Outline Research Schedule

Outline Research Schedule

 

COMPARISON AND MODIFICATION OF PROTEIN, POLYSACCHARIDE AND LIPID AS COATING AGENT FOR CULTURAL HERITAGE OBJECT OF SHADOW PUPPET

Sundari Desi Nuryanti

Abstract

The damage to the shadow puppets cultural heritage objects (CHO) occurs during storage. Paint that almost peels off is one of the most common damage. The use of synthetic materials for coating paint that almost peel off on shadow puppets CHO is considered not environmentally friendly. While the natural coating that is used comes from a group of proteins that has easily denatured, biobased from polysaccharides and lipids are considered as alternative for natural coatings. In order to the coating agent to cover the surface of shadow puppet CHO properly, it is necessary to modify it by reducing its size to the size of the nanoparticles. The aims of this research are 1) to compare the quality of coating agent between protein, polysaccharide and lipid; 2) to modify the form of protein, polysaccharide and lipid so that the coating penetration on the surface can be better; 3) to identify the stability, quality and reaction of the protein, polysaccharide and lipid coating agent on the surface of shadow puppet. The instruments that are used are Fourier-transform infrared spectroscopy (FTIR), Gas chromatography–mass spectrometry (GC-MS), Scanning electron microscope (SEM), atomic force microscope (AFM), Sodium dodecyl sulphate polyacrylamide gel electrophoresis (SDS-PAGE); dynamic light scattering (DLS); viscometer; adhesion test and spread test. Depth interview with conservator, collector and Dhalang is conducted to obtain comprehensive results from stakeholder’s perspective. The results of the research can be used to give new information and references for the government related to conservation of shadow puppet CHO and to formulate policies in conservation method in the museums or the Palace.

Keywords: protein, polysaccharide, lipid, coating agent, cultural heritage object, shadow puppet

1. Background

1.1 Damage to the shadow puppets CHO 

1.1.1 Cause of damage

The damage to the shadow puppets cultural heritage objects (CHO) occurs during storage. Some of the causes of the damage that occurs during storage include 1) physical force, which is the position of shadow puppets when they are stored. Inside the wooden box, shadow puppets are stacked using thin wooden foundations. There are about 30 shadow puppets in each box; 2) temperature, the recommended temperature in the storage of shadow puppets ranges from 18°- 24°C; 3) relative humidity (RH), the recommended RH ranges from 45-50% , and if it less than 45%, the collection will be fragile, whereas if it is more than 50% there will be microorganisms in the storage; 4) water, if there is a leak that hits the object; 5) fire, in case of fire; 6) pollutants, can be gas or dust; 7) vandalism; 8) light, selection of lamps used either during storage or when displayed in showrooms; 9) dissociation, incompatibility in storing collections by name; 10) insects (Sustiyadi, 2020). According to Ki Gamblang (2021) and Juniarsah (2021), damage to the old puppet collection includes fungi, insects (if the storage conditions are humid), broken gapit; puppets that are torn on certain parts and paint that almost peels off on the surface of the puppet (Figure 1). Schmitzer (1984) added that the damage to Indonesian shadow puppets is the paint on the surface of the puppet that almost peels off.

Figure 1. Shadow puppets whose paint almost peels off (Source: Ki Gamblang’s Collections)

1.1.2 Overcome the destructive agent

Overcoming destructive agents can be done in three ways, which are preventive conservation, curative conservation and restoration conservation. Preventive conservation is used to prevent the appearance of destructive agents (indirectly on objects), curative conservation that is used directly on objects affected by destructive agents, and restoration conservation is a method to restore objects after being damaged by destructive agents (Sustiyadi, 2020). Cleaning the fungi can be done mechanically by sweeping the affected part using a brush or by applying anti-fungal compounds, both natural and synthetical (Sustiyadi, 2020), broken gapit can be connected with new gapit, torn puppet skins can be sopak (patched/pasted) by patching/pasting the new parchment skin on the torn part of the puppet, while as for the paint that is almost peel off, there are two different opinions to fix it, either by giving a new colour or by leaving the remaining colour (Ki Gamblang; Juniarsah, 2021). Ki Gamblang and Juniarsah (2021) added that the collectors and the abdi dalem (servant in the Palace) wanted to coat the ancient shadow puppet using natural coating which is safe to the collections. However, limited information from the government about the conservation procedure of the shadow puppet CHO makes it seem like they have no other choice but to leave it until the paint runs out. Stewart (2009) re-adhered the paint that was almost peeling off on the Bima shadow puppet collection made in 1912 by using Aquazol 500, Butvar B-98, and BEVA 371.The results of this study showed that Butvar B-98 in ethanol smoked by silica gave the best bonding results. Besides the synthetic adhesives there are natural adhesives that can be used such as eggs (Gowers, 1975) and gelatin (Shah and Solz, 1999). In addition to reattach the almost peeled of paint on the surface of the puppet, it can also be done by coating so that the remaining paint can stick longer. The remaining paint coating can be done by using natural or synthetic materials. Synthetic materials that are often used to coat shadow puppet are varnish, white polish and liquid vinyl, while natural ingredients that are used are egg whites (Sunarto, 2008) and ancur/gelatin (Sunarto, 1989).

