The post MA Conservation of Wall Paintings appeared first on The 麻豆视频.
]]>The 麻豆视频 is a leading centre for education and research in wall painting conservation. The 3-year practical MA in Conservation of Wall Paintings will prepare you for a professional career in a field that is inclusive, interdisciplinary and international. Applicants usually have a BA or equivalent degree in the humanities or the natural sciences. The course leads to a high degree of employment upon graduation in both private practice and institutions, with many 麻豆视频 alumni going on to make a major impact in the conservation of wall paintings and other aspects of cultural heritage through roles at leading organisations. These include the Getty Conservation Institute; International Council on Monuments and Sites (ICOMOS); ICCROM; and English Heritage.
Teaching focuses on evaluating the synergistic relationship between wall paintings, built heritage and the environment. Through a rigorous ethical and scientific framework, you will gain skills in passive, preventive and remedial conservation, and in professional practice. The MA degree offers extensive practical experience on wall painting sites, and on completion you will be able to design, evaluate and carry out conservation treatments. The course teaches the digital and organisational skills required to manage ambitious projects, both independently and in collaboration. It will equip you with critical evaluation and communication skills, so that you will be ready for a career in conservation, further conservation research, and beyond.
Find out more about the听department鈥檚 research.
Upon completion of the MA Conservation of Wall Paintings, you will be able to:
- Understand, advise on, and advocate for the significance of wall paintings you are invited to examine and conserve
- Examine and assess the original and added materials on wall paintings and their support, and evaluate intervention implications
- Identify mechanisms of deterioration through diagnostic investigations, scientific analysis and environmental monitoring, and recommend and implement appropriate preventive and passive measures
- Design, test and carry out a holistic wall painting conservation programme with full awareness of ethical and technical considerations, the professional context and values
- Produce full written reports, and graphic, scientific and photographic documentation
- Propose and undertake an research project in the field of wall painting conservation
Careers and employability
The course is designed to produce graduates who are prepared for a professional career in the conservation of wall paintings, but also will equip you with highly transferable skills for a wide range of employment opportunities, or further academic study. As well as being equipped with a detailed knowledge and understanding of the conservation of wall paintings, our graduates will gain:
路 The ability to communicate effectively orally and in writing
路 Intellectual independence and maturity; self-discipline and self-direction
路 Project management skills, through developing, conducting, and managing conservation and research projects independently
路 Ability to work in a team, collaborate and share resources.
With these skills, 麻豆视频 graduates go on to work in a range of prominent heritage contexts such as Historic Royal Palaces, the National Trust, Historic England.
Programme Leader
Teaching and programme structure
Year 1: The first year provides a practical and theoretical foundation in the principles, ethics and practice of conserving wall paintings. Students learn about the technology and history of wall paintings, how to understand and identify deterioration phenomena, and methods for recording and documenting wall paintings. The application of scientific methods and materials science are integrated throughout the theoretical and practical courses. Several of the modules have substantial practical components to provide familiarity with materials, equipment and software. Foundations lectures in History of Art examining art from across the globe are also offered in the first year. Fieldwork introduces methodologies for conservation interventions and develops practical and manual skills. Visits to see important wall paintings in historic sites and museums are integrated with formal teaching.
Year 2: Formal instruction concentrates on diagnosis and preventive conservation, on technical examination of wall paintings and their supporting structures, and on the theory and materials of advanced remedial conservation techniques. Materials science is integrated throughout theoretical and practical courses. Students will develop research skills and learn about project management and professional practice. A substantial period of fieldwork is carried out in the second year.
Year 3: The third year is devoted to field work and a dissertation research project on an original aspect of the conservation of wall paintings. The dissertation may be on any aspect of the materials and techniques of wall paintings or of the methods or materials used in their conservation.
Assessment
Teaching: Continuity in instruction and supervision is provided by members of the department of Conservation with additional supervision and teaching by established practitioners and leading international specialists. The various teaching methods and types of work required of the students relate to the objectives of each component of the programme and include lectures, seminars with student presentations, seminars, essays, and reports. Practical work takes place in the laboratory and on site. There are also regular meetings with your personal tutor to discuss progress and general issues, and to receive feedback after presentations.
Assessment: Both formal and informal mechanisms of assessment are used. Formal assessment comprises assessed coursework and practical work with written examinations and practical oral examinations. Informal, continuous assessment is based on didactic exercises鈥攅ssays, seminars, revision questions, etc.鈥攁nd supervision of practical work. Students must demonstrate competence in each of the subject areas in order to progress into the second year.
At the end of the first and second years, students sit written examinations on modules and viva voce examinations on their fieldwork.
Assessment of the third year is based on the examination of the dissertation, fieldwork and an oral examination. The final degree mark is calculated from the second and third year marks.
Entry requirements
UK qualifications:听Students will normally have achieved a good 2.1 in a humanities or sciences Bachelor鈥檚 degree, considered to be an overall average 65% or above.
Overseas qualification:听Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).
Interviews: The interview process consists of a personal interview before a board; tests of manual dexterity and colour vision; and a brief written test requiring comment on a variety of wall paintings.
English language requirements:听If your first language is not English, we require proof of English language proficiency 鈥損lease see the听English Language Requirements page.
Other requirements:
Previous conservation experience is not required, though some understanding of the nature of wall painting conservation is desirable. Students must have normal colour vision.
Students who do not have a degree in science will need to complete and pass an online science course in the summer prior to beginning the MA. This will be delivered online by the 麻豆视频.
Fees and funding
Tuition fees are available to view here.
Financial support for your studies:
麻豆视频 Institute of Art Scholarships: Scholarships are awarded on the basis of academic merit combined with financial need. The average postgraduate scholarship awarded in 2022/23 was 拢6,000. Applications are welcomed from Home, EU and Overseas students applying to or currently studying in 2023/24.
Alumni Loyalty Scheme: This scheme is open to any graduate of The 麻豆视频 Institute of Art admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.
Please note students on this programme are not eligible for Master’s Loan by the UK government.
All the travel and accommodation costs for fieldwork are paid by the Department.
Support
To support you through the degree, we offer:
Wellbeing: We have a dedicated Wellbeing team, with counsellors and advisors.
Academic and practical skills: You will be offered consistent access to your personal tutor and the academic teaching staff. The small number of students allow us to create an exceptionally supportive environment.
Accessibility
The Conservation Teaching studios are in the West Wing of Somerset House, access to which is via the access-controlled doors on the Upper Terrace. For those not in possession of an Access/ID card there is an intercom connected to our 24/7 staff security control room. There is a temporary access ramp providing access into the West Wing which may not necessarily be suitable for use by, for example, wheelchair users. Thus, for those requiring level access into the Conservation Studios this can be facilitated via our main Gallery entrance between the hours of 10:00 and 18:00. The Conservation Department is located across five floors, Lower Ground Floor through to the Third Floor. The main access to each of the floors is via a staircase which is 90cm wide. There is within the department a lift which services the Lower Ground to Second Floors of the department. Access to the third floor, which houses the analytical laboratory, is via the staircase only.
Some of the teaching as well as the Library, is at our Vernon Square premises, near King鈥檚 Cross. The Vernon Square premises are fully accessible, with two internal lifts servicing all floors. There is level access throughout the premises and thus into and out of all internal rooms. Access from the street into the premises is not level and there is small incline from street to the main entrance doors. There is ramped access into the premises. The main entrance doors into the premises operate automatically.
Associated Programme Costs
As well as the general associated programme costs, students will be required to buy an LED torch. A pool of conservation fieldwork tools and equipment is also provided, although students may wish to purchase their own, costing around 拢150 in total. The 麻豆视频 supplies all health and safety equipment for fieldwork. It is suggested that students invest in a student railcard.
Fieldwork
The department鈥檚 fieldwork projects focus on conservation, research and teaching. A high supervisor-to-student ratio ensures that students benefit from an excellent level of supervision.
