Ciencias Do Patrimonio 10062016

Maria Raquel A. Ferreira, Yacy-Ara Froner e Luiz Antnio C.
Souza
1
Maria Raquel A. Ferreira, Yacy-Ara Froner e Luiz Antnio C. Souza
2
3
Apresentao
A Histria da Conservao-Restaurao de bens culturais no Brasil tem sido
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culturais. Apesar dos avanos nos ltimos 40 anos tomando como referncia
a criao do Curso de Especializao em Conservao-Restaurao de Bens
Culturais Mveis, oferecido pela Escola de Belas Artes da Universidade Federal
de Minas Gerais (UFMG), em 1978, e a criao do Centro de Conservao e
Restaurao de Bens Culturais Mveis (Cecor), criado em 1980 para abrigar o
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como elementos fundamentais para a gesto da preservao do patrimnio
cultural.
Vilma Moreira Santos, Yacy-Ara Froner e Luiz Antnio C. Souza

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por obras civis e industriais das mais diversas naturezas, principalmente as de
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dormir com as janelas abertas. A completar esse cenrio, soma-se o risco
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oportunidades. Como a paisagem se transforma? Como, diante dessas
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particulares, e ainda levando em conta a ao fundamental e primordial do
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desenvolvimento econmico, encontra-se completamente comprometida por
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e ao progresso.
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na preservao do patrimnio cultural, o papel da Cincia e da Tecnologia

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- a utilizao de tecnologias inovadoras de preservao, conservao e
restaurao de bens culturais.
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proteo do patrimnio nos mbitos estaduais e municipais, mas certamente
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6
diagnstico de estado de conservao, compostos por relatrios de anlise de

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conservao-restaurao.
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preservao do patrimnio cultural.
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graduao da UFMG.
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prtica da preservao do Patrimnio Cultural.
7
8
Introduo
Alessandra Rosado
Willi de Barros Gonalves
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Alessandra Rosado e Willli de Barros Gonalves

transdisciplinar, em duas vertentes principais: de um lado, o estudo dos
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determina uma grande amplitude e diversidade dos campos em interface
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grau de especializao atual da Cincia da Conservao pode ser ilustrado
9
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partes: preservao e gesto: estado da arte, o campo transdisciplinar da
Cincia da Conservao e estudos de caso.
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relevantes na proposio de uma agenda contempornea para o Patrimnio,
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Direito.
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integrao dos protocolos da Conservao-Restaurao com os das Cincias
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Alessandra Rosado e Willi de Barros Gonalves
Yacy Ara Froner Gonalves discorre sobre o papel fundamental da memria

institucional na prtica transdisciplinar da Conservao Preventiva, abordando
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10
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tipologia de bem cultural.
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outros solventes, tal como o etanol.
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propostas de conservao-restaurao desse patrimnio.
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em suas obras.
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11
conceitos medotolgicos da Cincia da Conservao, pelos diversos campos
da Histria e pelo pensamento de Riegl. A interao dessas reas ressalta o
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imponentes tecidos em seda lavrada.
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conservao e restaurao de obras de arte contemporneas e oferecem
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da Avenida do Contorno, centro da cidade. Esse estudo tem como pano de
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Alessandra Rosado e Willi de Barros Gonalves
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as possibilidades de elaborao de planos de preservao do patrimnio
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12
Parte 1
Preservao e gesto:
estado da arte
A preservao do patrimnio
arqueolgico pelo Estado brasileiro:

Maria Raquel Alves Ferreira
0HVWUHHP$PELHQWH&RQVWUXtGRH3DWULP{QLR6XVWHQWiYHO
Yacy-Ara Froner
Doutora em Histria Econmica e professora associada da UFMG
Luiz Antnio Cruz Souza
&LHQWLVWDGD&RQVHUYDomR'RXWRUHP4XtPLFDprofessor associado da UFMG

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concentrao da populao brasileira na zona urbana ocasiona o adensamento
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22
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parte os bens do patrimnio natural e cultural ameaados por risco iminente
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Patrimnio da Humanidade foi o passo mais importante dado pela Unesco na
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$ &DUWD GH /DXVDQQH GH p GLUHFLRQDGD HVSHFLFDPHQWH j JHVWmR

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23
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Proteo legal do patrimnio arqueolgico brasileiro
$ SULPHLUD LQLFLDWLYD GH RUGHQDPHQWR MXUtGLFR TXH DEUDQJH R SDWULP{QLR

DUTXHROyJLFREUDVLOHLURRFRUUHXHPTXDQGRD6RFLHGDGH%UDVLOHLUDGH
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vinculadas a ideais nacionalistas. E aps vrios outros projetos apresentados
j &kPDUD VHP VXFHVVR HP IRL DSURYDGR R 'HFUHWR Q TXH
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TXH GHWHUPLQD R GHYHU GH SURWHomR GDV MD]LGDV DUTXHROyJLFDV SHOR
(VWDGR GHQWUH RXWURV EHQV IRL PDQWLGR QD (PHQGD &RQVWLWXFLRQDO
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RFRUUHULDP DOWHUDo}HV VXEVWDQFLDLV QR FRQFHLWR GH SDWULP{QLR FXOWXUDO HP
24
VXDVPRGDOLGDGHVHIRUPDVGHSUHVHUYDomR)RLWDPEpPQD&DUWD0DJQDGH
TXHRVVtWLRVDUTXHROyJLFRVIRUDPH[SUHVVDPHQWHLQFOXtGRVQDOLVWDGR
Patrimnio Cultural Brasileiro.
1R %UDVLO GR LQtFLR GR VpFXOR ;; DV Do}HV SUHVHUYDFLRQLVWDV EDVHDYDPVH
QD LGHLD GH SDWULP{QLR FRPR XP FRQMXQWR GH EHQV FXOWXUDLV SHUWHQFHQWHV j
FROHWLYLGDGHDVHUHPSURWHJLGRVFRPVtPERORVGDQDomR1HVVHFRQWH[WRD
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$VVLP D FULDomR GR 6HUYLoR GH 3DWULP{QLR +LVWyULFR H$UWtVWLFR 1DFLRQDO H

R HVWDEHOHFLPHQWR GR 'HFUHWR /HL Q DR RUJDQL]DU D SURWHomR GR
SDWULP{QLR KLVWyULFR H DUWtVWLFR EUDVLOHLUR GmR VHJXLPHQWR jV GHWHUPLQDo}HV
da lei constitucional de 1934 e institui o tombamento como forma de proteo
desse patrimnio pelo poder pblico 2 &yGLJR 3HQDO GH 'HFUHWR
lei n. VHJXQGR )XQDUL LQWURGX] D SHQD TXH LQFULPLQD D
destruio, deteriorao ou alterao dolosa dos bens tombados, incluindo os
DUTXHROyJLFRVRTXHDVVHJXUDRVSRVWXODGRVGR'HFUHWR/HLQ TXH
QRDUWGHWHUPLQDFRPRFULPHFRQWUDRSDWULP{QLRGDQRHPFRLVDGHYDORU
DUWtVWLFRDUTXHROyJLFRRXKLVWyULFR

$&RPLVVmRGH3Up+LVWyULDGD8QLYHUVLGDGHGH6mR3DXOR863FULDGDHP
FRPRREMHWLYRGHSURWHomRGRVVtWLRVDUTXHROyJLFRVJHURXGLVFXVV}HV
TXHGHFRUUHUDPQDDSURYDomRGD/HLQ GHTXHGLVS}HVREUHD
SURWHomR GRV PRQXPHQWRV DUTXHROyJLFRV H SUpKLVWyULFRV SHOR (VWDGR QmR
FDQGRHVWHVPDLVVXMHLWRVjVQRUPDVJHUDLVTXHUHJHPDSURSULHGDGHSULYDGD
&RPR DUPD 0LUDQGD D /HL Q LQVWLWXLX XP UHJLPH MXUtGLFR
SUySULRSDUDEHQVGHQDWXUH]DDUTXHROyJLFDGLVSHQVDQGRRWRPEDPHQWRUHJLGR
pelo Decreto-lei n.2VVtWLRVDUTXHROyJLFRVSDVVDPDVHUFRQVLGHUDGRV
bens da Unio, e sua destruio ou mutilao consistem em crime contra o
SDWULP{QLRQDFLRQDO(VVDOHLIRLFULDGDSDUDFRQWHUDGHSUHGDomRGRVVtWLRV
DUTXHROyJLFRVDOYRVGHLQWHUHVVHHFRQ{PLFRFRPRRVVDPEDTXLV1DpSRFD
VHJXQGR%DVWRVH6RX]DHVVHWLSRGHVtWLRHUDXWLOL]DGRQDSURGXomRGH
adubos, cal, fertilizantes, corretivos de solo e pavimentao de estradas. Para
RVDXWRUHVDSHVDUGHVXDVIDOKDVHOLPLWDo}HVDOHLHPTXHVWmRFRQVLVWHDWp
RVGLDVDWXDLVHPXPLPSRUWDQWHLQVWUXPHQWRSDUDDSUHVHUYDomRDUTXHROyJLFD
no Brasil.
25
3RUpPFRQIRUPH5RGULJXHVD/HLQ WUDWDHTXLYRFDGDPHQWH
VtWLRV DUTXHROyJLFRV H SUpKLVWyULFRV FRPR VLQ{QLPRV H LJQRUD D H[LVWrQFLD
GH EHQV DUTXHROyJLFRV KLVWyULFRV 6LOYD FRQFRUGD FRP R DXWRU QD
DUPDomR GH TXH D SURWHomR GRV EHQV DUTXHROyJLFRV GH QDWXUH]D KLVWyULFD
QmRIRLFODUDPHQWHGHQLGDSHODQRUPD2SUySULRFRQWH[WRHPTXHIRLFULDGD
DOHLQDWHQWDWLYDGHFRQWHUDGHVWUXLomRGRVVDPEDTXLVHVRELQXrQFLDGD
&RPLVVmRGH3Up+LVWyULDGD863H[SOLFDRHQIRTXHQDLQVWkQFLDSUpKLVWyULFD
A Portaria n.GHGHQHGHIRUPDPDLVGHWDOKDGDRVSURFHGLPHQWRV
SUHYLVWRVQD/HLQ.QHFHVViULRVjSHVTXLVDHH[SORUDomRHPVtWLRV
DUTXHROyJLFRV
1RVHQWLGRGHIRUWDOHFHUDLGHLDGHSDWULP{QLRFRPREHPFRPXQLWiULRD/HL
n. HVWDEHOHFH RV VtWLRV DUTXHROyJLFRV H SUpKLVWyULFRV FRPR EHQV
GHLQWHUHVVHWXUtVWLFRXVRHVWHFRPSRWHQFLDOSDUDDSUHVHUYDomR2GHVDR
GDV LQVWLWXLo}HV H DWRUHV YLQFXODGRV j SUHVHUYDomR FXOWXUDO p LQWHJUDU esses
VtWLRVjVURWLQDVGDVFRPXQLGDGHVORFDLVGHIRUPDDSURGX]LUUHQGDHLQFOXVmR
social.
1DV GpFDGDV GH H D SURWHomR DR PHLR DPELHQWH HVWUXWXURXVH
QR %UDVLO FRP D FULDomR GH yUJmRV H MXULVSUXGrQFLD HVSHFtFD D SDUWLU GD
LQXrQFLDGRVGHEDWHVLQWHUQDFLRQDLVVREUHRWHPDFRPRD&RQIHUrQFLDGH
0HLR$PELHQWHGDV1Do}HV8QLGDVUHDOL]DGDHP(VWRFROPR1HVVHFRQWH[WR
D/HLQTXHGLVS}HVREUHD$omR&LYLO3~EOLFDWHPSRUREMHWLYR
a represso e a preveno de danos ao meio ambiente, ao consumidor, ao
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WXUtVWLFRHSDLVDJtVWLFRSRGHQGRRFDVLRQDUVDQo}HVFRPRPXOWDDSUHHQVmR
GHPROLomRRXHPEDUJR7DPEpPSRGHGHWHUPLQDURWRPEDPHQWRGHXPEHP
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D WXWHOD SHQDO GRV EHQV TXH LQWHJUDP R SDWULP{QLR FXOWXUDO QmR VH OHJLWLPD
na defesa de sua propriedade, mas sim na funo social desses bens, de
FDUDFWHUtVWLFDVXSUDSDWULPRQLDORXVHMDGHVYLQFXODGDGDLGHLDGHWLWXODULGDGH
VREUHDPDWHULDOLGDGHTXHRVWHQWDRYDORUSURWHJLGR
$&RQVWLWXLomR)HGHUDOGHQRDUWLQFLVR,,,FRQIHULXDR0LQLVWpULR
3~EOLFRIHUUDPHQWDVFRPRRLQTXpULWRFLYLOXPSURFHGLPHQWRDGPLQLVWUDWLYRGH
QDWXUH]DLQYHVWLJDWyULD20LQLVWpULR3~EOLFRpDHQWLGDGHTXHPDLVDWXDGHQWUH
DTXHODVFRPOHJLWLPLGDGHSDUDSURSRUDomRFLYLOS~EOLFDDWXDQGRQRVFDVRV
26
IHGHUDLVUHJXODPHQWDGRVSHOD&RQVWLWXLomRHSHODVOHLVIHGHUDLVVHPSUHTXH
DTXHVWmRHQYROYHULQWHUHVVHS~EOLFR2XWUDFRQTXLVWDGD&RQVWLWXLomRGH
foi ampliar o conceito de patrimnio brasileiro, incluindo os bens de natureza
PDWHULDOHLPDWHULDOSRUWDGRUHVGHUHIHUrQFLDjLGHQWLGDGHjDomRjPHPyULD
dos diferentes grupos formadores da sociedade brasileira.
(VVDQRYDDEUDQJrQFLDDFDUUHWDDOWHUDo}HVQRVFRQFHLWRVMXUtGLFRVGHSURWHomR
VHJXQGR0LUDQGDDRWUD]HUSDUDDOHJLVODomRRWHUPRSDWULP{QLRFXOWXUDODR
criar novas formas de acautelamento, como inventrio, registro e vigilncia,
DOpP GH WRPEDPHQWR H GHVDSURSULDomR H DR FRQVLGHUDU Mi WRPEDGRV EHQV
UHOHYDQWHVFRPRGRFXPHQWRVHDQWLJRVTXLORPERV(PVHXDUWD&)
UHDUPD EHQV DUTXHROyJLFRV FRPR SURSULHGDGH GD 8QLmR 2XWUR DYDQoR GD
&DUWD0DJQDpDYLQFXODomRGDH[LJrQFLDGH(VWXGRVGH,PSDFWR$PELHQWDOj
OLEHUDomRGHJUDQGHVREUDVGHLQIUDHVWUXWXUDTXHSRVVDPSURYRFDULPSDFWRV
negativos ao ambiente.
$H[SORUDomRHFRQ{PLFDVHPFULWpULRVpWLFRVYHPDFDUUHWDQGRDSURJUHVVLYD
GHVWUXLomR GR SDWULP{QLR QDWXUDOFXOWXUDO (P R VtWLR DUTXHROyJLFR do
$UFRGD/DSDULFRHPSLQWXUDVUXSHVWUHVSUpKLVWyULFDVVLWXDGRQRPXQLFtSLR

GH 0DWR]LQKRV0* IRL DQLTXLODGR SRU XPD HPSUHVD TXH H[SORUDYD FDOFiULR
QDUHJLmR$HPSUHVDIRLQRWLFDGDPDVQmRLQWHUURPSHXVXDVDWLYLGDGHVDWp
TXH REWLYHVVH D TXDQWLGDGH GH PDWpULDSULPD GHVHMDGD$R VDWLVID]HU VXDV
QHFHVVLGDGHV HFRQ{PLFDV D HPSUHVD LQWHUHVVRXVH HP UHDOL]DU SHVTXLVDV
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Mi KDYLDP VH SHUGLGR $ DWXDomR GR 'HSDUWDPHQWR 1DFLRQDO GH 3URGXomR
0LQHUDO '130 QmR DEUDQJH D SURWHomR GR SDWULP{QLR DUTXHROyJLFR GH
FDUiWHU KLVWyULFR RX SUpKLVWyULFR SHOR IDWR GH VH SDXWDU pelo Cdigo de
Minerao, Decreto-lei n.TXHYLQFXODDREWHQomRGHOLFHQoDGHODYUD
SDUD XPD MD]LGD jV OHLV HVSHFtFDV GH SURWHomR D PLQHUDLV RX IyVVHLV GH
LQWHUHVVHDUTXHROyJLFR,QVWUXPHQWRVFRPRRLQYHQWiULRSRGHULDPWHUDX[LOLDGR
QDLQVWDXUDomRGHSURFHVVRVMXUtGLFRVFRPRDo}HVSHQDLV&DUORV)UHGHULFR
0DUpV FLWDGR SRU 0LUDQGD FRPHQWD VREUH D QHFHVVLGDGH GH DV OHLV
HPYLJRUQRSDtVVHPRGHUQL]DUHPHPUHODomRj&DUWD0DJQDGHVHQGR
necessrio regulamentar o inventrio, o registro e revisar a lei de tombamento
GHVHJXQGRRFRQWH[WRDWXDO
27
$LQGDVHJXQGR0LUDQGDD/HLGH&ULPHV$PELHQWDLV/HLQ FRQVLVWH
em um marco na legislao brasileira. Amplia a proteo ao patrimnio
DUTXHROyJLFRHSXQHFRPPDLVULJRURVFULPHVFRQWUDRSDWULP{QLRSURWHJLGR
tombado ou acautelado de alguma forma. Em relao aos delitos contra o
SDWULP{QLR FXOWXUDO GH IRUPD JHUDO D H[LJrQFLD GR WRPEDPHQWR WRUQRXVH
GHVQHFHVViULDHRGHQRPLQDGRPHLRDPELHQWHVDGLRSDVVRXDDEUDQJHUDOpP
GRVHOHPHQWRVQDWXUDLVDTXHOHVGHRUGHPKLVWyULFDHFXOWXUDOTXHFRQIHUHP
YDORUHV LGHQWLWiULRV jV FRPXQLGDGHV $ OHL WDPEpP DYDQoRX QR VHQWLGR GH
DGPLWLUDIRUPDFXOSRVDTXDQGRDRFRUUrQFLDGHGDQRVDRSDWULP{QLRDPELHQWDO
SURYLHU GH QHJOLJrQFLD LPSUXGrQFLD RX LPSHUtFLD GR DXWRU 3DUD %DVWRV H
6RX]DDOHLIRLLQVWLWXtGDHPIDFHGDDXVrQFLDGHSURQXQFLDPHQWRH
manifestao institucional do rgo responsvel pela salvaguarda dos bens
FXOWXUDLV DUTXHROyJLFRV $SHVDU GH D DUPDomR VHU GHPDVLDGR HQIiWLFD R
KLVWyULFR GR ,QVWLWXWR GR 3DWULP{QLR +LVWyULFR H $UWtVWLFR 1DFLRQDO ,SKDQ
HPUHODomRjVDOYDJXDUGDGRVEHQVDUTXHROyJLFRVUHYHODDQHFHVVLGDGHGH
PHOKRUHVWUXWXUDomRDGPLQLVWUDWLYDQDJHVWmRGHVVHSDWULP{QLR
A Portaria n. ,SKDQ LQVWLWXtGD HP FRPSDWLELOL]D D SUHVHUYDomR

GR SDWULP{QLR DUTXHROyJLFR FRP R OLFHQFLDPHQWR DPELHQWDO FRQVLVWLQGR HP
XPDUHYROXomRQDiUHDGHFRQVHUYDomRHSHVTXLVDGRVVtWLRVDUTXHROyJLFRV
como tambpP VHX XVR VRFLDO H HGXFDFLRQDO 3DUD )XQDUL D OHL
patrimonial consiste em um avano no processo democrtico brasileiro, ao
H[LJLUTXHWRGRVRVSURMHWRVGHVHQYROYLPHQWLVWDVSRWHQFLDOPHQWHLPSDFWDQWHV
HVWHMDP YLQFXODGRV j SHVTXLVD DUTXHROyJLFD 'HVVD IRUPD SULRUL]DPVH RV
EHQVFXOWXUDLVFROHWLYRVHPUHODomRjH[SORUDomRHFRQ{PLFDTXHEHQHFLHD
propriedade privada.
$5HVROXomRGR&RQVHOKR1DFLRQDOGR0HLR$PELHQWH&RQDPDQ 001, de

