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Ochrona cmentarzy w Polsce w świetle przepisów Kościoła rzymskokatolickiego

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Kulesza A.

Ochrona Zabytków

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2000

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nr 3

291-293

EN

The protection of cemeteries in Poland occupies a special place in state and Church law. Particular value is ascribed to the legal regulations and directives of the Roman Catholic Church. The Episcopate of Poland has issued several pertinent documents, especially important being the one from 1987 on The protection of cemeteries ( an Instruction of the Commission of the Episcopate of Poland concerning Church Art). This instruction indicates several aspects prominent for the suitable protection of cemeteries. The regulations in question do not pertain solely to Christian cemeteries, but possess a wider, universal character. Emphasis is placed on the fact that cemeteries and graves are surrounded with particular piety in all cultures in the world, and are an expression and testimony of faith in life after death as well as respect for the deceased. The Church always regarded them as holy places. Moreover, cemeteries are an inexhaustible source of knowledge about life in the past and religion, and a universally accessible chronicle of history. They reflect the culture of a given region, nation, state and historical epoch, and comprise cultural property. This is the reason why it is a moral and legal obligation of all to ensure cemeteries and particular graves care and conservation, which should encompass also historical graves. The practice of pulling down old gravestones and utilising their elements is highly unethical. The Catholic Church also advises concern for the cemeteries and historical gravestones of other religions and nationalities. Proper inventories and care for order and aesthetic qualities are recommended. Modernisation should be conducted with the retention of the sacral and historical character of the cemeteries, and be preceded by projects confirmed by appropriate commissions.

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Rozwój krosien malarskich w XIX i XX wieku i ich wpływ na stan zachowania obrazów

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Kulesza A.

Ochrona Zabytków

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1996

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nr 4

375-394

EN

Contemporary conservation o f easel paintings executed on canvas attaches increasing importance to the application o f suitable painting frames, both exposition and auxiliary, employed for conservation purposes. Attention is paid to their considerable impact upon the state o f the preservation o f the paintings. Even a brief review o f the development of the frames indicates how much has been accomplished for the elimination o f the negative effects caused by them. The nineteenth and, in particular, the twentieth century witnessed the appearance o f numerous new frame constructions. Some were devised as rather complicated equipment whose task was an automatic adaptation to changes in the paintings caused by micro-climatic conditions. The analysis o f various types o f frames shows that their construction and functioning can prevent the destruction o f the paintings, albeit not totally. This fact is connected with the imperfection o f the base i.e. the canvas, which relatively easily succumbs to micro-climatic oscillations. In the majority o f cases, the presented types o f frames, especially the most modern ones, do not accelerate the process o f aging and damage; nonetheless, they too do not prevent the natural aging o f paintings. A large group o f the new constructions can be used, apart from their exposition function, as auxiliary frames for conservation. Such purely auxiliary frames are the object o f studies. The contemporary constructions of specialist frames, either exposition or auxiliary, are to a growing extent made o f metal.

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"Opłakiwanie Chrystusa" - przykład nietypowego rozwiązania estetyczno-konserwatorskiego

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Kulesza A.

Ochrona Zabytków

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1993

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nr 4

322-327

EN

In 1990, the author of the article, together with Katarzyna Kowalska-Dzienniak, completed a two year-long conservation of the Lamentation of Christ. The work was conducted in the Department of the Conservation of Paintings and Polychromie Sculpture at the Nicholas Copernicus University in Toruń, under the supervision of dr Bogumiła Rouba. The painting, probably originally an altar composition executed at the turn of the seventeenth century, was seriously ruined. Torn, bent, with extensive gaps in the losse painting layer, and with later oil additions made directly on the disclosed canvas, it resembled, prior to the conservation, a dirty old rag. Conservation work was preceded by a thorough technological and historical-artistic examination which made it possible to establish i. a. iconographie analogies with the works of Rubens that proved to be helpful in reconstruction. The painting was then cleaned, the later additions were removed and the torn canvas was glued together. The reconstruction itself was highly uncoventional. The traditional imitation method was applied only in selected fragment, and it was accompanied by an untypical solution known as „drawing-textural” reconstruction. The prime motivations were requirements of conservation principles and a desire to show a symbolic connection perceived between the dramatically depicted scene of the Lamentation and the fate of the painting itself whose traces were its devastation. It was recognised that such a conception is not only a purely technical solution but to a considerable extent one which appeals to the sensitivity of the viewer, thus making the work „alive”. By restoring its „ability to talk to the viewer”, it reinstates its value as an exhibit even more completely.

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REPERACJE DŁUGICH I WĄSKICH UBYTKÓW PŁÓTNA W OBRAZACH

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Kulesza A.

Ochrona Zabytków

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1999

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nr 1

77-79

EN

Repairing long and narrow missing fragments of canvas is a source of numerous difficulties. For this reason, the author proposes to compose such long and narrow patches out of shorter sections. Owing to the greater resilience of the bonding of such patches it is recommended to weave the adjoining edges together. With this purpose in mind, the patches are prepared slightly longer. The obtained weave of the joints echoes the structure of the canvas patch an possesses similar resilience, much greater than that of contact gluing. This method may be applied for each bonding of canvas patches.

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Propozycja nowych krosien malarskich

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Kulesza A.

Ochrona Zabytków

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1998

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nr 2

169-177

EN

In v iew o f con se rv a tion requirements and h e r e to fo r e a ch iev em en ts, the author p rop o se s n ew con stru c tion s o f display and auxiliary p ainting screens. O ver ten basic fea tu res o f th e se w e ll-d e sign ed pain tin g sc reens m e e t c o n tem p o rary dem ands. T h e presented display screen is made entirely o f metal, its arms are o f aluminium and the remaining e lem en ts are steel. T he auxiliary screen use s metal for m ou n ting the canvas and regulating its strain, w h ile the arms are are w o o d e n . Both types apply n ew m e th od s o f m oun tin g the canvas and n ew systems o f r egulating the strain by using sc rews w h ich make it possib le to corre ct the strain o f the canvas in tw o d irections and in an unhampered and fluid manner. T h e w h o le op e ra tion b e c om e s simple and c o n v en ien t. T h e author for e se e s tw o type s o f such regulation for the auxiliary screen: based on a single„frame or tw o - frame structure. T h e latter enables the regulation o f each side separately. Str etching the canvas o n the screen is a simple, quick and effic ien t op e ra tion p e r fo rm ed by applying uniform pressure a lon g the w h o le length o f its sides, eliminating the unfavourable e ffe c ts o f the traditionally used small nails. The free space obta in ed thanks to the n ew m e th od o f placing the canvas o n the oute r sid e s o f the screen arms makes it possible to utilise it for multiple con se rv a tion undertakings, such as d ou b lin g on a vacuum table. Both type s o f the screen can be disassem bled. T h e ease o f the assembly and disassembly o f the auxiliary sc reen, to g e th e r w ith the p ossibility o f changing its size means that it can be used as a portable device. Both discussed sc reens can be o f great use for a more e ffe ctive p ro te c tion o f paintings against damage , as w e ll as eliminate unfavourable factors and facilitate the w o rk o f conse rvator s.