1.2 The coating material used 

1.2.1 Synthetic material

Synthetic materials are used because of the minimal supply of natural ingredients and they easier and more practical to be used. Synthetic that are materials commonly used by craftsmen to coat shadow puppets are white varnish or polish and other covering materials (Sunarto, 2008). For now, shadow puppet craftsmen use Mowilex water based wood stain as a coating material, while collectors or Dhalang use synthetic materials such as Winsor and newton fixative and Rembrandt fixative (Ki Gamblang, 2021). Mowilex water based wood stain contains water based acrylic paint which has a good adhesion ability, easy to apply, and transparent. However, these products still contain VOCs (volatile organic compounds) which are not environmentally friendly. Likewise, Mowilex, Winsor and Newton and Rembrandt fixative are also considered not environmentally friendly because of the waste they produce. Therefore, biopolymers, such as proteins, polysaccharides and lipids are expected to be an alternative to environmentally friendly natural coatings for shadow puppets. 

1.2.2 Natural material

Natural ingredients that are used as coating material for shadow puppets include ancur/gelatin and egg white. Egg whites from chickens or ducks that are fed by organic food, not synthetic one. According to Juniarsah (2021), the difference in the use of chicken or duck eggs that are fed by organic food and synthetic food is very significant. If synthetic-fed chicken or duck eggs are used, the mushrooms will grow rapidly in less than one month, egg from organic food will have a good result and there will be no mushrooms even though coated was done 11 years ago (Figure 2). The use of egg white as a coating material begins by separating the egg white from the egg yolk, then applying it directly to the surface of the shadow puppets, after that rest for about 15-30 minutes, once it is dry, it can be stored back in the puppet box and aired once a month.

Figure 2. Shadow puppet coated with organic chicken egg whites since 2010 (Sources: Suluh Juniarsah’s Collection) 

Besides egg whites, ancur lempeng/fish gelatin can also be used as a natural coating. The method of making the gelatin coating starts by burning the Sterculia foetida until it becomes charcoal, giving it water and leaving it until the charcoal settles about 24 hours. Then, add the ancur lempeng/fish gelatin to the Sterculia foetida solution by removing the sediment, boiling it, then, after boiling and cooling this solution is ready to use. However, the use of this solution can only last for less than 24 hours, if it is used more than 24 hours the solution will be damaged and will cause an unpleasant odour (Sagio and Samsugi, 1991).

1.3 Utilization of biopolymers and its modifications 1.3.1 Biopolymers extracted directly from biomass

The biopolymers used are biopolymers that are extracted directly from biomass, such as polysaccharides, proteins and lipids. The protein groups used are egg white and fish gelatin. For the polysaccharide group, chitosan is the main choice because not only function as a coating agent, it is also has functions as an antimicrobial agent (Yage Xing et al, 2016), so chitosan can prevent the growth of fungi during storage. Chitosan also forms good polymers with mechanical properties comparable to synthetic polymers (Rastogi and Samyn, 2015). For the lipid group, beeswax is preferred over carnauba wax or other fatty acids. In addition to waterproofing tanned leather such as boots, bags and others, beeswax can also act as a water vapor barrier when applied to paper (Zhang et al, 2014).

1.3.2 Modification of biopolymers

The modification of the coating agent aims to improve the quality of the natural coating so that it is maximally coated and it becomes a barrier to the paint that is almost peeling off. The modification is intended to reduce the particle size of each sample, including egg white, gelatin, chitosan and beeswax to the size of the nanoparticles, so that it is expected that the bond between the coating and the surface of the shadow puppets is stronger than the coatings that are from biopolymers extracted directly from biomass.

2. Material and Methods 2.1 Material

The main materials needed in this research are fish gelatin, egg white from organic chicken, chitosan, beeswax and solvent. The instrument that are used are FTIR (fourier-transform infrared spectroscopy) and GC-MS (gas chromatography–mass spectrometry) to identify the proteins used in the coloring and coating of shadow puppets before treatment; SDS-PAGE (sodium dodecyl sulfate polyacrylamide gel electrophoresis) to measure molecular weight of protein; DLS (dynamic light scattering) to measure size of nanoparticles; SEM (scanning electron microscope) and AFM (atomic force microscope) to see the surface after coating agent applied on the surface; viscometer; adhesion test; and spread test.

