６）油彩画の応急処置
状況と損傷
津波により被災した油彩画の損傷要因は、主に冠水による作品自体の材料劣化と、津波の水力や水中での衝突などの外的要因の両者が挙げられます。また、双方の破損要因が相乗作用を引き起こすこともあります。さらに、現場からの救出時期が遅れれば、カビの発生など損傷要因が増加します。
被災作品を早急に被災現場から搬出すべき事は言うまでもありませんが、被災後の混乱の中では、本格的な修復計画を立てることは困難であり、段階を追って処置を進めるしかありません。東日本大震災の美術作品第一次レスキュー活動では、被災現場からの搬出、搬出後の応急処置、計画的な安定化処理と修復といった大きく３段階の処置が必要でした。いずれにしても、早急に現地調査を行って作品の状態と量を把握した上で、作品搬出先を決定し作業人員の確保などが必要です。本稿では搬出時と搬出先における初期段階での応急処置について述べます。
現場からの搬出時の処置
被災現場での作業は時間的にもスペース的にも制限があり、限られた処置しかできません。最低限の処置に留めてできるだけ早く搬出作業を終わらせ、次の段階で安全な場所で落ちついて応急処置をすべきでしょう。津波による被災の場合は、砂などの付着物が多い反面、海塩

6) Immediate Treatment of Oil Paintings
Condition and damage
The following two factors are the presumable causes ofdamage to oil paintings affected by tsunami: water damage
caused by material degradation from being immersed in water,and damage caused by external factors such as the hydrauliceffect of the tsunami or collisions with other objects in thewater. Furthermore, these two factors can cause damage
from synergistic effects. Moreover, when the time requiredfor salvaging the paintings from the disaster site is extended,damage factors, such as mold growth, can be increased.
Obviously, disaster-damaged artwork must be removed fromthe disaster site as soon as possible. However, it is difficult todevelop a full-scale restoration plan in the confusion following
the disaster, and treatment can only be performed methodically.
The following three steps were necessary for the immediate
handling of artwork damaged by the Great East Japan
Earthquake: transferring from the disaster site, post-transfer
emergency treatment, and planned stabilization and restoration.
In any case, an on-site survey must be conducted as soon as
possible to grasp the conditions and the amount of damaged
artwork in order to decide the artwork transfer destination andto make necessary arrangements such as ensuring a sufficientnumber of staff is present. Early-stage emergency treatments
performed for the transferring process and at the transfer
destination are described in this section.
Treatments during the process of transferring from the disaster site
Only limited treatments can be performed at the disaster site
since both time and space for recovery activities is limited atthe site. It is recommended that treatment to be performed at
the disaster site is kept to a minimum to complete the transfer
process as quickly as possible, and that emergency treatments

106

物質の効果で乾燥が緩やかで、急激な乾燥による材料の収縮が若干免れ、また、カビの繁殖も短期間であれば抑制されるという真水とは異なった点もあります。
１．清掃
まず作品を作業スペースに移動させたら、大きな付着物や砂を刷毛や布で除去します（図1）。
２．支持体の固定補強
木枠に張られた作品は、側面の固定釘の外れや緩みがないかを確認し、必要に応じてガンステープルなどで追加固定して補強します。ただし、画布に湿気が残っている時点では、適度な緩みを残しておきます。乾燥時に画布の張りが強すぎて画布や木枠が破損する恐れがあります。
３．画面の養生
画布に湿気が残っている場合、絵具層の状態から判断して支持体乾燥時の浮き上がりや剥落の発生が懸念される場合は、和紙と薄い水性糊で表打ちの養生を施します（図2）。緊急時には薄く溶いたヤマト糊やティッシュペーパーでも代用できます。しかし、絵具の浮き上がりがなく、搬出後すぐに応急処置ができる段取りが組まれていれば、この場での表打ちは避けるという判断もあるでしょう。むしろ、落ち着いた状況で絵具層の汚れを除去し、その後に表打ちなどの養生をする方が後の修復処置が安全に行い易くなります。
搬出後の作業場での応急処置
この場では本格的な修復までの間、損傷を進行させず、

