{"id":9955,"date":"2021-04-15T18:52:45","date_gmt":"2021-04-15T16:52:45","guid":{"rendered":"https:\/\/monteprama.it\/les-statues\/il-restauro\/"},"modified":"2023-04-07T07:44:58","modified_gmt":"2023-04-07T05:44:58","slug":"restauration","status":"publish","type":"page","link":"https:\/\/monteprama.it\/fr\/monte-prama\/restauration\/","title":{"rendered":"Restauration"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row full_width=\u00a0\u00bbstretch_row\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1676911012405{background-color: #e3aa00 !important;}\u00a0\u00bb][vc_column][vc_empty_space][vc_column_text]<\/p>\n<h1><span style=\"color: #f5f5f5;\"><strong>Restauration<\/strong><\/span><\/h1>\n<p>[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<h2>Les campagnes de fouille men\u00e9es d\u00e8s les ann\u00e9es 1970 sur le site arch\u00e9ologique de Mont\u2019e Prama ont mis au jour unnombre immense et ind\u00e9fini de fragments qui ne cesse d&rsquo;augmenter avec la poursuite des fouilles.<\/h2>\n<h2>Le nombre de sculptures restaur\u00e9es ne cesse \u00e9galement de cro\u00eetre. Jusqu&rsquo;\u00e0 pr\u00e9sent, le patrimoine sculptural restaur\u00e9 est impressionnant : 44 sculptures, dont des archers, des guerriers, des\u00a0pugilistes et des\u00a0maquettes de nurague, ainsi que de nombreux b\u00e9tyles.<\/h2>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<h4><strong>Les statues, d&rsquo;une hauteur variante entre 1m 85 et 2m, ont \u00e9t\u00e9 mont\u00e9es sur un support d&rsquo;environ 15 centim\u00e8tres pour offrir une base ad\u00e9quate \u00e0 ces blocs de pierre aussi lourds que fragiles.<\/strong><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_single_image image=\u00a0\u00bb9617&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][vc_column_text]<\/p>\n<div><span lang=\"FR\">Plus de <strong>quatre cents de ces fragments<\/strong> ont \u00e9t\u00e9 r\u00e9assembl\u00e9s lors de la premi\u00e8re phase de restauration au <strong>Centre Li Punti de Sassari<\/strong> o\u00f9, en novembre 2011, l&rsquo;exposition temporaire intitul\u00e9e \u00ab\u00a0<strong>La pietra e gli eroi<\/strong>\u00a0\u00bb (La pierre et les h\u00e9ros) a permis au public d&rsquo;admirer pour la premi\u00e8re fois ce complexe sculptural depuis sa d\u00e9couverte.<br \/>\n<\/span>D&rsquo;autres fragments, mis au jour lors des campagnes de fouille de 2014 et 2015, sont \u00e9tudi\u00e9s au centre cr\u00e9\u00e9 dans le mus\u00e9e municipal \u00ab\u00a0Giovanni Marongiu\u00a0\u00bb de Cabras.<\/div>\n<div>\n<div><span lang=\"FR\"><span lang=\"FR\">La restauration a notamment concern\u00e9 <strong>deux maquettes de nuragues \u00e0 quatre lobes<\/strong> (deux autres restent encore \u00e0 restaurer), une statue d&rsquo;archer et l&rsquo;une des deux statues repr\u00e9sentant un nouveau type de pugiliste, similaire au <i>Bronzetto<\/i> nuragique retrouv\u00e9 dans la tombe villanovienne de Cavalupo \u00e0 Vulci (dans la province de Viterbe), avec un grand bouclier et le gant arm\u00e9 tenus devant le corps et non \u00e0 hauteur de la t\u00eate.\u00a0<\/span><\/span>La deuxi\u00e8me statue est expos\u00e9e bien qu\u2019encore \u00e0 restaurer.<\/div>\n<\/div>\n<p>[\/vc_column_text][vc_single_image image=\u00a0\u00bb3720&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_single_image image=\u00a0\u00bb7901&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row full_width=\u00a0\u00bbstretch_row\u00a0\u00bb][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row full_width=\u00a0\u00bbstretch_row\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1676911760968{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-color: #e3aa00 !