HVWDEHOHFHTXHVtWLRVHPRQXPHQWRVDUTXHROyJLFRVGHYHPVHUREMHWRGH
considerao para a emisso das OLFHQoDVSUpYLDVGHLQVWDODomRHRSHUDomR
GH HPSUHHQGLPHQWRV TXH FDXVHP LPSDFWR VLJQLFDWLYR DR PHLR DPELHQWH
3RUpP VHJXQGR 'HOIRUJH D FODVVLFDomR GH HPSUHHQGLPHQWRV FRP
EDVHQDJUDGDomRGHGDQRVDRDPELHQWHVHJXHRVFULWpULRVGHSRUWHHSRWHQFLDO
SROXLGRURTXHQHPVHPSUHpHFLHQWHQDyWLFDGRSDWULP{QLRDUTXHROyJLFR
2XWUDTXHVWmRDVHUOHYDQWDGDpTXHHQWUHDVRSHUDo}HVFLWDGDVSHODOHL no
DSDUHFHPREUDVGHLQIUDHVWUXWXUDXUEDQDFRPRDTXHODVUHIHUHQWHVj rede de
GLVWULEXLomRVXEWHUUkQHDHPFHQWURVKLVWyULFRVTXHYLVDPj retirada de postes,
28
RX LQVWDODomR GH VLVWHPDV GH WHOHIRQLD H TXH FRPR DSRQWDP %DHWD H 3LOy
SRGHP GHVWUXLU HVWUXWXUDV DUTXHROyJLFDV VRWHUUDGDV$ &RQVWLWXLomR
Federal de 1988 corrobora a Resoluo Conama n. 001, determinando ao
SRGHUS~EOLFRTXHH[LMDQRFDVRGHWRGDVDVJUDQGHVREUDVGHLQIUDHVWUXWXUD
FRP SRWHQFLDO GH LPSDFWR QHJDWLYR DR DPELHQWH RV FKDPDGRV (VWXGRV GH
,PSDFWR$PELHQWDO (VVD GHWHUPLQDomR SHUPDQHFH YDJD SDUD RV FDVRV GH
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pela iniciativa privada ou pelo Estado para a prestao de servios vinculados
D(VWXGRVGH,PSDFWR$PELHQWDO6HJXQGR)XQDULR(VWDGREUDVLOHLURp
ainda incapaz de controlar os contratos em $UTXHRORJLDHDVDo}HVGHUHVJDWH
patrimonial. Dessa forma, os interesses das empresas acabam prevalecendo
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para suprir a demanda referente jSHVTXLVDDUTXHROyJLFDVREUHWXGRDTXHODV
vinculadas a processos de licenciamento ambiental.
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a Portaria n.TXHYLQFXODDUHDOL]DomRGHHVWXGRVDUTXHROyJLFRVDHVVDV
obras.
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GLVS}H VREUH D SHVTXLVD H[SORUDomR UHPRomR H GHPROLomR GHVVH WLSR GH
29
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a Resoluo Conama n.UHYLVRXRVSURFHGLPHQWRVHFULWpULRVXWLOL]DGRV
no licenciamento ambiental, visando empregar o sistema de licenciamento,
LQVWLWXtGR SHOD 3ROtWLFD 1DFLRQDO GH 0HLR $PELHQWH FRPR LQVWUXPHQWR GH
gesto ambiental, buscando o desenvolvimento sustentvel. Essa resoluo
LQWHJURXDDWXDomRGRVyUJmRVFRPSHWHQWHVQDH[HFXomRGD3ROtWLFD1DFLRQDO
GH0HLR$PELHQWH7DPEpPHPpFULDGDQRHVWDGRGH0LQDV*HUDLVD
3URPRWRULDGH'HIHVDGR3DWULP{QLR&XOWXUDOH7XUtVWLFRGR(VWDGRGH0LQDV
*HUDLVHR*UXSR(VSHFLDOGH3URPRWRUHVGH-XVWLoDGH'HIHVDGR3DWULP{QLR
Cultural das Cidades Histricas, com o objetivo de integrar e uniformizar a
DWXDomRGR0LQLVWpULR3~EOLFRQDGHIHVDGRSDWULP{QLRFXOWXUDOH[LVWHQWHQDV
SULQFLSDLV FLGDGHV TXH FRPS}HP R &LUFXLWR GR 2XUR H DGMDFrQFLDV (VVH
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referentes ao patrimnio cultural:
30
1) Devido ao tratamento constitucional recebido pelo patrimnio

FXOWXUDO R PHVPR UHJLPH MXUtGLFR DSOLFiYHO FRQVWLWXFLRQDOPHQWH
aos bens ambientais naturais ser aplicvel aos bens culturais.
$SDUWLUGD&)TXDOTXHUGLVFXVVmRTXHHQYROYDRSDWULP{QLR
FXOWXUDOGHYHHQYROYHUDSDUWLFLSDomRSRSXODUSRUTXHRSDWULP{QLR
cultural no pPDLVUHVWULWRDRVEHQVDOXVLYRVDR(VWDGRjVHOLWHV
j KLVWyULD GRV YHQFHGRUHV PDV WDPEpP HQYROYH D KLVWyULD GRV
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'H IRUPD PDLV HVSHFtFD QRV LWHQV H R GRFXPHQWR ID] UHIHUrQFLD j
SURWHomRGRSDWULP{QLRDUTXHROyJLFRGRDUUDLDOPLQHUDGRUGR&LFORGR2XURGD
DQWLJD9LOD5LFD
$ LQDGHTXDGD SURWHomR GRV GRFXPHQWRV DUTXHROyJLFRV GR

0RUURGD4XHLPDGDHP2XUR3UHWRpXPGRVFDVRVPDLVJUDYHV
de abandono do patrimnio cultural pelos poderes pblicos nas
suas diversas esferas ao longo dos tempos.
$ HIHWLYD LPSODQWDomR GR 3DUTXH $UTXHROyJLFR GR 0RUUR

GD 4XHLPDGD WUDUi XP LPSDFWR SRVLWLYR HP 2XUR 3UHWR GDQGR
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e natural.3
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a necessidade de criao de gesto de unidades de conservao, como
WDPEpPRYLVOXPEUHGDVSRSXODo}HVORFDLVHGRHQWRUQRFRPRIDWRULPSRUWDQWH
SDUDYDORUL]DomRGHVVHVHVSDoRVSURWHJLGRV6HJXQGR/LPDQHQKXPD
SROtWLFD GH SUHVHUYDomR DUTXHROyJLFD FRQVHJXH PDQWHUVH VHP XP VXSRUWH
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GHYHQGRDFRPSDQKDUDGLQkPLFDGDVRFLHGDGHSDUDDTXDOIRUDPGHVLJQDGDV
Caso isso no ocorra, o Estado torna-se alvo da obsolescncia da legislao,
FDQGRLPSRWHQWHSDUDFRPEDWHUDVDo}HVLPSDFWDQWHVVREUHRSDWULP{QLR
$ HIHWLYLGDGH GD SUHVHUYDomR GR SDWULP{QLR DUTXHROyJLFR GHSHQGH GD
FRQMXQomRGDVEDVHVMXUtGLFDVjVHGXFDWLYDVSDUDTXHKDMDXPDLGHQWLFDomR
GRVLQGLYtGXRVFRPRYDORUVRFLDOGHVVHSDWULP{QLRFULDQGRVHXPDUHODomR
31
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SUHVHUYDU SRGH WRUQDUVH PDLV YDQWDMRVR GR TXH YLRODU DV QRUPDV LQFOXVLYH
sob o aspecto econmico.
2 Carta de Ouro Preto, 2009, itens 1 e 2.
3 Carta de Ouro Preto, 2009, itens 31 e 32.
1R DQR GH R 0LQLVWpULR 3~EOLFR )HGHUDO SRU PHLR GD 3URFXUDGRULD
GH 0LQDV *HUDLV H[SHGLX XPD VpULH GH UHFRPHQGDo}HV DRV yUJmRV
envolvidos nos processos de licenciamento ambiental. Entre elas,
destaca-se a Recomendao n. j Secretria Estadual de Meio
$PELHQWHH'HVHQYROYLPHQWR6XVWHQWiYHODR&RQVHOKR(VWDGXDOGH3ROtWLFD
$PELHQWDO&RSDP0*EHPFRPRj'LUHWRULDGH/LFHQFLDPHQWRGR,QVWLWXWR
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e n. TXHWUDWDPGROLFHQFLDPHQWRDUTXHROyJLFROHPEUDQGRVREUHD
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Tanto a legislao nacional pertinente ao licenciamento ambiental como as

UHFRPHQGDo}HVGD8QHVFRVREUHDFRQVHUYDomRGRVEHQVFXOWXUDLVGHQHP
TXHDHPLVVmRGHTXDOTXHUOLFHQoDDPELHQWDOHVWiYLQFXODGDjSUpYLDFRQVXOWD
DRyUJmRGHSUHVHUYDomRGRSDWULP{QLRFXOWXUDOQRFDVREUDVLOHLURR,SKDQ6H
QHFHVViULRDSHVTXLVDDUTXHROyJLFDMiGHYHVHUH[LJLGDFRPSDWLELOL]DQGRR
GLDJQyVWLFRFRPD/LFHQoD3UpYLDDSURVSHFomRFRPD/LFHQoDGH,QVWDODomR
HHYHQWXDOUHVJDWHFRPD/LFHQoDGH2SHUDomR
6HJXQGR'HOIRUJHDWpIRUDPUHJLVWUDGRVQR&DGDVWUR1DFLRQDO

GH6tWLRV$UTXHROyJLFRVGR,SKDQVtWLRVSUpFRORQLDLVHP0LQDV*HUDLV.
(QWUHWDQWRHVWLPDVHTXHKDMDQR(VWDGRFHUFDGHPLOVtWLRVSUpFRORQLDLV
HQWUH JUXWDV FDYHUQDV iUHDV UHPDQHVFHQWHV GH SRYRV LQGtJHQDV 'HVVD
IRUPD WRUQDVH SHUWLQHQWH D DUPDomR GD SURFXUDGRUD GD 5HS~EOLFD =DQL
Cajueiro sobre a necessidade de atuao conjunta dos rgos ambientais de
SUHVHUYDomRHRyUJmRFXOWXUDOeDLQGDLPSRUWDQWHFRQVLGHUDUTXHDFRQFHVVmR
GD/LFHQoD3UpYLDFRQVLVWHHPDWRDGPLQLVWUDWLYRFRPSOH[RFDUDFWHUL]DGRSHOD
manifestao conjunta de mais de um rgo administrativo, e a iseno de um
deles no processo de licenciamento ambiental incorre em irregularidade.
'LDQWHGRJUDQGHQ~PHURGHHPSUHHQGLPHQWRVSUHYLVWRVDSDUWLUGHSHOR
32
3ODQRGH$FHOHUDomRGR&UHVFLPHQWR3$&GR*RYHUQR)HGHUDOWDQWRRVVtWLRV

FRQKHFLGRV FRPR DTXHOHV TXH DLQGD QHP IRUDP GHVFREHUWRV SHUPDQHFHP
ameaados de desaparecimento, assim como os demais bens culturais
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necessitando-se de uma atuao mais integrada e urgente dos rgos
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Apontamentos histricos sobre o Iphan: criao e trajetria da instituio,

com foco na preservao do patrimnio arqueolgico
$RDQDOLVDUDSROtWLFDGHSUHVHUYDomRQR%UDVLO)RQVHFDDSRQWDTXHGH

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H DUWtVWLFR EUDVLOHLUR SHOD QRUPD GH QR TXH VH UHIHUH j $UTXHRORJLD
o tombamento no conseguiu garantir a preservao da grande maioria
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improcedente como instrumento de proteo para salvaguarda da grande
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n. GH
Apesar do processo de tombamentos nacionais ter-se iniciado com ncleos

urbanos, segundo Motta (1987), esses eram vistos como obras de arte
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QmR VRIUHUDP DOWHUDo}HV JHUDGDV SHODV WUDQVIRUPDo}HV VRFLRHFRQ{PLFDV
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instituio concentrou-se no tombamento de monumentos religiosos situados
33
HP0LQDVVREUHWXGRHP2XUR3UHWR&RQWXGRRVEHQVDUTXHROyJLFRVIRUDP
UHJLVWUDGRV SHOR ROKDU HWQRJUiFR GH 0iULR GH $QGUDGH TXH FULRX YDJDV
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1DFLRQDO6SKDQ
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Franco de Andrade, juntamente com Mrio de Andrade, estabeleceu parceria
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DUTXHROyJLFR H HWQRJUiFR EUDVLOHLUR$R GHOHJDU HVVD UHVSRQVDELOLGDGH DR
0XVHX 1DFLRQDO R 6SKDQ no se estruturou para o cumprimento de suas
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sob guarda e proteo do poder pblico REVHUYDQGRVH TXH RV VtWLRV GH
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regulamentada, como bem observa Silva. Segundo a autora, estudos esto
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KLVWyULFR
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ausncia de estrutura de gesto, carncia de documentao, invisibilidade
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participao da sociedade. Apesar da necessidade do estabelecimento de
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essa crescente demanda relacionada ao processo de urbanizao no Brasil,
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XPyUJmRIHGHUDOGHSUHVHUYDomRHGDtSRGHUWLUDUSURYHLWRSDUDD$UTXHRORJLD
34
brasileira.
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GR6SKDQIRUDPVXSULPLGDVSHODUHIRUPDDGPLQLVWUDWLYDGRJRYHUQR&ROORUTXH
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GH$UTXHRORJLD H VXDV DWULEXLo}HV FDUDP D FDUJR GDV 6XSHULQWHQGrQFLDV
Regionais, acarretando uma variao de regras de acordo com cada estado.
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GRUHJLPHQWRLQWHUQRGR,SKDQXPD&RRUGHQDGRULDGH3DWULP{QLR1DWXUDOH
$UTXHROyJLFRVXERUGLQDGDDR'HSDUWDPHQWRGH3URWHomR/HJDOR'HSURWTXH
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DQmRFRQVWDUQRUHJLPHQWRLQWHUQRGDLQVWLWXLomRTXHVHWRUQRXD*HUrQFLD
GH$UTXHRORJLD
(P IRL FULDGR R &HQWUR 1DFLRQDO GH $UTXHRORJLD &1$ VXSULQGR D
LQVWLWXLomR QD JHVWmR GR SDWULP{QLR DUTXHROyJLFR VREUHWXGR HP UHODomR DR
aumento da demanda na anlise de processos de licenciamento ambiental
YLQFXODGRVjDSUHFLDomRHDRDFRPSDQKDPHQWRGHSHVTXLVDVDUTXHROyJLFDV

QRSDtVSHOD3RUWDULDQ2&1$pum rgo descentralizado e gestor do
Departamento de Patrimnio Material de Fiscalizao, Depam. Encontra-se
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FRQVLVWHP HP XP GHVDR SDUD R yUJmR SRLV DEDUFDP GHVGH D HODERUDomR
GH SROtWLFDV H HVWUDWpJLDV SDUD D JHVWmR GR SDWULP{QLR DUTXHROyJLFR DWp D
PRGHUQL]DomR GRV LQVWUXPHQWRV QRUPDWLYRV H GH DFRPSDQKDPHQWR GDV
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HVFDOL]DU
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R ,SKDQ S{GH LQLFLDU XP SURFHVVR GH FRQKHFLPHQWR GD DEUDQJrQFLD GHVse
patrimnio, para depois de mais de dez anos conseguir elaborar o plano de
preservao citado. Em 1998, a Portaria n.LQVWLWXLXD)LFKDGH5HJLVWUR
GH6tWLR$UTXHROyJLFR$WpRPRPHQWRDWXDOIRUDPLGHQWLFDGRVHPWRUQRGH
17 milVtWLRVDUTXHROyJLFRVGLVWULEXtGRVSRUWRGRRSDtVVHJXQGRLQIRUPDo}HV
35
REWLGDVQDVHomRGR3DWULP{QLR$UTXHROyJLFRGDSiJLQDHOHWU{QLFDGR,SKDQ4,
HQWUHRVTXDLVIRUDPWRPEDGRVHPQtYHOQDFLRQDO
4 Pgina eletrnica do Iphan: www.iphan.gov.br. Acesso em: 15 jun. 2010.

Stio tombado pelo Iphan Ano de tombamento Local do stio
Sambaqui do Pinda 1940 So Lus/ MA
Inscries Pr-histricas do Rio 1944 Ing/ PB
Ing
Sambaqui na Barra do Rio 1955 Cananeia/ SP
Itapitangui
Lapa da Cerca Grande 1962 Matozinhos/MG
*Parque Nacional da Serra da 1993 So Raimundo Nonato/PI
Capivara
Ilha do Campeche 2001 Florianpolis/SC
Quilombo Ambrsio 2002 Ibi/MG
/LVWDGRVVtWLRVWRPEDGRVSHOR,SKDQDRORQJRGRVDQRV)RQWHGHGDGRVZZZLSKDQJRYEU
*QLFRVtWLRDUTXHROyJLFRWRPEDGRSHOR,SKDQTXHWDPEpPIRLLQVWLWXtGR3DWULP{QLR&XOWXUDOGD
Humanidade.
3HUFHEHVHTXHDTXDQWLGDGHGHVtWLRVWRPEDGRVHPQtYHOQDFLRQDOpEDVWDQWH
UHGX]LGDFRPHQIRTXHQRUHJLVWURGDFXOWXUDSDOHRDPHUtQGLD9HULFDVHTXH
VH SRXFD DWHQomR D LQVWLWXLomR WHP GDGR j$UTXHRORJLD 3UpKLVWyULFD DLQGD
menos foi realizado em relao aos registros de ocupao ps-cabralinos.
(QWUH DV UXtQDV WRPEDGDV TXDWUR FRQVLVWHP HP UHPDQHVFHQWHV GDV
HGLFDo}HVTXH]HUDPSDUWHGDVUHGXo}HVFRPSOH[RVTXHUHXQLDPLJUHMD
PRUDGLDV FROpJLR H RFLQDV VHQGR TXH RV EHQV UHVWDQWHV VmR HP VXD
JUDQGHPDLRULDUHPDQHVFHQWHVGDDUTXLWHWXUDOXVREUDVLOHLUDGRVVpFXORV;9,
;9,,H;9,,,WRPEDGRVHQWUHH
2,SKDQLQVWLWXLXHPD3RUWDULDQ TXHHVWDEHOHFHDFKDQFHODGD
Paisagem Cultural Brasileira como uma poro peculiar do territrio nacional,
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p VHPHOKDQWH j QRomR GH PHLR DPELHQWH DSUHVHQWDGD SRU 0LUDQGD
H HPSUHJDGD QDV YLDV GR 'LUHLWR SDUD QV SURWHFLRQLVWDV $ FDWHJRULD GH
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36
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&RQIRUPH %DVWRV XP JUDQGH DYDQoR QR VHQWLGR GH RIHUHFHU
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QR 6HPLQiULR ,QWHUQDFLRQDO GH 5HDELOLWDomR 8UEDQD GH 6tWLRV +LVWyULFRV
UHDOL]DGR HP %UDVtOLD HP VRE D RUJDQL]DomR GR 'HSDUWDPHQWR GH
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com o seminrio foi a formulao deGHQLo}HVHFRQFHLWRVUHIHUHQWHVDVtWLRV
DUTXHROyJLFRVKLVWyULFRV&RQVWDWRXVHTXHRVVtWLRVDUTXHROyJLFRVLQVHULGRV
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RV VtWLRV SUpKLVWyULFRV HVWmR GHQLGRV QD /HL D FRQFHLWXDomR GRV
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1, do Decreto-lei n. QRDUWLJRGD/HLn. QD3RUWDULDQ
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6tWLR DUTXHROyJLFR KLVWyULFR HP iUHDV XUEDQDV VmR HVSDoRV

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oriundos do processo de ocupao do territrio ps-contato, tais
como:

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o objetivo de defesa ou ocupao (buracos, baterias militares,
IRUWDOH]DVIRUWLQVTXLORPERV
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ruelas, praas, sistemas de esgotamento de guas e esgotos,
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GLYHUVDVHGLFDo}HVGHQWUHRXWUDVTXH]HUDPSDUWHGRSURFHVVR
GHRFXSDomRLQLFLDGRQRVQ~FOHRVXUEDQRVHHPRXWURVOXJDUHV
/XJDUHVHORFDLVRQGHSRVVDPVHULGHQWLFDGRVUHPDQHVFHQWHV
GH EDWDOKDV KLVWyULFDV H TXDLVTXHU RXWUDV GLPHQV}HV TXH
HQYROYDPFRPEDWHV
$QWLJRVFHPLWpULRVTXLQWDLVMDUGLQVSiWLRVHKHUDV
5) Estruturas remanescentes de antigas fazendas, senzalas e

37
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(VWUXWXUDV UHPDQHVFHQWHV GH SURFHVVRV LQGXVWULDLV

PDQXIDWXUHLURV
9HVWtJLRV HVWUXWXUDV H RXWURV EHQV PDWHULDLV TXH SRVVDP
contribuir na compreenso da memria nacional ps-contato.
%$6726S
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DUTXHROyJLFR IRL R )yUXP 1DFLRQDO GR 3DWULP{QLR &XOWXUDO realizado em
QD FLGDGH GH 2XUR 3UHWR RQGH IRL SURGX]LGR XP UHODWyULR UHIHUHQWH jV
GLVFXVV}HVVREUHGHVDRVHVWUDWpJLDVHH[SHULrQFLDVSDUDXPDQRYDJHVWmR
GR 6LVWHPD 1DFLRQDO GH 3DWULP{QLR &XOWXUDO FRP D LQWHQomR GH VXEVLGLDU D
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parceria com a Associao Brasileira de Cidades Histricas (ABCH) e do Frum
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DUTXHROyJLFR UHDUPD DV RULHQWDo}HV GDV &DUWDV 3DWULPRQLDLV LQWHUQDFLRQDLV
VREUHWXGR D &DUWD GH /DXVDQQH GH H DV 5HFRPHQGDo}HV Q
de 1995, na busca pelo desenvolvimento sustentvel, integrando aspectos
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6HJXQGRRLWHPHGDV&RQVLGHUDo}HV,QLFLDLV
H&RQVLGHUDQGRTXHRSDWULP{QLRDUTXHROyJLFRHPPHLRXUEDQR
FRQWpPUHIHUrQFLDVHLQIRUPDo}HVVREUHDWUDMHWyULDGDVFLGDGHV
HTXHDDUTXHRORJLDpXPLQVWUXPHQWRSULYLOHJLDGRHVLQJXODUGH
acesso a essas referncias, contribuindo sobremaneira para
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culturais, inclusive os de carter urbano.5
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de Acelerao do Crescimento (PAC) das Cidades Histricas, do Governo
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QLWDSUHVHQWHVQRVVLVWHPDVXUEDQRV
38
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uma preocupao em articular as diversas instncias governamentais e os
YiULRVVHJPHQWRVGDVRFLHGDGHFLYLOQDLPSOHPHQWDomRGHSROtWLFDVS~EOLFDV
5 Frum Nacional do Patrimnio Cultural, 2009.

