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Wymiana oryginału na kopię w wypadkach postępującego zniszczenia rzeźb kamiennych

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Krzyżanowski L.

Ochrona Zabytków

1967

issue 2

12-23

La s c u lp tu re en p ie rre , d é c o ra n t l ’e x té r ie u r des b â tim en ts fa it le su je t de cet a rtic le . Ce g en re de m o n u m en ts co n stitu e un ensemble d’é lém en ts h is to riq u e s ex p o sés à un procès de d ég rad a tio n ra p id e su r to u t dans des co nditions d ’in fe c tio n de p lu s en plu s poussée, causée p a r les fum é e s e t les gaz d ’é c h ap p e men t. Les co n s e rv a te u rs , p eu con v ain cu s de l’e ffic a cité des méth o d es ch imiques de co n se rv a tio n , m a n if e s te n t un e a c tiv ité in su ffis an te . Un a u tr e fa c te u r e x e rç a n t p e u t- ê tr e un e p lu s g ran d e in flu en c e su r l ’a ttitu d e des c o n s e rv a te u rs e st le culte, a l’avis de l ’a u te u r , q u e lq u e peu ex ag é ré de l ’a u th e n tic ité de l ’o b je t d ’a rt. Ce cu lte consiste en la conviction bien a rr ê té e q u ’un e s c u lp tu re an c ien n e , même si elle est m en a c é e de d e s tru c tio n complète, ne d e v ra it pas ê tre rem p la c é e p a r u n e copie, c a r de ce fa it l’o b je t en q u e stio n p e rd to u te v a le u r d’a u th e n tic ité . En ré s u lta t, b ien so u v en t des s cu lp tu re s a rc h ite c to n iq u e s, des s c u lp tu re s de ja rd in e t d ’a u tre s su b issen t un e d é fo rm a tio n trè s poussée, a tte in te s p a r la corrosion. P o u r ta n t on les laisse „in s itu ”. Un en d om m ag em en t de l’o eu v re p la s tiq u e ne rép o n d p lu s a u x conceptions de l ’a rtis te , il les fausse en p r é s e n ta n t d ’a u tr e s v a le u rs q u i n ’e n tr a ie n t p o in t dans les d esseins du c ré a te u r. Il lu i m an q u e ce qui co n stitu a it jad is sa v a le u r a rtis tiq u e — la fo rme complète. C e tte a p p ré c ia tio n e s th é tiq u e d e v ra it ê tr e p rise en co n sid é ra tio n dans chaq u e discussion e n tr e co n se rv a te u r s p o rta n t su r la co n se rv a tio n des o eu v re s en do mmagées. Le f a it de co n n a ître c e rta in e s cu ltu re s, te lle s que l ’a n tiq u ité , u n iq u em e n t g râ c e a u x o eu v res en d om m a gées, ne p eu t co n s titu e r un e p rém isse d ’ap p ré c ia tio n p o sitiv e des o b je ts en p a rtie d é tru its. Le p rem ie r d e v o ir de la co n se rv a tio n consiste à c o n se rv e r l’o eu v re complète. L’ a c c ep ta tio n des o b je ts en p a rtie d é tru its , le fa it de le u r a c co rd e r u n e c e rta in e estime est imposée p a r la d ég rad a tio n de la m a tiè re . Il ne fa u d r a it pas o u b lie r que c e tte situ a tio n e st forcée e t q u e l ’on se tro u v e en face des d ébris de la composition originale. Le souci de co n se rv e r les scu lp tu re s a u th e n tiq u e s impose la n é c e ssité de rem p la c e r les o eu v re s o rig in a le s p a r des copies. Dans la p ra tiq u e de co n se rv a tio n en Pologne, ce procédé, à re n c o n tre , p a r ex em p le , des a c tiv ité s déployées p a r les co n se rv a te u r s ita lien s, n ’e s t p re sq u e jam a is admis, re co n n u même b ien so u v en t comme p o r ta n t a tte in te au x p rin c ip a le s régies de la co n se rv a tio n . En se s e rv a n t de q u e lq u e s ex em p le s choisis, l ’a u te u r d ém o n tre q u ’un culte ex a g é ré de l ’o rig in a l a ses m au v a is côtés e t q u ’il a même e n tr a în é la d e stru c tio n complète des scu lp tu re s. Le p o rta il ou la s c u lp tu re fa is a n t p a rtie de la fa ç ad e d ’un b â tim e n t, rem p la c é e à tem p s p a r une copie, co n tin u e de jo u e r son rôle d’é lém e n t dans la composition a rc h ite c to n iq u e . L’o rig in a l placé à l ’in té r ie u r du b â tim e n t d o n t il d é co ra it la fa ç ad e g a ra n tit a u v is ite u r le co n ta c t avec l’oeu v re a u th e n tiq u e . Les mé th o d e s de d u rc issem en t des p ie rre s à l ’aide des moyens chimiques, m a lg ré des ré s u lta ts sé rieu x d é jà o b ten u s dans ce domaine, ne g a ra n tis s e n t pas encore le u r p le in e d u ra b ilité . Le d u rc issem en t de la su rfa c e ou même de la s tru c tu r e de la p ie rre (par la m é th o d e élaborée à Toruń) p e u t a id e r à l’ex écu tio n du moule en p ie rre a rtific ie lle de la sc u lp tu re an cienne ou bien lu i g a ra n tir la ré s ista n c e p o u r la d u ré e que p re n d r a it l ’ex é cu tio n de la copie su iv a n t une a u tre méthode. Le d u rc issem en t de la p ie rre p e u t dans c e rta in s cas r e ta rd e r la néc e ssité de rem p la c e r l ’o rig in a l p a r la copie, néanmo in s si le procès de la d ég rad a tio n de la p ie rre a d é jà commencé, il fa u t s ’a tte n d re à la n é c e ssité d’e x é c u te r la copie. L ’a rtic le ex am in e de d iv e rs fa c te u rs qui d e v ra ien t ê tre p ris en co n sid é ra tio n lo rs de l’ex é cu tio n de la copie (q u a lité de la p ie rre , te ch n iq u e de l’ex écu tio n originale, lo c a lisa tio n convenable de l ’o euvre originale e lle -m êm e , etc). L a copie ne doit ê tre ex é cu té e q u ’en cas de n é c e ssité e x trêm e , n é anmo in s il fa u t se décider à emp lo y e r ce procédé c a r le tem p s joue au d é sav an tag e de l’o eu v re d’a r t originale.