2.2 Methods
2.2.1 Identification type of adhesive and coating agent used

Identification of adhesive type is important, know what kind of adhesive which is applied already on the surface. The instrument that are used to identify the type of adhesive are FTIR and GC-MS. FTIR is used to know the group of adhesive, and GC-MS is used to identify the kind of protein used before (Stewart, 2009).

2.2.2 Preparation the coating agent

The samples such as egg white, fish gelatin, chitosan and beeswax are prepared as an emulsion to simplify the application. After the samples become an emulsion, the measure of the physical properties will be carried out by using viscometer, adhesion test, and spread test.

2.2.3 Application to the surface of shadow puppet CHO

The samples emulsion will be applied on the surface of shadow puppet CHO and left until dry. After that, the surface will be carried out by SEM and AFM to see the surface coverage rate of the sample. Then, predict the reaction that occurs on the surface and compare which one gives the best result

2.2.4 Synthesis of biobased coating nanoparticles

Each of biobased coating agent will be prepared in nanoparticles size to compare the differences in penetrating the surface of shadow puppet. After that, it will be carried out by SDS- PAGE, DLS, SEM and AFM to see the surface coverage rate of the sample. Last, predict the reaction that occurs on the surface and compare which one gives the best result.

A. Synthesis of egg white coating

For the first step, denaturation of egg white proteins is done by adjusting solution to pH 10.5 to 11.5, and heating it at 40 °C for 30 minutes (Handa et al. 1999). Then, film formation can be obtained by solvent casting or by extrusion. The protein and additives are dissolved in a solvent (mainly water for water-soluble proteins) and the film or the coating is recovered after evaporation of the solvent (Guérin-Dubiard and Audic, 2007).

B. Synthesis of fish gelatin nanoparticles

Prepare 5% gelatin solution (10 ml) under constant heating (40°C) and constant stirring, then continue until clear gelatin solutions is obtained. The clear solution is mixed immediately with acetone as a desolvating agent and the mixture’s resulting is allowed to separate into two layers for 10 minutes. The low molecular weight (LMW) fraction is at the top and the high molecular weight fraction is at the bottom layer. The LMW layer is discarded and the HMW layer is dissolved in 10 ml of distilled water and is stirred at 600 rpm under constant heating at 40°C. The pH of gelatin solution is maintained at 3. Acetone (30 ml) is added drop by drop to this solution under constant stirring to form nanoparticles. Glutaraldehyde (25%) solution (100 μl) is added as a crosslinking agent. Then the solution is stirred for 12 hours at 600 rpm. The particles are purified by three-fold centrifugation and redispersed in 30% acetone solution in double distilled water (Subara et al, 2017).

C. Synthesis of chitosan nanoparticles

Chitosan nanoparticles (CSNP) are obtained by the H2O2 degradation of chitosan (Pan et al, 2009). Solutions containing 3% (v/v) acetic acid, 6% (v/v) H2O2, and 10 mol/L NaOH are prepared in water. Chitosan is dissolved in the 3% acetic acid, and then 6% H2O2 solution is added drop by drop into the chitosan solution. The mixture is stirred and heated in a water bath of 40◦C. After 12 h, the degraded chitosan is precipitated by adding 10 mol/L of NaOH until the pH reaches 10.0, it followed by washing with deionized water until the pH of the water solution reaches neutral. The degraded chitosan is washed with ethanol and dried in vacuum at room temperature. The size of the CSNP is determined by scanning electron microscope (SEM) and atomic force microscope (AFM) (Ma et al, 2010). 

D. Synthesis of beeswax coating

Beeswax (50 mg) is suspended in isopropanol (1 mL) and vortexed for 3 min. Then, it is filtered through syringe filters (0.45 μm pore size) into another Eppendorf vial. A 1 μL solution is then placed on the target plate, air dried and inserted into the MS apparatus (Szulc et al, 2020).

References

Gowers, H. 1975. The Conservation of Javanese Shadow Puppets, in ICOM Committee for Conservation 4th Triennial Meeting, Venice 13-18 October 1975, Preprints. Paris: International Council of Museums.

Guérin-Dubiard C., Audic JJ. 2007. Egg-Protein-Based Films and Coatings. In: Huopalahti R., López-Fandiño R., Anton M., Schade R. (eds) Bioactive Egg Compounds. Springer, Berlin, Heidelberg

Handa A, Gennadios A, Froning GW, Kuroda N, Hanna MA. 1999. Tensile, solubility, and electrophoretic properties of egg white films as affected by surface sulfhydryl groups. J Food Sci 64:82–85

Juniarsah, Suluh (Collector of old shadow puppet and Conservator in Kyai Maruto (shadow puppet collections of Ki Purbo Asmara, Surakarta)) (in Bahasa). Conservation of shadow puppet in Kyai Maruto (shadow puppet collections of Ki Purbo Asmara, Surakarta. Interviewed by Sundari Desi Nuryanti. 11 March 2021.

