Ermakova Nina V. — Candidate of Historical Sciences; The State Research Institute for Restoration, leading specialist of Department of Scientific Restoration of Works of Applied Art
E-mail: nvl-ermakova@mail.ru

The article discusses the main causes of degradation of regenerated and synthetic materials (woven and non-woven) included in the structure of museum objects from the collections of decorative and applied arts, the history of science and technology. Among exhibits of this group are objects of casual and sportswear, high fashion samples, shoes, protective suits, interior items (furniture, tapestries, curtains), works of modern art, toys. These artifacts visually reflect the development of technology and are important for materials science, art history, and design history. As the survey conducted in art, historical, local history, memorial and other domestic museums showed, the main problems of preservation of exhibits of this group are loss of shape and elasticity, embrittlement, delaminating, color change, the appearance of spots on the surface, splits, tears, sticky surface. The analysis of the causes of instability of regenerated and synthetic materials allowed us to establish that the factors affecting their safety are related to the internal structure of materials (degree of orientation of polymers, chain length, crystallinity) and their production processes, at the same time, the rate of degradation is largely determined by external factors such as light, temperature, humidity, oxygen content in the air and biological influence. The analysis carried out should contribute to the development of methods for the conservation of exhibits with chemical fibers, as well as determine the optimal restoration materials and operations that will help extend their stay in museum collections. The analysis carried out should contribute to the development of methods for the conservation of exhibits with chemical fibers in their structure, as well as determine the optimal restoration materials and operations that will help extend their stay in museum collections.

Museum items, regenerated fibers, synthetic fibers, degradation, degree of orientation of polymers, crystallinity, conservation.

Ippolitov Sergey S. — Doctor in Historical Sciences; the D. S. Likhachev Russian Institute of Cultural and Natural Heritage, Chief Researcher; Russian State Academy of Intellectual Property, Professor; The State Research Institute for Restoration, leading specialist
E-mail: nivestnik@yandex.ru

The introduction of generative tools based on artificial intelligence into all spheres of the humanitarian life of society has become an unexpected reality in recent years. There is a special sphere of public life where the unlimited introduction of artificial intelligence is fraught with devastating consequences — this is the sphere of preserving national and world cultural heritage. The activities of national Governments and private companies to create virtual collections of cultural heritage continue at an active pace. In the Russian Federation, both the state, represented by cultural institutions, and a few enthusiasts are engaged in the creation of virtual collections of historical and cultural heritage. The new digital reality, in the context of protecting copyrighted works from distortion by artificial intelligence, forces some publishers to take steps to protect original texts. The authorities of many countries of the world are taking concrete actions to create a regulatory framework for the use of generative tools. Previously, the idea of protecting the national cultural heritage, placed digitally in the public domain, through the assignment of NFT — non-interchangeable tokens to “digital originals” has already been proposed. The creation of a national digital heritage repository based on the blockchain, the general purpose of which will be to preserve the traditional and sovereign cultural matrix, will pay off all possible costs for it, preserving the country's digital cultural heritage for future generations. An urgent need is to create a national neural network focused on the needs and values of Russian culture and education, whose algorithms will be based on the primacy of preserving the country's digital heritage.

Artificial intelligence, cultural heritage, digital heritage, copyright protection, blockchain technologies, virtual museums and libraries, State cultural policy.

Raibats Iuliia D. — The Russian academy of painting, sculpturing and architecture of Ilya Glazunov; 5th year student of the faculty of restoration of painting, Department of restoration of easel oil painting
E-mail: raibats.j@yandex.ru

The article describes three paintings devoted to scenes from the life of the Monk Irinarkh Zatvornik, kept in the State Museum-reserve “Rostov Kremlin” and Borisoglebsk museum “House of peasant Yolkin”. The goals of the study are to clarify the attribution of the studied works, to solve the question of their belonging to one or several masters, to clarify the time frame of the paintings' creation. Particular attention is paid to the palaeographic analysis of epigraphic inscriptions, as well as to the comparison of the paintings with lithographs depicting scenes from the life of St Irinarkh. In the course of the work, formal and stylistic, palaeographic and iconographic analyses were carried out, and the history of the development of the image of St Irinarkh was studied. Available publications and archival documents were studied during research in the State Museum-reserve “Rostov Kremlin”, Borisoglebsk museum and the monastery, which helped to better understand the historical context and expand knowledge about the existence of these works of art for more than a century. Technical and technological research, including chemical analyses of pigments, allowed us to identify the composition of the materials used in the painting. This, in turn, provided important information confirming the data of visual and iconographic analyses and allowing to attribute the monument. The novelty of the work lies in the proposal of a new attribution of works previously attributed to the beginning of the XIX century. As a result of the research, the paintings previously attributed to the artist I. I. Samoilov were attributed to the brush of the little-known V. V. Lopakov, who worked in the second half of the XIX century. The results of this article can be used in the study of the city of Rostov the Great and the village of Borisoglebsky for art historians, historians and local historians.

