Wax in the restoration of easel tempera painting. Existing problems and possibilities of their solution

This article is devoted to current problems in the restoration of easel tempera painting related to the use of wax. Using the example of works restored at The State Research Institute for Restoration, information was collected on the techniques and methods of using wax in the renovation and restoration of icons, the problems that restorers had to face in their work were highlighted, and generalized conclusions were drawn about the advantages and disadvantages of certain techniques. The article discusses such techniques as: waxing the back of the icons, adding wax to the protective coating, replenishing the loss of soil and paint layer using inserts and mastications from different composite compositions with wax, conservation of the destruction of painting with wax resin impregnations and gluing painting on wax resin mastic. As examples of the use of wax, icons are demonstrated, which were restored by the department from the collection of The State Research Institute for Restoration Experimental fund, the Solovetsky State Historical, Architectural and Natural Museum-Reserve, the Novgorod State United Historical, Architectural and Art Museum-Reserve, the Rogozhsky Old Believer Community, the St. John the Baptist Monastery. In the department of scientific restoration of easel tempera painting of State Research Institute for Restoration, an Experimental fund was formed, consisting of experimental samples and iconographic paintings that do not have museum status, on the basis of which it is planned to conduct comprehensive studies of the identified problems in the future, as well as perform practical experimental work with the revision of existing restoration techniques and the development of new materials.