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QRYDPHQWHRVVtWLRVDUTXHROyJLFRVXUEDQRV(QWUHHVVDVDo}HVGHVWDFDPVH
E &ULDomR GH XP *UXSR GH 7UDEDOKR *7 SDUD HODERUDomR

GH XP 3ODQR (VWUDWpJLFR (PHUJHQFLDO YROWDGR D DUWLFXODomR H
transversalidade entre as diversas instncias governamentais e
outros segmentos da sociedade civil, visando j implementao
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G $WXDOL]DomR GR &DGDVWUR 1DFLRQDO GH 6tWLRV $UTXHROyJLFRV

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e) Estabelecimento de parcerias para a capacitao de

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H GLIXVmR GR SDWULP{QLR DUTXHROyJLFR GHVHQYROYLGDV SHODV WUrV
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,SKDQQROLFHQFLDPHQWRDPELHQWDO
$ QHFHVVLGDGH GH HVWUXWXUDomR GR ,SKDQ HP UHODomR j iUHD GD$UTXHRORJLD

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DUTXHyORJRV QR SHUtRGR HQWUH DSyV D SURPXOJDomR GD 3RUWDULD Q
H 2V GDGRV DTXL DSUHVHQWDGRV IRUDP REWLGRV QD SHVTXLVD
UHDOL]DGDSRU=DQQHWWLQL6HJXQGRWDOHVWXGRQDpSRFDDQDOLVDGDIRUDP
FRQFHGLGDV DXWRUL]Do}HV SDUD SHVTXLVDV VHQGR D PDLRULD YLQFXODGD
D SURMHWRV GH OLFHQFLDPHQWR DPELHQWDO 1mR IRUDP FRPSXWDGRV SDUHFHUHV
H GLDJQyVWLFRV UHDOL]DGRV VHP D UHVSHFWLYD OLFHQoD$V SHVTXLVDV GH FXQKR
HPLQHQWHPHQWHDFDGrPLFRFRPS}HPPHQRVGHGRWRWDOGHVROLFLWDo}HV
$SDUWLUGHKRXYHXPFUHVFLPHQWRPpGLRDQXDOGRQ~PHURGHSRUWDULDV
GH DXWRUL]DomR GH SHVTXLVDV QRWDQGRVH XP SLFR GH FUHVFLPHQWR GH
SDUD2SHVTXLVDGRUUHODFLRQDHVVDHOHYDomRDRDQ~QFLRHLQtcio, pelo
39
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RQDOGHDLPSODQWDomRGHPDLVGHHPSUHHQGLPHQWRV
6 Frum Nacional do Patrimnio Cultural, 2009.

$ DQiOLVH GRV IDWRV H[SRVWRV UDWLFD D DUPDomR GD DUTXHyORJD 7kQLD
$QGUDGH/LPDGHTXHR,SKDQVHFRQVROLGRXFRPRXPDFDVDGHDUTXLWHWRV
/,0$SFXMDVDo}HVGHPDLRULPSDFWRHYLVLELOLGDGHIRFDUDPDV
HGLFDo}HV KLVWyULFDV QXP PRPHQWR LQLFLDO H SRVWHULRUPHQWH RV Q~FOHRV
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WDPEpPPHQFLRQDTXHDDWHQomRSRUSDUWHGR,SKDQjSUHVHUYDomRGHVtWLRV
H UHPDQHVFHQWHV DUTXHROyJLFRV SHUPDQHFH DTXpP GH VXDV QHFHVVLGDGHV
3RUpPFRPRDUPD=DQQHWWLQQLRLQVWLWXWRWHPHVWLPXODGRRGHEDWHHP
WRUQRGD$UTXHRORJLDHSUHVHUYDo do patrimQLRDUTXHROgico, promovendo
encontros, apoiando e patrocinando congressos e publicao}HV $ TXHVWmR
pTXHWDLVDo}es no estRLQVHULGDVHPXPSODQHMDPHQWRHVWUDWpJLFRPDLV
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VH FRP Do}HV FRPR R , )UXP 1DFLRQDO GR 3DWULPnio Cultural, a criao
GR &HQWUR 1DFLRQDO GH$UTXHRORJLD H R *UXSR GH 7UDEDOKR GH$UTXHRORJLD
Histrica.
O Stio Arqueolgico do Morro da Queimada: apontamentos histricos
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GR2XUR3RGUHIRLXPGRVSULPHLURVDUUDLDLVIRUPDGRVHP9LOD5LFD)RLGHVWUXtGR
HPDSyVROHYDQWHHPRSRVLomRDRVDXPHQWRVGRVLPSRVWRVHjFULDomR
GDVFDVDVGHIXQGLomRSHOD&RURD3RUWXJXHVD2DUUDLDORQGHUHVLGLDPTXDVH
todos os conspiradores, foi incendiado e recebeu a denominao de Morro da
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anos da instalao das casas de fundio em Minas Gerais e a diviso da
Capitania de So Paulo e Minas Gerais em duas unidades administrativas.
$WXDOPHQWHR0RUURGD4XHLPDGDUHVJXDUGDXPYDOLRVRVtWLRDUTXHROyJLFR
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40
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pblicas e de planejamento urbano, acarretou o processo de depredao de
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conjunto original.
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Queimada, atentando os rgos pblicos sobre os riscos de desaparecimento
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causa foi abandonada, avanando o processo de depredao.
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41
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Queimada uma das medidas necessrias para deter a deteriorao do patrimnio
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(MinC) e atualmente em fase de desenvolvimento.
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uma rea ocupada por invaso, bastante degradada, onde se encontra a maior
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As primeiras iniciativas do poder pblico na preservao do Morro da Queimada

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elaborada em 1993.
(PpDSURYDGRR3ODQR'LUHWRUGR0XQLFtSLRGH2XUR3UHWRHD6HomR,,
'DV=RQDVGH3URWHomRGR'LVWULWR6HGH. pargrafo do DUWGHWHUPLQD
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GD 4XHLPDGD ( R DUW LQFOXL R SDWULP{QLR DUTXHROyJLFR HQWUH RV EHQV
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42
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durante o ciclo do ouro.7
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gerao direta e indireta de emprego e renda. Esse movimento de criao
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do Morro da Queimada
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importante um contato com o procurador da Repblica em Minas Gerais
50
solicitaram-se apoio e parceria no sentido de impedir a continuidade das

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nova perspectiva de gesto dos stWLRVurbanos pelo instituto. Com essa nova
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cidade, sociabilizando esse patrimnio e revertendo uma situao de risco de
desaparecimento.
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cidade ou em Planos Municipais. Torna-se necessria, dessa forma, a criao
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abrangentes.
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Referncias
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YDORUL]DomR GR SDWULP{QLR VRWRSRVWR ,Q 2/,9(,5$ $QD 3DXOD GH /RXUHV
2/,9(,5$/XFLDQH0RQWHLU2UJArqueologia e Patrimnio de Minas Gerais:
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2/,9(,5$ /XFLDQH 0RQWHLUR 2UJ Arqueologia e patrimnio de Minas
Gerais2XUR3UHWR-XL]GH)RUD(G8)-)S
%$67265RVVDQR/RSHV628=$0DULVH&2UJNormas e gerenciamento

arqueolgicoHG6mR3DXOR65,SKDQ
'(/)25*($OH[DQGUH+HQULTXHO gerenciamento do patrimnio arqueolgico

de Minas Gerais, utilizando-se recursos de Sistema de Informaes Espaciais
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GeotecniaQS
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/,0$ 7 $ $ SURWHomR GR SDWULP{QLR DUTXHROyJLFR QR %UDVLO RPLVV}HV
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Horizonte, 1999.
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da preservao. Revista do IPHAN5LRGH-DQHLURQS
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55
Uma agenda de
pesquisa para o
patrimnio
Leonardo Barci Castriota

Professor titular da Universidade Federal de Minas Gerais (UFMG),
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o carter necessariamente intersubjetivo do patrimnio cultural.
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57
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e se procure desenvolver, no interior da disciplina de Conservao, uma
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1 Embora no seja nosso objetivo aqui entrar numa discusso filosfica sobre a questo do valor, cabe
anotar que quando usamos a palavra valores, no nos referimos propriamente tica ou a moral, mas
constatao de que a cada coisa, lugar ou evento podem ser atribudos diferentes valores, no sentido
de caractersticas. (Mais a esse respeito, confira MASON, 2006). Aqui cabe se citar ainda o filsofo David
Hume, que expressa de forma precisa a ideia dos mltiplos valores de cada objeto: a thousand different
sentiments, excited by the same object, are all right; because no sentiment represents what is really in the
object Beauty is no quality in things themselves: it exists merely in the mind which contemplates them;
and each mind perceives a different beauty. (David Hume, Of the Standard of Taste, apud: MASON,
2006, p. 22)
2 No interessante artigo Patrimnio, negociao e conflito, Gilberto Velho examina a problemtica
58
do patrimnio cultural, focalizando o processo de negociao da realidade e chamando ateno

exatamente para os aspectos de divergncia e conflito a partir de valores e interesses diferenciados dos
atores envolvidos. Para isso, cita alguns exemplos, como o tombamento do terreiro de candombl, Casa
Branca, em Salvador, Bahia, e o caso paradigmtico de Copacabana. Para ele, a heterogeneidade da
sociedade complexa moderno-contempornea [...] aponta para as dificuldades e as limitaes de uma
ao pblica responsvel pela defesa e pela proteo de um patrimnio cuja escolha e definio implicam
necessariamente arbtrio e, em algum nvel, exerccio do poder (VELHO, 2006, p. 246).
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um conceito central na Conservao, sendo usada no sentido de reunio dos
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TXH D GHQH FRPR R YDORU HVWpWLFR KLVWyULFR FLHQWtFR RX VRFLDO SDUD DV
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Patrimnio e valores: conservao urbana integrada
3DUD WHQWDU UHVSRQGHU DR GHVDR GH VH VXSHUDU R IHWLFKH PDWHULDO H
compreender o carter necessariamente intersubjetivo do patrimnio cultural,
R JUXSR GH SHVTXLVD TXH OLGHUR Conservao e Reabilitao Urbana e
$UTXLWHW{QLFD&13Ttem desenvolvido uma agenda de investigao desde
TXDQGR DWXDPRV FRPR SHVTXLVDGRU YLVLWDQWH JXHVW VFKRODU junto
DR *HWW\ &RQVHUYDWLRQ ,QVWLWXWH HP /RV$QJHOHV$OL SXGHPRV desenvolver
D SHVTXLVD &RQVHUYDWLRQ DUHDV WKH PDQDJHPHQW RI FKDQJH (reas de
conservao: a gesto da mudana)HPTXHLQYHVWLJDPRVRVSUHVVXSRVWRV
3 Ali tambm se l: A significncia cultural um conceito que ajuda a estimar o valor de lugares. Os
lugares que possam ser significantes so aqueles que ajudam a compreender o passado ou enriquecer o
presente, e que tero valor para as geraes futuras. (AUSTRALIA ICOMOS, 2000, p.12).
4 A respeito da metodologia de apurao da significncia cultural, confira AUSTRALIA ICOMOS, 2000,
p. 11-13. Num interessante artigo, Judgement and validation in the Burra Charter Process: introducing
feedback in assessing the cultural significance of heritage sites, Silvo Zancheti et al. discutem esse
59
processo e apresentam uma proposta para sua alterao, introduzindo um vetor temporal: para eles, a
significncia seria um conjunto de valores, o resultado de julgamentos de valores e significados passados
e presentes, que so feitos e aceitos socialmente atravs de um processo intersubjetivo de julgamento e
validao a longo prazo, que varia com o passar do tempo. Assim, mostram que a significncia cultural
sofre alteraes e recomendam que ela deve necessariamente ser reavaliada e reconstruda ao longo do
tempo. (ZANCHETI et al., 2009).
tericos e mecanismos de conservao urbana na Europa e Estados Unidos,5
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(SP), utilizando-nos para isso de uma matriz comparativa desenvolvida na
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atores institucionais e no institucionais na formulao e implementao
desses planos e projetos de conservao e reabilitao urbana, percebendo a
GLPHQVmRQHFHVVDULDPHQWHSROtWLFDGDVQHJRFLDo}HVVHPSUHSUHVHQWHVHQWUH
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sua aplicao no campo do patrimnio, com abrangente reviso terica da
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5 Naquela pesquisa procuramos articular a questo da conservao urbana tanto pratica quanto
teoricamente: por um lado, interessava-nos sistematizar e aprofundar a discusso sobre o conceito de
conservao, explorando a ideia de conservao integrada; por outro, tentamos identificar, atravs
de uma investigao comparativa, estratgias e prticas de gesto de reas de conservao ao redor do
mundo. Para tal fim, desenvolvemos uma matriz de anlise, que nos permitiu fazer uma reviso ampla
das polticas adotadas por diferentes pases. importante salientar, no entanto, que, quando se analisam
perspectivas hauridas de diferentes universos culturais, essas tm de ser colocadas em perspectiva. Assim,
produzimos naquela pesquisa uma anlise detalhada tambm dos contextos das polticas de preservao
(instituies responsveis nos nveis nacional, regional e local; sistemas de proteo; desenvolvimento
dessas polticas; pressupostos filosficos e ideolgicos; polticas de comunicao e informao; formas de

financiamento; etc.), que foram reunidas em quadros comparativos.
6 Para tentar lidar com o alto grau de impreciso que ainda permanece em nossa rea, em relao
aos prprios conceitos utilizados, impreciso que se reflete nas prprias polticas adotadas, a pesquisa
realizou uma tentativa de estabelecer conceitualmente trs modelos, que corresponderiam a trs
60
posturas diferenciadas em relao ao patrimnio, utilizando-se de trs termos estabelecidos na rea

preservao, conservao e reabilitao. Mais sobre essa anlise, confira CASTRIOTA, 2008.
7 Esse trabalho resultou num amplo painel organizado no mbito do I Frum Brasileiro do Patrimnio
Cultural (2004), em que participaram tcnicos e especialistas das diversas localidades estudadas, da qual
resultou o primeiro nmero da revista Frum Patrimnio. Ambiente Construdo e Patrimnio Sustentvel,
com a temtica Intervenes em Centros Histricos. (Disponvel em: <http://www.forumpatrimonio.
com.br/index.php?editionID=60>. Acesso em: 1 abr. 2013.)
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DEUDQJHQWHGDDWULEXLomRGHYDORUSRULQGLYtGXRVHFRPXQLGDGHVHPUHODomR
ao seu patrimnio cultural.
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DWULEXtGRSHODVLQVWLWXLo}HVHSHODVFRPXQLGDGHVORFDLVGHVGHSHVTXLVDVSRU
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urbanas municipais.8
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socioeconmicas, de infraestrutura, do uso e ocupao e da vida comunitria

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61
WDPEpPSURFXUDPRVGHVHQYROYHUXPtQGLFHGHLGHQWLGDGHtQGLFHTXDOLWDWLYR
8 Esta pesquisa redundou, entre outros, na dissertao de mestrado de Letcia Mouro Cerqueira,
intitulada Patrimnio cultural, polticas urbanas e de preservao: os casos de Diamantina e Tiradentes,
e numa srie de publicaes, cabendo destacar o artigo de mesmo nome apresentado no XII Encontro
Nacional da ANPUR, 2007, Belm. (CASTRIOTA; CERQUEIRA, 2007).
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+RUL]RQWHLPSRUWDQWHFRQMXQWRSURWRPRGHUQLVWDTXHHVWDYDVHQGRREMHWRGH
proteo por parte do rgo municipal de patrimnio,10 e o caso da preservao
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ORFDO VH FRQWUDS{V j LQWHQomR GD SUHIHLWXUD HP WUDQVIRUPDU XP WUDGLFLRQDO
mercado, referncia cultural do bairro, em sede da Guarda Municipal.11
6XSHUDQGR R IHWLFKH PDWHULDO RV PHVWUHV DUWtFHV GD FRQVWUXomR

tradicional
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'3, GR ,QVWLWXWR GR 3DWULP{QLR +LVWyULFR H $UWtVWLFR 1DFLRQDO ,SKDQ
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9 Mais a respeito desse ndice desenvolvido em conjunto com a sociloga Maria de Lourdes Dolabela
Pereira, confira CAPUTE, 2011.
10 Nesse estudo de caso, fez-se no apenas um levantamento detalhado do edifcio a ser tombado, mas
tambm uma pesquisa por amostragem (survey) junto populao residente naquele conjunto, para
levantar tanto as condies socioeconmicas, de infraestrutura, do uso e ocupao e da vida comunitria