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n<h3><span style=\"color: #f5f5f5;\"><strong>Le travail de restauration<\/strong><\/span><\/h3>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<span lang=\"FR\">Jusqu&rsquo;en 2005, en raison du manque persistant de locaux, d&rsquo;\u00e9quipements, de personnel et de fonds, la Direction arch\u00e9ologique r\u00e9gionale de Cagliari n&rsquo;ayant pas jug\u00e9 opportun de commencer la restauration syst\u00e9matique des sculptures a donc n\u00e9cessairement d\u00fb se limiter \u00e0 l&rsquo;ex\u00e9cution de travaux pr\u00e9liminaires sur quelques fragments significatifs qui \u00e9taient expos\u00e9s au mus\u00e9e national d&rsquo;arch\u00e9ologie de Cagliari depuis 1977.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3158&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb2\/3&Prime;][vc_column_text]<\/p>\n<div><span lang=\"FR\">L\u2019accord de programme-cadre de 2005 entre l&rsquo;\u00c9tat italien et la R\u00e9gion \u00e0 travers le projet \u00ab SarBC3-18-Centre pour la conservation du patrimoine culturel.\u00a0<\/span><span lang=\"FR\"><span lang=\"FR\">Ateliers ouverts au public \u00bb a allou\u00e9 des fonds pour l\u2019\u00e9laboration d&rsquo;un avant-projet concernant la restauration des sculptures du Mont Prama.\u00a0<\/span><\/span>Cet accord a \u00e9t\u00e9 renforc\u00e9 en 2007 par un deuxi\u00e8me financement.<\/div>\n<div>\n<div>\n<p><span lang=\"FR\"><span lang=\"FR\">\u00c0 la suite d\u2019un appel d\u2019offres, C\u2019est le Centro di Conservazione Archeologica (CCA) de Roberto Nardi (Rome) qui a gagn\u00e9 le march\u00e9. Ce centre a donc travaill\u00e9 sur le projet d&rsquo;ex\u00e9cution d\u00e9finitive\u00a0intitul\u00e9 \u00ab Prenda \u2019e Zenia \u00bb (Joyau de la lign\u00e9e) entre novembre 2007 et novembre 2011.<\/span><\/span><\/p>\n<div><span lang=\"FR\"><span lang=\"FR\">Financ\u00e9 \u00e0 hauteur de 1 600 000 euros, la Direction arch\u00e9ologique r\u00e9gionale de Sassari, notamment Antonietta Boninu, Luisanna Usai,\u00a0<\/span><\/span>Alba Canu et Gonaria Demontis a suivi tout l\u2019<i>iter<\/i> administratif et technique.<\/div>\n<div><\/div>\n<div>\n<div><span lang=\"FR\">De novembre 2007 \u00e0 novembre 2011, dans les locaux du Centre de restauration de Li Punti, le \u00ab CCA \u00bb a travaill\u00e9 sur le mat\u00e9riel retrouv\u00e9 lors des diff\u00e9rentes campagnes de fouille du site arch\u00e9ologique men\u00e9es entre 1975 et 1979, \u00e0 savoir quelque 5 200 fragments en pierre en calcaire \u00e9parpill\u00e9s sur une \u00e9tendue d&rsquo;environ 450m2 et pesant globalement plus de 10 tonnes, le volume de chaque art\u00e9fact variant de quelques millim\u00e8tres \u00e0 quelques dizaines de centim\u00e8tres.<\/span><\/div>\n<div>\n<div><\/div>\n<div><span lang=\"FR\">La premi\u00e8re phase du projet a concern\u00e9 le classement d&rsquo;autopsie pr\u00e9liminaire des diff\u00e9rents fragments par type, avec la subdivision progressive des fragments en diff\u00e9rentes classes.<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947563401{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Le catalogage<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_column_text]<\/p>\n<div><span lang=\"FR\">Outre les phases de restauration, un pr\u00e9cieux catalogage a \u00e9t\u00e9 r\u00e9alis\u00e9 pour enregistrer toutes les donn\u00e9es recueillies lors de l&rsquo;observation et de l&rsquo;analyse des sculptures.