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==Porijeklo==
==Porijeklo==
[[Vitruvius]] bilježi da su u [[Sparti]], godine 59 prije Krista, "određene slike bile isječene i otučene  sa  zidova  te  uokvirene u drvene okvire,i tako donešene pred [[Comitium]]".<ref>{{cite web |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0072%3Abook%3D2%3Achapter%3D8%3Asection%3D9 |title=Vitruvius, ''De Architectura'' II.8.9 |publisher=[[Perseus Project]] |accessdate=13 February 2012}}</ref> Stoljeće kasnije rimski car Kaligula je pokušao  odnijeti sa  sobom  slike Atalante i Helene  Trojske ,no spriječen je u toj namjeri.<ref>{{cite web |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D35%3Achapter%3D6 |title=Pliny the Elder, ''Natural History'' XXXV.6.17-18 |publisher=[[Perseus Project]] |accessdate=13 February 2012}}</ref> Amedeo Maiuri pak spominje primjere  zidnih  slika iz Pompeja,koje  su  odnešene sa  izvornih iskopina. c<ref>{{cite journal
[[Vitruvius]] bilježi da su u [[Sparti]], godine 59 prije Krista, "određene slike bile isječene i otučene  sa  zidova  te  uokvirene u drvene okvire,i tako donešene pred [[Comitium]]".<ref>{{cite web |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0072%3Abook%3D2%3Achapter%3D8%3Asection%3D9 |title=Vitruvius, ''De Architectura'' II.8.9 |publisher=[[Perseus Project]] |accessdate=13 February 2012}}</ref> Stoljeće kasnije rimski car Kaligula je pokušao  odnijeti sa  sobom  slike Atalante i Helene  Trojske ,no spriječen je u toj namjeri.<ref>{{cite web |url=http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D35%3Achapter%3D6 |title=Pliny the Elder, ''Natural History'' XXXV.6.17-18 |publisher=[[Perseus Project]] |accessdate=13 February 2012}}</ref> Amedeo Maiuri pak spominje primjere  zidnih  slika iz Pompeja,koje  su  odnešene sa  izvornih iskopina. c<ref>{{cite journal
|title=Picturae Ligneis Formis Inclusae: Note sulla Tecnica della Pittura Campana |author=[[Amedeo Maiuri|Maiuri, Amedeo]] |journal=Atti della Accademia dei Lincei |publisher=[[Accademia dei Lincei]] |year=1940 |volume=18 |issue=7-10 |pages=138–60}}</ref><ref>{{cite book |url=http://www.getty.edu/conservation/publications_resources/pdf_publications/wall_paintings.pdf |title=The Conservation of Wall Paintings |publisher=[[Getty Conservation Institute]] |editor=Cather, Sharon |author=Moorman, Eric |chapter=Destruction and restoration of Campanian mural paintings in the 18th and 19th centuries |pages=87–102 |year=1991 |ISBN=0-89236-162-X |deadurl=yes |archiveurl=https://web.archive.org/web/20120527174250/http://www.getty.edu/conservation/publications_resources/pdf_publications/wall_paintings.pdf |archivedate=2012-05-27 |df= }}</ref> U vrijeme renesanse praksu više puta  spominje  Vasari].<ref>{{cite book |title=Conservation of Wall Paintings |author1=Mora, Paolo |author2=Mora, Laura |author3=Philippot, Paul |publisher=[[Butterworth-Heinemann|Butterworths]] |year=1984 |page=260f |ISBN=0-408-10812-6}}</ref>
|title=Picturae Ligneis Formis Inclusae: Note sulla Tecnica della Pittura Campana |author=[[Amedeo Maiuri|Maiuri, Amedeo]] |journal=Atti della Accademia dei Lincei |publisher=[[Accademia dei Lincei]] |year=1940 |volume=18 |issue=7-10 |pages=138–60}}</ref><ref>{{Citiranje knjige |url=http://www.getty.edu/conservation/publications_resources/pdf_publications/wall_paintings.pdf |title=The Conservation of Wall Paintings |publisher=[[Getty Conservation Institute]] |editor=Cather, Sharon |author=Moorman, Eric |chapter=Destruction and restoration of Campanian mural paintings in the 18th and 19th centuries |pages=87–102 |year=1991 |ISBN=0-89236-162-X |deadurl=yes |archiveurl=https://web.archive.org/web/20120527174250/http://www.getty.edu/conservation/publications_resources/pdf_publications/wall_paintings.pdf |archivedate=2012-05-27 |df= }}</ref> U vrijeme renesanse praksu više puta  spominje  Vasari].<ref>{{Citiranje knjige |title=Conservation of Wall Paintings |author1=Mora, Paolo |author2=Mora, Laura |author3=Philippot, Paul |publisher=[[Butterworth-Heinemann|Butterworths]] |year=1984 |page=260f |ISBN=0-408-10812-6}}</ref>
==Motivacija==
==Motivacija==
Mora, Mora, i Philippot u svojoj studiji citiraju 4 razloga odnosno motiva pretjerane  uporabe ove tehnike:
Mora, Mora, i Philippot u svojoj studiji citiraju 4 razloga odnosno motiva pretjerane  uporabe ove tehnike:


==Kritika==
==Kritika==
Minimum intervencije i reverzibilnost su  jezgra konzervatorsko restauratorske etike koja favorizira  očuvanje in situ.<ref>{{cite book |title=The Transfer of Wallpaintings; based on Danish experience |author=Brajer, Isabelle |publisher=Archetype Publications |year=2002 |ISBN=978-1-873132-43-2}}</ref><ref>{{cite book |title=Mosaics make a Site: The conservation ''in situ'' of mosaics on archaeological sites |chapter=Philosophies favouring ''in situ'' conservation |pages=17–29 |publisher=ICCM |editor=Michaelides, Demetrios |year=2003 |ISBN=92-9077-179-8}}</ref> Prenošenje  slike dekontekstualizira  djelo,te je uzrok ireverzibilne i u pravilu nepopravljive štete.<ref>{{cite book |title=Reversibility - Does it Exist? |editor1=Oddy, Andrew |editor1-link=William Andrew Oddy |editor2=Carroll, Sara |publisher=[[British Museum Press#British Museum Press|British Museum Press]] |year=1999 |ISBN=0-86159-135-6 |chapter=Aspects of reversibility in transferred paintings |pages=63–71 (p. 65 for quote) |author=Brajer, Isabelle}}</ref>
Minimum intervencije i reverzibilnost su  jezgra konzervatorsko restauratorske etike koja favorizira  očuvanje in situ.<ref>{{Citiranje knjige |title=The Transfer of Wallpaintings; based on Danish experience |author=Brajer, Isabelle |publisher=Archetype Publications |year=2002 |ISBN=978-1-873132-43-2}}</ref><ref>{{Citiranje knjige |title=Mosaics make a Site: The conservation ''in situ'' of mosaics on archaeological sites |chapter=Philosophies favouring ''in situ'' conservation |pages=17–29 |publisher=ICCM |editor=Michaelides, Demetrios |year=2003 |ISBN=92-9077-179-8}}</ref> Prenošenje  slike dekontekstualizira  djelo,te je uzrok ireverzibilne i u pravilu nepopravljive štete.<ref>{{Citiranje knjige |title=Reversibility - Does it Exist? |editor1=Oddy, Andrew |editor1-link=William Andrew Oddy |editor2=Carroll, Sara |publisher=[[British Museum Press#British Museum Press|British Museum Press]] |year=1999 |ISBN=0-86159-135-6 |chapter=Aspects of reversibility in transferred paintings |pages=63–71 (p. 65 for quote) |author=Brajer, Isabelle}}</ref>


==Dodatna literatura==
==Dodatna literatura==

Inačica od 00:25, 18. studenoga 2021.

Freska u apsidi koja prikazuje Krista na prijestolju, oko 1220., San Clemente,Tahull, nakon prijenosa na novu podlogu,danas u Nacionalnom muzeju Katalonije,Barcelona.