da rea, quanto a percepo dos moradores a respeito de suas condies de vida e dos valores atribudos
ao patrimnio. Aqui foram mapeados os diversos agentes e sua ao em relao preservao, tomando
como fio condutor um mecanismo tradicional na rea, o tombamento. Mais a esse respeito, confira
CASTRIOTA; ARAJO, 2007.
62
11 Nesse estudo de caso, foram mapeados os diversos agentes e sua ao em relao preservao desta
referncia cultural, tomando como fio condutor a questo da regulamentao da rea de Diretrizes
Especiais de Santa Tereza, instrumento urbanstico de preservao existente na cidade. Alm disso,
foi feito um estudo prospectivo, junto Associao de Moradores do bairro, no sentido de desenhar os
possveis cenrios de reabilitao daquele espao tradicional, tendo sido realizados tambm grupos
focais, para apurao e elucidao de aspectos qualitativos envolvidos no processo de atribuio de valor
ao Mercado de Santa Tereza. Mais a esse respeito, confira CASTRIOTA; ARAJO, 2007.
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nos estados de Minas Gerais e Santa Catarina, este ltimo em colaborao
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,SKDQQRkPELWRGRSDWULP{QLRLPDWHULDO13
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cultural, foi a noo GHUHIHUrQFLDFXOWXUDOWDPEpPXWLOL]DGDH[WHQVDPHQWH
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VXMHLWRVDEHQVHSUiWLFDVVRFLDLV$VVLPPHVPRTXHDVLQIRUPDo}HVFROHWDGDV
12 Poderamos citar vrios exemplos deste tipo de ao no continente asitico: o Seminrio International
para a Salvaguarda e Promoo das Tcnicas Tradicionais em Bambu na Vida Moderna, promovido no
63
Vietn em 1997, a 7a Regional Workshop of East Asian Lacquerware (Myanmar, 1996) e o Banco de Dados
sobre Artes Cnicas Tradicionais e Populares na sia e no Pacfico), todos financiados pelo Japanese Trust
Fund for the Preservation and Promotion of Intangible Cultural Heritage institudo junto Unesco.
13 Apesar disso, prope-se para efeito de registro do contexto das tcnicas inventariadas, que se preencha,
quando for o caso, a Ficha de Identificao do Stio (F10) e da Localidade (F11) do INRC, bem como se
utilizem as fichas de identificao relativas a Ofcios e Modos de Fazer (F60 do INRC), no se perdendo
de vista a dimenso espacial deste saber-fazer.
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GH VHX SDWULP{QLR FXOWXUDO 6HJXLQGR HVVD OyJLFD DV WpFQLFDV FRQVWUXWLYDV
tradicionais registradas so sempre referenciadas antropologicamente a
VHXFRQWH[WRFXOWXUDOPDLVDPSOR14
Valores e atributos patrimoniais
(P WRGRV HVVHV HVWXGRV GH FDVR TXLVHPRV LQYHVWLJDU R SDSHO GRV YDORUHV
QDV HVFROKDV SDWULPRQLDLV H SURVSHFWLYDPHQWH FRPR VH SRGHULDP DMXVWDU
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SDWULP{QLR 3DUD LVVR XWLOL]DPRQRV GH GLYHUVRV PpWRGRV DGYLQGRV HP
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VRFLRFXOWXUDLV D FRPSOH[LGDGH GDV UHODo}HV VRFLDV H D GLQkPLFD FXOWXUDO
HP MRJR HP FDGD FRQWH[WR15$R VH WRPDU HVVH FDPLQKR FRXQRV SDWHQWH
D LQVXFLrQFLD GRV PpWRGRV WUDGLFLRQDLV GH QRVVD iUHD FXMRV GLDJQyVWLFRV
normalmente se concentram ainda no prprio objeto a ser conservado,
DQDOLVDQGRVHSULPRUGLDOPHQWHVXDVFDUDFWHUtVWLFDVHDWULEXWRVLQWUtQVHFRVH
normalmente se utilizando de um aparato conceitual advindo da Histria da
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&RQWUDULDPHQWH D LVVR VDEHPRV KRMH TXH D FRPSOH[LGDGH GH VH LQWHUYLU QR
14 No caso de Minas Gerais, considerando a extenso do estado, o projeto Mestres Artfices: Documentao
dos saberes e ofcios tradicionais aplicados construo e arquitetura no Brasil concentrou-se, nos anos
de 2009 e 2010, no mapeamento dos mestres artfices das regies Central, do Campo das Vertentes e do
Vale do Jequitinhonha, que foram tratadas como regies culturais. Aps a realizao desse mapeamento, a
equipe logrou a aprovao da continuidade do trabalho junto Fapemig/CNPq, atravs do Programa de
Apoio a Ncleos Emergentes de Pesquisa (Pronem), tomando desta vez como objeto os saberes tradicionais
de mestres artfices da construo e da arquitetura no Vale do So Francisco, que teve um importante
64
papel na formao histrica do estado e que apresenta hoje um importante acervo relativo ao saber fazer
tradicional da construo, a ser registrado e analisado.
15 A respeito da utilizao de mtodos antropolgicos no patrimnio, confira o interessante artigo de
Setha Low (2002), no qual a autora passa em revista os mtodos qualitativos para abordar os valores
socioculturais em stios patrimoniais, apresentando tambm o conjunto de mtodos conhecido como
REAP (Rapid Ethnographic Assessment Procedures), utilizado pelo National Park Service americano.
SDWULP{QLR QRV H[LJH XP FRQKHFLPHQWR DFDEDGR GDV P~OWLSODV GLPHQV}HV
GD UHDOLGDGH &28/20%,e /$'51 '( *8(9$5$ S JULIRV
nossos).
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TXHFRQVLJDPHYLGHQFLDUDVGLIHUHQWHVYDORUDo}HVTXHUHFHEHRSDWULP{QLR
H RV SURFHVVRV TXH OHYDP D HODV QXPD WHQWDWLYD GH YLVDU j FRQVHUYDomR
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QyVQRVDSUR[LPDPRVGRTXHWHPRVFKDPDGRGHYLDFUtWLFDFDPLQKRTXH
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FUHVFHQWHPHQWH UHH[LYD DFHUFD GR SUySULR FDPSR QmR VH WUDWD PDLV GH
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PDV UHYHUVDPHQWH SHUFHEHU FRPR HVVHV YDORUHV VmR VHPSUH FRQVWUXo}HV
sociais. e LQWHUHVVDQWH SHUFHEHUPRV DLQGD TXH HVVD YLD FUtWLFD TXH YDL
FRORFDURSUySULRSDWULP{QLR QRFHQWURGHVXDVLQYHVWLJDo}HVFRQVROLGDVH
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9LxDVGHQRPLQDGHWHRULDFRQWHPSRUkQHDGDFRQVHUYDomR17
16 A esse respeito, confira CASTRIOTA, 2011b.

17 Muoz Vias tem procurado, em vrios trabalhos recentes, tecer e aproximar muitas ideias e
intuies dispersas de nossos dias, no intuito de articular uma teoria coerente, revelando os padres
que possam estar escondidos na ampla variedade e pluralidade de manifestaes do campo da
Conservao em nossos dias. A seu ver, a principal diferena desta teoria daquela tradicional estaria
no abandono da nfase objetivista, que domina o campo da Conservao por dois sculos, e que estaria
dando lugar, lentamente, a uma viso que, ao colocar a nfase no sujeito (ou nos sujeitos), percebe a
Conservao como uma atividade socialmente construda e o papel dos diversos sujeitos (stakeholders)
nela envolvidos como central. Assim que na edio em ingls de seu trabalho apresentam-se em detalhe
os argumentos sobre a mudana no ponto de vista da Conservao, que passaria de uma nfase quase
exclusiva nos objetos para uma ateno para com os sujeitos envolvidos na complexa operao de
conservao. Por outro lado, importante anotar que se sua teoria comea a entender a Conservao
como uma relao permanente entre objetos e sujeitos, ela no aceita, no entanto, um subjetivismo
radical (com seu consequente relativismo), mas aponta para a importncia da intersubjetividade no
processo de conservao. Baseando-se principalmente em David Lwenthal, o autor mostra como os
objetos se transformariam em objetos patrimoniais no por uma escolha subjetiva pessoal, mas devido
sua relevncia para um considervel nmero de pessoas dentro de uma comunidade, ou para vrias
65
comunidades; sua importncia surgiria, assim, sempre dos significados atribudos aos objetos pelos
sujeitos dos diversos grupos sociais, no sendo, portanto, inerente ao bem cultural ou muito menos ao
material de que so feitos esses objetos. Essa postura no se basearia, portanto, na subjetividade pura e
simples, mas na intersubjetividade, quer dizer, na constatao de que as decises na rea da Conservao
vo se basear em decises sociais, no individuais, em acordos entre-os-sujeitos (MUOZ VIAS, 2003,
p. 148).
Referncias
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$8675$/,$,&2026The Burra Charter: WKH$XVWUDOLD,&2026&KDUWHUIRU

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Heritage Conservation: ResHDUFK 5HSRUW /RV $QJHOHV *HWW\ &RQVHUYDWLRQ
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preservao em Belo Horizonte: o destino do Mercado de Santa Tereza. FORUM
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Salvador3 e, em Minas Gerais, de Tiradentes.4
1 O acidente de Chernobyl, por exemplo, afeta as atuais geraes, mesmo em localidades a milhares de
quilmetros de distncia da Usina Nuclear. Ainda, monumentos, como Coliseu e Taj Mahal vm sofrendo Zani Cajueiro Tobias de Souza
degradao em virtude da chuva cida, que, tal qual a energia nuclear, pode causar danos a distncias
muitos significativas da fonte. Para melhor compreenso, sugere-se acessar os endereos eletrnicos
<http://www.guardian.co.uk/ commentisfree/2011/apr/01/fukushima-chernobyl-risks-radiation> e
<http://www.eduquim.ufpr.br/mat did/quimsoc/pdf/roteiro_aluno/experi mento10.pdf>. Acesso em:
14.01.2013.
2 Disponvel em: <http://anppas.org.br/encontro_anual/encontro1/gt/teoria_meio_ambiente/Selene
% 20Herculano.pdf>. Acesso em: 02. 07.2012.
71
3 Para aprofundamento da matria ler Intervenes Urbanas em Salvador: turismo e gentrificao
no processo de renovao urbana do Pelourinho, de Eduardo Nobre, disponvel em <http://www.usp.br/
fau/docentes/depprojeto/e_nobre/intervencoes_urbanas_Salvador.pdf>. Acesso em 08.01.2013.
4 Sugere-se ler A inflexo do conceito gentrificao em conjuntos urbanos patrimoniais em cidades de
pequeno porte: os casos mineiros de So Thom das Letras e Tiradentes, de Gustavo Pimenta de Pdua
Zolini, disponvel em <http://www.bibliotecadigital.ufmg.br/dspace/handle/1843/RAAO-7BQPVN>.
Acesso em 08.01.2013.
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5 Disponvel em: <http://pactoglobalcreapr.files.wordpress.com/2010/10/declaracao-do-rio-sobre-

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7 Grifos nossos.
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63>. Acesso em: 24 mar. 2014.
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o bem protegido?
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de riscos na seara da preservao do patrimnio cultural: na observncia dos
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cincia e a tecnologia no possuem resposta para todas as perguntas, ainda
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H necessidade, portanto, de inserir, na proteo interdisciplinar do patrimnio

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76
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9 In: Collection Risk Management The Next Frontier Brokerhof, Agnes W. Disponvel em: <http://www.
academia.edu/7957604/Collection_Risk_Management_-_The_Next_Frontier_>. Acesso em: 13/10/2014.
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norte, assim como a dependncia de monoplios de assistncia
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10 Consulte Patrimnio cultural: conceitos, polticas, instrumentos, de Castriota (2009).
11 Disponvel em: <http://www.icom.org.br/INFORME%20para %20pr>. Acesso em: 04/07/2012
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efeito, a conservao como cincia durante muitos anos se debruou sobre
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12 Waller traduz sua intensa preocupao com a preservao do patrimnio cultural, identificando
a necessidade do gerenciamento de riscos, atravs de acompanhamento detalhado e quantificado do
79
comportamento de materiais e condies dos envoltrios dos objetos. No parece, contudo, considerar
o aporte que poderia ser trazido conservao atravs das cincias humanas e sociais, mantendo a
cincia da conservao estanque em relao s demais. H dois interessantes artigos de sua lavra,
indicados para aprofundamento do tema: Gerenciamento de Riscos aplicado Conservao Preventiva,
disponvel em <http://www.museum-sos.org/docs/WallerSPNHC1995pdf. (Acesso em 10.01.2013), e
Efetiva preservao: da reao ao prognstico, disponvel em <http://www.getty.edu/ conservation/
publications_resources/newsletters/pdf/v19n1.pdf>.
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acervo do museu ou a restrio drstica do acesso a tal igreja, merc de
vrios fatores.13 (VWD FRQWXGR QmR IRL XPD RSomR OHYDGD D FDER HLV TXH
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80

13 Para aprofundamento, leia Collection Risk Management the Next Frontier, de Agnes W. Brokerhof,
disponvel em <http://www.rijksdienstvoorhetcultureelerfgoed.nl/sites/default/files/documenten/
downloads/2006_CMA_Next%20frontier.pdf>, <http://www.rijksdienstvoorhetcultureelerfgoed.nl/sites/
default/files/docu menten/downloads/2006_CMA_Net%20frontier.pdf >. Acesso em 24.03.2014
%URNHUKRISRQWXDDLQGDen passantDTXHVWmRGDHVFDVVH]GHUHFXUVRVR
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Contexto de gesto
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pela populao. Preocupou-se, durante muitos anos, apenas com os
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sua integralidade, e no somente no objeto do patrimnio cultural de forma
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necessrio, na preservao, mas sim um opositor.14
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pblico, a iniciativa privada e o cidado. responsabilidade de todos e de
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ao poder pblico, portanto, como gestor dos bens de interesse pblico,
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aplicando com razoabilidade recursos pblicos e privados, complementando a
atuao do particular, alm de conferir publicidade a sua atuao e concretizar
14 Interessantssima a tese da antroploga Tnia Fedotovas Lopes sobre a cidade de Ouro Preto, na
qual se mostram claras as diferentes percepes da cidade entre o cidado ouro-pretano e o turista. O
tombamento funciona, para quem vive no centro histrico, como um engessamento que praticamente lhe
81
inutiliza a propriedade. Noutra ponta, aquele que vive na periferia difere a cidade patrimnio da cidade
comum: aquela tem supostos privilgios em relao a esta. Os papis das autoridades do Executivo
e sua descentralizao em mbito federal, o IPHAN tambm no bem entendido, misturando-se a
responsabilidade de iniciativas relacionadas conservao do patrimnio cultural com aquelas de
servios bsicos populao local. Para maior aprofundamento, sugere-se: Ouro Preto: o Drama Social
do Direito ao Patrimnio, disponvel em: <http://cutter.unicamp.br/ document/?code=vtls000316340>.
Acesso em 24.03.2014.
a educao patrimonial (VVDV GXDV ~OWLPDV Do}HV SDUHFHP VHU H[FHOHQWHV
instrumentos para transposio do abismo indicado. Contudo, esse mesmo
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poder-dever de prover outros direitos fundamentais, utilizando os limitados
recursos oramentrios segundo a razoabilidade e buscando a efetividade
dos direitos sociais.
&RQVHTXrQFLD OyJLFD GD OLPLWDomR GH UHFXUVRV p D QHFHVVLGDGH GH

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demanda gerenciamento de riscos, na acepo multidisciplinar da palavra.
Concluso
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implicam uma estimativa de danos, fomentados pelo crescimento econmico,
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em uma ainda embrionria multidisciplinaridade na avaliao de impactos.
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estatal material e inmeros direitos sociais fundamentais, tal como o direito
ao patrimnio cultural, a serem providos. A atividade estatal opera, assim,
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de prioridades para a aplicao do oramento, dentro de razoabilidade e
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Referncias
%$5%2=$.OHXPDQHU\GH0HORGesto de riscos para acervos museolgicos.

'LVVHUWDomR0HVWUDGRHP$UWHV9LVXDLV3URJUDPDGH3yVJUDGXDomRHP
Artes, Escola de Belas Artes, Universidade Federal de Minas Gerais, Belo
+RUL]RQWH'LVSRQtYHOHPKWWSZZZELEOLRWHFDGLJLWDOXIPJEUGVSDFH
KDQGOH-666+1&GLVVHUWDFDRBNOHXPDQHU\SGI"VHTXHQFH !
$FHVVRHPDJR
%(&+$5$ (ULND Licenciamento e compensao ambiental. So Paulo:

$WODV
%(&. 8OULFK Sociedade de risco: rumo a uma outra modernidade. Trad.

6HEDVWLmR1DVFLPHQWRHG6mR3DXOR(GLWRUD
%52.(5+2) $JQHV : Collection Risk Management the Next Frontier,

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VLWHVGHIDXOWOHVGRFX PHQWHQGRZQORDGVB&0$B1HWIURQWLHUSGI!
$FHVVRHPPDU
&$675,27$ /HRQDUGR %DUFL Patrimnio cultural: conceitos polticos,

instrumentos6mR3DXOR$QQDEOXPH%HOR+RUL]RQWH,('6
&+2$<)UDQoRLVHA alegoria do patrimnio. So Paulo: Editora da Unesp,

)5(,7$6-XDUH]Sustentabilidade: direito ao futuro. Belo Horizonte: Frum,

*8(55$ 6LGQH\ *8(55$ 6pUJLR Curso de Direito Ambiental. Belo

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83
+(5&8/$12 6HOHQH 5LVFRV H GHVLJXDOGDGH VRFLDO D WHPiWLFD GD -XVWLoD
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84
Parte 2
O campo transdisciplinar da
Cincia da Conservao
Conservao-restaurao:
exerccio da interdisciplinaridade
Alessandra Rosado
Doutora em Artes e professora do Curso de Conservao-Restaurao em
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madeira.
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como ser visto a seguir.
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manuteno da autenticidade desses objetos.
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processos de restaurao de obras de arte de carter pblico, principalmente
em funo do crescente interesse pela utilizao de procedimentos corretos
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desastrosas.
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dois cargos reguladores dos processos de restaurao de obras de arte
pertencentes ao Estado: o de inspetor da pintura pblica (responsvel pela
autorizao da restaurao das pinturas mediante o levantamento do estado
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diretor de restaurao das pinturas pblicas. Esses esforos para assegurar
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considerava, portanto, a possibilidade da reversibilidade dos tratamentos.
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- redao de relatrio sobre o estado de conservao das obras e das

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conservao da pintura.
Alessandra Rosado
1 Tcnica de interveno em pinturas sobre tela, empregada a partir do sculo XVIII, que consiste na
adeso de uma tela nova (adequadamente preparada) tela original, com o objetivo de restituir sua
90
estabilidade estrutural (MANUEL, 2002).

2 Transposio tcnica (praticada na atualidade somente em casos excepcionais): consiste na transferncia
da camada de pintura que est sobre uma tela ou madeira danificada para outro tecido, eliminando o
suporte original; ou, ento, o arranque de um afresco ou pintura mural para ser transposto para outro
suporte rgido. Essa tcnica foi inventada em Npoles no sculo XVIII (BERGEON, 1996).
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de museus na Europa, eram produzidos os primeiros manuais de restaurao
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empirismo, das frmulas secretas e da restaurao romntica em consonncia
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saliva, sabo, entre outros continuavam sendo recomendados nos manuais
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processos de limpeza e de remoo de verniz, foi a valorizao, por toda a
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sobre a ao dos restauradores, contrabalanadas por duas correntes de
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(YROXWLRQRIWKH,QWHUGLVFLSOLQDU\6WXG\RI$UWThe Getty Conservation Institute
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&$5/</( /HVOLH The artists anticipation of change as discussed in British

nineteenth century instruction books on oil painting /RQGRQ 7KH 8QLWHG
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CONTI, Alessandro. Storia del restauro e della conservazione delle opere

darte. Milano: Electa, 1988.
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3(586,1,*Il Restauro dei Dipinti e delle Sculture Lignee: storia, teorie e

WHFQLFKH. Udine: Del Bianco Editore, 1994.
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produz durante sua vida.
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uma inteligncia material do passado. Essa inteligncia material pode ser
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diretamente de uma clivagem entre o fixado e a mobilidade, engajada, sobretudo, pelas
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e demais documentos no so sistematizados e organizados
periodicamente.
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Protocolos de Conservao Preventiva para gesto de acervos de

memria institucional
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s podem ser implantados a partir de um gerenciamento documental. Portanto,
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mesmo bojo de discusso.
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Referncias
%(1-$0,1:DOWHU2QDUUDGRU,Q%(1-$0,1:DOWHUMagia e tcnica, arte e

poltica: HQVDLRVVREUHOLWHUDWXUDHKLVWyULDGDFXOWXUD6mR3DXOR%UDVLOLHQVH
1987.
%285',(83LHUUHRazes prticas:VREUHDWHRULDGDDomR5LRGH-DQHLUR
3DSLUXV
&$66$5 3(1'(5 7KH LPSDFW RI FOLPDWH FKDQJH RQ FXOWXUDO KHULWDJH
HYLGHQFHDQGUHVSRQVH,Q67$1,)257+6DUDK(GHistorical Perspectives
on Preventive Conservation./RV$QJHOHV*&,S
&25(0$163DXO2UJDQL]DFLyQGHXQVHUYLFLRQDFLRQDOGHSUHVHUYDFLyQGH
los bienes culturales. Boletim da Unesco,3DULV
'(6&$036&KULVWLDQLa pense singulire:GH6DUWUHj'HOHX]H4XDUDQWH

DQVGHSKLORVRSKLHHQ)UDQFH3DULV%RUGDV3KLORVRSKLHSUHVHQWH
)521(5<DF\$UD&LrQFLDGDFRQVHUYDomRDFRQVWLWXLomRGHXPDGLVFLSOLQD
,Q &21*5(662 1$&,21$/ '( $548,92/2*,$ 2V 'HVDRV GR
$UTXLYLVWDQD6RFLHGDGHGR&RQKHFLPHQWR3RUWR$OHJUHMXOKRAnais
3RUWR$OHJUH &1$ 'LVSRQtYHO HP KWWSZZZULFDUGRVRGUHDQGUDGH
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0$7(52)UDQN(WKLFVDQG3ROLF\LQ&RQVHUYDWLRQThe GCI Newsletter, v. 15,
Q6SULQJ'LVSRQtYHOHPZZZJHWW\HGXFRQVHUYDWLRQSXEOLFDWLRQVB
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3$1,66(7$QDO inventrio como ferramenta de Diagnstico e Conservao

Preventiva. Dissertao (Mestrado) Programa de Ps-graduao em Arte,
Escola de Belas Artes, Universidade Federal de Minas Gerais, Belo Horizonte,

328/27 'RPLQLTLXH /H WHPSV GHV PXVpHV HW OH WHPSV GX SDWULPRLQH ,Q
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FLHQWtFD3RUWR$OHJUH(',38&56
7+( %2/2*1$ '(&/$5$7,21 2) -81( Joint declaration of

the European Ministers of Education. 'LVSRQtYHO HP KWWSZZZFFLVSSW
GRFXPHQWRVERORQKDRXWURVERORJQDBGHFODUDWLRQSGI! $FHVVR HP MXO

7+203621-0$The manual of curatorship: a guide to museum practice.