<\/span><\/div>\n<div>\n<div><span lang=\"FR\">La collecte de ces donn\u00e9es avait \u00e9t\u00e9 r\u00e9alis\u00e9e par archivage, g\u00e9r\u00e9 par une base de donn\u00e9es o\u00f9 chaque fragment et chaque sculpture ont leur fiche reportant:<\/span><\/div>\n<div>\n<ul style=\"list-style-type: disc;\">\n<li><span lang=\"FR\">les donn\u00e9es disponibles sur les fouilles et le travail de restauration<\/span><\/li>\n<li>\n<div><span lang=\"FR\">une documentation photographique r\u00e9alis\u00e9e avant, apr\u00e8s et pendant la restauration<\/span><\/div>\n<\/li>\n<li>\n<div>une documentation graphique<\/div>\n<\/li>\n<li>\n<div>une documentation vid\u00e9o<\/div>\n<\/li>\n<li>\n<div>la documentation tridimensionnelle acquise \u00e0 l&rsquo;aide de scanners laser pour obtenir le rendu des sculptures, leur restauration virtuelle et la r\u00e9alisation \u00e9ventuelle de copies.<\/div>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3161&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3164&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947579322{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Les analyses diagnostiques<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<div><span lang=\"FR\"><span lang=\"FR\">Lors des phases pr\u00e9alables \u00e0 la restauration, ce type d\u2019analyse permet d\u2019identifier le type de pierre utilis\u00e9, ses alt\u00e9rations et ses transformations.\u00a0<\/span><\/span>Les observations au microscope optique, au microscope p\u00e9trographique et au SEM-EDS (microscope \u00e9lectronique \u00e0 balayage coupl\u00e9 \u00e0 la microanalyse) ont montr\u00e9 que la pierre des sculptures appartient \u00e0 la classe des biocalcaires s\u00e9dimentaires, riches en fossiles.<\/div>\n<div>\n<div><span lang=\"FR\">Des traces circonscrites de coloration rouge ou noire ont \u00e9t\u00e9 observ\u00e9es sur quelques statues.<\/span><\/div>\n<div>\n<div><span lang=\"FR\">L\u2019analyse directe des surfaces permet de collecter des donn\u00e9es et des informations sur les techniques de traitement d\u2019origine, l\u2019instrumentation et la m\u00e9thodologie utilis\u00e9es.\u00a0<\/span><span lang=\"FR\"><span lang=\"FR\">Enfin, l\u2019analyse de l\u2019\u00e9tat de conservation &#8211; pr\u00e9liminaire et essentielle \u00e0 tout travail de\u00a0<\/span><\/span>restauration &#8211; permet d\u2019identifier les diff\u00e9rents ph\u00e9nom\u00e8nes de d\u00e9gradation.<\/div>\n<div>\n<div><span lang=\"FR\">Ce n\u2019est qu\u2019apr\u00e8s avoir \u00e9tabli une image globale plus claire du contexte et des caract\u00e9ristiques de chaque fragment, et apr\u00e8s avoir termin\u00e9 l\u2019analyse et l\u2019acquisition des donn\u00e9es, que les travaux de restauration directe peuvent commencer.<\/span><\/div>\n<div>\n<div><span lang=\"FR\">Parall\u00e8lement aux technologies les plus modernes pour le catalogage, l\u2019\u00e9tude et l\u2019analyse des mat\u00e9riaux d\u2019origine, et pour la diffusion des r\u00e9sultats de l\u2019intervention, ce sont les techniques simples et traditionnelles de restauration qui ont \u00e9t\u00e9 utilis\u00e9es car compatibles avec les mat\u00e9riaux d\u2019origine et respectueuses des surfaces anciennes.<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_single_image image=\u00a0\u00bb3167&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_single_image image=\u00a0\u00bb3664&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947590977{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Le nettoyage<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<div><span lang=\"FR\"><span lang=\"FR\">La premi\u00e8re phase de la restauration est le nettoyage: s\u2019agissant d\u2019une op\u00e9ration irr\u00e9versible, elle est effectu\u00e9e par approches progressives,\u00a0<\/span><\/span>avec des moyens m\u00e9caniques principalement, un l\u00e9ger pulv\u00e9risateur d\u2019eau atomis\u00e9e et d\u2019air pour solubiliser les d\u00e9p\u00f4ts de salet\u00e9, des pinceaux plats et des micrograveurs \u00e0 air comprim\u00e9. Ce nettoyage vise \u00e0 r\u00e9tablir la lisibilit\u00e9 