloom, physical damage, corrosion of metal, old and improper restoration is always there in any artefacts you will face. 304 00:39:57,320 --> 00:40:07,640 The natural ageing. Several chemical changes may occur at the same time in ageing process of materials that are used in the lacquer technique, 305 00:40:08,360 --> 00:40:19,950 oil and spirit varnishes that were used, namely common oil and shellac, will create a film on the surface differently and of course quite differently. 306 00:40:19,970 --> 00:40:31,250 Also, the ACT, the total result of these changes will increase in solubility and in brittle element of the coating resin. 307 00:40:31,250 --> 00:40:41,870 All if it has been used goes through oxidation process exposed to air, causing the molecular chain to cross-linked and for shellac. 308 00:40:41,870 --> 00:40:52,910 The mixture of lack and spirit goes through the process of volatile ization, so that actually make a lot of challenges in the layer. 309 00:40:53,810 --> 00:41:03,590 This is the one or two examples of the University of Oxford Bodleian Library Collection, which natural ageing has occurred, 310 00:41:04,400 --> 00:41:14,810 and of course the light have also a very big effect on the deterioration increase the rest of the oxidation and cause discolouration, 311 00:41:15,800 --> 00:41:23,360 accelerate the process of different chemical changes in the materials due to photo expedition oxidation resulting. 312 00:41:23,360 --> 00:41:33,890 The polymerisation. Also UV exposure may cause the breaking of the molecular chains, colour change and non reversible discolouration and yellowing. 313 00:41:34,550 --> 00:41:47,030 This is another example of Persian lacquer bookbinding charred army which has faced the very serious light damage in this work. 314 00:41:48,830 --> 00:41:54,380 Another issue is, of course, temperature and relative humidity cause tension. 315 00:41:55,190 --> 00:42:03,320 And just so part the layer of gesso used in the filter and primarily layer is a mixture of water based material, 316 00:42:03,680 --> 00:42:09,260 whereas the oil and the spirit varnish use as coating have some resistance to water. 317 00:42:09,530 --> 00:42:12,860 However, the water soluble glue enlarges or does not. 318 00:42:13,250 --> 00:42:21,920 So when the one layer is water soluble and another layer it rises on the water, it make pension and flaking. 319 00:42:22,550 --> 00:42:30,800 So water penetrating through the surface will soften the glue, causing the surface to lift and simply flake off. 320 00:42:33,340 --> 00:42:43,569 This is some of the example of separation of paint, a layer of magnified AJA Persian lacquer, bookbinding and the separation of layer. 321 00:42:43,570 --> 00:42:46,750 When these two surfaces move at different rates, 322 00:42:47,110 --> 00:42:56,740 it eventually causes the layer of separation occurs due to the tear active interface between the coating and the substrate. 323 00:42:57,400 --> 00:43:04,000 So this is also a good example that you can see the different layers in the deterioration factor. 324 00:43:04,000 --> 00:43:09,400 You can see the different layers are flaking off layer by layer. 325 00:43:11,390 --> 00:43:19,670 This is also another example of beautiful works of Bodleian Library Collection with the flaking issue. 326 00:43:21,430 --> 00:43:31,270 And this is also another and actually you can see there are some kind of a metal sparkling here. 327 00:43:31,600 --> 00:43:42,280 Might be. We have to go to a more closer. It is seen that it might you you sometimes you can see even the layer of metal in the in the work. 328 00:43:42,970 --> 00:43:51,970 Another very, very big issue is haze, clothing and blue, cloudy appearance of oil. 329 00:43:51,970 --> 00:43:58,810 And the spirit vanishes due to water absorption. Opaqueness of surface layer due to moisture, 330 00:43:58,810 --> 00:44:05,350 condensation from dust attraction bloom caused by oil varnishes that are not 331 00:44:05,350 --> 00:44:10,660 completely dried during the varnish application repeated in several stages. 332 00:44:11,660 --> 00:44:19,910 Permanent blue caused by condensation trapped within the water niche due to sudden cooling during the application of a new varnish. 333 00:44:21,090 --> 00:44:30,750 Hayes is caused by the lamination due to the application of inappropriate varnish over the original and the aerospace between the layers. 334 00:44:31,690 --> 00:44:37,780 And also Claudia appearance on the surface due to network of extreme find cracks. 335 00:44:38,290 --> 00:44:44,980 To just answer your question about why did they wait so long for each layer? 336 00:44:45,280 --> 00:44:52,150 Because of this, sometimes the application of the work so fast. 337 00:44:52,480 --> 00:45:04,420 Different layer to put different layer over layer. You may compromise a lot in this later that the deterioration factors which accelerate quite a lot. 338 00:45:07,300 --> 00:45:11,260 This is an example of some issues with cracks, 339 00:45:12,280 --> 00:45:17,649 stress caused by different rates of expansion and contraction between two layers 340 00:45:17,650 --> 00:45:23,379 due to a continuous cycle of high and low humidity caused cracks in failure. 341 00:45:23,380 --> 00:45:28,300 Quality and technique of paint application also can face cracks. 342 00:45:28,990 --> 00:45:37,600 The difference between pigment particles and their absorption in the binding medium during drying also could cause the cracks. 343 00:45:38,260 --> 00:45:41,020 Use of LED light as the ground layer. 