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e_conservation
the online magazine No. 6, September 2008
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conservation
the online magazine
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e d i t o r i a l
The Thin Red Line
One of the first things that we are taught about Conservation is that it is interdisciplinary.
From archaeology to physics, from biology to dendrochronology, virtually all fields of
knowledge can have some application in the study of works of art. However, it is ironic that
one of the most basic notions that define our profession – interdisciplinarity - may also
endanger it.
Indeed, sometimes our profession seems to be somehow in danger due to 'indefinition'.
I do not mean to say that it is undefined – so much has been written about it by many
international organisations, such as E.C.C.O., ICOM-CC, etc. – but that we are still strug-
gling so that others recognise us as we see ourselves.
It is a fact that our field is quite new when compared with others (i.e. archaeology) and in
the eyes of the general public we are still often seen as something mysterious and full of
old well-kept secrets. I should know because it was precisely that image which first attracted
me to conservation when I was younger.
However public recognition should come from both the general public and other professionals.
For example, it is known that in many European countries with Latin-based languages, cura-
tors are often called conservators. This simple fact has brought about for a long time a struggle
between curators and conservators for this title and even for some of their attributions
within the museum.
In the same way, conservation science is a field that has been emerging only since a few
decades ago. No doubt conservation scientists have been developing a very important role
in the safeguarding of our heritage. However, the massification of this new specialisation,
now also taught in universities, requires a re-definition of heritage-related professions, and
implicitly of ours, so everyone can act like the professional that he or she has been trained
to be without running over one another's competences. Indeed, as Salvador Muñoz-Viñas
emphasises in his interview for our magazine (pp. 20), science "helps conservators to have
more data, to be more informed [but] it should not substitute or replace ethics".
What really defines us, the conservators, is our decision-making capacity. This is not only
based on ethical principles or material knowledge, but on a combination of many different
factors. However this main defining-factor is what distinguishes a conservator from a tech-
nician or from other professionals who work within the field of safeguarding or maintenance
of cultural heritage.
At the moment conservation science is still a young field and understandably it is professed
not only by trained conservation-scientists but also by scientists with an interest in art.
Many essential research projects have been developed to ensure the advancement in the
field, but we should be careful, however, not to transform cultural heritage into a mere
economic research factor.
The fact is that if we look at the scientific literature that is being produced we may reach
the conclusion that we conservators are publishing lesser than we should and that some
papers produced by scientists are of limited interest or little use for conservators.
Fortunately, this is not the case of the majority of publications but conservators might
soon face the problem that most of the specialised literature in our field is written by non-
conservators. Thus, it is my belief that conservators need an attitude change towards pub-
lishing as sharing inside specialist knowledge is essential for our field.
Rui Bordalo,
Executive Editor
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INDEX
N EWS 6
CONFERENCE REVIEW
Colours 2008,
Bridging Science with Art
10-12 July 2008, Évora, Portugal
Review by Rui Bordalo
10
2008 WORKSITES
The Conservation of the Mural Paintings from
St. George Church, Voronet Monastery
By Anca Dina
14
ANNOUNCEMENTS
E VENTS
17
UPCOMING EVENTS
September - October 2008
I NTERVIEW
20
SALVADOR MUÑOZ-VIÑAS
New Horizons for Conservation Thinking
Interview by Christabel Blackman
A RTICLES
29
CARE OF COLLECTIONS
Are Libraries Effectively Monitoring
the Condition of their Microfilm Collections?
By James Gross
37
CONSERVATION OF PAINTINGS
Conservation of a Greek Icon.
Technological and Methodological Aspects
By Maria Avillez and Chryssa Vourvopoulou
C ASE S TUDY 56
RED MAITREYA TEMPLE - LEH, LADAKH
Mural Conservation Project (Part 1)
- A Tibet Heritage Fund Project
By Anca Nicolaescu and André Alexander
B OOK R EVIEW
78
Mural Painting in the North of Moldavia.
Aesthetic Modification and Restoration
By Anca Dina
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