des surfaces et \u00e0 \u00e9liminer les substances nocives. Dans les zones o\u00f9 la pierre pr\u00e9sente des surfaces d\u00e9coh\u00e9sionn\u00e9es, le nettoyage est pr\u00e9c\u00e9d\u00e9 d\u2019une protection locale et d\u2019une pr\u00e9-consolidation pour \u00e9viter que la pulv\u00e9risation puisse endommager la surface d\u2019origine. Ensuite, lorsque cela est n\u00e9cessaire, une consolidation est effectu\u00e9e, par exemple sur des surfaces fragiles, d\u00e9grad\u00e9es et jointives. Cette consolidation se fait avec des mat\u00e9riaux inorganiques tels que l\u2019eau de chaux et le silicate d\u2019\u00e9thyle qui prot\u00e8gent les surfaces d\u2019origine et pr\u00e9parent les fragments au collage.<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3170&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3173&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3176&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947618401{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">La recherche des jointures<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_column_text]<\/p>\n<div><span lang=\"FR\"><span lang=\"FR\"><strong>La deuxi\u00e8me phase concerne la recherche des jointures entre les diff\u00e9rents fragments.<\/strong>\u00a0<\/span><\/span>Il s\u2019agit d\u2019une op\u00e9ration tr\u00e8s longue et complexe, effectu\u00e9e manuellement par des restaurateurs qui, gr\u00e2ce \u00e0 leur exp\u00e9rience, reconnaissent l\u2019\u00e9norme quantit\u00e9 de petites informations enregistr\u00e9es sur les surfaces d\u2019origine lesquelles, par un jeu d\u2019interrelations visuelles et tactiles, permettent d\u2019attribuer un fragment \u00e0 une sculpture ou le r\u00e9assemblage de fragments.<br \/>\n<span lang=\"FR\"><span lang=\"FR\">Il est peut-\u00eatre opportun de rappeler que, compte tenu de la forte abrasion des fractures des fragments et de la grande vari\u00e9t\u00e9 typologique des surfaces, aucune aide num\u00e9rique ne peut faciliter une telle op\u00e9ration.\u00a0<\/span><\/span>Seul l\u2019\u0153il exp\u00e9riment\u00e9 du restaurateur professionnel peut traiter les diff\u00e9rences et rep\u00e9rer les similitudes.<\/div>\n<div>\n<div><\/div>\n<div><strong><span lang=\"FR\">Dans le cas des sculptures du Mont Prama, cette op\u00e9ration de recherche des jointures a dur\u00e9 deux ans et employ\u00e9 les m\u00eames restaurateurs qui se sont progressivement familiaris\u00e9s avec les mat\u00e9riaux.<\/span><\/strong><\/div>\n<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_single_image image=\u00a0\u00bb3179&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947629929{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Assemblage, rejointoiement et ajouts<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb2\/3&Prime;][vc_single_image image=\u00a0\u00bb3182&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][vc_column_text]<\/p>\n<div><span lang=\"FR\"><span lang=\"FR\"><strong>L\u2019assemblage, le jointoiement et les ajouts sont ensuite r\u00e9alis\u00e9s.<\/strong>\u00a0<\/span><\/span>En partant du principe de respect total du mat\u00e9riau ancien, aucun trou n\u2019est perc\u00e9 dans les \u00e9l\u00e9ments d\u2019origine et aucune broche n\u2019est utilis\u00e9e pour r\u00e9assembler les sculptures. Les fragments contigus sont r\u00e9assembl\u00e9s en utilisant uniquement des r\u00e9sines synth\u00e9tiques, la colonne m\u00e9tallique ext\u00e9rieure servant de support statique aux sculptures restaur\u00e9es. Deux techniques de collage des fragments sont utilis\u00e9es simultan\u00e9ment: la premi\u00e8re &#8211; r\u00e9versible &#8211; consiste \u00e0 appliquer un l\u00e9ger film de r\u00e9sine acrylique sur les surfaces de contact\u00a0; la seconde &#8211; structurelle en vertu du fort pouvoir adh\u00e9sif du mat\u00e9riau &#8211; consiste \u00e0 appliquer une r\u00e9sine \u00e9poxy \u00e0 deux composants. Les fractures et les lignes jointives entre les diff\u00e9rents fragments r\u00e9assembl\u00e9s sont finalement coll\u00e9es avec un mortier \u00e0 base de chaux pour am\u00e9liorer l\u2019esth\u00e9tique de la surface et \u00e9viter le d\u00e9p\u00f4t de poussi\u00e8re.