344 00:45:41,230 --> 00:45:51,970 Also, it is another issue that might face the kind of a crack because of the nature of the light, while by itself. 345 00:45:52,690 --> 00:46:00,099 Premature drying of the paint and varnish layer and ageing and the loss of flexibility 346 00:46:00,100 --> 00:46:05,320 of the paint and varnish layer due to drying oxidation and polymerisation. 347 00:46:08,100 --> 00:46:17,880 This the left side here, you can see the cracks in border due to the pigment particles and their absorption in the binding medium during drawing. 348 00:46:18,540 --> 00:46:21,779 This is the example of use of late white cause. 349 00:46:21,780 --> 00:46:30,390 The cracking and fine curved crafts due to premature drawing of the paint on varnish can cause this type of cracks. 350 00:46:30,690 --> 00:46:38,490 So each crack has its own story with a different kind of a pattern in the cracks. 351 00:46:40,320 --> 00:46:49,979 Of course, physical damages, pressure, transportation, improper storage can make compromise the the quality. 352 00:46:49,980 --> 00:46:57,809 And then in the in the wrong long run you may lose some of this pine or pressure 353 00:46:57,810 --> 00:47:04,139 and so many different kind of a deterioration based on improper storage 354 00:47:04,140 --> 00:47:10,410 like this is some of the works of each physical damage can be seen in the in 355 00:47:10,410 --> 00:47:17,730 their work and one of the most important is deterioration of associated metal. 356 00:47:18,660 --> 00:47:26,540 Of course, if you use the gold sheets on gold powder, pure gold flakes, you don't face that issue. 357 00:47:26,550 --> 00:47:38,790 But if you replace it with brass or tin or other metals, then the, for example, in your period after other metals have been used. 358 00:47:39,030 --> 00:47:41,790 But insofar sapphire, it is more into the pure gold. 359 00:47:42,090 --> 00:47:51,840 So we see some of the corrosion of the metal in the in the different period because of the using of brass and other materials. 360 00:47:52,110 --> 00:47:56,700 So this is then magnified of showing brass flakes in the zodiac pasteboard. 361 00:47:57,290 --> 00:48:02,640 Do you remember the zodiac, which we use the particles of gold or brass? 362 00:48:03,180 --> 00:48:14,760 And here you can see some of the, you know, corrosion of the metal here and there, which of course, that is because of the the metal layer. 363 00:48:17,180 --> 00:48:20,330 And old improper restoration. 364 00:48:20,570 --> 00:48:33,700 And sometimes you can see and you get so annoyed, you know, just put the tape on the like your bookbinding is is so, you know, 365 00:48:33,740 --> 00:48:48,710 sad and some improper inappropriate coating during the conservation in the earlier period or some using kind of inappropriate female for example. 366 00:48:49,160 --> 00:48:57,020 So these are the the some conservation issues which you might face in the old an improper restoration. 367 00:48:57,830 --> 00:49:07,970 Let's move to the my conclusion. Our study shows the commitment of contemporary bookbinding artists to the traditional way of the masters. 368 00:49:08,480 --> 00:49:15,230 Techniques have been enhanced and new materials have been mindfully adopted while the old ways have been preserved. 369 00:49:16,010 --> 00:49:23,629 Persian Lacquer. Bookbinding has a complex structure with multilayer components that face different conservation issues, 370 00:49:23,630 --> 00:49:31,700 and it needs a total knowledge of the material technology of each layer to make the right decision to their preservation. 371 00:49:33,750 --> 00:49:40,470 To share the knowledge of understanding the layers of Persian lacquer, bookbinding and its conservation challenges. 372 00:49:40,800 --> 00:49:46,410 We did some workshops and conducted in different institutions, museums and libraries. 373 00:49:46,440 --> 00:49:57,450 This is during 2019, when we had a workshop on Persian Lacquer Bookbinding with the living artist Mr. Dr. Hamid Maliki, 374 00:49:57,450 --> 00:50:03,809 on which we could actually go to the different pasteboard and reconstructed by the 375 00:50:03,810 --> 00:50:11,220 staff of the library to see what is the different technique and its challenges. 376 00:50:12,150 --> 00:50:22,980 This project, I would like to acknowledge, was made possible thanks to the generosity of donors and sincere thanks to Dr. Hamid Mallikarjun, 377 00:50:23,310 --> 00:50:29,790 an expert living traditional Iranian artist and concentrator for sharing his knowledge and his 378 00:50:29,790 --> 00:50:35,700 contribution to this project and active participation on the organisation of the workshops. 379 00:50:37,010 --> 00:50:41,940 And there are different bibliographies which I have been use. 380 00:50:41,960 --> 00:50:46,850 Actually, this is going to be published soon if anybody's interested. 381 00:50:47,480 --> 00:51:01,000 And I would like to end my presentation with a beautiful poetry from this earlier Salafi, which he is in our 19th century. 382 00:51:01,010 --> 00:51:13,130 Say it was say I say you do Sophia Hosseini with a beautiful couplet, a whole treatises is poetry and how to make the different mind is amazing. 383 00:51:13,460 --> 00:51:14,870 So one of them, 384 00:51:14,870 --> 00:51:25,219 which I love it is saying that before it become oral that are power which are let Bosch will make one jump it after bringing together all heart, 385 00:51:25,220 --> 00:51:30,740 all the scattered pages, be like a book that binds the disparate pages. 386 00:51:31,550 --> 00:51:36,170 Thank you very much and open to any question. 387 00:51:39,200 --> 00:51:39,500 Lisa.