2[IRUG%XWWHUZRUWK+HLQHPDQQ
7+20621*The Museum Environment./RQGRQ%XWWHUZRUWKV
7,//(<&Material culture and text. /RQGUHV5RXWOHGJH
7255$&$*LRUJLR7KH6FLHQWLVWLQ&RQVHUYDWLRQThe GCI Newsletter, v. 14,

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123
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Doutora em Artes Visuais e professora do Curso de Conservao-
Restaurao em Bens Culturais da EBA/UFMG
Resumo: As questes mais complexas referentes preservao da arte

contempornea esto na compreenso dos signicados subjacentes dos
materiais e das novas formas construtivas para que seja possvel adotar
medidas de interveno condizentes com as propostas conceituais de cada
modalidade.
Palavras-chave: arte contempornea, metodologia, critrios, procedimentos,

125
Magali Melleu Sehn
Introduo
A conservao da arte moderna contempornea tem colocado o restaurador

em confronto com novos problemas, em decorrncia da utilizao de novos
materiais introduzidos na arte, a partir da Revoluo Industrial. Tais materiais
passaram a assumir novos signicados, ou seja, no so mais apenas meios
para produzirem efeitos que o artista deseja representar.
Considerando que os estilos da pintura sempre foram acompanhados pelo

desenvolvimento de novos materiais e tcnicas e que a era do Renascimento
foi um perodo de grandes experimentaes, os maiores desaos aconteceram
no sculo XX, com a aplicao da cor pura pelos fauvistas (1905-1906) e com
a introduo de novos materiais como tecidos, cartas, jornais na superfcie
das pinturas, por Braque e Picasso (1912). Nesse momento, tais materiais
ainda eram depositados sobre uma estrutura de construo tradicional.
A grande ruptura aconteceu quando Duchamp (1913) coloca uma roda de
bicicleta presa a um banco de cozinha. O artista selecionou um simples objeto
do mundo industrial, ou seja, um objeto de cuja feitura ele no tivera o menor
controle. Por conseguinte, no poderia ser tomado como portador da marca
de um ato criativo, ou seja, o objeto no surgia como algo proveniente do
manancial de idias e emoes pessoais do artista (KRAUSS, 1998, p. 90).
A ideia prevalecendo sobre o aspecto manual que at ento caracterizava o
toque pessoal do artista provoca novas reexes no que tange conservao
dessas novas formas de expresso. Se, antes, a introduo das novas resinas
acrlicas e de novos materiais, que ainda se concentravam na superfcie
das pinturas, implicava a anlise de critrios de conservao-restaurao
diferentes dos da arte dos sculos anteriores, a partir de Duchamp passa-
se a reetir sobre questes no mais relacionadas apenas aos problemas
de natureza tcnica, mas a assuntos que envolvem a anlise de conceitos
tericos relacionados rplica, reproduo, documentao, substituio
e efemeridade.
126
Magali Melleu Sehn
Os acervos de arte moderna e contempornea apresentam grande diversidade

de materiais e tcnicas e procedimentos que induzem a uma srie de
indagaes, tais como: que metodologia utilizar para elaborar um plano de
conservao, caso se desconhea a maior parte dos materiais utilizados nas
obras? Podem-se adotar os critrios de conservao utilizados na arte dos
sculos anteriores? Como conservar obras compostas pelas novas resinas
plsticas? Como resolver os problemas estticos de monocromticas?
Como dissolver as discrepncias em torno dos critrios para preservao da
autenticidade no caso de obras que admitem reposio e reconstruo?
Dos materiais aos procedimentos
Os novos materiais levaram s novas formas, ou foi o desejo por

novas formas que levou criao de novas solues tcnicas?
(BOURGEOIS apud BERNADEC, 2000, p. 61)
Materiais procedentes do mundo industrial moderno, como novos polmeros,

novos metais (alumnio, ao), materiais efmeros, detritos ruinosos de nossa
sociedade industrial, comearam a integrar os mtodos de construo do
objeto artstico do sculo XX. O que so, na verdade, os ditos materiais
utilizados cada vez mais pelos artistas contemporneos? De que forma esses
materiais integram as colees de museus?
A arte do sculo XX mais precisamente os objetos tridimensionais tem

acompanhado o desenvolvimento tecnolgico, abrindo perspectivas para
o emprego de novos materiais e tcnicas. Tais materiais foram cada vez
mais inseridos no universo da arte contempornea, limitando possveis
categorizaes por tcnicas que sempre orientaram as divises na arte e
facilitaram a identicao do objeto artstico. Os museus de arte moderna
e contempornea ainda tentam manter alguns mtodos de categorizao:
pintura (bidimensional, suporte de madeira e tela), escultura (tridimensional,
materiais diversos) e obras em suporte sobre papel (bidimensional, gravuras,
aquarelas, materiais fotogrcos etc.). Essas categorizaes, no entanto,
no abrangem todas as manifestaes artsticas do nosso sculo. Maderuelo
(1994, p. 27-28) expe trs procedimentos mais usuais na escultura da
atualidade: armar, fabricar e construir.
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Magali Melleu Sehn
Armar seriam os objetos de madeira ou metal executados em carpintarias,

cujo processo construtivo facilmente percebido, como as caixas de
Donald Judd armadas com madeiras e metais. Fabricar seriam as obras
que possuem processos construtivos mais complexos, abrangendo vrios
materiais industriais que se combinam entre si, como motores, luzes, sons.
Por ltimo, construir seriam aquelas obras que se utilizam de elementos
arquitetnicos, como escadas, muros etc.
Os artistas do movimento minimalista, com seus objetos especcos,

exploraram a forma bruta dos materiais industriais, como todos os tipos de
metais, resinas de polister, chumbo, tijolos refratrios etc. Um dos propsitos
dessas escolhas estava na tentativa de eliminar toda a temporalidade
nos objetos, de modo a imp-los como coisas a serem vistas sempre
imediatamente, sempre exatamente como so. Buscavam nos materiais
industriais, ou chamados materiais do tempo presente, uma estabilidade
contra as aes do tempo (HUBERMAN, 1998, p. 56).
Brancusi explorou o acabamento dos produtos industriais feitos com mquinas

para obter acabamento lustroso que proporcionasse o reexo da luz e para
eliminar os vestgios de objeto artesanal produzido em ateli (KRAUSS,
1998, p. 121). A obra Coluna innita (1937) teve vrias verses em madeira
e gesso comeadas em 1918. Segundo estudo realizado por cientistas do
Getty Institute of Conservation, a obra foi construda em 1937 a uma altura
de 29,33 metros, est fundida a 4,60 metros, dentro do solo, em concreto, e
consiste em uma armao de ao com mdulos de molde de ferro encadeados
como contas de grande tamanho, pulverizados termicamente com bronze.
O objetivo de Brancusi era criar uma escultura que no chegasse ao ponto
de car escura como o bronze, e, sim, que proporcionasse a reexo da
luz, como as suas obras feitas para espaos internos. A complexidade da
construo da obra implicou a utilizao de estruturas de construo civil que
sustentassem a sequncia de mdulos e, ao mesmo tempo, reproduzissem os
efeitos estticos desejados (SCOTT, 1998, p. 12-13).
Os chamados materiais estveis, provenientes da indstria, proporcionam,

na realidade, uma estabilidade provisria em que possveis alteraes
podem ser aceitas ou recusadas conforme a proposta do artista. Tais materiais
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Magali Melleu Sehn
vo sendo deslocados para o universo da arte, transformam-se sob o ponto de

vista formal, mas preservam suas caractersticas tcnicas inerentes. Do ponto
de vista construtivo, no tem mais importncia se as obras so construdas
por artistas, por ajudantes ou por atelis industriais. Tais materiais constituem
apenas o suporte de uma linguagem, podem sofrer alteraes ou serem
substitudos. Muitos deles requerem o emprego de processos construtivos
mais complexos, que se assemelham, na maioria das vezes, ao processo da
construo civil, como o caso da referida obra de Brancusi.
No contexto brasileiro, so muitos os exemplos de obras que apresentam

sistemas construtivos que se aproximam, de certa forma, do processo de
construo civil. Um exemplo a obra A soma de nossos dias,1 de Maria
Martins, 1955, em que a artista utiliza cimento para revestir uma estrutura
metlica.
Na categoria dos metais, praticamente todos os tipos so amplamente

utilizados pelos artistas, como ao corten, empregado nas obras de Almicar de
Castro; tubos galvanizados, nas obras de Ivens Machado, em conjunto com
tela de arame revestida por concreto armado;2 ferro e granito, em conjunto
com objetos j prontos, como lmpada, no caso da obra sem ttulo de Maurcio
Bentes,3 e cadeira de madeira forrada de couro e granito, no caso da obra
Parla, de Cildo Meireles.4
Os procedimentos construtivos, em geral, incluem dobras, cortes, soldagens

e acabamentos de pinturas realizados a pistolas e compressores. Do ponto
de vista da preservao, os maiores problemas esto, entre outros danos,
relacionados oxidao dos metais, ruptura de pontos de solda, s perdas
de camada pictrica. Geralmente, necessrio recorrer a uma restaurao
ou reconstruo por meio dos mesmos mtodos com os quais a obra foi
construda originalmente.
Outro aspecto importante que pode determinar a fragilidade de tais obras a

mistura de materiais com caractersticas inerentes diferenciadas, por exemplo,
peso e rigidez. Nesse sentido, um material pode ser o agente de deteriorao
de outro, em uma mesma obra.
Em obras interativas, citando como exemplo a obra Doremifasolasidore,

129
de Nelson Leirner, construdas com objetos do cotidiano, alm de obras
Magali Melleu Sehn
1 De propriedade do Museu de Arte Contempornea da Universidade de So Paulo (MAC-USP).

2 Ivens Machado, s/ ttulo, 1998, tcnica concreto armado, tubo galvanizado e tela de arame, aprox. 62,0
x 65,0 x 83,0 cm (cada pea). Museu de Arte Contempornea da USP.
3 Maurcio Bentes, s/ ttulo, 1988, ferro com tinta asfltica e lmpada fluorescente, 540,0 x 100,0 x 100,0
cm. Museu de Arte Contempornea da USP
4 Cildo Meireles, Parla, 1982, granito, madeira e couro, 125,0 x 50,2 x 110,0 cm. Museu de Arte
Contempornea da USP
constitudas por objetos eletrnicos como Beijo, de Waldemar Cordeiro,5 os
problemas enfrentados esto na diculdade de restaurar sem trocar peas
originais que podem no existir mais no mercado.
A busca por uma categorizao de processos construtivos, conforme aponta

Maderuelo, , de certa forma, pertinente no que tange preservao de um
acervo, considerando que tal categorizao permite realizar um mapeamento
de materiais e tcnicas. Esse procedimento poder permitir traar diretrizes
de investigao para as diversas categorias de materiais e, posteriormente,
elaborar planos de conservao preventiva que sejam condizentes com a
categoria.
A transio dos critrios
A arte do sculo XX muitas vezes alvo de crticas no que diz respeito aos
mtodos artsticos utilizados pelos artistas. As crticas esto relacionadas a
comparaes com a arte do passado: a arte dos sculos anteriores respeitava
mais rigorosamente os materiais e tcnicas testados pelo tempo, reetindo
a severa inuncia de academias de arte bem estabelecidas [...] Isto quer
dizer que os artistas desenvolviam experincias tcnicas com os chamados
materiais defeituosos, tcnicas vistosas ou ambos (ALBANO, 1998). Esse
autor questiona a aplicao de critrios diferenciados para analisar as obras
do sculo XX, uma vez que, em muitos casos, o esprito de experimentao
dos artistas contemporneos se assemelha ao esprito de experimentao da
arte do passado.
Enumerando apenas algumas questes sobre a preservao da arte moderna

e contempornea, vale comear com Heinz Althfer, com a publicao Il
Restauro delle Opere dArte Moderne e Contemporanee (1991b). Suas
investigaes apontam a importncia de se conhecerem com profundidade
os materiais utilizados pelos artistas modernos e contemporneos. Tais
130
Magali Melleu Sehn
materiais procedentes do mundo moderno, como novas resinas plsticas,

novos metais, materiais efmeros etc., ainda so desconhecidos do ponto de
vista estrutural, tanto para o artista quanto para o conservador/restaurador. Tal
desconhecimento diz respeito forma como esses materiais se comportaro
5 Cordeiro, Waldemar, Beijo, 1967, objeto eletromecnico e fotografia P.& B. s/ papel, 50,0cm x 45,2 x
50,0 cm. Museu de Arte Contempornea da USP
ao longo do tempo, frente aos agentes de deteriorao e s alteraes
possveis dos signicados atribudos s obras. Nesse sentido, Althfer prope
a confeco de prottipos em que tenta reproduzir com a mxima delidade
a tcnica original da obra a sofrer processo de restaurao. Considerando
que a arte contempornea apresenta muitos outros aspectos alm da questo
material, ele prope cinco pontos para anlise da obra, que devem auxiliar o
restaurador.
Primeiro, obras que, apesar de utilizarem novos materiais, podem ser tratadas
como obras de arte tradicional. Isso quer dizer que se podem utilizar tcnicas
e critrios tradicionais, adaptando-os s caractersticas da arte moderna e
contempornea. Obras monocromticas com problemas especiais devido
a superfcies no envernizadas; obras constitudas por materiais instveis
e combinaes diversas, sendo necessrio analisar as possibilidades de
conservao de cada material individualmente. Nesse caso, sugere a
elaborao de prottipos que simulem a combinao original. Obras efmeras,
que dependem da inteno do artista e propem discusses sobre problemas
ideolgicos e no tcnicos, e, nalmente, obras acionadas por motores, que,
de certa forma, fazem com que o restaurador volte restaurao tradicional,
ou seja, ao ateli de restaurao antigo, mais parecido como uma ocina de
conserto (ALTHFER, 1991a, p. 102). A categorizao proposta por Althfer
pontua algumas questes tericas fundamentais para a formulao de critrios
com base no estudo de cada caso em particular.
Uma das questes mais ressaltadas pelo autor est no fato de que o
conservador dever, alm de conhecer os materiais e possuir domnio
tcnico, penetrar no universo intelectual do artista. A soma de informaes
proporcionar ao restaurador subsdios para a elaborao de propostas e
critrios. A grande parte dos questionamentos sobre a arte contempornea
visa encontrar respostas para as seguintes perguntas:
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Magali Melleu Sehn
Sobrevivir este tipo de arte? Se conservarn las intenciones

que los artistas crearon? Una vez que la pieza de arte sale de las
manos de su creador, entra en la comunidad artstica. Se exhibe,
compra y colecciona, y pasa a ser la responsabilidad de aquellas
personas e instituciones que deben cuidar de ella. Cules son
las posibilidades, lmites e importancia de conservar el arte
compuesto de materiales efmeros? Es el arte contemporneo
slo para el presente? Y si no, Quin es responsable de
consrvalo para su futuro?(CONSTANTINE, 1998, p. 4)6
Se, por um lado, tais questes provocam certo pnico nos conservadores e
restauradores, por outro, produzem certo conforto, porque prossionais de
outras reas do conhecimento so convidados a participar do debate. Nesse
momento, o papel do conservador preponderante porque cabe a ele,
talvez, direcionar o processo de investigao, determinando de que forma os
prossionais das diversas reas do conhecimento participaro do processo de
tomada de decises. Nesse sentido, a The Foundation for the Conservation of
Modern Art, estabelecida na Holanda, foi criada para examinar os processos
de anlise e determinar as possveis metodologias e estratgias para a
conservao da obra contempornea. Os participantes da fundao so
curadores, conservadores, cientistas da conservao e cientistas culturais.
Com base nas discusses, percebeu-se a complexidade das questes

e o disparate dos argumentos entre os diversos prossionais. Assim,
confeccionou-se um modelo de estrutura denominado the decision-making-
model que permite analisar, passo a passo, o objeto antes da elaborao de
uma proposta para conservao ou restaurao (HUMMELEN, 1999, p. 171).
Os tpicos descritos na estrutura apresentada por Hummelen incluem, como

ponto de partida, a documentao sobre o objeto, com descrio detalhada
sobre o artista, informaes sobre material utilizado, signicados atribudos,
informaes sobre processos e composio dos materiais. O segundo
tpico concerne anlise das condies de conservao do objeto, tarefa
complexa devido ao fato de no se conhecer com profundidade a composio
dos materiais, conforme j mencionado. O terceiro tpico diz respeito
determinao de signicados dos objetos, ou seja, questiona-se sobre a
importncia dos danos aparncia do objeto e sobre como tais danos podem
132
Magali Melleu Sehn
interferir na sua interpretao.
6 Sobreviver este tipo de arte? Sero conservadas as intenes dos artistas? Uma vez que a obra sai das
mos de seu criador, entra na comunidade artstica. Exibe-se, compra-se e coleciona-se, passando a ser
de responsabilidade das pessoas e instituies que devem cuidar dela. Quais so as responsabilidades,
limites e importncia de conservar a arte composta de materiais efmeros? A arte contempornea s
para o presente? E se no, quem responsvel para conserv-la para o futuro? (Traduo livre.)
Com base no correto diagnstico, passa-se para o quarto tpico, que
analisa possveis discrepncias entre a condio fsica do objeto e possveis
alteraes no signicado dele. Nesse momento, examina-se o nvel de
interferncia dos danos sobre o signicado do objeto e se justicvel uma
interveno. A anlise das possveis discrepncias dever considerar fatores
estticos, questes de autenticidade, historicidade e funcionalidade. O quinto
tpico sugere opes de conservao, em que se propem as possibilidades
tcnicas de conservao ou restaurao a partir da estabilizao das possveis
discrepncias.
O sexto tpico refere-se s consideraes sobre as reais possibilidades de o

objeto receber ou no intervenes de conservao e restaurao. Retoma-se
a anlise sobre os fatores abordados no tpico discrepncias, e outros fatores
devero ser analisados, como aspectos legais e ticos sobre o processo de
restaurao, limitaes econmicas e tcnicas, opinio do artista sobre o
processo de interveno. O ltimo tpico consiste na elaborao da proposta
de tratamento, com base no resultado das anlises dos tpicos anteriores.
A estrutura descrita prope de forma ordenada uma metodologia para anlise

que vise reduzir o ndice de contradies sobre questes tcnicas e ticas
que envolvem o processo de preservao da obra contempornea. Como a
documentao uma etapa anterior, relacionada Conservao Preventiva,
ela merece destaque, pois permite registrar materiais, tcnicas, processos de
execuo da obra, depoimentos de artistas vivos, depoimentos de fabricantes,
entre outros aspectos.
Estratgias de ao
A Conservao Preventiva consiste num conjunto de aes que visam manter

a integridade fsica dos objetos. Tais aes referem-se ao monitoramento das
condies destes, monitoramento do ambiente, mtodos de armazenagem,
133
Magali Melleu Sehn
embalagem, exibio, implementao de programas para a coleo e

elaborao de planos de emergncia (MUSEUM HANDBOOK, 1990, p. 3-5).
Os mtodos de Conservao Preventiva vm sendo aperfeioados ao longo
dos anos e tm sido utilizados desde a antiguidade grega e romana. Alguns
mtodos passivos e ativos de interveno foram adotados inicialmente na
arquitetura do perodo medieval, renascimento, barroco e sculo XIX. Tais
mtodos consistiam na aplicao de barreiras de isolamento para controle
climtico e limpezas de superfcies. Alguns documentos tambm apontam o
uso de verniz para proteo de pinturas e esculturas ao ar livre, utilizao de
vidro para proteger as relquias das igrejas e interesse pelo resguardo contra
os efeitos das variaes climticas nas pinturas atravs da utilizao de um
sistema barroco que consistia na proteo do verso delas com uma dupla
chapa de madeira (KOLLER, 1994, p. 1).
Enfocando a arte do sculo XX, tais medidas tornam-se cada vez mais
necessrias, em vista da grande demanda de exposies temporrias, que
requerem constantes manuseios, transportes e exposio dos objetos. Apesar
de essas obras apresentarem, na maioria das vezes, excelentes condies de
conservao, podem ser muito vulnerveis exposio a fatores de risco, como
um simples manuseio ou transporte. Os efeitos dos agentes de deteriorao
sobre os novos materiais ainda pairam num universo pouco conhecido. Tal
desconhecimento talvez explique por que algumas obras pertencentes a
um mesmo acervo deteriorem mais rpido que outras. Tais evidncias so o
ponto de partida para discutir a Conservao Preventiva (HACKNEY, 1992).
Esse autor menciona trs reas de atuao da Conservao Preventiva:
interveno de conservao, ambiente e organizao da coleo.
A rea interveno de conservao corresponde basicamente ao trabalho do