<\/div>\n<p>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3185&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947641600{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Les supports<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<div><span lang=\"FR\">Afin d\u2019assurer la conservation des pi\u00e8ces, tout travail de restauration est conditionn\u00e9 par les r\u00e8gles de compatibilit\u00e9 (avec les mat\u00e9riaux d\u2019origine) et de r\u00e9versibilit\u00e9.<br \/>\n<\/span><span lang=\"FR\">En pr\u00e9vision de la mus\u00e9alisation, des supports ont enfin \u00e9t\u00e9 r\u00e9alis\u00e9s car, une fois les fragments r\u00e9assembl\u00e9s, les sculptures ne pouvaient pas se maintenir sur leur socle d\u2019origine.<br \/>\n<\/span><span lang=\"FR\"><span lang=\"FR\">Ces supports ont donc \u00e9t\u00e9 con\u00e7us et construits pour maintenir les statues en position verticale sans nuire \u00e0 leur visibilit\u00e9 \u00e0 360 degr\u00e9s.\u00a0<\/span><\/span>Il s\u2019agit de structures en acier compos\u00e9es d\u2019une colonne centrale en treillis et de bras soutenant les diff\u00e9rents \u00e9l\u00e9ments sculpturaux.<br \/>\nCes supports ont \u00e9t\u00e9 fabriqu\u00e9s de mani\u00e8re \u00e0 r\u00e9pondre \u00e0 des exigences strictes en mati\u00e8re\u00a0: de maintien de l\u2019int\u00e9grit\u00e9 du mat\u00e9riau en pierre d\u2019origine (en excluant l\u2019utilisation de broches) et de stabilit\u00e9, de d\u00e9formabilit\u00e9 minimale, de visibilit\u00e9 minimale, de possibilit\u00e9 d\u2019ajouts ult\u00e9rieurs et de r\u00e9versibilit\u00e9 totale des parties.<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3194&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3191&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3197&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/4&Prime;][\/vc_column][vc_column width=\u00a0\u00bb1\/2&Prime;][\/vc_column][vc_column width=\u00a0\u00bb1\/4&Prime;][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb4px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb.vc_custom_1678947667336{padding-bottom: 5px !important;padding-left: 5px !important;background-color: #e3aa00 !important;}\u00a0\u00bb]<\/p>\n<h4><span style=\"color: #f5f5f5;\"><b><span lang=\"FR\">Le chantier de restauration de Cabras<\/span><\/b><\/span><\/h4>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<div><span lang=\"FR\">Aux mois de juin 2015 et 2016, <strong>le \u00abCCA\u00bb a entrepris<\/strong> &#8211; sous la direction de la Direction arch\u00e9ologique r\u00e9gionale de Cagliari et \u00e0 l\u2019aide d\u2019un programme p\u00e9dagogique mis sur pied par le Centre pour la conservation arch\u00e9ologique en collaboration avec plusieurs universit\u00e9s am\u00e9ricaines &#8211; <strong>la restauration des sculptures retrouv\u00e9es lors des campagnes de fouille de 2014 et 2015<\/strong> en installant le chantier au mus\u00e9e municipal \u00ab Giovanni Marongiu \u00bb de Cabras.<\/span><\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n<div><span lang=\"FR\">Le m\u00eame plan de travail que celui des ann\u00e9es pr\u00e9c\u00e9dentes a \u00e9t\u00e9 utilis\u00e9, \u00e0 savoir le nettoyage et le pr\u00e9traitement de tous les fragments sculpturaux, puis le r\u00e9assemblage et le montage de certaines sculptures sur des supports m\u00e9talliques.