Durante uma intervenção de conservação e restauro, foi verificado que um biombo com características orientais em madeira policromada apresentava extensos repintes que, como se apurou através de imagens de infravermelho, pretenderam... more
Durante uma intervenção de conservação e restauro, foi verificado que um biombo com características orientais em madeira policromada apresentava extensos repintes que, como se apurou através de imagens de infravermelho, pretenderam ocultar, nas pinturas de 12 cartelas, a origem ocidental das figuras e os símbolos cristãos. Originalmente estavam representados actos da vida de São Domingos de Gusmão e os repintes visaram a dessacralização do objecto, provavelmente durante o período em que o cristianismo foi proibido na China (de 1724 até à década de 1840). Esta dessacralização corresponde a um particular tipo de iconoclastia não intencional que não pretendeu atacar o que as imagens representavam, mas preservar a comunidade a que pertencia o biombo, a qual manteve as suas crenças religiosas, e o próprio objecto. A ponderação dos diversos aspectos relevantes levou à decisão de não remoção desses repintes, não obstante a sua natureza grosseira, devido ao seu valor histórico e documental.
During a conservation-restoration intervention, it was verified that 12 cartouches of a polychrome wooden folding screen with Oriental features had extensive repainting which, as was shown by infrared images, tried to conceal the western origin of the painted figures and the Christian symbols. Originally, acts of the life of St. Dominic of Guzman were depicted and the repaints, probably made in a period of time during which Christianity was banned in China (from 1724 until the 1840s), aimed the desacralization of the object. This desacralization corresponds to a particular type of unintentional iconoclasm which did not intend to attack what the images represented, but to preserve the community, which kept its religious beliefs, and the object itself. The detailed analysis of the issues posed by these repaints led to a decision that contemplates their maintenance, despite the crude nature of these additions, due to their historical and documental value.
During a conservation-restoration intervention, it was verified that 12 cartouches of a polychrome wooden folding screen with Oriental features had extensive repainting which, as was shown by infrared images, tried to conceal the western origin of the painted figures and the Christian symbols. Originally, acts of the life of St. Dominic of Guzman were depicted and the repaints, probably made in a period of time during which Christianity was banned in China (from 1724 until the 1840s), aimed the desacralization of the object. This desacralization corresponds to a particular type of unintentional iconoclasm which did not intend to attack what the images represented, but to preserve the community, which kept its religious beliefs, and the object itself. The detailed analysis of the issues posed by these repaints led to a decision that contemplates their maintenance, despite the crude nature of these additions, due to their historical and documental value.
No âmbito da intervenção de conservação e restauro, foi feito o estudo material de um biombo, com recurso a métodos de exame e análise, que pretendeu esclarecer o seu estado de conservação, as alterações a que foi sujeito e a sua origem e... more
No âmbito da intervenção de conservação e restauro, foi feito o estudo material de um biombo, com recurso a métodos de exame e análise, que pretendeu esclarecer o seu estado de conservação, as alterações a que foi sujeito e a sua origem e data de execução. Constatou-se a existência de extensas e profundas modificações estéticas e iconográficas e o uso de técnicas e materiais que apontam para uma origem oriental, particularmente chinesa, em combinação com técnicas e materiais que não eram comuns no Oriente, mas sim no Ocidente. A mistura de azul da Prússia e auripigmento usada nas zonas de cor verde permitiu concluir que, se for oriental, é pouco provável que o biombo tenha sido pintado antes do século XIX. Abstract As part of a conservation and restoration intervention, a material study of a folding screen was made, with methods of examination and analysis that aims to clarify its condition, the changes that has undergone and its origin and date of manufacture. Extensive and profound aesthetic and iconographic modifications were found and were identified techniques and materials that point to an Eastern origin, particularly Chinese, in combination with techniques and materials that were not common in the East, but in the West. The mixture of Prussian blue and orpiment used in green areas allowed us to conclude that it is unlikely that the screen was painted before the nineteenth century.