conservador, que implica a anlise dos objetos, pressupondo agentes de risco e
propondo meios de prev-los. A rea ambiente corresponde s condies do
edifcio que abriga as obras de arte. As aes esto relacionadas aos sistemas
passivos e ativos de controle: ltragem de ar, umidicao, desumidicao,
controle de nveis de luz, ar condicionado, elaborao de microclimas especiais
para exibio, armazenamento e transporte. Finalmente, a rea organizao
da coleo relaciona-se com a proteo contra fatores humanos de risco:
manuseio, embalagem, emolduramento, tratamentos de conservao,
restaurao, documentao e estudos que envolvem o contato direto com
134
Magali Melleu Sehn
o objeto. Outras funes, como transporte, emprstimos, armazenamento,

exposio, envolvem perigos que podem ser eliminados com bons mtodos
de organizao. O sucesso de atividades como essas reside no fato de que
a Conservao Preventiva deve fazer parte da conscincia do staff, e no
apenas da dos conservadores/restauradores.
A identicao de agentes de deteriorao permite estabelecer, inclusive,
categorias de risco de acordo com a frequncia, como 3 (constante), 2
(espordico), 1 (raro) (WALTER, 1994, p. 12). No caso de acervos de arte
moderna e contempornea, alm da categorizao de fatores de risco quanto
frequncia, faz-se necessrio realizar categorizaes quanto fragilidade e
vulnerabilidade inerente a cada objeto aos fatores de risco e impossibilidade
de realizar tratamentos futuros sem deixar traos visveis.
Outro aspecto relevante diz respeito aos mtodos de armazenamento e

exibio, referentes escolha de materiais e buscas de solues especcas
para o armazenamento de obras. Os sistemas de armazenamento tradicionais,
como trainis, estantes e muitos dos projetos expogrcos, convm apenas
aos mtodos construtivos convencionais, como as pinturas montadas sobre
chassi e esculturas de pequeno porte. Uma grande parcela de objetos
bidimensionais que no possuem tal construo tradicional de tela s/ chassi
e de objetos tridimensionais que no so exibidos sobre as tradicionais bases
de sustentao ca muito exposta aos agentes de deteriorao decorrentes
de manuseio, armazenamento e exibio. Nesse sentido, algumas solues
especcas podem ser elaboradas de acordo com a caracterstica especca
de cada material e da coleo como um todo.
Consideraes nais
O desenvolvimento de novas metodologias de anlise tem sido de alta

relevncia para dissoluo dos conitos em torno dos critrios de preservao
da arte contempornea, alm das novas tecnologias cientcas e novos
materiais para os processos de interveno. Acrescenta-se a vital aliana
entre conservador, artista e demais atores inseridos no contexto museolgico
para o sucesso de cada operao. 135
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138
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por imagem de bens
culturais: competncias,

tecnologias
Alexandre Cruz Leo
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FLHQWtFRHGDVSURVV}HVTXHQHOHYrPDWXDQGR1RkPELWRGD&LrQFLDGD
&RQVHUYDomRD&RQVHUYDomR3UHYHQWLYDpXPDiUHDGHFRQVROLGDomRDLQGD
HP FXUVR $PEDV SRVVXHP UDt]HV WHyULFDV GLYHUVLFDGDV QRV FDPSRV GDV
$UWHV H +XPDQLGDGHV &LrQFLDV ([DWDV 6RFLDLV $SOLFDGDV GD 6D~GH GD
,QIRUPDomRH%LROyJLFDV
$ &RQVHUYDomR 3UHYHQWLYD DEUDQJH WRGDV DV DWLYLGDGHV HRX DWLWXGHV TXH

YLVDP HYLWDU UHWDUGDU HRX PLQLPL]DU D GHWHULRUDomR GRV EHQV FXOWXUDLV
(QYROYH PHGLGDV LQGLUHWDV DEUDQJHQGR TXHVW}HV UHODWLYDV D FDSDFLWDomR
H JHVWmR GH UHFXUVRV KXPDQRV SROtWLFDV LQVWLWXFLRQDLV GH SUHVHUYDomR
DFRQGLFLRQDPHQWRH[SRVLomRPDQXVHLRWUDQVSRUWHVHJXUDQoDFRQWUROHGH
SUDJDVHQWUHRXWURV3HUSDVVDQGRHVVDVTXHVW}HVGHVWDFDVHDQHFHVVLGDGH
GH FRQWUROH GR PLFURFOLPD GDV FROHo}HV HQYROYHQGR R PRQLWRUDPHQWR H R
controle de variveis como temperatura (T), umidade relativa (UR) e pureza
GRDU1RkPELWRGD&RQVHUYDomR3UHYHQWLYDWDLVDWLYLGDGHVVmRDJUXSDGDV
sob o conceito abrangente de Gerenciamento Ambiental (CASSAR, 1995).
Mtricas de preservao como ferramentas diagnsticas para o

gerenciamento ambiental
1R kPELWR GR *HUHQFLDPHQWR $PELHQWDO LQFOXHPVH WRGDV DV RSHUDo}HV

HWDSDV VHUYLoRV HTXLSDPHQWRV H LQVWDODo}HV UHFXUVRV DUTXLWHW{QLFRV
materiais e componentes construtivos relacionados com monitoramento e
controle ambiental.
156
(QWUH DV IHUUDPHQWDV XWLOL]DGDV QR JHUHQFLDPHQWR DPELHQWDO GH FROHo}HV

sobressaem as mtricas de preservao $V PpWULFDV GH SUHVHUYDomR
VmR SDUkPHWURV RX tQGLFHV TXH L SHUPLWHP XPD DYDOLDomR TXDQWLWDWLYD
PHQVXUiYHO SDGURQL]DGD UHSURGXWtYHO IDFLOPHQWH FRPSUHHQVtYHO H
FRPXQLFiYHO GDV FRQGLo}HV GH FRQVHUYDomR GH FROHo}HV EHP FRPR GRV
ULVFRVSDUDDVXDSUHVHUYDomRHPIXQomRGHFRQGLFLRQDQWHVDPELHQWDLVLL
SHUPLWHPFRPSDUDUGXDVRXPDLVVLWXDo}HVDPELHQWDLVGLIHUHQWHVQRPHVPR
HVSDoRVDODRXPRELOLiULRIHFKDGRHPGLIHUHQWHVpSRFDVGRDQRRXHVSDoRV
GLVWLQWRVFRPGLIHUHQWHVFRQGLo}HVDPELHQWDLVHPWHUPRVGDH[SHFWDWLYDGH
YLGDGDVFROHo}HVLLLSURFXUDPLQWHJUDUFRQGLo}HVHPHFDQLVPRVGLQkPLFRV
FRPSOH[RVHQYROYLGRVQDGHWHULRUDomRGDVFROHo}HVUHVXOWDQGRHPPHGLGDV
VLPSOLFDGDV GH IiFLO LQWHUSUHWDomR SRVVLELOLWDQGR XPD DQiOLVH H[SHGLWD GH
JUDQGHV TXDQWLGDGHV GH GDGRV LQFOXVLYH SRU OHLJRV &RQVWLWXHP HP ~OWLPD
DQiOLVH FULWpULRV TXDQWLWDWLYRV TXH SRGHP VHU GHULYDGRV GH PHGLo}HV HP
FDPSR RX GH VLPXODo}HV DPELHQWDLV FXMD LQWHUSUHWDomR SRGH FRQVWLWXLU XP
DX[tOLRLPSRUWDQWHQDVWRPDGDVGHGHFLVmRYLVDQGRjPHOKRULDGDVFRQGLo}HV
GHFRQVHUYDomRHjFRQVHTXHQWHGLPLQXLomRGRVULVFRVSDUDDSUHVHUYDomR
GRVEHQVFXOWXUDLV*RQoDOYHVGLVFXWHVHXHPEDVDPHQWRWHyULFRHDV
incertezas envolvidas em sua aplicao.
2XVRGDVPpWULFDVGHSUHVHUYDomRDSRQWDSDUDXPDPXGDQoDGHSDUDGLJPD
HP WHUPRV GD SUiWLFD GR JHUHQFLDPHQWR DPELHQWDO (OH H[LJH XPD PDLRU
FRPSUHHQVmRVREUHRTXHHVWiVHQGRPRQLWRUDGRHFRQWURODGRPHFDQLVPRV
GH GHWHULRUDomR GDGRV FOLPiWLFRV GDGRV VREUH R HGLItFLR H VHXV VLVWHPDV
bem como sobre os objetivos do gerenciamento ambiental. Por outro lado, as
PpWULFDVIRUQHFHPXPWLSRGHUHVXOWDGRTXHIDFLOLWDDVHWDSDVGHLQIRUPDomR
DYDOLDomRHWRPDGDGHGHFLV}HV,VVRVHDSOLFDjDGRomRGHPHGLGDVFRPR
XVRGHXPLGLFDomRGHVXPLGLFDomRDOWHUDo}HVQRset-point dos sistemas
ativos de climatizao, mudana de espao e mobilirio, transferncia das
FROHo}HVSDUDiUHDVFRPPpWULFDVPDLVIDYRUiYHLVDEHUWXUDHIHFKDPHQWRGH
MDQHODVSURWHo}HVFRQWUDDLQVRODomRGLUHWDRXRXVRGDYHQWLODomRQRWXUQD
entre outras.
ndices de desempenho Willi de Barros Gonalves
2XVRGDVPpWULFDVGHSUHVHUYDomRGLIHUHGDDQiOLVHEiVLFDGHWDEHODVHJUiFRV
brutos de T e UR, resultantes de procedimentos de monitoramento ambiental.
157
(VVDDQiOLVHEiVLFDFXMDVOLPLWDo}HVVmRDSRQWDGDVSRU%HUQDUGLS
JHUDOPHQWHpIHLWDFRPSDUDQGRRVYDORUHVPHGLGRVFRPSDGU}HVOLPLWHVIDL[DV
RX]RQDVGHVHJXUDQoD[RVHVWiWLFRVHGHDSOLFDELOLGDGHJHUDOPHQWHUHVWULWD
D H[HPSOR GRV FKDPDGRV Q~PHURV PiJLFRV GH7KRPVRQ TXH [RX
HPDURVHJXUDSDUDFRQVHUYDomR1RUPDOPHQWHDVLQWHUSUHWDo}HV
REWLGDVFRPEDVHQHVVHWLSRGHDQiOLVHVmRGHWHUPLQtVWLFDVELQiULDVGRWLSR
DWHQGHRXQmRDWHQGHHVWiGHQWURRXHVWiIRUDGRVOLPLWHVFRQVLGHUDGRV
8PDDERUGDJHPPHWRGROyJLFDLQWHUPHGLiULDFXMDDSOLFDomRFDUHVWULWDSHODV
FRQVLGHUDo}HVDFLPDVHULDRXVRGHndices de desempenho.
3DUD TXDQWLFDomR H LQWHUSUHWDomR GHVVHV tQGLFHV p QHFHVViULR R

SURFHVVDPHQWR HVWDWtVWLFR GRV UHVXOWDGRV GR PRQLWRUDPHQWR DPELHQWDO
com o estabelecimento de critrios-limite SDUD DV YDULiYHLV TXH VH GHVHMD
estudar. Considera-se a porcentagem do tempo HP UHODomR DR SHUtRGR
PRQLWRUDGRRXSUHGHQLGRDQXDOPHQVDOVHPDQDOHWFQDTXDODVYDLUiYHLV
DQDOLVDGDVSHUPDQHFHPGHQWURGRVFULWpULRVOLPLWHSUHYLDPHQWHHVWDEHOHFLGRV
&25*1$7,et al$DQiOLVHGHKLVWRJUDPDVGHIUHTXrQFLDFXPXODWLYD
SRGH VHU DSOLFDGD D HVVD QDOLGDGH 'H DFRUGR FRP D QRUPD HXURSHLD (1
81,RHRSHUFHQWLVSRGHPVHUXVDGRVSDUDGHWHUPLQDU
limites de segurana de T e UR *RQoDOYHV FRPSLOD H GLVFXWH D
aplicao de diversas metodologias para determinao de limites seguros de
XWXDomR GDV YDULiYHLV DPELHQWDLV FRP EDVH QR SURFHVVDPHQWR HVWDWtVWLFR
dos resultados do monitoramento ambiental.
Isopermas de Sebera
2PpWRGRGDVLVRSHUPDQrQFLDVRXLVRSHUPDVIRLRULJLQDOPHQWHGHVHQYROYLGR
SRU6HEHUD(PHVVrQFLDRPpWRGRSHUPLWHFRPSDUDUFRQGLo}HV
ambientais distintas, em termos da expectativa de vida proporcionada pelo
DPELHQWHSDUDDVFROHo}HV3DUD6HEHUDDLVRSHUPDpXPDPHGLGDJUiFD
TXDQWLWDWLYDGHSHUPDQrQFLDUHODWLYD6HEHUDS(ODpVLPEROL]DGD
SRUXPDOLQKDTXHUHSUHVHQWDXPDWD[DGHSHUPDQrQFLDFRQVWDQWHVREUHXP
JUiFRGHUR em funo de T.
$V FRQVLGHUDo}HV GR DXWRU IRUDP EDVHDGDV QRV PHFDQLVPRV TXtPLFRV GH
deteriorao do papel, sendo a energia de ativao (E) SDUD D KLGUyOLVH GD

FHOXORVHXPDGDVYDULiYHLVIXQGDPHQWDLVGRPpWRGR6HEHUDSDUPD
158
TXH R PpWRGR SRde ser aplicado no estudo GH RXWURV PDWHULDLV KLJURVFySLFRV
FRPR WHFLGRV H SHUJDPLQKRV 6WUDQJ H *UDWWDQ UHYLVDUDP DV HTXDo}HV
DSUHVHQWDGDVSRU6HEHUDSRLVRPpWRGRRULJLQDOQmRLQFOXtDRHIHLWRVREUHRV
objetos de outros agentes climticos de deteriorao, como a luz ou os poluentes.
2HPEDVDPHQWRFLHQWtFRGRPpWRGRSDUWHGDUHODomRGLUHWDPHQWHSURSRUFLRQDO
HQWUHDWD[DGHGHWHULRUDomRRPHVPRTXHGL]HUDYHORFLGDGHGDVUHDo}HV
TXtPLFDV GH GHWHULRUDomR H RV YDORUHV REVHUYDGRV GH T e UR. Entretanto,
D H[SHFWDWLYD GH YLGD HVWLPDGD SRU HVVD H WDPEpP SRU RXWUDV PpWULFDV GH
SUHVHUYDomR SRU H[HPSOR R QGLFH GH 3UHVHUYDomR (IP) no pode ser
LQWHUSUHWDGD GH PDQHLUD DEVROXWD 3HOR FRQWUiULR R PpWRGR IRUQHFH XPD
ferramenta de comparao, relativa SDUD FRWHMDU GXDV RX PDLV FRQGLo}HV
DPELHQWDLVGLVWLQWDVTXHSRGHPRFRUUHUQRPHVPRHVSDoRVDODRXPRELOLiULR
IHFKDGRHPWHPSRVGLVWLQWRVRXHPHVSDoRVGLIHUHQWHV
6HEHUDFKDPDDH[SHFWDWLYDGHYLGDSDUDXPDFROHomRGHSHUPDQrQFLDP),
FXMR YDORU p LQYHUVDPHQWH SURSRUFLRQDO j WD[D GH GHWHULRUDomR r). A razo
comparativa entre duas permanncias (P2/P1) ser o inverso da razo entre
GXDV WD[DV GH GHWHULRUDomR 6HJXQGR 6HEHUD S D HTXDomR
IRUQHFH XPD ERD DSUR[LPDomR TXDQWLWDWLYD SDUD WD[DV GH GHWHULRUDomR H
permanncias) na faixa de UR entre 30% e 65%, considerando-se tempos
de resposta longos.
(1)
0LFKDOVNLGHGX]FRPEDVHQRSULQFtSLRGH$UUKHQLXVVHJXQGRRTXDO

um aumento de TDXPHQWDDYHORFLGDGHGDPDLRULDGDVUHDo}HVTXtPLFDV
TXHDFDGDUHGXomRRXDXPHQWRGH&HPTDH[SHFWDWLYDGHYLGDGDFROHomR
GREUDUiRXGLPLQXLUiSHODPHWDGHUHVSHFWLYDPHQWH2DXWRUHQIDWL]DS
TXH YDORUHV PDLRUHV HQWUH & QHVVD UHJUD SRGHP VHU PDLV DFXUDGRV
GHSHQGHQGRGRVPHFDQLVPRVTXtPLFRVGHGHWHULRUDomRFRQVLGHUDGRV(VVHV
mecanismos podem ser desacelerados, mantendo-se o ambiente frio, seco
H HVFXUR 3RUpP R JDQKR HP WHUPRV GD H[SHFWDWLYD GH YLGD GH PDWHULDLV
instveis conseguido pela reduo de T p HP SDUWH FRQWUDEDODQoDGR SHOD
159
GLPLQXLomR GHVVD H[SHFWDWLYD TXH RFRUUH HP IXQomR GR DXPHQWR GD UR,
GHFRUUHQWH GR UHVIULDPHQWR 6HJXQGR 0LFKDOVNL GHVSUH]DQGRVH
DOWHUDo}HV QD SUHVVmR DWPRVIpULFD XPD GLPLQXLomR GH & HP T implica
DSUR[LPDGDPHQWHGREUDUDUR3RUWDQWRTXDQGRDWD[DGHGHWHULRUDomRHP
funo de T WHPXPDGHULYDGDFRHFLHQWHDQJXODUTXHVHDSUR[LPDGH&
os dois efeitos tendem a se anular.
6HEHUD S DSUHVHQWD DV HTXDo}HV H GHULYDQGR DV WD[DV
de deteriorao (e inversamente, as permanncias) a partir dos valores de
T (em F), UR e E GD UHDomR TXtPLFD GH KLGUyOLVH GR SDSHO FRQVLGHUDGD
UHSUHVHQWDWLYDGDVDSOLFDo}HVSDUDSUHVHUYDomRFRPE da ordem de 30-35
.FDOPRO
()
(3)
$SDUWLUGHVVDVHTXDo}HVRDXWRUHVFROKHXDUELWUDULDPHQWHRSDUGHYDORUHV
&SDUDFRUUHVSRQGHUjLVRSHUPDGHQ~PHUR)L[DQGRXPDGDV
variveis e fazendo variar a outra, obteve os pares de T e URSDUDRVTXDLV
DVHTXDo}HVUHVXOWDPRYDORU'HSRLVUHSHWLXRPHVPRSURFHGLPHQWRSDUD
GLIHUHQWHVYDORUHVGHLVRSHUPDQrQFLDVUHODWLYDVSRUH[HPSOR
HWF REWHQGR XP FRQMXQWR GH LVROLQKDV LVRSHUPDV FRPR DTXHODV
PRVWUDGDVQDJXUDSDUDE GH.FDOPROH.FDOPRO$RORQJRGHXPD
FXUYDLVRSHUPDDSHUPDQrQFLDHUHFLSURFDPHQWHDWD[DGHGHWHULRUDomR
no varia.
160
6HEHUD S GLVFXWH D DGHTXDomR GR XVR GH XPD SURSRUomR
OLQHDU HQWUH D WD[D GH GHWHULRUDomR H D XPLGDGH DUPDQGR TXH XPD PDLRU
VHQVLELOLGDGH j LQXrQFLD GD XPLGDGH QD WD[D GH GHWHULRUDomR SRGHULD VHU
FRQVLGHUDGD DGRWDQGRVH XP H[SRHQWH PDLRU TXH QR SULPHLUR WHUPR GDV
HTXDo}HV 6HEHUD DUPD TXH mais importante a seleo de um valor
apropriado de E.$HVFROKDHQWUHRXVRGRVYDORUHV.FDORX.FDOSURGX]
JUiFRVGLIHUHQWHVVHQGRTXHRSULPHLURYDORUUHVXOWDHPGLIHUHQoDVPDLRUHV
HPDLVIDFLOPHQWHUHFRQKHFtYHLV6HJXQGR0LFKDOVNLDSXG0$57(16
SDHQHUJLDGHDWLYDomRFDHQWUHN-PROHN-PROaN-PROD
NFDOPROSDUDDPDLRULDGRVPDWHULDLV
Isopermas de Michalski
0LFKDOVNLDSXG0$57(16SHODERURXXPPRGHORVHPHOKDQWH