Katedra Konserwacji Malowideł Ściennych i Rzeźby Architektonicznej (1966-1990)

100%

Zalewski W.

Ochrona Zabytków

1990

issue 4

191-195

Thanks to the initiative of Prof. Jozef Edward Dutkiewicz, PhD, in 1951 an Institute was established at he Department of Conservation of Works of Art at the Academy of Fine Arts in Cracow. The task of this school was instruction in the field of conservation of wall paintings in situ, as well as problems of their transfer. On the basis of these traditions, all basic lines of activity are continued until today. The Institute's organizational from today and the work carried out in it are a reflection of the goals that were taken up in the 1950's and 1960's. The Institute consists of seven organizational units conducting didactic, documentation and scientific work in their specializations. They are the following: the Laboratory of Wall Paintings conducting classes with students of the first years on imitation paintings in the laboratory, and in the summer season working on original paintings in churches and other historical buildings. Usually, this work is carried out in the Lower Silesia and in the Jelenia Gora and Legnica voivodeships. After the last year of studies, before beginning work on the thesis leading to a degree, there are practical studies on paintings in Northern Italy in the provinces of Brescia and Mantua. The second laboratory deals exclusively with the problems of transferring wall paintings. Thanks to its measures, many paintings have been saved, otherwise doomed to total destruction. Also, several solutions have been drawn up in the field of forming substitute bases and the ability to maintain the original surface and irregularities of the painting that has been taken down. In 1971 the Laboratory for the Conservation of Stone and Rock Sculpture was created, dealing with conservation of small forms of architectonic sculpture, such as the Romanesque and Gothic portals in churches of the Lower Silesia. The Laboratory of Inventory of Wall Paintings and Architectonic Sculpture is a laboratory where various forms of documentation are carried out through all the years of study at the department. This consists od measuring-drawing documentation, colour documentation and documentation obtained by photogrammetric methods. It concerns the inventory of structures according to their state of preservation and registration of executed conservation measurse. As part od student tasks, permanent inventories are undertaken in this laboratory, concerning discovered structures in the process of restoration of the old town in Cracow. The Archives functioning within the institute are a unit gathering in its collections much documentation on inventory and conservation work taking place at the Department and concerning paintings and sculpture originating from southern Poland. This is an important and frequently utilized source of information on the state and past appearance of many Polish art structures.

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2 Ochrona Zabytków

1 Krzyżanowski L.

1 Zalewski W.

1 1990

1 1967

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Wymiana oryginału na kopię w wypadkach postępującego zniszczenia rzeźb kamiennych

Katedra Konserwacji Malowideł Ściennych i Rzeźby Architektonicznej (1966-1990)