Prenošenje zidnih slika na novu podlogu uključuje uklanjanje slike sa zida na kome je naslikana,te time uklanjanje slike iz izvornog prostora za koji je naslikana.Nekada je ovaj postupak bio uobičajen,sa prelaskom na koncept očuvanja in situ,danas je ovaj postupak ograničen sam na slučajeve u kojem se istim spriječava potpuni gubitak djela..[1] Prema International Council on Monuments and Sites (ICOMOS),prenošenje zidnih slika na novu podlogu je opasan,drastičan i ireverzibilan postupak koji grubo narušava materijalnu strukturu i estetske osobine zidnih slika. Stoga se postupak može primijeniti samo u ekstremnim slučajevima,kada su mogućnosti očuvanja in situ nemoguće i neizvedive[2]

Porijeklo

Vitruvius bilježi da su u Sparti, godine 59 prije Krista, "određene slike bile isječene i otučene sa zidova te uokvirene u drvene okvire,i tako donešene pred Comitium".[3] Stoljeće kasnije rimski car Kaligula je pokušao odnijeti sa sobom slike Atalante i Helene Trojske ,no spriječen je u toj namjeri.[4] Amedeo Maiuri pak spominje primjere zidnih slika iz Pompeja,koje su odnešene sa izvornih iskopina. c[5][6] U vrijeme renesanse praksu više puta spominje Vasari].[7]

Motivacija

Mora, Mora, i Philippot u svojoj studiji citiraju 4 razloga odnosno motiva pretjerane uporabe ove tehnike:

Kritika

Minimum intervencije i reverzibilnost su jezgra konzervatorsko restauratorske etike koja favorizira očuvanje in situ.[8][9] Prenošenje slike dekontekstualizira djelo,te je uzrok ireverzibilne i u pravilu nepopravljive štete.[10]

Dodatna literatura

Vanjske poveznice

Izvori

  1. ↑ Weyer, Angela, ed. (2015). EwaGlos. European Illustrated Glossary Of Conservation Terms For Wall Paintings And Architectural Surfaces. English Definitions with translations into Bulgarian, Croatian, French, German, Hungarian, Italian, Polish, Romanian, Spanish and Turkish.. Petersberg: Michael Imhof. str. 344. doi:10.5165/hawk-hhg/233. ISBN 978-3-7319-0260-7. http://projekte.hawk-hhg.de/ewaglos/pages/download.php 
  2. ↑ "Principles for the Preservation and Conservation-Restoration of Wall Paintings (Article 6: Emergency Measures)". ICOMOS. 2003. http://www.international.icomos.org/charters/wallpaintings_e.pdf Pristupljeno 13. veljače 2012. 
  3. ↑ "Vitruvius, De Architectura II.8.9". Perseus Project. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0072%3Abook%3D2%3Achapter%3D8%3Asection%3D9 Pristupljeno 13. veljače 2012. 
  4. ↑ "Pliny the Elder, Natural History XXXV.6.17-18". Perseus Project. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D35%3Achapter%3D6 Pristupljeno 13. veljače 2012. 
  5. ↑ Maiuri, Amedeo (1940). "Picturae Ligneis Formis Inclusae: Note sulla Tecnica della Pittura Campana". Atti della Accademia dei Lincei (Accademia dei Lincei) 18 (7-10): 138–60 
  6. ↑ Moorman, Eric (1991). "Destruction and restoration of Campanian mural paintings in the 18th and 19th centuries". Unutar Cather, Sharon. The Conservation of Wall Paintings. Getty Conservation Institute. str. 87–102. ISBN 0-89236-162-X. Inačica izvorne stranice arhivirana 27. svibnja 2012.. http://www.getty.edu/conservation/publications_resources/pdf_publications/wall_paintings.pdf 
  7. ↑ Mora, Paolo; Mora, Laura; Philippot, Paul (1984). Conservation of Wall Paintings. Butterworths. str. 260f. ISBN 0-408-10812-6 
  8. ↑ Brajer, Isabelle (2002). The Transfer of Wallpaintings; based on Danish experience. Archetype Publications. ISBN 978-1-873132-43-2 
  9. ↑ Michaelides, Demetrios, ed. (2003). "Philosophies favouring in situ conservation". Mosaics make a Site: The conservation in situ of mosaics on archaeological sites. ICCM. str. 17–29. ISBN 92-9077-179-8 
  10. ↑ Brajer, Isabelle (1999). "Aspects of reversibility in transferred paintings". Reversibility - Does it Exist?. British Museum Press. str. 63–71 (p. 65 for quote). ISBN 0-86159-135-6 
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