Current and past projects include:
路 Longthorpe Tower, Peterborough (UK) A rare cycle of 14th-century domestic wall paintings (2019 – )
路 Villa Imperiale, Pesaro (Italy) 16th-century wall paintings in a grand villa originally constructed for the Sforza family and updated by the Della Rovere family in the 16th century (2023 -)
路 Nagaur Fort, Rajasthan (India) The 18th-century wall paintings decorating the Maharajah鈥檚 palaces (2005 – )
路 Tamzhing Monastery, Bumthang (Bhutan) With schemes from the 16th to 20th centuries, those from the early 16th-century are thought to be the earliest surviving in the Kingdom (2012 鈥� 2015)
路 Church of the Dormition of the Virgin, Vardzia (Georgia) The late 12th-century wall paintings in the rock-cut monastery (2012 鈥� 2015)
路 Mogao Grottoes, Dunhuang (China) A site with over 500 painted cave temples dating from the 5th to 14th centuries (2006 鈥� 2009)
路 Monastery of Agios Ioannis Lampadistis, Kalopanayiotis (Cyprus) Paintings dating from the 13th to the 19th centuries (2007 – 2012)
路 Crypt of the Grand Masters, St John鈥檚 Co-Cathedral, Valletta (Malta) 18th-century wall paintings by Niccol貌 Nasoni (2003 – 2012)
Further information on the department鈥檚 fieldwork activity can be found听here, on our research pages.
Resources
The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world. It also hosts the archive of the National Wall Paintings Survey, an invaluable resource which is currently in the process of being digitised.
Students benefit from access to a wide range of research facilities at both the institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.
The department is closely linked with The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at the 麻豆视频, and the specialist collection of literature on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The 麻豆视频, and benefit from contributions by Visiting Conservators.
In recognition of the excellence of The 麻豆视频鈥檚 MA in Conservation of Wall Paintings, The J. Paul Getty Trust awarded a $5 million endowment to support scholarships and fieldwork.
Image gallery
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]]>The post MA Conservation of Easel Paintings appeared first on The 麻豆视频.
]]>Do you want to make a difference in the care of cultural heritage, and preserve it for the future? Would you enjoy a career that combines your strong practical and manual skills with a deep intellectual understanding of paintings both in terms of art history and material science?
The MA in the Conservation of Easel Paintings is a 3-year full-time programme which will prepare you for a professional career. Its interdisciplinary nature combines art history, fine arts and the natural sciences. Applicants usually have a BA or equivalent degree in any of these subjects.
Conservation of Easel paintings at The 麻豆视频 offers the opportunity for a rigorous theoretical training that is constantly accompanied by the opportunity to put learning into practice. From the very first weeks of study, students are immersed in studio work, at first by the creation of replica paintings, and quickly moving to the closely supervised treatment of paintings from public and private collections in the UK. With access to cutting edge scientific equipment, students learn to carry out imaging and analysis that helps them to understand the materials and making of paintings. Over three years, students build a portfolio of treatment and research that allows them to apply for diverse careers in museums, research institutes and private sector conservation studios and labs, or to continue studying at PhD level.
The degree is taught by specialists in paintings conservation, technical art history and conservation science, with many years of collective experience of working in the conservation sector. This sector knowledge informs the teaching, which is tailored to the evolving needs of the profession, with the aim of producing highly employable graduates. The programme excels in developing conservators with research and critical skills that allow them to flourish in a wide range of challenging careers.
This course attracts an international student body, with a yearly intake limited to six students, which makes the teacher student ratio exceptionally high. Theoretical classes are delivered in small group seminars, and each year group is based in their own studio for practical work, sharing additional facilities for photographic imaging, scientific analysis, and specialist structural treatments.
The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge and to develop both practical and decision-making skills underpinned by ethical and scientific principles.
After graduating you will have gained practical experience in a range of real easel paintings conservation and will be able to design, carry out and evaluate conservation treatments proficiently and independently. You will be able to interpret results from technical study and relate them to practice and will be able to plan and develop original research relating to easel painting conservation. You will gain critical and communication skills that will equip you for diverse careers in conservation and beyond.
Find out more about the听department鈥檚 research
Conservation at The 麻豆视频
MA Conservation of Easel Painting Virtual Open Day 2024
Upon completion of the MA Conservation of Easel Paintings, you will have:
- A sophisticated set of practical and intellectual skills for the conservation of easel paintings, learnt from a wide range of leading conservation professionals.
- Competency in critical thinking, the analysis of objects, images, and texts, debating ideas, and concise and persuasive writing.
- The ability to identify and evaluate the chemical, mechanical and physical properties of easel paintings and materials for conservation to inform decision making in conservation practice
- The skills and knowledge to integrate visual evidence, your own technical study, art historical research and physical history, to establish the wider context and values embodied by a painting, present a holistic description of condition and inform conservation practice
- Independently planned and implemented a wide variety of practical tasks as part of conservation treatments, and听 evaluated treatment success and personal competency
- A broad-ranging view and understanding of the careers available in the cultural heritage sector.
- An extensive professional network.
Careers and employability
The MA Conservation of Easel Paintings programme is designed to produce graduates who are prepared for a professional career in the conservation of easel paintings, but also will equip you with highly transferable skills, which will prepare you for a wide range of employment opportunities, or further academic study. As well as being equipped with a detailed knowledge and understanding of the conservation of easel paintings, our graduates will gain:
- The ability to communicate effectively orally and in writing
- Intellectual independence and maturity; self-discipline and self-direction
- Respect for the views of others
- Project management through developing, conducting, and managing conservation and research projects independently
- Ability to work in a team, collaborate and share resources
With these skills, 麻豆视频 graduates go on to jobs in the international art world, usually in private practice or in museums such as the National Gallery, the Metropolitan Museum of Art, The Getty, the National Trust, and the Royal Collection.
Students from the programme will join an international network of 麻豆视频 alumni who work across the cultural sector and benefit from the friendships, support, and mentorship available within that community.
Programme leader
Teaching and programme structure
The full-time, three-year programme is delivered through lectures, seminars and self-directed study, integrated with a significant proportion of problem-based learning through supervised studio-based activities including conservation treatments and technical study of easel paintings.
Structure
Year 1
听This year focuses on the acquisition of foundation knowledge and the development and application of scientific methods. Practical work in the studio forms a substantial part of each term, beginning with replica-making and the examination of easel paintings, and then introducing the application of principles and theory of conservation to practical conservation. Other modules focus on the theory, ethics and practice of conservation, technology and history of easel paintings, art history and technical study.
Applied science is integrated throughout theoretical and practical modules. The teaching provides a foundation for understanding and identifying the condition and conservation requirements of easel paintings.
听Year 2
The majority of time in the second year is devoted to practical work in the studio, with students becoming increasingly independent in carrying out conservation work. Lectures and workshops are devoted to preventive conservation and collections care with a monitoring exercise, and advanced principles and theory of conservation.
Year 3
The majority of the academic year is spent in the conservation studio undertaking practical conservation treatments, with lectures on advanced principles and theory of conservation. One third of the final year is devoted to an independent research project resulting in a dissertation.
Assessment
Teaching: The teaching methods, modes of delivery and assessments vary according to the objectives of each module within the programme. There are a combination of lectures, seminars, practical studio sessions, workshops, and professional context visits to conservation studios and science departments, all undertaken in small classes of students. In addition, you have timetabled meetings with the tutors several times per term, both to discuss progress and general issues as well as to receive feedback after assessed work.
Throughout your degree, you will be taught by both the teaching staff of the department and professionals in the field, who bring a rich diversity of knowledge and experience to the classroom. Our faculty come from different backgrounds and are among the leading experts in their field. They have published important works about their areas of expertise and will engage you with their cutting-edge research.
Assessment: The programme involves a variety of methods of assessment:
The range of assessment methods requires students to demonstrate skills through the production of coherent written, verbal and practical responses to the questions or problems set. Assessments include essays, written exams, coursework and presentations, culminating in a viva voce examination.