DR GH 6HEHUD WDPEpP DUELWUDQGR D LVRSHUPD GH Q~PHUR FRP UHIHUrQFLD
QR SDU & H FDOFXODQGR VXDV LVRSHUPDV SRU HOH GHQRPLQDGDV
multiplicadores de expectativa de vida (LM), dados pela relao
(4)
HP TXH E p GDGD HP >-PRO@ T p GDGD HP >.@ H LM p R PXOWLSOLFDGRU GD
isoperma 1, representando uma permanncia maior ou menor, em funo das
FRQGLo}HVDPELHQWDLV
0LFKDOVNL SORWRX DV LVRSHUPDV FDOFXODGDV VHJXQGR R PRGHOR DFLPD VREUH

XPDFDUWDSVLFURPpWULFDJXUDGHPRQVWUDQGRTXHHODVVmRPDLVDFXUDGDV
FRPXPLGDGHUHODWLYDHPWRUQRGHTXDQGRFRQVLGHUDGDXPDLVRWHUPDGH
VRUomRPpGLDSDUDPDGHLUDSDSHOHJHODWLQD
161
Figura 1'LDJUDPDSVLFURPpWULFRFRPSDUDWLYRGDVLVRSHUPDVGH6HEHUD
FRQWtQXDVH0LFKDOVNLWUDFHMDGDV( .FDOPROa.-PRO
0DUWHQV S DUELWURX TXH FRQGLo}HV DPELHQWDLV TXH SURGX]HP
H[SHFWDWLYDVGHYLGDPDLRUHVGRTXHDH[SHFWDWLYDFRUUHVSRQGHQWHDRLM
1 (T &HUR UHVXOWDPHPXPEDL[RULVFRGHGHWHULRUDomRTXtPLFD
SDUD DV FROHo}HV 9DORUHV GH T ou de UR DFLPD GH & SURGX]LUmR
H[SHFWDWLYDV GH YLGD PHQRUHV 0DUWHQV FRQVLGHURX R ULVFR GH GHWHULRUDomR
TXtPLFDFDXVDGRSRUFRQGLo}HVDPELHQWDLVFRPLMFRPRPHGLDQR
HTXDQGRRLMFRPRDOWRVHPMXVWLFDUFRQWXGRDHVFROKDGHVVHV
limites.
$RFRPSDUDURPRGHORGH6HEHUDFRPRGH0LFKDOVNLJXUDYHULFDVH

TXH GH PRGR JHUDO SDUD UR ! DV WD[DV GH SHUPDQrQFLD FDOFXODGDV
SHORVHJXQGRUHVXOWDPHPYDORUHVPHQRUHVTXHRVFDOFXODGRVSHORSULPHLUR
ocorrendo o contrrio para UR6WUDQJH*UDWWDQUHYLVDUDPR

PRGHORGH6HEHUDLQFRUSRUDQGRDHTXDomRGH$UUKHQLXVHTHDSUR[LPDQGR
162
DLVRWHUPDGHVRUomRSHORPRGHOR*$%*XJJHQKHLP$QGHUVRQGH%RHU
$VVLVH%DVWRV.UJHUH'LQL]H*RQoDOYHVXWLOL]DUDPR

GLDJUDPDGHSHUPDQrQFLDVFRPRDX[LOLDUQDDQiOLVHGLDJQyVWLFDGHFRQGLo}HV
de conservao de acervos.
ndice de preservao (IP) e ndice de preservao ponderado pelo efeito
cumulativo do tempo (IETP)
(VVHV GRLV tQGLFHV EHP FRPR DV PpWULFDV GH SUHVHUYDomR GHVFULWDV QDV
VHo}HVVHJXLQWHVIRUDPGHVHQYROYLGDVSHORIPI Image Permanence Institute
,3, 5(,//< 5HLOO\ et al S FRQVLGHUDP
VXDV LGHLDV XPD HYROXomR GR PpWRGR GDV LVRSHUPDV SURSRVWR SRU 6HEHUD
QD PHGLGD HP TXH R IP e o IETP WDPEpP OHYDP HP FRQVLGHUDomR R HIHLWR
combinado de T e UR VREUH DV FRQGLo}HV GH FRQVHUYDomR H HPEXWH XP
conceito anlogo ao de permanncia, discutido acima.
Reilly et al FRQVLGHUDUDP TXH R IP e o IETP se aplicam a todos os

materiais orgnicos, e no somente ao papel. Entretanto, entre as incertezas
HQYROYLGDVQRXVRGDVPpWULFDVGHSUHVHUYDomRYDOHGHVWDFDURXVRGHGDGRV
HPStULFRVHVSHFtFRVFRPRE ou isotermas de soro. necessrio avaliar
FRPFXLGDGRHPTXHPHGLGDWDLVGDGRVSRGHPVHUJHQHUDOL]DGRVSDUDRXWUDV
FDWHJRULDV GH REMHWRV HRX PDWHULDLV FRP FRPSRUWDPHQWR ItVLFRTXtPLFR
H UHVSRVWD DRV DJHQWHV H PHFDQLVPRV GH GHWHULRUDomR VHPHOKDQWHV (P
funo disso, o modelo IP/IETP deve ser utilizado com cuidado e no pode
VHU DSOLFDGR LQGLVFULPLQDGDPHQWH D TXDOTXHU FROHomR FRQWHQGR PDWHULDLV
orgnicos.
2 PRGHOR GR ,3, SDUD R FiOFXOR GR IP FRQVLGHURX D PpGLD OLJHLUDPHQWH
LQIHULRU GH XPD WDEHOD GH E SDUD KLGUyOLVH GH PDWHULDLV ItOPLFRV FRP
valores publicados em fontes diversas, abrangendo materiais distintos, como
OPHVGHDFHWDWRHQLWUDWRGHFHOXORVHLPSUHVVmRIRWRJUiFDFRORULGDJHODWLQD
IRWRJUiFDHSDSpLVIRWRJUiFRVGLYHUVRV2YDORUHVFROKLGRIRL.FDOPRO
TXH p R YDORU DSUR[LPDGR GH E SDUD KLGUyOLVH iFLGD GH OPHV GH DFHWDWR
de celulose. Materiais com E GH KLGUyOLVH LQIHULRU D .FDOPRO WHQGHUmR
D VH GHWHULRUDU PDLV UDSLGDPHQWH GR TXH R PRGHOR SUHYr 2XWUR DVSHFWR D
FRQVLGHUDUFRQIRUPHGHPRQVWUD0LFKDOVNLSpTXHDTXtPLFDGD
163
GHWHULRUDomRpLQYDULDYHOPHQWHFRPSOH[D'HSHQGHQGRGRFDVRHPDQiOLVH
DKLGUyOLVHSRGHQmRVHURSULQFLSDOSURFHVVRDVHUFRQVLGHUDGR1DDXVrQFLD
GHXPLGDGHSUHGRPLQDUmRRVSURFHVVRVGHR[LGDomRPDLVOHQWRVTXHRVGH
KLGUyOLVH(QDDXVrQFLDGHDUHXPLGDGHSRGHRFRUUHUGHWHULRUDomRWpUPLFD
9LDGHUHJUDWRGRVHVVHVSURFHVVRVRFRUUHPVLPXOWDQHDPHQWH
Reilly et alFRQVLGHUDUDPVHUPDLVH[SUHVVLYRIDODUGHH[SHFWDWLYDGH
YLGDHPDQRVGRTXHHPXPDWD[DGHGHWHULRUDomRSRUDQR$VVLPRIPH[SULPH
XPD HVWLPDWLYD DSUR[LPDGD GD H[SHFWDWLYD GH YLGD HP DQRV GH PDWHULDLV
RUJkQLFRV LQHUHQWHPHQWH LQVWiYHLV FRP H[SHFWDWLYD GH YLGD PpGLD GH
anos (E PpGLD .FDOPRO HP VLWXDo}HV FOLPiWLFDV QRUPDLV T &
e UR 2 tQGLFH LQGLFD XPD HVWLPDWLYD GH TXDQWR WHPSR XP PDWHULDO
RUJkQLFRGHPRUDULDSDUDVRIUHUDPHVPDGHWHULRUDomRGHDRDQRTXHXP
OPHGHDFHWDWRGHFHOXORVHVRIUHULDHPDQRVVHPDQWLGRD&2V
DXWRUHVDOHUWDPTXHRVHUURVLQHUHQWHVDRPRGHORVmRVLJQLFDWLYRVTXDQGR
HQYROYHPH[SHFWDWLYDVGHYLGDPXLWRORQJDVGHFHQWHQDVDPLOKDUHVGHDQRV
Segundo Reilly et alS
>@RIPpH[SUHVVRHPDQRVHIRUQHFHXPDLGpLDJHUDOGHTXDQWR
tempo seria necessrio para materiais orgnicos vulnerveis, tais
FRPRSDSpLVGHEDL[DTXDOLGDGHWRUQDUHPVHPXLWRGHWHULRUDGRV
VXSRQGR TXH D WHPSHUDWXUD H D XPLGDGH UHODWLYD no fossem
variarDSDUWLUGRPRPHQWRGDPHGLomR>@$GHQLomRGHDQRV
de vida dos valores de IP foi escolhido deliberadamente para
UHHWLURFRPSRUWDPHQWRGHPDWHULDLVGHYLGDUHODWLYDPHQWH
curta. O IP no produzido com a inteno de predizer a
vida de qualquer objeto em particular. (OH p VLPSOHVPHQWH
XPD PHGLGD FRQYHQLHQWH GR HIHLWR GDV FRQGLo}HV DPELHQWDLV
H[LVWHQWHV VREUH D H[SHFWDWLYD JOREDO GH YLGD GD FROHomR
XWLOL]DQGR FRPR UHIHUrQFLD PDWHULDLV FRP H[SHFWDWLYD GH YLGD
PDLVFXUWD5(,//<et alSJULIRVQRVVRV
2 IP UHSUHVHQWD D TXDOLGDGH GH SUHVHUYDomR LQVWDQWkQHD, para um dado

PRPHQWRHPXPGHWHUPLQDGRPLFURFOLPDVDODRXPRELOLiULRIHFKDGRHVWiYHO
com T e UR constante. Entretanto, mesmo na presena de sistemas ativos
GHFOLPDWL]DomRUDUDPHQWHRVDPELHQWHVTXHDEULJDPFROHo}HVDSUHVHQWDP
PLFURFOLPDV HVWiYHLV ,VVR RFRUUH GHYLGR j YDULDomR GRV GLYHUVRV IDWRUHV
164
TXHFRPS}HPDFDUJDWpUPLFDGRVDPELHQWHVDFRPHoDUSHORFOLPDH[WHUQR
H SDVVDQGR SRU H[HPSOR SHOD RFXSDomR RX SHOD SUHVHQoD GD LOXPLQDomR
DUWLFLDO$OLiVpH[DWDPHQWHFRPEDVHQDDPSOLWXGHGHYDULDomRWtSLFDTXH
a American Society of Heating, Refrigerating and Air-Conditioning Engineers
$VKUDH SURS}H XPD FODVVLFDomR GRV VLVWHPDV GH FOLPDWL]DomR $VKUDH

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Referncias
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&21',7,21,1*(1*,1((562007 ASHRAE handbook: HVAC applications
SI edition.$WODQWD$6+5$(
$66,6(6H%$672659Anlise das condies de conservao do acervo

da Biblioteca da Escola de Arquitetura da UFMG. ,Q(QFRQWUR1DFLRQDOH
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PXVHXPV$SSOLFDWLRQWRDWHPSRUDU\H[KLELWBuilding and Environment, v. 44,
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/RQGRQ9DQ1RVWUDQG5HLQKROG
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,3, ,0$*( 3(50$1(1&( ,167,787( Preservation metrics. 1HZ

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for sustainable preservation practices for managing storage environments.
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relaxation and fatigue. Establishing standards for allowable microclimatic
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Parte 3
Estudos de caso
Degradao de materiais

vidro: complexidade de materiais

Chichico Alkimim
Jussara Vitria de Freitas do Esprito Santo

Mestre em Artes, professora assistente da UFMG
Yacy-Ara Froner
Luiz Antnio Cruz Souza e Evandro Jos Lemos da Cunha

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Jussara V. de F. do Esprito Santo, Yacy-Ara Froner

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Referncias
BARTHES, Roland. Elementos de semiologia HG 6mR 3DXOR &XOWUL[

1997.
)$%(55LFKDUGHistoric Photographic Processes.1RYD<RUN$OOZRUWK3UHVV

1998.
),6&+(5 0RQLTXH & 52%% $QGUHZ Indicao para o cuidado e a

LGHQWLFDomRGDEDVHGHOPHVIRWRJUiFRV5LRGH-DQHLUR$UTXLYR1DFLRQDO
1997.
)5$1d$ 9HU{QLFD$ O olhar eterno de Chichico Alkmim. Belo Horizonte.

(GLWRUD%
)521(5<DF\$UD 526$'2$OHVVDQGUD 628=$ /XL]$QW{QLR Tpicos

em conservao preventiva%HOR+RUL]RQWH/$&,&25(%$8)0*
+817 5REHUW A Popular Treatise on the Art of Photography: including

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/$6.23/2':,-.6-&XUDWRUDQGVFLHQWLVWWRZDUGVXQLW\RIDLPMuseum,
YQS
0$66&+(/(,1./(,1(5/+(</$1-75,&270$5&.;)&RQWULEXWLRQ
jODQDO\VHGHVOLDQWVDGKpVLIVHWYHUQLVDQFLHQVStudies in Conservation, n.
S
187
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,Q The organic chemistry of museum objects HG /RQGRQ %XWWHUZRUWK
Heinemann, 1994.
3$92/XtV&RQVHUYDomRGHFROHo}HVGHIRWRJUDD/LVERD'LQDOLYUR
526$'2$OHVVDQGUD628=$/XL]$QW{QLR. Histria da arte tcnicaXPROKDU
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de pinturas sobre tela e madeira. Tese (Doutorado em Artes) Programa de
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6(0,15,2 1$&,21$/ '$ $%5$&25 3HWUySROLV Anais
Petrpolis: Abracor, 1994 .
7$/%27:LOOLDP+HQU\)R[Some account of the Art of Photogenic Drawing:

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FRQFHQWUDo}HVGHJUXSRV2+.
Quantos banhos devem ser dados e por quanto tempo?
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GHGHVDFLGLFDomRHGRQ~PHURGHEDQKRV$OJXQVUHVWDXUDGRUHVEDVHDGRV
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HItVLFRVHQYROYLGRVFRPRVEDQKRVHTXHVHUmRUHVSRQViYHLVSHORHVWDGRGH
conservao do papel aps estes.
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PDWHULDLVMiGLVFXWLGRVHVSpFLHViFLGDVFDUJDVUHVHUYDEiVLFDHWF2SDSHO
se torna, cada vez mais, pobre em reas amorfas, removidas durante o
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196
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$'6&FRQVLVWHHPDTXHFHUJUDGDWLYDPHQWHRPDWHULDOHPHGLUDVHQHUJLDV
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;,; TXH VRIUHUDP EDQKRV GH GHVDFLGLFDomR H REVHUYDPRV R DXPHQWR GD
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grau de cristalinidade implica maior rigidez do papel, ou seja, o papel se torna
PDLVTXHEUDGLoR
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197
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HR[LGDomRGDFHOXORVHHVXDGHVLGUDWDomRFRPDOLEHUDomRGH&2&2H
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EDVLFDPHQWHGHFDUERQR2~OWLPRHYHQWRH[RWpUPLFRpXPDSRVVtYHOR[LGDomR
198
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VHHQFRQWUDYDPGHIRUPDPDLVFULVWDOLQDQRVLVWHPD3DUDPHOKRUDQiOLVHGD
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pQHFHVViULRH[SOLFLWDURVYDORUHVGHWHPSHUDWXUD7DEHODQRVTXDLVRFRUUH
FDGDHYHQWRHDHQHUJLDDWULEXtGDDFDGDXPGHOHV
Tabela 1
Valores de temperatura e energia obtidos pelas curvas de DSC para
cada amostra de papel
Fenmeno Tipo de papel 7HPSHUDWXUDoC (QHUJLD-
6HPEDQKR
(QGRWpUPLFR 8PEDQKRGHPLQXWRV 3,33
7UrVEDQKRVGHPLQXWRV 3,18
6HPEDQKR
([RWpUPLFR$ 8PEDQKRGHPLQXWRV 338
7UrVEDQKRVGHPLQXWRV 340
6HPEDQKR 417

([RWpUPLFR
8PEDQKRGHPLQXWRV 430
B
7UrVEDQKRVGHPLQXWRV
1RHYHQWRHQGRWpUPLFRKiYRODWLOL]DomRGHPROpFXODVGHEDL[RSHVRPROHFXODU
SHTXHQDV 3HORV YDORUHV GH HQHUJLD DEVRUYLGD HYHQWR HQGRWpUPLFR