are performed as the next step when action can be taken
under more settled conditions. While paintings damaged bytsunami acquire large amounts of accretions such as sand, they
dry slowly because of the effects from sea salt. This createsconditions differing from damage caused by freshwater;
contraction of materials due to rapid drying is somewhat
subdued, and mold growth is suppressed, though this effect isonly for the short-term.
1. CleaningFirst, after transferring the artwork to a workspace, remove
large accretions and sand using a large brush and a cloth (Fig. 1).
2. Reinforcement of the support fixings
For paintings mounted on stretchers, check to see if thefixing tacks on the side have come off or have loosened, andreinforce them as needed by applying additional measures
such as applying staples using a staple gun. However, leave anadequate amount of flexibility if the canvas is damp. Failure to
do so may damage the canvas or the stretcher when the painting
dries because of overly tight canvas tension.
3. Protection of the painting surface
When moisture remains in the canvas and, based on theconditions of the layer of paint, there are concerns over thepossibility of paint loss or lifting once the support dries, thesurface is covered using Japanese paper and a thin water based
adhesive to protect it (Fig. 2). In an emergency situation, sheetsof tissue paper and a thin solution of starch glue dissolvedin water can be used as substitutes. However, if no paint iscoming loose and arrangements have already been made so thatemergency treatment can be performed immediately after thepaintings are transferred from the disaster site, another option
would be to refrain from protection with paper on the surfaceof the painting. Actually, it would make it easier to perform
subsequent restoration treatments with a higher degree of safety第4章

安定化処理と修理

図2 被災現場で行った画面養生の表打ち
Fig. 2 Protection of the surface performed at the disaster site

図1 被災現場での応急処置 撮影：寺口淳治氏
Fig. 1 Performing emergency treatment at the disaster site. (Photo taken by Mr. JunjiTeraguchi)

図3 裏面に付着した流出パルプの除去
Fig. 3 Removing runoff pulp attached to the back side

図4 掃除機、ヘラを使用して、裏面の隅々の付着物を除去
Fig. 4 Removing accretions from the back of the canvas using avacuum and a spatula

図5 裏面の汚れ清掃作業
Fig. 5 Removing the contamination from the back side
図6 画布裏面全体に繁殖したカビFig. 6 Mold growth covering nearly the entire backside of the canvas

107安定した状態を維持させることが目的です。そのためには、ある程度の期間の安定と共に本格修復に不都合を起こさない処置方法、材料の選択が必要です。
１．付着物の除去、清掃
画面および裏面に付着しているごみや砂、カビなどを丁寧に除去します。木枠と画布の間に入った砂などは、画布を木枠から外す事ができない場合は刷毛、ヘラ、掃除機、ブロワ―などを利用して除去し、特に塩分を含んだ残留物ができるだけ残らないようにしなくてはなりません（図3，4，5）。支持体の画布や板には海水の塩分が残留していますが、応急処置の場では、脱塩処置を施すのは難しいでしょう。裏面のカビの繁殖がひどい場合は、エタノールを含んだティッシュでカビをそっと拭いとり、掃除機で残留物を吸い取ります（図6）。掃除機はHEPAフィルター付を使用します。裏面は清掃後、エタノールで拭いて殺菌します。木枠は、水拭きを繰り返します。
汚れやカビの除去作業では、防塵マスクやニトリル手袋を着用します。また、除去に使用した紙など廃棄物の管理には、十分に気を付ける必要があります。
２．画面の洗浄水やエタノール水溶液、綿棒などを使用して画面洗浄を行います。被災現場で表打ちを施した作品は、表打ちの下に多くの汚れが付着しているため、カビの原因ともなります。表打ちが安全に外せれば除去します。
３．絵具層の固着強化

浮き上がり、剥落がある場合は膠水で接着します（図7）。浮き上がり箇所や、絵具の固着不良箇所が多く、時間的にこの段階での接着作業が間に合わない場合は、それらの箇所を和紙と水性接着剤で部分的に表打ちをして養生をします（図8）。もし全体に湿気が残っている場合、支持体の乾燥とともに絵具層が浮き上がりを起こす可能性があると判断された場合は、再度全面に表打ちを施します。
４．破損部の処置
突傷や支持体の破損がある場合は、破損部の変形を修正し、表打ちや部分裏打ちなどで補強および仮接着をし、破損部の変形や収縮を防ぎます。木枠の破損などは、交換するか、補強材の取り付けによって支持体として十分な強度の確保と安定を図ります。
５．殺菌、防カビ
応急処置現場では完全な洗浄はできず、また残留した塩分により湿気を吸収しやすく、カビの発生が懸念されます。防カビのため、チアベンダゾール／エタノール水溶液を塗布します（図9）。カビの繁殖状況によっては燻蒸を検討します。
被災現場において大量にカビが発生した場合は、作業者の健康管理のため、作品を乾燥させた後、処置前に燻蒸を行います。作品数が大量にある場合、スペースが確保されれば鉄骨の枠をビニルシートで覆って行う、被覆燻蒸も有効です（図10）。

if the surface of the painting is protected with paper after thecontaminants on the layer of paints are removed under more
settled conditions.