Saint Irinarkh Zatvornik, Borisoglebsky museum “House of peasant Yolkin”, Rostov Borisoglebsky monastery, State Museum-reserve ‘Rostov kremlin’, I. I. Samoilov, V. V. Lopakov, palaeographic analysis of inscriptions, attribution, painting technique, Russian art of the second half of the XIX century.

Berezhnaya Marina S. — restorer of the 3rd category; The Russian academy of painting, sculpturing and architecture of Ilya Glazunov, Professor of the Department of Restoration of tempera painting
E-mail: rehinamarina11@mail.ru

Terekhina Darya K. — The Russian academy of painting, sculpturing and architecture of Ilya Glazunov, 5th year student of the faculty of restoration of painting (department of restoration of tempera painting)
E-mail: Tderyasha@mail.ru

The article is devoted to the research and restoration of the icon “The Apparition of the Holy First-Faithful Apostles Peter and Paul to the reverend Peter the Tsarevich of Horde” of the end of the XVII century from the collection of the State Rostov-Yaroslavl Architectural and Art Museum-Reserve. The article presents a brief history of the life of the monument as part of the iconostasis of the Dormition Cathedral of the Rostov Kremlin, including the period of its creation, location at different times, as well as a description of the rare iconography. Information is provided on various introductions into the structure of the monument (consequences of unprofessional reinforcement, renovation inserts in levkas losses, work with the base of the icon). Special attention is paid to the complex of physical and chemical research. The article reflects the process of selecting the optimal restoration techniques in case of the factors complicating the strengthening: bio-damage on the reverse and front sides of the icon, unstable condition of the base due to fluctuations in temperature and humidity conditions, destruction and weakening of wood, mold-affected levkas, numerous damaged areas of the levkas and paint layer. The work was carried out to eliminate the consequences of past unprofessional restoration interventions in the form of levkas overlaid on the paint layer, displaced and inverted fragments of the levkas with the paint layer, haphazardly glued without conforming to the pattern, pressed in and sunk into the levkas. A description of the restoration processes carried out, including the materials used, and the results of the restoration process are given.

Icon, the Dormition Cathedral of the Rostov kremlin, research, previous restoration interventions, biological damage, reinforcement, conservation of the base of the icon, displaced fragments of levkas with a colorful layer.

Fazlullin Sergey M. — PhD of Geography, Associate Professor; Russian state university for the humanities, Department of Restoration
E-mail: sh1703@yandex.ru

Polymers have had a significant impact on industrial, household, and cultural aspects of everyday life in the 20th and 21st centuries. They represent advances in technology, as evidenced by the dramatic increase in the number and types of objects used by people from these materials. Polymers have long been included in various museum collections, characterizing changes in our daily lives and society's attitude to new materials and technologies. Polymers are increasingly being used to create works of art. While museums continue to acquire objects reflecting everyday life and historical context, in some cases the proportion of polymers in collections will increase. The service life of polymers is short compared to traditional materials presented in museums, and they wear out during the first decades after purchase. The destruction and conservation of polymer objects in museums has been officially recognized as an area worthy of study only since the early 90s of the last century, however, despite its novelty, polymer conservation is a rapidly developing field. In recent years, there has been a growing interest in modern objects, exhibits, historical and cultural monuments made of polymer materials, both in terms of identification and to determine their condition, the need for conservation and restoration. The proposed article discusses the general issues of identification and preservation of polymer materials in the museum environment and the problems that arise. The main properties of polymers are described, which determine how and why this class of materials has found its widespread use and what its fate is in museum collections. The article is the first part of a thematic review, which includes a description of polymers in the museum space and thematic collections, their definition, signs of decomposition and causes of degradation.

Conservation, restoration, polymer, plastic, thermoplastic, elastomer, malignant polymers, degradation of museum objects, biocorrosion, cultural heritage, museum, historical materials science.