At The 麻豆视频 practical work on paintings in conservation studios accounts for the majority of the degree, which is reflected in both the credit structure and assessments. Each term you will give a presentation of studio work at 鈥淲ork in Progress鈥� meetings. You will also complete written and photographic documentation for each painting you conserve, and sit a viva voce examination at the end of the programme.
You will have to pass all modules in order to progress through the programme.
Entry requirements
UK qualifications:听Successful applicants will normally hold a Bachelor鈥檚 degree in either Fine Art, History of Art, or in the Natural Sciences, and have achieved a good 2.1.
Overseas qualifications:听Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).
Applications: Please see How to Apply page for information.
Further information:听In your application, you will be asked questions relating to your knowledge and experience of those fields that are not your main area of study (fine art, history of art or science). Though we do not expect candidates to have deep knowledge of all three fields, a level of interest in them is essential, and evidence of aptitude in them at GCSE level can be beneficial. Equally, previous conservation experience is not required, though some understanding of the nature of paintings conservation is desirable.
Interviews:听Around 18 applicants are selected for interview for six available places, plus a short waiting list. Interviews are held online.听In addition to the interviews,听鈥媔nterviewees will be asked:听鈥媡o complete a practical test to assess manual dexterity and colour matching;听鈥媡o complete a听short online slide test to assess observational skills; to electronically submit a portfolio with a sample of听鈥�3-5听artwork鈥媠 they have听made,听鈥媔n order to demonstrate manual dexterity and some aptitude for artistic practice; to complete a colour-blindness test since students must have normal colour vision. Further information will be provided on selection for interview.
Pre-Course Science: successful candidates who have accepted their place will be required to complete an online course in science fundamentals prior to commencement of the course.
English language requirements:听If your first language is not English, we require proof of English language proficiency. If you are invited to the interview, it is recommended to submit your test results before the interview. If you are unable to do so, you will be asked to submit your test results no later than the acceptance deadline. Please see the听English Language Requirements page.
Fees and funding
Fees are available on our Fees & Funding pages.
Fees are subject to change each academic year. Fee information, including what qualifies as home, EU, and overseas fees, can be found here.
Financial support for your studies:
麻豆视频 Institute of Art Scholarships:听Scholarships are awarded on the basis of academic merits. The average postgraduate scholarship is 拢6,000. Applications are welcomed from Home, EU and Overseas students.听Find out more about our scholarships.
Alumni Loyalty Scheme:听This scheme is open to any graduate of The 麻豆视频 Institute of Art admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.
Please note students on this programme are not eligible to apply for Master鈥檚 Loan by the UK government.
Support
To support you through the degree, we offer:
Wellbeing support: We have a dedicated Wellbeing team, with counsellors and advisors.
Academic Skills training: The academic skills tutor offers group and one-to-one classes to help you to develop the skills and confidence you need to succeed on the degree. We also have two Royal Literary Fund fellows who will help you with your writing skills 鈥� concentrating on how to structure and improve your writing.
Careers advice: You can access bespoke, one-to-one career guidance throughout your studies. The 麻豆视频 Careers Service offers advice and support on exploring career and further study options, finding internships, enhancing employability, understanding and navigating the jobs and self-employment market, and making successful applications. This service is available to all graduates for up to two years after graduation.
Resources
The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the Department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world, the archive of the Survey of听Historic Wall Paintings in the British Isles.
Students benefit from access to a wide range of research facilities at both the Institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.
The Department is also closely linked with听The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation听at the 麻豆视频, and the specialist collection of literature on on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The 麻豆视频, and benefit from contributions by Visiting Conservators. The department also acts as a centre for conservation and art-historical advice to outside conservators, scholars and the public.
Accessibility
The Conservation Teaching studios are in the West Wing of Somerset House, access to which is via the access-controlled doors on the Upper Terrace. For those not in possession of an Access/ID card there is an intercom connected to our 24/7 staff security control room. There is a temporary access ramp providing access into the West Wing which may not necessarily be suitable for use by, for example, wheelchair users. Thus, for those requiring level access into the Conservation Studios this can be facilitated via our main Gallery entrance between the hours of 10:00 and 18:00. The Conservation Department is located across five floors, Lower Ground Floor through to the Third Floor. The main access to each of the floors is via a staircase which is 90cm wide. There is within the department a lift which services the Lower Ground to Second Floors of the department. Access to the third floor, which houses the analytical laboratory, is via the staircase only.
Some of the teaching as well as the Library, is at our Vernon Square premises, near King鈥檚 Cross. The Vernon Square premises are fully accessible, with two internal lifts servicing all floors. There is level access throughout the premises and thus into and out of all internal rooms. Access from the street into the premises is not level and there is small incline from street to the main entrance doors. There is ramped access into the premises. The main entrance doors into the premises operate automatically.
Associated Programme Costs
Consumable conservation materials, specialist tools and equipment are provided for students鈥� use in the studios. However, as well as the general associated programme costs, students will need to equip themselves with a small set of tools for their personal use.
In the first year this includes a small selection of brushes, a simple surgical dissection kit, small spatula, apron, and pigment box, costing around 拢120 in total.
In the 2nd and 3rd years an estimated 拢50 per year is required to replace brushes and tools. Some students choose to build up a slightly wider range of personal tools that they then go on to use in their professional careers.
Image gallery
Meet our students
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]]>The post The Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation appeared first on The 麻豆视频.
]]>Our Story & Missions
Established in 2012 with a generous endowment from The Robert H. N. Ho Family Foundation, the Centre for Buddhist Art and Conservation is dedicated to interdisciplinary and trans-cultural research and the preservation of Buddhist cultural heritage. The Centre provides a unique platform for teaching art history and conservation of Buddhist heritage, facilitating interdisciplinary research and fostering international collaborative initiatives, as well as organising conferences, workshops, and public lectures.
Recognising the global significance of the vast cultural heritage of Buddhism in both Asia and in diasporic contexts, this Centre also oversees an innovative MA programme that combines, for the first time, the disciplines of Buddhist art history, its conservation, and Buddhism. Robert Y.C. Ho, chairman of the Ho Foundation, summarised the goals of the MA programme: 鈥淯ntil now, Buddhism and Buddhist art and its conservation have been studied separately. We are delighted to support the integration of these fields in a new programme that will impact not only on academia but also on the preservation of irreplaceable treasures around the world, treasures we see disappearing on a daily basis.鈥�
Begun in 2013 and relaunched in 2022, the MA programme builds upon extensive experience of The 麻豆视频鈥檚 Wall Painting Conservation MA programme with long-term projects and teaching in Asia 鈥� at sites in China, India, and Bhutan. One such initiative is the collaboration with the Dunhuang Academy in China at the Mogao Grottoes, a World Heritage site in northwest China.
Teaching
MA Art History and Conservation of Buddhist Heritage
Supported by the Robert H.N. Ho Family Foundation Global, the MA in Art History and Conservation of Buddhist Heritage at The 麻豆视频 Institute of Art is a one-year programme that focuses on the study, preservation, and appreciation of cultural heritage created for and connected to the beliefs and practices of Buddhism. Unique in its concept, this interdisciplinary course was developed to respond to Buddhist heritage under threat, filling an identified gap in conservation education by equipping students with the theoretical and ethical knowledge and skills to meet the challenges surrounding its study and conservation, and to expand the horizons of traditional art historical training. The course bridges theory and practice and investigates key issues in the conservation and art historical study of Buddhist heritage, including religious practice and use, materiality and intangible values, impermanence, traditional knowledge systems, and stakeholder engagement. Furthermore, it offers an opportunity to expose students to concepts of ecological, economic, and social sustainability related to cultural heritage through the lens of Buddhism. The course builds upon the expertise of The 麻豆视频 in art history and conservation, deepening its engagement with heritage by educating the next generation of professionals who will help to expand the ways in which we think about, study, appreciate, and preserve cultural heritage.
