Stains and dirt are obvious on the portrait and mounting.

One example of the cleaning process that was used for many of the paintings is the treatment of the portrait of Prince Hongming (see left). After many years of exposure to dust, grime, and soot from incense, the portrait had become soiled, stained, and darkened. Also, at some time in the painting's history, water soaked the upper right corner, staining the silk background cloth.

A moist cotton swab rolled gently across the surface of the pigment loosens dirt.

The surface of the painting was first cleaned with a soft brush to remove loose dirt and dust. Lightly moistened cotton swabs were then gently rolled over the painting to loosen and remove soil. Since many of the paintings are sensitive to water, great care was taken not to disturb pigments on the surface. Stained areas of the background silk were also cleaned using a vacuum table that draws water through the silk without damaging the delicate silk fiber. This process removes staining but does not endanger the pigments.

After treatment, the portrait has regained much of its original brightness and clarity. Detail; Portrait of Prince Hongming (1705–1767). China, Qing dynasty, 1767, or later copy. Hanging scroll; ink and color on silk; image only, 200.8 x 115.4 cm. Arthur M. Sackler Gallery, Purchase—Smithsonian Collections Acquisition Program, and partial gift of Richard G. Pritzlaff, S1991.61

After many hours of careful cleaning, the pigments appear brighter and the surface of the painting is lighter overall. The staining in the blank area surrounding the painted image is barely noticeable. We now have a better idea of how the portrait may have looked when it was first painted. Consolidating Pigments and Reinforcing Creases

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