Author Information
Ya-Yun Hsiao, Conservation and Research Center of Cheng Shiu University, TaiwanShih-Chiang Cheng, Conservation and Research Center of Cheng Shiu University, Taiwan
I-Cheng Li, Conservation and Research Center of Cheng Shiu University, Taiwan
Abstract
In the Porcelain Nude series, Japanese artist Yasumichi Morita elevates human curves into a pure, porcelain-like texture through the platinotype process. Because the image particles are embedded deep within acid-free cotton fibers, the works possess a profound matte quality and a rich, warm tonal range with velvet-like shadow expressions. This article explores the restoration of Porcelain Nude Platinum 2017(10), which sustained mechanical tears and scratches on the recto. The treatment involved mending, structural consolidation, and inpainting of the damaged areas, aiming to restore both the structural integrity of the paper substrate and the print's unique surface characteristics. Nevertheless, the artist’s aesthetic pursuit defines the technical challenges in conservation. The primary challenge of this case lies in the damage's location at the image core—a monochromatic dark area where any flaw is visually prominent. Since adhesives can easily alter the distinct physical surface properties of platinum prints, it was necessary to balance structural bonding with precise adhesive control. Therefore, two technical adaptations were implemented to mitigate these constraints. First, the interlacing fibers were microscopically realigned and flattened using sandbags to restore the substrate's planar integrity. Next, isinglass—selected for its small molecular size and high permeability—was applied in two stages. This “adhesive-to-adhesive” approach ensures structural stability for the substrate while minimizing aesthetic interference. This case serves as a valuable reference for the future conservation of platinum prints. Through this meticulous restoration, we hope to preserve the artist’s eternal pursuit of aesthetic perfection.
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