Ki Gamblang (Dhalang). 2021. How to care old shadow puppet collections (in Bahasa). 2021. Interviewed by Sundari Desi Nuryanti. 10 March 2021.

Ma, Y., Liu, P., Si, C., & Liu, Z. 2010. Chitosan Nanoparticles: Preparation and Application in Antibacterial Paper. Journal of Macromolecular Science, Part B, 49(5), 994–1001.

Pan, A.W.; Wu, B.B.; Wu, J.M. 2009. Chitosan nanoparticles crosslinked by glycidoxypropy- ltrimethoxysilane for pH triggered release of protein. Chin. Chem. Lett, 20, 79–83.

Rastogi, V., Samyn, P. 2015. Bio-Based Coatings for Paper Applications. Coatings, 5(4), 887– 930.

Sagio and Samsugi. 1991.Wayang Kulit Gagrag Yogyakarta, Morfologi, Tatahan, Sunggingan dan Cara membuatnya, CV Hajimasagung, Jakarta

Schmitzer, W. 1984. “Restoration of Chinese and Indonesian Shadow Puppets,” in ICOM Committee for Conservation, 7th Triennial Meeting, Preprints, Paris: International Council of

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Shah, M. and J. Solz. 1999. “Javanese Puppets: The Examination and Conservation of Two Traditions,” in Papers Presented at the Twenty-Fifth Annual Conference of ANAGPIC, Buffalo, NY: Art Conservation Department, Buffalo State College.

Stewart, Marie. 2009. The Investigation and Treatment of a Javanese Shadow Puppet from the University of Pennsylvania Museum of Archaeology and Anthropology. ANAGPIC. https://resources.culturalheritage.org/anagpic-student-papers/anagpic-2009-student-papers- posters/. Accessed on 28 November 2020.

Subara, D., Jaswir, I., Alkhatib, M.F.R. and Noorbatcha, I.A.N. 2017. Process optimization for the production of fish gelatin nanoparticles. International Food Research Journal 24 (Suppl): S501- S507

Sunarto, 1989. Wayang Kulit Purwa Gaya Yogyakarta: Sebuah Tinjauan tentang Bentuk, Ukiran, Sunggingan. Balai Pustaka: Jakarta

Sunarto. 2008. Seni Tatah Sungging Kulit. Prasista: Yogyakarta

Sustiyadi, Ery (Conservator in Museum of Sonobudoyo Yogyakarta, Indonesia). 2020. Conservation of cultural heritage material of shadow puppet in Museum Sonobudoyo Yogyakarta (in Bahasa). Interviewed by Sundari Desi Nuryanti. 10 July 2020.

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Xing, Y., Xu, Q., Li, X., Chen, C., Ma, L., Li, S., Che, Z., Lin, H. 2016. Chitosan-Based Coating with Antimicrobial Agents: Preparation, Property, Mechanism, and Application Effectiveness on Fruits and Vegetables. International Journal of Polymer Science, 1–24.

Zhang, W.; Xiao, H.; Qian, L. 2014. Enhanced water vapour barrier and grease resistance of paper bilayer-coated with chitosan and beeswax. Carbohydr. Polym, 101, 401–406.

 

puppet coloring using raw and cooked ancur

there are 2 kinds of ancur in the process of puppet leather coloring. first raw ancur, ussually raw ancur used to fish gelatin. fish gelatin should be mix with carbondioksida solvent. the function of Ca(OH)2.H2O is to make gelatin more smooth. after that we mix the solution with kind of color we want. but the raw ancur just hang on till 12 hours after mixed. second, cooked ancur. to make cooked ancur, we have to mixed ancur mutiara or ancur otot which made by cow's bone. then cook in the medium fire until the ancur dissolve in water. after that mixed with color. usually the preservation of cooked ancur longer than raw ancur. nevertheless, the quality of raw ancur is much better than cooked ancur.  that's way the craftmen prefer raw ancur to cokked ancur. :)

puppet leather part 1 (coloring)

could we connect between culture and science? the answer is yes, but how? let me tell you about our heritage. we have puppet, puppet is one of the heritage ever we have. if want to make dye for puppet leather, we have to measure for each material, for example to make white color we need ancur lempeng, Ca(OH)2.H2O, bone powder of cow, and water. first we have to dissolve ancur into Ca(OH)2.H2O, the function of Ca(OH)2.H2O here is to make ancur softer. because ancur is a protein which can dissolve in the acid or base. but ancient people used base for the solvent. based on the story we can conclude that culture will never be separated from scientific. i really love science but i love culture too. i have a dream one day i want to create  scientific and culture evolve together. i hope :)