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Estudo dos processos construtivos de esculturas de madeira dourada e policromada dos séculos XV ao XVIII : conservação e restauro da escultura religiosa Nossa Senhora da Orada
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Este relatório de estágio foi elaborado no âmbito do Mestrado de Conservação e Restauro de Bens Culturais na Universidade Católica Portuguesa. O estágio teve lugar na Empresa Atelier Samthiago, em Viana do Castelo. O projeto assente procurou, num primeiro momento, acompanhar a evolução das oficinas de escultura entre os séculos XV e XVIII, enfatizando a sua influência na arte de entalhar. Nesse sentido, esta abordagem permitiu aprofundar conhecimento sobre as propriedades e características da matéria-prima selecionada, a madeira, as justificações que confluem na escolha de determinadas tipologias de madeira para a realização de esculturas, assim como sobre os processos construtivos desde o abate, serração, secagem e métodos de esculpir. Desse modo, rastrearam-se informações alusivas aos métodos construtivos, facilitando e assegurando amparo aos processos futuros de intervenção em esculturas desta tipologia. Num segundo momento, foi apresentado o caso de estudo da escultura da Nossa Senhora da Orada, proveniente da Capela da Orada em Melgaço. Nesta etapa envolveu-se o registo detalhado dos procedimentos do tratamento de conservação e restauro. Historicamente, entalhadores e escultores, muitos deles membros de guildas, realizavam esculturas de madeira respeitando regras específicas de modo a garantir a sua durabilidade. Porém, a colocação destas obras a longo dos séculos em ambientes com acentuadas variações de humidade e temperatura (igrejas, catedrais e mosteiros), muitas vezes resultou em negligência preventiva e mau manuseamento, conduzindo a patologias físicas do suporte que se estendem até à restante estratigrafia (preparação, douramento e policromia). No estudo da Nossa Senhora da Orada, a análise das patologias do suporte e a realização de radiografias revelaram que as fendas como as fissuras correspondiam, possivelmente, aos locais de assemblagem e tampos. Estes resultados podem nos guiar à utilização de materiais compatíveis com o suporte. Ressalta-se a sua repolicromia, descoberta somente conseguida mediante contextualização histórica, através de referências bibliográficas e métodos de exame e análise. O argumento que subjaz a sua remoção emana de contextualização firmada na questão religiosa, a comunidade crente. O estágio realizado permitiu contacto com o mundo profissional e empresarial, amiúde tão diferente do mundo académico, possibilitando contacto com todo o tipo de obras e materiais. O trabalho em equipa foi crucial, favorecendo a de compreensão e interajuda, descoberta e aquisição de novos conhecimentos no vasto da conservação e restauro
This internship report was prepared within the scope of the Master of Conservation and Restoration of Cultural Goods at the Portuguese Catholic University. The internship took place at the Atelier Samthiago Company, in Viana do Castelo. The project based sought, at first, to follow the evolution of the sculpture workshops between the XV and XVIII centuries, emphasizing its influence on the art of carving. In this sense, this approach allowed to deepen knowledge about the properties and characteristics of the selected raw material, wood, the justifications that converge in the choice of certain types of wood for the realization of sculptures, as well as about the constructive processes since the slaughter, sawing, drying and sculpting methods. In this way, information was traced alluding to the constructive methods, facilitating and ensuring support to the future processes of intervention in sculptures of this typology. In a second moment, the case study of the sculpture of Nossa Senhora da Orada, from the Chapel of the Orada in Melgaço, was presented. In this step, the detailed recording of the procedures of conservation and restoration treatment was involved. Historically, carvers and sculptors, many of them guild members, made wooden sculptures respecting specific rules to ensure their durability. However, the placement of these works over the centuries in environments with marked variations in humidity and temperature (churches, cathedrals and monasteries), often resulted in preventive negligence and poor handling, leading to physical pathologies of the support that extend to the rest stratigraphy (preparation, gilding and polychromy). In the study of Nossa Senhora da Orada, the analysis of the pathologies of the support and the realization of radiographs revealed that the cracks as the fissures corresponded, possibly, to the places of assemblage and tops. These results can guide us to the use of materials compatible with the support. We highlight its repolychromy, a discovery only achieved through historical contextualization, through bibliographical references and methods of examination and analysis. The argument that underlies its removal emanates from the contextualization established in the religious question, the believing community. The internship allowed contact with the professional and business world, often so different from the academic world, enabling contact with all kinds of works and materials. Teamwork was crucial, favoring the understanding and mutual help, discovery and acquisition of new knowledge in the vast conservation and restoration.
This internship report was prepared within the scope of the Master of Conservation and Restoration of Cultural Goods at the Portuguese Catholic University. The internship took place at the Atelier Samthiago Company, in Viana do Castelo. The project based sought, at first, to follow the evolution of the sculpture workshops between the XV and XVIII centuries, emphasizing its influence on the art of carving. In this sense, this approach allowed to deepen knowledge about the properties and characteristics of the selected raw material, wood, the justifications that converge in the choice of certain types of wood for the realization of sculptures, as well as about the constructive processes since the slaughter, sawing, drying and sculpting methods. In this way, information was traced alluding to the constructive methods, facilitating and ensuring support to the future processes of intervention in sculptures of this typology. In a second moment, the case study of the sculpture of Nossa Senhora da Orada, from the Chapel of the Orada in Melgaço, was presented. In this step, the detailed recording of the procedures of conservation and restoration treatment was involved. Historically, carvers and sculptors, many of them guild members, made wooden sculptures respecting specific rules to ensure their durability. However, the placement of these works over the centuries in environments with marked variations in humidity and temperature (churches, cathedrals and monasteries), often resulted in preventive negligence and poor handling, leading to physical pathologies of the support that extend to the rest stratigraphy (preparation, gilding and polychromy). In the study of Nossa Senhora da Orada, the analysis of the pathologies of the support and the realization of radiographs revealed that the cracks as the fissures corresponded, possibly, to the places of assemblage and tops. These results can guide us to the use of materials compatible with the support. We highlight its repolychromy, a discovery only achieved through historical contextualization, through bibliographical references and methods of examination and analysis. The argument that underlies its removal emanates from the contextualization established in the religious question, the believing community. The internship allowed contact with the professional and business world, often so different from the academic world, enabling contact with all kinds of works and materials. Teamwork was crucial, favoring the understanding and mutual help, discovery and acquisition of new knowledge in the vast conservation and restoration.
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Entalhadores Arte de entalhar Madeira Métodos construtivos Nossa Senhora da Orada Carvers Art of carving Wood Construction methods
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Without CC licence