“一针一线”唤醒国之瑰宝

Core Insights - The article highlights the successful restoration of significant cultural artifacts, including the Tibetan version of the "Kanjur" and Dunhuang linen paintings, through advanced scientific methods and collaborative efforts by the National Library of China and the China Cultural Relics Protection Foundation [6][7]. Restoration Process - The restoration of the Tibetan "Kanjur" involved addressing severe mold, water damage, and physical deterioration across over 300 leaves, with a meticulous cleaning process that took several months [8][9]. - Various cleaning techniques were employed, including the use of silicone rollers and micro-needles for precise dirt removal, followed by careful reassembly of the multi-layered paper leaves [8][9]. - The restoration team faced challenges in maintaining the original dimensions of the leaves post-restoration, requiring extensive pressure application to ensure uniformity [9]. Challenges in Restoration - The restoration of a unique Dunhuang linen painting presented difficulties due to its dual nature of containing both artwork and scripture, leading to debates on whether to separate or preserve them together [10][11]. - The chosen approach of original state restoration aimed to minimize intervention, ensuring that the integrity of the original materials was maintained [11][12]. Innovative Techniques - The restoration team implemented innovative methods, such as the "embedding method" for irregular damage, which required extreme precision to match the original threads [12]. - The use of advanced technology allowed for the recreation of the paper used in Dunhuang manuscripts, ensuring that the restored artifacts closely resembled their original state [13][14]. Preservation Philosophy - The restoration philosophy emphasized minimal intervention and the preservation of all components of the artifacts, including the mounting materials, which are also considered valuable historical items [13]. - The team adopted a new understanding of the importance of all layers of artifacts, recognizing that even the outer materials hold historical significance [13].