Past Events
Conferences
The Buddhist Art Forum, held in April 2012, was motivated by several factors: admiration for Buddhist art in its many and varied manifestations; concern about how much of this art is being damaged or lost; and a sense that its study, preservation and even presentation often involves peculiar difficulties beyond those normally encountered when dealing with other types of art. This sense was fuelled by the organisers鈥� direct engagement in the study and conservation of Buddhist art in situ, witnessing the difficulties at first hand and the variety of strongly held attitudes by those involved.
Publications
Wong, Lori, and Sujatha听Arundathi听Meegama.听2023. 鈥淎n interdisciplinary approach: The MA program in Art History and Conservation of Buddhist Heritage at The听麻豆视频.鈥� In听Working Towards a Sustainable Past. ICOM-CC 20th Triennial Conference Preprints, Valencia, 18鈥�22 September 2023, edited by J.听Bridgland. Paris: International Council of Museums.
Park, David,听Kuenga听Wangmo, and Sharon Cather, eds. 2013.听Art of Merit: Studies in Buddhist Art and its Conservation. Proceedings of the Buddhist Art Forum 2012.听London: Archetype Publications.
Faculty affiliated with the Centre
PhD Students
International 麻豆视频 Trips
UK based 麻豆视频 Trips
Stay in Touch
The Robert H.N. Ho Family Foundation Centre for Buddhist Art and Conservation, Vernon Square, Penton Rise, London WC1X 9EW
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]]>The post WP7 Webinar: How do we Integrate Green into Conservation Education? appeared first on The 麻豆视频.
]]>The 麻豆视频 Institute of Art as part of the EU-funded GoGreen Project is leading Work Package 7 on Green Education in Conservation.
Join us for a webinar on Work Package 7 of the , where we鈥檒l dive into how collaboration has helped shaped innovative course modules focused on green education in conservation. The webinar will highlight key outputs of the work package and how they will contribute to a more sustainable conservation curriculum.
Learn how you can get involved in helping shape these courses to help inspire the next generation of green leaders in conservation!
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]]>The post Sustainability in Conservation appeared first on The 麻豆视频.
]]>Join us for the third event in our Sustainability in Conservation series, where Kim Kraczon and Vivian Yip will share insights into the sustainable initiatives they are leading in the field.
Greenwashing Revelations Through Revision: Re-evaluating Sustainability Claims of Bioplastics – Kim Kraczon, Ki Culture
Since its launch in January 2021, Ki Culture鈥檚 Waste and Materials Ki Book has been downloaded over 5,000 times by practitioners of cultural heritage worldwide, establishing the online sustainability manual as one of the leading guides for mitigating the environmental burden of materials we encounter in cultural heritage. The sustainability听manual initially focused on finding alternatives to reduce waste and lessen the environmental impact of the plastic materials we encounter in collections care and transport. This led to an exploration of emerging alternative materials, such as bioplastics, as potential replacements for petroleum-derived plastics. Terms such as biodegradable, compostable, green, environmentally friendly, and sustainable听are commonly used in the marketing strategies for bioplastics and biobased materials. However, the question arises: Are these alternatives actually better options for the environment and cultural heritage than their plastic counterparts?
In this听talk,听Kim Kraczon听critically听examines听the language and images听associated with so-called eco-friendly materials, such as bioplastics and biobased compostable/biodegradable products, to better decipher the environmental impact听and applicability听of these materials听in culture heritage practices.
A journey towards sustainability鈥�: Supplementing single use Tate cases with commercially available reusable cases鈥� – expanded version – Vivian Yip, Tate
Responding to a need to reduce the number of cases disposed of after international transit for the Tate Loans programme, investigation of alternatives had been initiated by the Collection Care Sustainability Group within Tate. This talk will trace our journey in pursuit of this goal, with a focus on our enquiry into the feasibility of supplementing single use Tate cases with commercially available reusable cases. How we approached the testing of the suitability of cases with limited resources in both time and funding within a big art institution with four UK sites and 8 extremely busy programme areas? A short test run in preparation for a trial has taken place recently to benchmark a commercially reuseable options against a Tate鈥檚 standard case in order to deliver a recommendation for the acceptable use case scenarios for works on paper, starting with our loans-out programme. This would simultaneously allow us and to design a benchmarking methodology for other reusable cases in the future.
Co-organised by the UK Museums and Heritage Sustainable Packing Group and Clare Richardson, Head of Conservation at The 麻豆视频, as part of her work with the GoGreen project.
Speakers:
Kim Kraczon is a conservator of modern materials and contemporary art specializing in sustainable practices in the art sector. Her area of expertise and primary focus in the field of sustainability is mitigating the environmental burden of materials and methods in conservation, art production, and exhibition-making. Kraczon is an advisor to Gallery Climate Coalition (GCC), where she develops online resources and tools to facilitate an environmentally responsible art world. At Ki Culture, Kraczon is a materials specialist at the helm of the Materials Ki Book, an online sustainability guide for practitioners of cultural heritage. Kraczon is often at the forefront of research and discourse on a wide range of sustainability topics, participating in numerous working groups, symposiums, and panels internationally. As a researcher at the nexus between sustainability and cultural heritage, she regularly hosts workshops and lectures on sustainable strategies for museum professionals, gallery staff, and university students.
Vivian Yip is听Paper Conservator for Tate Loans-out programme, Exhibitions and Displays for Tate St Ives. Graduated with MA Conservation (UAL, UK) and MArtAdm (UNSW, Australia). Special interest in microfading, hydrogels and oil on paper. Spend my free time reading sci-fi, knitting and attempt to make art.
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]]>The post The 麻豆视频’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The 麻豆视频.
]]>The 麻豆视频 is extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings and the Conservation of Easel Paintings.
The MA in Buddhist Art History and Conservation is a new 12-month programme, hosted at the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The 麻豆视频. It aims to provide a comprehensive grounding in Buddhist art history and theoretical aspects of conservation. Taught by leading specialists in conservation and Buddhist art, the MA will address issues of art history preservation 鈥� through appreciation, continuing use and conservation 鈥� of the vast heritage of Buddhist art worldwide, drawing on key sites where The 麻豆视频 has been involved in conservation. Visits to collections and sites are central to the degree.
The updated MA in Conservation of Wall Paintings will be accepting applications for the first time in five years, and aims to ensure the improved care of wall paintings through providing appropriate education in their conservation. The three-year full-time course focuses on wall painting conservation through a rigorous ethical and scientific framework for the assessment of risk, and the impact of passive, preventive and remedial conservation treatments.
The MA in the Conservation of Easel Paintings is a new qualification replacing the previous Postgraduate Diploma. It is also a three-year full-time course, which prepares students for a professional career in easel painting conservation. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge, and to develop both practical and decision making skills underpinned by ethical, historical and scientific principles.
Following consultation with stakeholders and international advisors from museums and private practice, new curricula in Wall and Easel Paintings Conservation reflect progress in the profession; from the use of non-invasive imaging equipment for technical analysis, which is a particular strength of the Conservation Department, to the inclusion of core modules devoted to preventive conservation and collection care. Advanced Principles and Theory in modules introduce the latest research and approaches to the conservation of modern and contemporary works of art.
In addition to three taught programmes The 麻豆视频 also offers a PhD in Conservation, with graduates focusing on a range of subjects from the technical analysis of paintings from The 麻豆视频鈥檚 collections, to the management of the conservation of wall paintings in Ladakh.