solutions, and cotton swabs. The large amounts of accretions
existing under the protection of the paintings that have been
applied to the surface at the disaster site can also cause moldgrowth. Remove the protection from the surface if it can beremoved safely.
3. Enhancement of paint layer adhesion
Fix any paint loss or lifting to the painting surface using
adhesive solutions (Fig. 7). When there are many areas of paintloss, and/or unfixed paints, and fixing those areas will taketoo much time, cure those areas by partial protection using
Japanese paper and a water based adhesive (Fig. 8). When thepainting is still damp and there is concern over the possibilityof the layers of paint coming off once the support dries, repeat
the surface protection step.
4. Treatment of damaged areas
When there are pricks or dents on the painting or damage tothe support, prevent deformation or contraction of the damaged
areas by first correcting the deformed area and then enhancing
and temporarily attaching the area by lining the front side orpartially lining the back side. Damaged stretchers should be
replaced or treated by applying reinforcement materials toensure and stabilize the strength of the stretcher as a normallyfunctioning support tool.
5. Sterilization and mold preventionCleaning cannot be performed perfectly at an emergency
treatment site. Also, there are concerns over the possibilityof mold growth since the residual salt in the artwork absorbs
moisture easily. To prevent mold growth, a thiabendazole/ethanol solution is applied (Fig. 9). Treatment by fumigation
may be performed depending on the extent of the mold growth.
When mold has grown in large amounts on the artwork at
the disaster site, the item is dried and then fumigated before
performing treatment in order to protect the health of the staff.

Emergency treatment at the workplace following artwork transfer
At the workplace, the goals are to prevent any further
advancing of damage and to maintain a stable condition until
the time comes to perform full-scale restoration. For thisreason, treatments and repair materials which provide stableconditions for a certain period and which do not cause any
inconvenience for full-scale restoration should be selected.
1. Removal of accretions and cleaning
Carefully remove the accretions on the surface and theback of the paintings such as filth, sand and mold. When thecanvas cannot be removed from the stretcher, remove the sandin between the stretcher and the canvas using a large brush, aspatula, a vacuum cleaner, a blower or other tools. Residualmatter containing salt must be removed to the maximum extent
possible (Figs. 3 to 5). Though salt from seawater will remainin the canvas and on the board, performing desalination at theemergency treatment setting is likely to be difficult. When moldgrowth on the back side is extensive, gently remove the moldusing sheets of tissue paper containing ethanol, and then suckin the residual matter using a vacuum cleaner (Fig. 6). Use avacuum cleaner equipped with a HEPA filter. After cleaning,
the back side should be sterilized by wiping it with ethanol. The
stretcher should be wiped repeatedly with a cloth dampened
with water. Wear a dust mask and nitrile gloves when removing
contaminants and mold. In addition, be especially cautious
when managing waste generated from this process such as
paper used for removing contaminants.
2. Painting surface cleaning
The painting surface is cleaned using water, ethanol108

第4章
保管
応急処置の段階ではカビの発生や材料の変化という面で、まだ不安定な要素を多く含んでいます。応急処置後の作品は、良好な保存環境に置かれるべき事はもちろんですが、定期的な状態確認が必要です。梱包の有無にかかわらず、状態確認がしやすい保管方法を考慮すべきです。
伊藤由美（神奈川県立近代美術館／全国美術館会議）

安定化処理と修理

When there is a large number of works of art and enoughworkspace, it is appropriate to perform covered fumigation, in
which works of art are placed in a steel frame and covered witha vinyl sheet (Fig. 10).
Storage
At the emergency treatment stage, the items still containmany unstable elements in terms of mold growth and changesof the material. Following emergency treatment, needlessto say, the art work should be kept in good conditions, also
the treated works must be checked periodically. Regardlessof whether the items are packed or not, consideration mustbe given to using storage methods that allow easy access forcondition checks.

Yumi Ito (The Museum of Modern Art, Kamakura & Hayama /The Japanese Council of Art Museums)

図7 浮き上がり接着作業
Fig. 7 Fixing paint in areas where it became loose and lift

図9 洗浄後、裏面に防カビ剤TBZを塗布
Fig. 9 Post-washing application of anti-mold agent TBZ to the backside

図8 剥落、浮き上がり箇所の養生
Fig. 8 Partial protection using Japanese paper on the areas of thepaint loss or lifting

図10 ビニルシートで覆う被覆燻蒸のための鉄骨。カビの繁殖がひどいため処置作業前に燻蒸を行った。
Fig. 10 Steel frame to hold up the vinyl sheet for fumigation using a vinyl sheet.
Pre-treatment fumigation was necessary because of extensive mold growth.
写真協力：全国美術館会議
By courtesy of the Japanese Council of Art Museums

109