Abstract
In this paper, two different objects from the ethnographic collection of the museum of the Congregation of the Sacred Hearts of Jesus and Mary (Rome), a Polynesian barkcloth (tapa) and a Polynesian headdress in feathers (pa’e ku’a), were investigated to characterize the materials, to evaluate their state of conservation and address the restoration activities. Imaging methods such as multispectral imaging, 3D ultraviolet induced fluorescence and scanning electron microscopy have been integrated with analytical techniques such as X-ray fluorescence spectroscopy, Fourier transform infrared and surface enhanced Raman spectroscopy. Imaging investigations allowed us to differentiate constitutive materials and study their distribution, such as the yellow dye in the tapa used to trace the geometrical pattern and the psittacofulvins responsible for the feathers’ colors in the headdress. The combination of molecular spectroscopy, supported by observation under a scanning electron microscope, allowed us to propose a characterization of the organic painting materials (Morinda citrifolia, Curcuma longa) used for the tapa, and of the type of feathers (from Vini kuhlii bird) and vegetal fibers (Cocos nucifera L.) used to realize the headdress, as well as enabling the identification of degradation products and microorganisms affecting the artifacts before restoration. Fourier transform infrared spectroscopy detected the organic materials used as adhesives for the tapa and headdress: a polysaccharide, probably starch, for the tapa and a natural rubber from Cerbera manghas L. for the headdress. The results of the multi-analytic diagnostic campaign enabled the choice of proper restoration materials, compatible with the original ones, and helped us develop effective protocols for the artifacts’ conservation, such as laser cleaning of the feathers.
Highlights
IntroductionNon-invasive methods show significant advantages when studying fragile multimaterial ethnographic artifacts
Diagnostic studies on ethnographic art objects can be fundamental to answering questions about the origin, dating and attribution of these complex and fragile artifacts, and to approach their restoration and conservation.Non-invasive methods show significant advantages when studying fragile multimaterial ethnographic artifacts
Though there are a variety of local names, the word tapa, originally from Tahiti, is commonly used to refer to barkcloth made all over the world
Summary
Non-invasive methods show significant advantages when studying fragile multimaterial ethnographic artifacts. These kinds of multi-cultural artworks are generally characterized by complex combinations and stratifications of different materials—representing iconographic contents and production techniques less familiar to western culture, and often little studied, and usually they have received scarcely documented restoration treatments. Heritage 2022, 5 often little studied, and usually they have received scarcely documented restoration treatments across their life. The first investigated artifact is a decorated barkcloth, known as tapa, which is not a woven material, but made from the inner part of the bark that has been softened through a process of soaking and beating [2]. While tapa cloth is most often recognized as a Polynesian craft, it has been made in South America, Indonesia, New Guinea, Melanesia, and parts of Africa
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