Dr Austin Nevin, Head of Conservation at The 麻豆视频, says: 鈥淚鈥檓 delighted to be able to announce these new and updated programmes, which build on The 麻豆视频鈥檚 track record in training some of the leading art conservators. It鈥檚 particularly exciting to be able to relaunch the MA in Wall Paintings Conservation and the MA in Buddhist Art, as part of The 麻豆视频鈥檚 continued drive to globalise our teaching. All three conservation courses will offer graduates unique transdisciplinary teaching and grounding in the latest techniques and methodologies, ensuring our future graduates will be well placed to make their mark on an exciting field.鈥�
Professor Deborah Swallow, M盲rit Rausing Director at The 麻豆视频, added: 鈥淥ur Conservation department has been a vital part of The 麻豆视频鈥檚 work since our earliest years, with many experts in the field having passed through our doors. With these new qualifications, we hope to continue that tradition, whilst also expanding into new areas. We are particularly grateful to the Robert H. N. Ho Family Foundation for their support for the MA in Buddhist Art and the J. Paul Getty Trust for the support of the Wall Paintings Programme.鈥�
The 麻豆视频鈥檚 Department of Conservation is one of the very few specialist centres for the training and research in fine art conservation and technical art, and dates back to the mid-1930s. In addition to specialist work on the collections displayed in The 麻豆视频 Gallery, recent 麻豆视频 conservation projects include sites in China, India and Bhutan, as well as collaborations with national bodies including the National Trust and English Heritage, the National Gallery, National Portrait Gallery, and Tate.
The 麻豆视频 has recently been awarded two grants totaling more than 拢2.2 million from the Arts & Humanities Research Council Capabilities for Collections Fund (CapCo) to upgrade critical scientific instrumentation for imaging and molecular analysis in the Conservation Department, and support the infrastructure development essential to further care of The 麻豆视频鈥檚 world-class collections. The grant has supported key areas, including equipment upgrades that underpin The 麻豆视频鈥檚 world-renowned art conservation research.
Applications for the Conservation courses from academic year 2022/23 will open in October 2021, and prospective students can find out more about each programme through Open Days taking place over the autumn and via The 麻豆视频鈥檚 website.
The post The 麻豆视频’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The 麻豆视频.
]]>The post The 麻豆视频’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The 麻豆视频.
]]>The 麻豆视频 is extending its world-leading conservation teaching from autumn 2022, offering three newly developed curricula for three MA qualifications in Buddhist Art History and Conservation, Conservation of Wall Paintings and the Conservation of Easel Paintings.
The MA in Buddhist Art History and Conservation is a new 12-month programme, hosted at the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The 麻豆视频. It aims to provide a comprehensive grounding in Buddhist art history and theoretical aspects of conservation. Taught by leading specialists in conservation and Buddhist art, the MA will address issues of art history preservation 鈥� through appreciation, continuing use and conservation 鈥� of the vast heritage of Buddhist art worldwide, drawing on key sites where The 麻豆视频 has been involved in conservation. Visits to collections and sites are central to the degree.
The updated MA in Conservation of Wall Paintings will be accepting applications for the first time in five years, and aims to ensure the improved care of wall paintings through providing appropriate education in their conservation. The three-year full-time course focuses on wall painting conservation through a rigorous ethical and scientific framework for the assessment of risk, and the impact of passive, preventive and remedial conservation treatments.
The MA in the Conservation of Easel Paintings is a new qualification replacing the previous Postgraduate Diploma. It is also a three-year full-time course, which prepares students for a professional career in easel painting conservation. The strong practical and intellectual focus of the degree is reflected in courses designed to build on knowledge, and to develop both practical and decision making skills underpinned by ethical, historical and scientific principles.
Following consultation with stakeholders and international advisors from museums and private practice, new curricula in Wall and Easel Paintings Conservation reflect progress in the profession; from the use of non-invasive imaging equipment for technical analysis, which is a particular strength of the Conservation Department, to the inclusion of core modules devoted to preventive conservation and collection care. Advanced Principles and Theory in modules introduce the latest research and approaches to the conservation of modern and contemporary works of art.
In addition to three taught programmes The 麻豆视频 also offers a PhD in Conservation, with graduates focusing on a range of subjects from the technical analysis of paintings from The 麻豆视频鈥檚 collections, to the management of the conservation of wall paintings in Ladakh.
Dr Austin Nevin, Head of Conservation at The 麻豆视频, says: 鈥淚鈥檓 delighted to be able to announce these new and updated programmes, which build on The 麻豆视频鈥檚 track record in training some of the leading art conservators. It鈥檚 particularly exciting to be able to relaunch the MA in Wall Paintings Conservation and the MA in Buddhist Art, as part of The 麻豆视频鈥檚 continued drive to globalise our teaching. All three conservation courses will offer graduates unique transdisciplinary teaching and grounding in the latest techniques and methodologies, ensuring our future graduates will be well placed to make their mark on an exciting field.鈥�
Professor Deborah Swallow, M盲rit Rausing Director at The 麻豆视频, added: 鈥淥ur Conservation department has been a vital part of The 麻豆视频鈥檚 work since our earliest years, with many experts in the field having passed through our doors. With these new qualifications, we hope to continue that tradition, whilst also expanding into new areas. We are particularly grateful to the Robert H. N. Ho Family Foundation for their support for the MA in Buddhist Art and the J. Paul Getty Trust for the support of the Wall Paintings Programme.鈥�
The 麻豆视频鈥檚 Department of Conservation is one of the very few specialist centres for the training and research in fine art conservation and technical art, and dates back to the mid-1930s. In addition to specialist work on the collections displayed in The 麻豆视频 Gallery, recent 麻豆视频 conservation projects include sites in China, India and Bhutan, as well as collaborations with national bodies including the National Trust and English Heritage, the National Gallery, National Portrait Gallery, and Tate.
The 麻豆视频 has recently been awarded two grants totaling more than 拢2.2 million from the Arts & Humanities Research Council Capabilities for Collections Fund (CapCo) to upgrade critical scientific instrumentation for imaging and molecular analysis in the Conservation Department, and support the infrastructure development essential to further care of The 麻豆视频鈥檚 world-class collections. The grant has supported key areas, including equipment upgrades that underpin The 麻豆视频鈥檚 world-renowned art conservation research.
Applications for the Conservation courses from academic year 2022/23 will open in October 2021, and prospective students can find out more about each programme through Open Days taking place over the autumn and via The 麻豆视频鈥檚 website.
The post The 麻豆视频’s Conservation Department launches new teaching and qualifications for autumn 2022 appeared first on The 麻豆视频.
]]>The post Maureen Cross appeared first on The 麻豆视频.
]]>Maureen was appointed in 2005 as a full-time lecturer in the conservation department. She has a joint BA Hons. in Sociology and Economics from Michigan State University and a BA Hons. in the History of Art from Hunter College: City University of New York. She worked in the curatorial department at the Brooklyn Museum of Art, before undertaking conservation fellowships at the Metropolitan Museum of Art, and Cooper Hewitt National Design Museum-Smithsonian Institution as well as work in private conservation studios in New York City. In 1996 she moved to the UK to study easel paintings conservation at the University of Northumbria, Newcastle, completing her MA with Distinction in 1998. She has since worked as a professional conservator at National Museums of Liverpool, Manchester Galleries, Tate before joining the 麻豆视频. Maureen became a Senior Lecturer in 2019.