<br \/>\n<\/span><span lang=\"FR\"><span lang=\"FR\">Les travaux ont notamment port\u00e9 sur deux maquettes de nurague \u00e0 quatre lobes (deux autres doivent encore \u00eatre restaur\u00e9es), une statue d\u2019archer et une statue de pugiliste de nouveau type.\u00a0<\/span><\/span>Cette derni\u00e8re, en effet, repr\u00e9sente un pugiliste similaire au <i>bronzetto<\/i> nuragique retrouv\u00e9 dans la tombe villanovienne de Cavalupo \u00e0 Vulci (dans la province de Viterbe): la figure tient un grand bouclier et un gant arm\u00e9 tendu devant le corps et non \u00e0 hauteur de la t\u00eate. Une deuxi\u00e8me statue similaire \u00e0 cette derni\u00e8re n\u2019a pas encore \u00e9t\u00e9 trait\u00e9e.<\/div>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3206&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3203&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/3&Prime;][vc_single_image image=\u00a0\u00bb3200&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb onclick=\u00a0\u00bblink_image\u00a0\u00bb css_animation=\u00a0\u00bbnone\u00a0\u00bb el_class=\u00a0\u00bbdidascalia\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/2&Prime;][vc_column_text]<\/p>\n<h6><span lang=\"FR\"><strong>Pour plus d\u2019informations sur la restauration, consulter :<br \/>\n<\/strong><\/span><span lang=\"FR\">Nicosia 2005 ; Costanzi Cobau 2011 ; Minoja-Usai (a cura di) 2011, pp.\u00a0<\/span><span lang=\"FR\">49-55\u00a0; Boninu 2009\u00a0; Boninu 2012a\u00a0; Boninu 2012b\u00a0; Manunza 2013\u00a0; Boninu 2014\u00a0; Boninu-Costanzi Cobau 2014\u00a0; Macciocco-Huber-Luciano 2014\u00a0; Usai 2014d\u00a0; Usai-Leonelli 2014\u00a0; Scano 2015\u00a0; Usai 2015b.<\/span><\/h6>\n<p>[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/2&Prime;][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/5&Prime;]<div id=\"highlight-box-wrap-1151\"  data-ultimate-target='#highlight-box-wrap-1151'  data-responsive-json-new='{\"font-size\":\"desktop:24px;\",\"line-height\":\"\"}'  class=\"ultimate-call-to-action ult-adjust-bottom-margin  ctaction-text-center ult-responsive\" style=\"font-weight:normal;color:#f5f5f5;background:#e3aa00;padding-top:0px;padding-bottom:0px;padding-left:0px;padding-right:0px;margin-left:0px;\"  data-background=\"#e3aa00\"  data-background-hover=\"#a3a3a3\"  data-override=\"0\" ><div class=\"ultimate-ctaction-icon ctaction-icon-left-push\"><div class=\"ult-just-icon-wrapper  \"><div class=\"align-icon\" style=\"text-align:center;\">\n<div class=\"aio-icon-img \" style=\"font-size:60px;display:inline-block;\" >\n\t<img decoding=\"async\" class=\"img-icon\" alt=\"\" src=\"https:\/\/monteprama.it\/wp-content\/uploads\/2018\/02\/icona-link-bibliografia.png\"\/>\n<\/div><\/div><\/div><\/div><div class=\"uvc-ctaction-data uvc-ctaction-data-left-push ult-responsive\"><\/p>\n<div style=\"text-align: center;\"><span lang=\"FR\">voir la bibliographie<\/span><\/div>\n<p><\/div><a class=\"ulimate-call-to-action-link\" href=\"https:\/\/monteprama.it\/fr\/footer\/bibliographie\/\" title=\"bibliographie\" ><\/a><\/div>[\/vc_column][vc_column width=\u00a0\u00bb1\/5&Prime;][\/vc_column][vc_column width=\u00a0\u00bb1\/5&Prime;][\/vc_column][vc_column width=\u00a0\u00bb1\/5&Prime;][\/vc_column][vc_column width=\u00a0\u00bb1\/5&Prime;][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Dix mille fragments de pierre constituent ce qui a jusqu\u2019\u00e0 pr\u00e9sent \u00e9t\u00e9 d\u00e9couvert du complexe sculptural du Mont\u2019e Prama.<\/p>\n","protected":false},"author":17,"featured_media":8557,"parent":10049,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-9955","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - 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