Teaching 2020-21
MA in the Conservation of Easel Paintings
- History of Artists Materials and Techniques
- Modern and Contemporary Paintings Conservation
- History and Practice of Written and Photographic Documentation
- Practical Paintings Techniques for Replicas
- Practical Conservation and Restoration of Easel Paintings
- Physical History of Works of Art for Curators
Research interests
Recent publications
Books and chapters in books
- Horovitz, Isabel, 听Cross, Maureen, Ormsby, Bronwyn et al., 鈥楬istory and Use of Other Rigid Supports for Easel Paintings from Early Renaissance to 20th Century,鈥� in The Conservation of Easel Paintings. ed. J. Hill-Stoner and R. Rushfield; Butterworths-Elsevier, London (2012) Total pages in book 889; Chapter pages 51-115 (Pages of contribution 103-110)
- Sims, Shelley, Cross, Maureen and Smithen, Patricia, 鈥楢crylic Retouching鈥�, in Mixing and Matching: Approaches to Retouching Paintings, Archetype Books, London (2010) Total pages in book 179; Chapter pages 163-179
Essays, articles and conference proceedings
- Polkownik, Camille, Richardson Clare, Cross, Maureen, Maisey,听Sarah, ‘Lining at the National Maritime Museum and at the 麻豆视频 Institute of Art: Past and Present,’ Contribution to the Conserving Canvas Conference, 14-17 October, Yale University & Art Gallery, ed. Schwarz et.al., Yale University and Getty Foundation Press, (2023) 1:4
- Burnstock, Aviva, Cross, Maureen, Serres Karen, 鈥楪oya鈥檚 Portrait of Francisco de Saavedra: Materials, Techniques, Conservation and Context, 罢别肠丑苍猫, No 53, (2022), 40-47
- Amato, Silvia R., Cross, Maureen, et al, 鈥楨xamining Edouard Manet鈥檚 Le Dejeuner sur l鈥檋erbe from the 麻豆视频 Gallery using spectral imaging techniques鈥�, in Tales of the Unexpected in Paintings Conservation, Contribution to British Association of Picture Conservator/Restorers Conference, BAPCR, 31 January 2020, Archetype Publications, London (2020) 98-110
- Diamond, Olympia, Barkovic, Margaret, Cross, Maureen, Ormsby, Bronwyn, 鈥楶ioneering Solutions: Treating Water Stains on Acrylic Paintings | Case 麻豆视频听Composition,听1963 by Justin Knowles鈥�,听Treatment 2017: Innovation in Conservation and Collection Care, Journal of the American Institute for Conservation, Vol 58 (3) (Spring 2019) pp 144-157
- Amato S.R., Burnstock A., Cross M., Janssens K., Rosi F., Cartechini L., Fontana R., Dal Fovo A., Paolantoni M., Grazia C., Romani A., Michelin A., Andraud C., Tourni茅 A., Dik J., 鈥業nterpreting technical evidence from spectral imaging of paintings by Edouard Manet in the 麻豆视频 Gallery鈥�,听X-Ray Spectrometry听48, no.4 (2019): 282-292. DOI:听.
- Barkovic, Margaret, Diamond, Olympia, Cross, Maureen,听鈥楾he Use of Agar Gel on Water-Stained Acrylic Canvases鈥�, in听Gels in Conservation, Contributions to the IPA/Tate Conference,听16-18 October, Archetype Publications, London (2017)听51-55
- Burnstock, Aviva, Cross, Maureen, Serres, Karen, 鈥業nsoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya鈥檚 Portrait of Francisco de Saavedra, Contributions to ICOM-CC 18th Triennial Conference, 4-8 September, Copenhagen, Denmark: Preprints ed. J. Bridgland, art. (2017) 1301. 1-7
- Rutka, Fiona and Cross, Maureen, 鈥楾he Making of Fiona Rae, RA: In Conversation with a Young British Artist鈥�,听Immediations听3, (3) (2014)
- Pearson, Harriet, Cross, Maureen and Barker, R., 鈥楶rotecting Impermanence: a preliminary investigation into the care of temporary artworks鈥�,听Immediations听3, (1) (2012)
- Brummitt, Sophie and Maureen Cross, 鈥樷€滱 Painter of 鈥楽trong and Good Likenesses鈥� 麻豆视频ing some Gilbert Stuart portraits from Saltram House鈥�,听National Trust: Arts Building Collections Bulletin, Autumn Issue (October 2011) 14
- Ormsby, Bronwyn, Maureen Cross, Elli Kampasakali, Lise Chantrier-Aasen, Patricia Smithen, 鈥楢n Evaluation of Artists鈥� and Conservation Varnishes for Acrylic Emulsion Paint Films.鈥� in听ICOM-CC 16th Triennial Conference, Lisbon, Portugal, 19-23 September 2011: Preprints, Mng.听ed. Janet Bridgland, International Committee of Museums, Paris听(2011) 1-11
- Cross, Maureen, Sophie Brummitt, 鈥楪ilbert Stuart In Britain (1775-1787): A Technical 麻豆视频 of Selected Work from Saltram House, National Trust Property, Devon,鈥櫶�Journal of the American Institute for Conservation, 51 (2) (Fall/Winter听2011) 87-104
- Tate-Harte, Alice, Chantal-Helen Thuer and Maureen Cross, 鈥楳aterials Focus: Funori: A New Medium for Consolidation and Retouching鈥�,听The Picture Restorer听36 (Spring听2010) 13-14
- Cross, Maureen, 鈥楥omplexities of a Woman in a Courtyard (1933)鈥�, in听Modern Paints Uncovered, Contributions to the Modern Paint Uncovered Symposium, 16-19 May 2006, ed .T. Learner, P. Smithen, J. Krueger and M. Schilling, The Getty Conservation Institute, Los Angeles听(2007) 276
- Cross, Maureen and Sarah Skinner, 鈥楻estoring Spontaneity: Conserving Duncan Grant鈥檚 鈥楥aryatid鈥� from the Collection of Manchester City Galleries鈥�,听Cr: Interdisciplinair Vakblad voor Conservering en Restauratie听(2004) 18-27
- Cross, Maureen and Kathleen Flynn, 鈥楩rom Sausage Rolls to Sushi and Back Again: Lessons for successful travelling block-buster loans鈥�,听The Paper Conservator, 27 (Autumn听2003) 59-68
- Cross, Maureen, et al., 鈥楩rom Fireplace to Fine Art 鈥� The Conservation of Duncan Grant鈥檚 Collage, Caryatid鈥�, in听IIC Works of Art on Paper: Books, Documents and Photographs, Techniques and Conservation. Baltimore Congress, Baltimore, Maryland, USA, 2-6 September 2002, ed. V. Daniels, A. Donnithorne and P. Smith, International Institute of Conservation, London (2002)
- Bennett, Richard, Maureen, Cross and Joseph Padfield, 鈥楥onference Review, Under Pressure鈥�, University of Northumbria, 7-11 April 1997,听The Picture Restorer, 12 (Autumn听1997) 21-24
Lectures and conference presentations
- ‘Minimalism in context:鈥� the 麻豆视频 Institute of Art and the Royal Museums Greenwich,’ 鈥婣IC 50th Annual Conference 13-18 May, Los Angeles, CA, USA (2022)
- ‘Lining at the National Maritime Museum and at the 麻豆视频 Institute of Art: Past and Present,’ Conserving Canvas Conference, 14-17 October Yale University, New Haven, CT (2019)
- 鈥楾he Use of Agar Gel on Water-Stained Acrylic Canvases鈥�, in听Gels in Conservation, IPA/Tate Conference,听16-18 October, London, UK, (2017)
- 鈥業nsoluble Surface Spots, Metal Soaps and Challenges in the Conservation of Goya鈥檚 Portrait of Francisco de Saavedra, ICOM-CC 18th Triennial Conference, 4-8 September, Copenhagen, Denmark (2017)
- 鈥楥ondition Assessment and Documentation: An Overview, Contributions to The Basics of Artist鈥檚 Estates organised by The Institute of Artist鈥檚 Estates, 9-10 October, London, UK (2017)
- 鈥楢 Technical 麻豆视频 of the 麻豆视频 Gallery鈥檚 Le D茅jeuner sur l鈥檋erbe using Macroscopic X-ray Fluorescence Spectroscopy to Provide New Insights into Manet鈥檚 Painting Practice鈥�, Contributions to Writing Impressionism Into and Out of Art History, 1874 to Today conference, 3-4 November, London, UK (2017)
- 鈥楪ilbert Stuart Across the Atlantic鈥�,听Lunder Conservation Center: Conversations with Conservators, Smithsonian American Art Museum, 23 July, Washington, DC, USA (2013)
- 鈥楢n evaluation of artists鈥� and conservation varnishes for acrylic emulsion paint films.鈥� ICOM-CC 16th Triennial Conference, 19-23 September, Lisbon, Portugal 听(2011)
- 鈥楩rederick Pickersgill鈥檚 Samson Betrayed: A Conversation with Paintings Conservation鈥�. Manchester Art Galleries, 24 June, Manchester, UK (2003).
- 鈥楢 Preliminary 麻豆视频 of the Tensile Properties of a Degraded Natural Linen Canvas with a View Towards Determining a Lining Programme鈥�. The 16th Gerry Hedley Student Symposium, 29 May, Queens College, Cambridge (Hamilton Kerr Institute), UK (1998).
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]]>The post MA Art History and Conservation of Buddhist Heritage appeared first on The 麻豆视频.
]]>Are you fascinated by Buddhist Heritage? Do you want to deepen your understanding of its and explore art historical scholarship surrounding it?
Affiliated with the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation at The 麻豆视频, this MA programme is unique in its concept, content, and structure and harnesses the combined perspectives of art history and conservation. This interdisciplinary programme expands the ways in which Buddhist heritage is researched and cared for in order to build new knowledge as well as critical thinking and collaborative skills in the next generation of art historians, conservators, heritage and museum professionals.
You鈥檒l gain an understanding of Buddhist heritage鈥攂oth tangible and intangible鈥攖hrough the study of diverse objects and sites from the Buddhist world, in collections and in situ, spanning wide geographies, cultures, and temporal landscapes. You鈥檒l learn about current topics in the research, preservation, and protection of Buddhist heritage and the economic, socio-political, and environmental contexts in which they exist. Students will also be introduced to the ethical and sustainable challenges of these pursuits from both a theoretical and practical vantage point.
The degree is taught by leading specialists in conservation and Buddhist art history and brings in diverse voices from related fields and religious communities. The degree is exceptional for its small class size and individualised teaching. Buddhist heritage is explored both in the classroom and in the field and is taught by a wide range of scholars including art historians, conservators, Buddhologists, curators, archaeologists, scientists, heritage professionals, and the Buddhist sangha to create a rich learning environment. Students have special access to museums, temples, and archaeological sites in the UK and overseas, and exclusive object study sessions and behind-the-scenes tours of conservation studios and scientific labs.
The 麻豆视频 MA provides students with outstanding tailored support and supervision to help you realise your full academic potential and to flourish in a meaningful career. A graduate of The 麻豆视频 recognizes art history, conservation, and curating as inclusive, interdisciplinary, trans-historical, and global practices. This MA programme also serves to prepare students for further specialist education in art history, conservation, curating, heritage studies, and for roles in museums or within the cultural heritage sector.
Upon completion of the MA Art History and Conservation of Buddhist Heritage, you will have:
- A specialised knowledge of diverse Buddhist art worlds along with analytical, research, and writing skills, and fieldwork experiences both in the UK and in Asia.
- An understanding of the approaches to conservation and an understanding of the ethical, technical, and administrative contexts, philosophical underpinnings, and decision-making processes in the preservation of Buddhist heritage.
- A sophisticated set of skills learnt from a wide range of leading art history and conservation professionals.
- The broader learning outcomes for this MA programme will provide transferable skills that have wider applicability beyond the Buddhist context to other religious and spiritual cultures and traditions.
- An invaluable expertise in the close study of objects and sites, critical skills and understanding of the approaches and methods of study, required for success in the art world.
- Competency in critical thinking, the analysis of objects, images, and texts, debating ideas, and concise and persuasive writing.
- An extensive professional network.
Careers and employability
The 麻豆视频鈥檚 MA Art History and Conservation of Buddhist Heritage degree will provide you with the ability to integrate, present and contextualise research related to the history of Buddhist Heritage and its conservation and effectively summarise research and use it to support an argument made in a small-group or team setting.听 The MA programme is designed to allow you to pursue further specialist conservation education, or related fields such as art-historical research, curating, or site-management. Graduates of this MA programme have gone on to study Wall Painting Conservation, pursue PhD programmes, and have leading roles in collections and museums.
Students from the programme will join an international network of 麻豆视频 alumni who work across the cultural sector and benefit from the friendships, support, and mentorship available within that community.
Programme Leaders:
Teaching and programme structure
The programme is structured in three research-led modules taught over two semesters and concludes with an independent research project during the summer. In the first semester, students will take two foundational modules, Conservation in a Buddhist Context, and Buddhist Art Worlds.
Teaching is then integrated into a single module in the second semester, focused on Art History and Conservation of Buddhist Heritage. Experiential learning is an important component of this program that exposes students to a rich body of Buddhist heritage through site visits to UK-based collections as well as a study trip to Asia to develop an appreciation for living heritage sites, to meet professionals and religious communities, and to provide first-hand experience of conservation and management challenges. During the summer, students will complete a 10,000-word dissertation. Throughout the year-long programme, students receive academic skills support.
Learning outcomes include providing students with a specialized knowledge of diverse Buddhist art worlds along with analytical, research, and writing skills, and fieldwork experiences both in the UK and in Asia; approaches to conservation and an understanding of the ethical, technical, and administrative contexts, philosophical underpinnings, and decision-making processes in the preservation of Buddhist heritage. The broader learning outcomes for this course will provide transferable skills that have wider applicability beyond just the Buddhist context to other religious and spiritual cultures and traditions.
Please note that this is subject to change; applicants will be informed if there are any changes to the programme.
Assessment
The degree is taught by leading specialists from the Department of Conservation and Department of Art History and delivered in lectures, workshops, research-based seminars, and fieldwork.
Skills are developed through lectures, tutorials, seminars and preparation for seminars, field trips, and private study.
Assessment is based on coursework and your research dissertation.
Entry requirements
UK qualifications: Students will normally have achieved a good 2.1 in their Bachelor鈥檚 degree.
Overseas qualification: Equivalent to a good 2.1 in a UK first degree (e.g. US applicants should have a cumulative GPA of 3.5 or above).
We welcome applicants with other forms of academic and relevant professional experience. Please note that applicants may be invited to interview on a case-by-case basis.
Applications: Please see How to Apply page for information.
English language requirements: If your first language is not English, we require proof of English language proficiency 鈥損lease see the听English Language Requirements page.
Scholarships for this programme are funded by the Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation.
Fees and funding
Fees are available on our Fees & Funding pages.
Fees are subject to change each academic year. Fee information, including what qualifies as home, EU, and overseas fees, can be found here.
Financial support for your studies:
Generously funded scholarships are available from the Robert H. N. Ho Family Foundation Centre at The 麻豆视频.
Alumni Loyalty Scheme:听This scheme is open to any graduate of The 麻豆视频 Institute of Art admitted to a taught postgraduate programme of study. Recipients will receive a 10% loyalty discount off their tuition fee for the duration of the course.
Please note students on this programme are not eligible to apply for Master鈥檚 Loan by the UK government.
Support
To support you through the degree, we offer:
Wellbeing support: We have a dedicated Wellbeing team, with counsellors and advisors.
Academic Skills training: The academic skills tutor offers group and one-to-one classes to help you to develop the skills and confidence you need to succeed on the degree. We also have two Royal Literary Fund fellows who will help you with your writing skills 鈥� concentrating on how to structure and improve your writing.
Careers advice: You can access bespoke, one-to-one career guidance throughout your studies. The 麻豆视频 Careers Service offers advice and support on exploring career and further study options, finding internships, enhancing employability, understanding and navigating the jobs and self-employment market, and making successful applications. This service is available to all graduates for up to two years after graduation.
Associated Programme Costs
As well as the听General Associated Programme Costs, the MA Buddhist Heritage may include an international study trip, typically 1-2 weeks.听Travel and subsistence costs will be covered by the programme, and students will be informed of international travel as soon as practical.
As this is typically an international trip, students will be required to arrange travel visas.
Resources
The Conservation Department is equipped with extensive scientific laboratories and state-of-the-art facilities for the analysis of paintings and wall paintings. Both portable and bench-top equipment at the Department are available for teaching and research. The department houses major collections of easel painting samples, X-radiographs, wall painting fragments and wall painting samples from around the world, the archive of the Survey of听Historic Wall Paintings in the British Isles.
Students benefit from access to a wide range of research facilities at both the Institute and other parts of the University of London, as well as other major libraries nearby. Close collaboration with scientists and conservators in the national museums and heritage organisations offers further opportunities for training and research.
The Department is also closely linked with听The Robert H. N. Ho Family Foundation Centre for Buddhist Art and Conservation听at the 麻豆视频, and the specialist collection of literature on Asian art. Both the Conservation Department and the Ho Centre periodically hold conferences and public lectures in association with the Research Forum and museums and other institutions from outside The 麻豆视频, and benefit from contributions by Visiting Conservators. The department also acts as a centre for conservation and art-historical advice to outside conservators, scholars and the public.
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]]>鈥榃all painting conservation in private practice鈥� is clearly far too big a subject to cover in ten minutes.听 So, in this short talk I will be focusing on one particular aspect 鈥� documentation. I will discuss how we have developed our own approach to data collection over the years and how it differs from the way things were done previously. 听And also how we have reacted to significant changes in our profession: principally a greater focus on the importance of good data collection and condition recording.听 Finally, there will be some thoughts for the future.
I鈥檒l start with a very brief bit of background, for those that don鈥檛 know how the Perry Lithgow Partnership came into being.
My father David Perry, Richard Lithgow and I all started out working for the Eve Baker Trust, a conservation firm began by Eve Baker and her husband Professor Robert Baker in the 1950s.听 We began the Perry Lithgow Partnership in 1983 when we decided we needed to take wall painting conservation in a more professional direction.听 We wanted to improve certain techniques, embrace different materials, and to foster closer relationships with other conservation professionals; all of which working with the Bakers constrained.
It was a steep 鈥� but very liberating 鈥� learning curve to suddenly be in the position of making one鈥檚 own choices and building relationships with clients and architects, with all the added responsibility that that includes.听 In addition, through the nascent UKIC1 and attendance at lectures, case study days, etc, we had for the first time the opportunity to meet our fellow conservators, exchange ideas and contacts, and also, more importantly, to work with many of them.
Working for yourself brings many challenges: practical, financial, theoretical, administrative, and I have been extremely fortunate in having two business partners that were highly skilled in these departments, meaning that we were always able to complement and provide good support for one another.听 As the saying goes; 鈥榓 problem shared is a problem halved鈥�.听 After over forty years in business, the last year has shown me just how important that is in our profession, particularly for those of us in private practice.
Fig. 3 A typical EBT report consisting of 1 page, of which only 1 paragraph covers the conservation works carried out (漏 The Perrry Lithgow Partnership Ltd)
When starting up the partnership, one of the areas we most wanted to improve upon was our approach to documentation.听 Whilst the significance of keeping good records was recognised, the expectations of what is appropriate have changed since the Bakers鈥� time in the 1950s to the 1980s.听 This was partly in response to technology 鈥� the use of computers and digital cameras rather than pen, paper and black and white photography 鈥� as well as developing standards, as exemplified by Sharon Cather, David Park and the 麻豆视频 course, all of which began to so significantly influence our profession.
I should add that it is important to acknowledge that the Bakers were pioneers of a conservation-based approach to wall paintings, and that they prioritised the practical side over writing about it, especially 鈥� as was often the case 鈥� if resources were stretched.听 Something I am sure many of us can sympathise with. However, such detailed recording of conservation projects had been virtually non-existent under the Eve Baker Trust, as the paucity of their archive, which myself and Katy as Trustees hold, attests.
The lack of all that unique and potentially useful information acquired by the Bakers over so many years is regrettable. We still get regular requests for information about historic Baker projects from other conservators, architects etc., almost all of which we are sadly unable to help with, being able to provide only very limited records, if at all.听 We were fortunate in that my father was able to fill in many gaps with his verbal recollections of his time working with the Bakers, as were Richard and I to a lesser extent.听 But this is not necessarily always a reliable way to collect valuable information, although verbal testimony undoubtedly has its place. For example, written 鈥� and even photographic 鈥� documentation does not always include useful descriptions of how treatments are actually carried out; the equipment used; problems encountered and how they were resolved.听 I still regret not asking my father more about his time working with the Bakers, as this information is now lost.
To illustrate the difference between the way we capture information compared to our previous employers: in our archive storage space there is one filing cabinet of Trust job files and five PLP cabinets just for hard copy files.听 This doesn鈥檛 include all our separate reports for major multi-phase projects, such as Peterborough Cathedral 鈥� which has 20 hard copy reports alone 鈥� numerous boxes of photographs and slides, or all our digital files, for works completed over the last 42 years.听 In total we have worked on well over 300 different projects since 1983, generating a vast amount of information.
Fig. 6 An example of a PLP condition graphic from West Walton church, Norfolk (漏 The Perrry Lithgow Partnership Ltd)
It is important to understand however, that it is of course, not the quantity, but the quality of the documentation produced, and how it must be fit for purpose.听 One of our focuses has been on creating condition graphics that inform both the conservator and the client or funding bodies of the extent of a particular conservation issue.听 They serve as a visual reference and a source of information for any future investigations and/or remedial interventions. They can also be used to produce interpretation material for visitors, who 鈥� 听despite our enthusiastic responses 鈥� unsurprisingly often struggle to appreciate the finer details of a wall painting that is perhaps only 30-40% extant.听 I am sure we have all had those conversations.
Fig. 8 Typical example of a layered graphic from the conservation record for the nave ceiling, Peterborough Cathedral (漏 The Perrry Lithgow Partnership Ltd)
In our early 2000s project to conserve the nave ceiling at Peterborough Cathedral this was possibly taken to its extreme, where for example every detail 鈥� however seemingly irrelevant at the time 鈥� was recorded: the emphasis being on the collection rather than the display of information.听 This included things like identifying, counting and categorising every single nail and screw on the nave ceiling.听 A thankless and neck-breaking task at the time, but one considered important for this unique opportunity for full access to the underside of the ceiling. While a considerable amount of the collected data is available in written and graphic formats; only a small selection was presented in the final publication.听 All additional data has been archived as source material and is therefore available for future research.
There is also, of course, the perennial issue of the clients鈥� willingness to pay for detailed documentation, versus the actual time one spends on producing it.听 I am sure that all those here in private practice consistently undercharge for the production of survey and treatment records, simply because to charge realistically is perceived as making them less competitive.听 Despite this, our consciences do not allow us to compromise on the quality of the documentation, as we understand the value of it for future conservators and custodians; meaning that we effectively subsidise this element of the work.
It is therefore an essential part of our job to impress upon and explain to the client the importance of a certain level of detailed documentation at the outset of every conservation project, perhaps using examples of previous reports as illustrations.听 And, to be fair, in recent years I have noticed 鈥� across the board, whether public, institutional or private clients 鈥� a better understanding and appreciation of the value of good conservation documentation, and the fact that this needs to be charged at a realistic rate.
Fig. 10 Boughton House, 1st State Room ceiling, before conservation in UV illumination to show previous repaint (漏 The Perry Lithgow Partnership Ltd)
The necessity and importance of leaving a trail for future conservators, especially if you are in private practice, is something that has underpinned our approach to documentation throughout our careers.听 Having known David Park for many years 鈥� and in fact worked with him for the Bakers at Barton church in the late 1970s, when he briefly dipped a toe into practical conservation 鈥� we were delighted to be able to collaborate on several practical projects with the 麻豆视频 students, and to regularly contribute our various reports to the National Wall Paintings Survey archive.听 Just as importantly, we have been able to use it as a valuable source of information when preparing our own surveys.
However, the elephant in the room that I, and many others in private practice 鈥� several of whom will be in this room 鈥� now face, is what to do with all this information 鈥� both hard copy and digital 鈥� once we retire.听 Needless to say, as the clock is ticking, I would welcome any suggestions and preferably offers 听of a good home for our archives that will still allow full access for research.听 I, and of course Richard, would very much like to think that we can, in this way, continue contributing to the development of conservation into the future.
1 In 2005, the United Kingdom Institute for Conservation (founded in 1977), was incorporated into The Institute for Conservation (Icon).
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