QRWDPRV TXH R YDORU p PDLRU SDUD D DPRVWUD VHP EDQKR SRLV HOD FRQWpP
PDLRUQ~PHURGHPROpFXODVSHTXHQDVTXHVmRRSURGXWRGDKLGUyOLVHiFLGD
3('(562/, 4XDQWR PDLRU IRU R WHRU HP iUHDV DPRUIDV PDLRU R
Q~PHURGHPROpFXODVGHEDL[RSHVRPROHFXODUTXHVmRYRODWLOL]DGDVQRHYHQWR
HQGRWpUPLFRHPDLRUDTXDQWLGDGHGHFDORUDEVRUYLGD62$5(6
2EVHUYDQGRVHDWHPSHUDWXUDGHRFRUUrQFLDGRSULPHLURHYHQWRH[RWpUPLFR
199
QRWDPRV TXH HVVD p PDLRU QD DPRVWUD GH SDSHO VXEPHWLGD D WUrV EDQKRV
GH PLQXWRV ,VVR VH GHYH j PDLRU HVWDELOLGDGH WpUPLFD GD DPRVWUD
evidenciando, assim, maior cristalinidade da celulose. Para esse mesmo
HYHQWR TXDQWR PDLRU IRU D RUJDQL]DomR FULVWDOLQD GD FHOXORVH PDLRU VHUi R
DXPHQWRGDWHPSHUDWXUDGHGHFRPSRVLomRWpUPLFDSLUyOLVHR[LGDWLYD$VVLP
SHUFHEHPRVTXHRSDSHOVXEPHWLGRDWUrVEDQKRVGHPLQXWRVSRVVXLXPD
organizao cristalina mais acentuada, pois apresenta maior temperatura no
HYHQWRH[RWpUPLFR$UHIHUHQWHjSLUyOLVHR[LGDWLYD
$VEDQGDVGRHYHQWRH[RWpUPLFR%VmRPDLVSURQXQFLDGDVQDVDPRVWUDVTXH
SDVVDUDPSRUDOJXPWUDWDPHQWRGHGHVDFLGLFDomRFXUYDVD]XOHYHUPHOKD
,VVR VH GHYH SURYDYHOPHQWH D XPD DOWHUDomR HVWUXWXUDO GR SDSHO DSyV RV
EDQKRVFRPKLGUy[LGR8PSRVVtYHODXPHQWRQDFULVWDOLQLGDGHGDVDPRVWUDV
SRGH MXVWLFDU HVVH HIHLWR YLVWR TXH R VHJXQGR HYHQWR H[RWpUPLFR PRVWUD
D GHJUDGDomR GR UHVWDQWH GD FDGHLD SROLPpULFD PDLV RUJDQL]DGD TXH QmR
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2V YDORUHV GH DEVRUomR RX OLEHUDomR GH HQHUJLD SDUD R SDSHO VHP EDQKR
HPWRGRVRVHYHQWRVVmRRVPDLRUHVTXDQGRFRPSDUDGRVjVDPRVWUDVTXH
SDVVDUDPSRUDOJXPSURFHVVRGHGHVDFLGLFDomR(VVDGLVFUHSkQFLDHQWUHRV
YDORUHVpREVHUYDGDGHYLGRDXPDPDLRUTXDQWLGDGHGHSURGXWRVGHR[LGDomR
GD FHOXORVH SUHVHQWH QR SDSHO VHP EDQKR DLQGD TXH R SHVR GDV DOtTXRWDV
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FRPDVEUDVQmRVmRUHWLUDGRVDWpTXHRSDSHOSDVVHSRUDOJXPSURFHVVR
ItVLFR RX TXtPLFR /RJR QRWDPRV TXH RV EDQKRV LQGHSHQGHQWHPHQWH GD
GXUDomRRXGRPRGRFRPRIRUDPDSOLFDGRVHRXSUHSDUDGRVUHWLUDPDOJXP
PDWHULDOGRSDSHOSRVVLYHOPHQWHSHTXHQDVFDGHLDVROLJRPpULFDV
7RGRVHVVHVUHVXOWDGRVSHUPLWHPFRQFOXLUTXHRPDLRUQ~PHURGHEDQKRVp
PDLVSUHMXGLFLDOWRUQDQGRRSDSHOPDLVUtJLGRHTXHEUDGLoRTXHDSHQDVXP
EDQKR GH PDLRU GXUDomR &DGD YH] TXH R EDQKR p UHQRYDGR DXPHQWD VXD
FDSDFLGDGHGHGLVVROYHUPDLVPDWHULDOGRSDSHO8P~QLFREDQKRUHPRYHXPD
SDUWHGRPDWHULDOHHQWUDHPHTXLOtEULRVHPFDXVDUPDLVGDQRVRTXHVXJHUH
TXHDUHPRomRGHPDWHULDOLQGHSHQGHSDUFLDOPHQWHGRWHPSR
$OpPGRVGDQRVGRPDLRUQ~PHURGHEDQKRVREVHUYDPRVTXHDYDULDomRGH
S+QmRpWmRVLJQLFDWLYDTXDQGRVHIH]WUrVEDQKRVHPUHODomRDRSURFHVVR
200
GHXP~QLFREDQKR1D7DEHODSRGHPRVYHURVUHVXOWDGRVGRS+GRSDSHO
DQWHV H DSyV RV EDQKRV H REVHUYDPRV TXH HP DPERV R SDSHO DOFDQoD
SUDWLFDPHQWHRPHVPRYDORUDGHTXDGRGHS+HPWRUQRGH
Tabela 2
pH e variao de pH de cada banho e cada amostra de papel dos
EDQKRVGHGHVDFLGLFDomR
8PEDQKR 7UrV%DQKRV
pH inicial papel
S+QDOSDSHO 8,55 8,87
S+SDSHO 1,98
(P UHODomR DR WHPSR GR EDQKR QmR SRGHPRV [DU XP YDORU JHQpULFR
KDMD YLVWD TXH Ki GLIHUHQWHV SDSpLV HP GLIHUHQWHV HVWDGRV GH FRQVHUYDomR
3RGHPRVSRUpPH[SRUQRVVRVUHVXOWDGRVSDUDRSDSHOPDGHLUDHVWXGDGRGH
XPOLYURGRVpFXOR;,;QRTXDOPHGLPRVRS+GRVEDQKRVHPHTXLOtEULRFRPR
SDSHO2EVHUYDPRVTXHDSyVFHUFDGHPLQXWRVQmRKRXYHYDULDomRGRS+
GHYLGRDRHTXLOtEULRGDVUHDo}HV
E quando o papel no pode ser imerso em gua?
&RPR GLVFXWLPRV QR LQtFLR HP DOJXPDV VLWXDo}HV R SDSHO QmR SRGH VHU
LPHUVR HP PHLR DTXRVR GHYLGR D GDQRV VHYHURV jV DUWHV H LQIRUPDo}HV
SUHVHQWHVQHOH1HVVHVFDVRVRVSURFHGLPHQWRVGHGHVDFLGLFDomRXWLOL]DGRV
VmR FKDPDGRV GH QmR DTXRVRV (OHV SRGHP XVDU XP VROYHQWH GHVGH TXH
HVVHQmRVHMDiJXD$OJXQVPpWRGRVQmRDTXRVRVFRPXQVVmRR%RRNNHHSHU

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$ YDQWDJHP GHVVDV SDUWtFXODV WmR GLPLQXWDV p TXH FRQVHJXHP SHQHWUDU DV
EUDV GR SDSHO SHUPLWLQGR TXH HOH VHMD GHVDFLGLFDGR ( TXDO D GLIHUHQoD
HQWmRSDUDRPpWRGRWUDGLFLRQDOGDVROXomRDTXRVDGH&D2+? A diferena
201
HVWiH[DWDPHQWHQRWHUPRsoluo$RPLVWXUDUPRV&D2+ com gua para
D GHVDFLGLFDomR p FRPXP XVDUPRV D SDUWH WUDQVO~FLGD D VROXomR HP VL
FRPR&D2+ dissolvidoHHYLWDURSy&D2+ slido). Esse p, junto com
a gua, forma uma disperso XPD PLVWXUD KHWHURJrQHD 2 Sy p JUDQGH
GLPHQVmR PLFURPpWULFD [ P QmR FRQVHJXH SHQHWUDU QDV EUDV GR
SDSHO H SRU LVVR QmR p XVDGR$V disperses FRP SDUWtFXODV QDQRPpWULFDV
SHQHWUDPRSDSHOGHVDFLGLFDQGRR$VVLPSRGHPRVXVDURXWURVVROYHQWHV
TXHQmRVHMDPDiJXDSDUDDSOLFiODV8PGRVVROYHQWHVFRPXPHQWHXVDGRV
pRHWDQRO
(P QRVVR JUXSR GH SHVTXLVD VLQWHWL]DPRV QDQRSDUWtFXODV GH &D2+ de

acordo com a literatura citada (Figura 3) sob atmosfera inerte e as empregamos
QDGHVDFLGLFDomRGHIROKDVGHXPOLYURGHSDSHOGHWUDSRGRVpFXOR;9,,,$
DSOLFDomRGDVQDQRSDUWtFXODVIRLUHDOL]DGDDWUDYpVGHDVSHUVmRGDVPHVPDV
GLVSHUVDVHPHWDQROHREWLYHPRVUHVXOWDGRVVHPHOKDQWHVDXPEDQKRDTXRVR
GHGHVDFLGLFDomRHPUHODomRjYDULDomRGRS+7DEHOD2PpWRGRpGH
IiFLOXVRHDLQGDDSUHVHQWRXDYDQWDJHPGHGLVSHQVDUDHWDSDGHSODQLFDomR
202
)LJXUD1DQRSDUWtFXODVGHKLGUy[LGRGHFiOFLRFRPIRUPDWRKH[DJRQDO
FDUDFWHUtVWLFR
Tabela 3
9DORUHVGHS+REWLGRVDQWHVHDSyVRWUDWDPHQWRGHGHVDFLGLFDomR
com disperso de nanopartculas de Ca(OH)2 em etanol com os dois
tipos de papel de trapo
Papel de trapo: pH inicial S+QDO

A 9,80
B 9,75
Concluses
$SUiWLFDGDGHVDFLGLFDomRH[LJHXPDOWRFRQKHFLPHQWRWpFQLFRHFLHQWtFR
GHVHXVUHVXOWDGRVHPREUDVHGRFXPHQWRVHPSDSHO2FRQKHFLPHQWRGDV
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restaurador de papel.
Agradecimentos
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Referncias
$0%526, 0 '(, / *,25*, 5 1(72 & %$*/,21, 3 &ROORLGDO
3DUWLFOHVRI&D2+: Properties and Applications to Restoration of Frescoes.
Langmuir(8$YS
$1'5$'( +DQQD )HGUD &DUYDOKR (VWXGR GD GHVDFLGLFDomR GH SDSHO

203
atravs do tratamento com nanopartculas de hidrxido de clcio0RQRJUDD
(Graduao em Conservao-Restaurao de Bens Culturais Mveis), Escola
GH%HODV$UWHV8QLYHUVLGDGH)HGHUDOGH0LQDV*HUDLV%HOR+RUL]RQWH
),*8(,5('2-81,25-RmR&XUD'$UVQumica aplicada conservao e

restaurao de bens culturais. %HOR+RUL]RQWH6mR-HU{QLPR
3('(562/,-5-RVp/XL](IIHFWRI&HOOXORVH&U\VWDOOLQLW\RQWKH3URJUHVVRI
7KHUPDO2[LGDWLYH'HJUDGDWLRQRI3DSHUJournal of Applied Polymer Science,
(8$YS
6,/9$0DWKHXVGH&DVWUR(VWXGRGHSURFHVVRVTXtPLFRVGHGHVDFLGLFDomR
de papel para a restaurao de acervos. 0RQRJUDD *UDGXDomR HP
Conservao-Restaurao de Bens Culturais Mveis), Escola de Belas Artes,
8QLYHUVLGDGH)HGHUDOGH0LQDV*HUDLV%HOR+RUL]RQWH
62$5(66&$0,12*/(9&+,.6&RPSDUDWLYH6WXG\RIWKH7KHUPDO
Decomposition of Pure Cellulose and Pulp Paper. Polymer Degradation and
Stability,UODQGDYS
7$1*/&1259(/-007KH(IIHFWVRI:DVK:DWHU4XDOLW\RQWKH$JLQJ
&KDUDFWHULVWLFVRI3DSHUJournal of the American Institute of Conservation, v.
QS
76(6HDVRQ(IIHFWRI:DWHU:DVKLQJRQ3DSHUDQG&HOOXORVLF7H[WLOHVDQ
2YHUYLHZDQG8SGDWHRI&&,5HVHDUFKThe Book and Paper Group Annual,
YS
204
Escultura
colonial mineira:

preservao
Alessandra Rosado
Doutora em Artes e professora do Curso de Conservao-Restaurao em
Alessandra Rosado e Maria Regina Emery Quites

Maria Regina Emery Quites
Doutora em Histria e professora do Curso de Conservao-Restaurao em
Resumo: $LPDJLQiULDPLQHLUDSRVVXLULTXH]DVLQHVWLPiYHLVTXHQHFHVVLWDP
FDGDYH]PDLVGHSHVTXLVDDPGHVHGHVFREULUHPQRYRVDXWRUHVWpFQLFDVH
materiais ainda pouco estudados, bem como aprofundar-se nos diagnsticos
GR HVWDGR GH FRQVHUYDomR SDUD HPEDVDU GHFLV}HV H FULWpULRV GH VXD
205
preservao.
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A escultura devocional em Minas Gerais
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so repletas de retbulos das diversas fases do nosso barroco e rococ, bem
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do Campo abriga sua obra-prima e o mais importante conjunto escultrico em
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retbulo-mor dessa mesma igreja no seu altar-mor em madeira policromada.
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DSHQDV R FRQMXQWR GH &RQJRQKDV GR &DPSR H DV LPDJHQV GH 6mR 6LPmR
6WRFNH6mR-RmRGD&UX]GD&DSHODGD2UGHP7HUFHLUDGR&DUPRGH6DEDUi
0XLWRLPSRUWDQWHVWDPEpPVmRRVPHVWUHVSRUWXJXHVHVTXHDTXLWUDEDOKDUDP
206
FRPR )UDQFLVFR ;DYLHU GH %ULWR H )UDQFLVFR 9LHLUD 6HUYDV GRLV H[tPLRV
HVFXOWRUHVTXHWUDEDOKDUDPHP0LQDV*HUDLVUHVSHFWLYDPHQWHQD0DWUL]GR
3LODU GH 2XUR 3UHWR H QD &DSHOD GD 2UGHP 7HUFHLUD GH 6mR )UDQFLVFR GH
Assis, em Sabar
&UHPRV TXH WDPEpP EDVWDQWH UHOHYDQWHV VmR RV HVFXOWRUHV DLQGD QmR
LGHQWLFDGRV FRPR 0HVWUH 3LUDQJD 0HVWUH %DUmR GH &RFDLV 0HVWUH GH
6DEDUiH0HVWUHGR&DMXUX7RGRVMiEDVWDQWHHVWXGDGRV&2(/+2
PDV DLQGD DJXDUGDQGR SHVTXLVDV TXH UHYHOHP VHXV QRPHV 6mR SUHFLRVRV
HP 0LQDV RV RUDWyULRV GRPpVWLFRV FRP JUDQGH YDULHGDGH GH PRGHORV
WDPDQKRVUHVVDOWDQGRRVFKDPDGRV'RP-RVpTXHDSUHVHQWDPLPDJHQVHP
SHGUDWDOFRVHPLSROLFURPDGDV7DPEpPLPSRUWDQWHVVmRDVLQ~PHUDVLPDJHQV
GHSHTXHQRSRUWHGHFDUiWHUPDLVSRSXODUHPPDGHLUDSROLFURPDGDTXHVH
HQFRQWUDP HP PXVHXV RX ID]HP SDUWH GH FROHo}HV SDUWLFXODUHV 1(0(5

1D UHJLmR GH7LUDGHQWHV H 6mR -RmR GHO5HL HQFRQWUDPRV XPD RFLQD TXH
WUDEDOKRX DV FKDPDGDV LPDJHQV GH tela encolada 0('(,526 j
PRGD EUDVLOHLUD FRP H[HPSODUHV GH ULTXH]D VLQJXODU TXH DJXoDP QRVVR
LQWHUHVVH SRU WpFQLFDV GLYHUVDV7DPEpP DV LPDJHQV GH YHVWLU GH JUDQGH H
SHTXHQD GLPHQVmR DSUHVHQWDP XPD FRQFHSomR FRQFHLWXDO GLIHUHQWH PDV
ULFDHPLQIRUPDo}HVHTXHHQJOREDPRHVWXGRGHPDWHULDLVFRPRRVWr[WHLV
perucas e outros acessrios. As esculturas em gesso e outros materiais
WDPEpP PHUHFHP SHVTXLVD H ID]HP SDUWH GH QRVVD KLVWyULD H SDWULP{QLR D
ser estudado.

7RGRVHVVHVDFHUYRVTXHRFXSDPRVDOWDUHVGHQRVVDVLJUHMDVHSDUWLFLSDUDP
RXDLQGDSDUWLFLSDPGHSURFLVV}HVRXPHVPRDVREUDVH[SRVWDVRXQmRQRV
nossos museus so um rico patrimnio do nosso estado e inesgotvel fonte
GHSHVTXLVD
7HQGR FRPR PHWD D SHVTXLVD GD HVFXOWXUD SROLFURPDGD DERUGDPRV RV

GLYHUVRVHVWXGRVTXHVHLPEULFDPQRVFDPLQKRVGDSUHVHUYDomRLFRQRJUDD
DQiOLVHVIRUPDOHHVWLOtVWLFDDQiOLVHKLVWyULFDPDWHULDLVHWpFQLFDVGLDJQyVWLFR
H VXD SUHVHUYDomR IXQGDPHQWDGD HP XP WUDEDOKR PHWRGROyJLFR TXH JHUH
GHFLV}HVFULWHULRVDVHpWLFDV
207
$LPSRUWkQFLDGRFRQKHFLPHQWRGRVPDWHULDLVHWpFQLFDV
1D 0LQDV FRORQLDO R HVFXOWRU SURMHWDYD FRQVWUXtD H REWLQKD R PDWHULDO TXH

VHULDWUDEDOKDGR$HVFROKDGDPDGHLUDSDUDDHVFXOWXUDHUDIHLWDSHORSUySULR
DUWLVWD 0$57,16 TXH OKH GDYD D IRUPD GH DFRUGR FRP D IXQomR
destinada ao objeto: uma imagem de vulto, um retbulo ou um simples banco.
'HYLGRjVGLFXOGDGHVGHWUDQVSRUWHHGHIHUUDPHQWDVQDpSRFDHUDLPSRUWDQWH
TXH D PDGHLUD HVWLYHVVH R PDLV SUy[LPR SRVVtYHO GR ORFDO GH SURGXomR
1RVVDV PDWDV ULFDV HP JUDQGHV YDULHGDGHV GH PDGHLUD IRUQHFLDP PDWpULD
SULPDHPDEXQGkQFLD$SHVDUGDGLYHUVLGDGHGDVHVSpFLHVDUEyUHDVWURSLFDLV
RV DUWHVmRV VHOHFLRQDYDP XPD HVSpFLH TXH HUD DPSODPHQWH XWLOL]DGD QD
produo de esculturas: o cedro.
$HVSpFLHGHFHGURPDLVFRPXPHQFRQWUDGDQDVPDWDVGRLQWHULRUGH0LQDV
Gerais era a Cedrela sp $1'5$'(/,0$ (VVD PDGHLUD VRPHQWH
IRL GHVFULWD SHOD FLrQFLD ERWkQLFD QR LQtFLR GR VpFXOR ;,; SRU IUHL 0DULDQR
GD &RQFHLomR 9HOORVR /,6%2$ 1R VpFXOR ;9,,, FRQWXGR VXDV
FDUDFWHUtVWLFDVItVLFDVMiHUDPFRQKHFLGDVHDSUHFLDGDVSHORVHQWDOKDGRUHVGH
HVFXOWXUDVUHOLJLRVDVSRUVXDH[FHOHQWHWUDEDOKDELOLGDGH2VOLYURVGHUHFHLWDV
H GHVSHVDV GDV LJUHMDV FRORQLDLV SRU H[HPSOR JHUDOPHQWH PHQFLRQDP D
FRPSUDGRFHGURSDUDVHUHQWDOKDGRFRPRUHFRPHQGDomRRXH[LJrQFLDGRV
HVFXOWRUHVRTXHGHPRQVWUDDSUHIHUrQFLDSRUHVVDPDGHLUD60,7+
0$57,16
2FHGURSRUVHUXPDPDGHLUDUHVLQRVDUHVLVWHEHPDRDSRGUHFLPHQWRHDR
DWDTXH GH LQVHWRV [LOyIDJRV /,6%2$ SRUpP D WRUD FRUWDGD FRP R
passar dos anos, vai perdendo suas propriedades resinosas, tornando-se
PDLVVXVFHWtYHODRVDWDTXHVELROyJLFRV
2 HVFXOWRU XWLOL]DYD SULQFLSDOPHQWH R FHUQH GD iUYRUH GHVEDVWDQGR FRP R

DX[tOLR GR HQ[y RX IRUPmR D FDVFD H R DOEXUQR GD PDGHLUD$V HVFXOWXUDV
GH WDOKD LQWHLUD H HVFXOWXUDV GH YHVWLU HUDP HVFXOSLGDV HP XP ~QLFR EORFR
de madeira ou em vrios blocos. Elas podiam ser macias ou desbastadas
WRWDOPHQWH RX SDUFLDOPHQWH SRU GHQWUR 1RUPDOPHQWH R SURFHGLPHQWR GH
208
RFDUDVHVFXOWXUDVHUDIHLWRQDSDUWHSRVWHULRUGDLPDJHPVHQGRIHFKDGRSRU
um tampo.
$ XQLmR GRV EORFRV GDV HVFXOWXUDV HUD REWLGD SRU PHLR GH HQFDL[HV
ensamblagens, colas, cravos e pinos. As mos das esculturas coloniais
JHUDOPHQWH HUDP HVFXOSLGDV HP VHSDUDGR IDFLOLWDQGR R WUDEDOKR GD WDOKD H
HYLWDQGRIUDWXUDVDRXVDUREORFRQRVHQWLGRGDVEUDV*HUDOPHQWHRVLVWHPD
GH HQFDL[H DR DQWHEUDoR HUD IHLWR SHOR VLVWHPD PDFKRIrPHD H R GHWDOKH
GR SDQHMDPHQWR GDV PDQJDV WRUQDYD HVVD MXQomR TXDVH LPSHUFHSWtYHO$V
IDODQJHVGRVGHGRVGDVPmRVWDPEpPSRGLDPVHUHVFXOSLGDVHPVHSDUDGRH
unidas com cola, pinos (na parte central interna das falanges) ou com cravos.
3DUDD[DomRGHDWULEXWRVVtPERORVTXHUHIRUoDPDLFRQRJUDDGDLPDJHP
DV HVFXOWXUDV UHFHELDP DGRUQRV FRPR HVSDGDV SDOPDV HFKDV FRURDV
DXUpRODV (VVHV DWULEXWRV SRGLDP VHU IHLWRV HP PHWDO JHUDOPHQWH SUDWD
RX HP PDGHLUD SROLFURPDGD H HQFDL[DYDPVH DWUDYpV GH RULItFLRV IHLWRV HP
UHJL}HVHVSHFtFDVQDVSHoDV
1REDUURFRSRSXODUL]DUDPVHDVLPDJHQVFRPROKRVGHYLGURTXHOKHVGDYDP
UHDOLVPRWHDWUDOGHDFRUGRFRPRJRVWRGDpSRFD3DUDDFRORFDomRGHVVHV
ROKRVDFDEHoDGDHVFXOWXUDUHFHELDJHUDOPHQWHXPFRUWHQRVHQWLGRYHUWLFDO
destacando a regio frontal da face por completo. A face destacada era
HVFDYDGDQDUHJLmRGRJORERRFXODUDEULQGRVHRULItFLRVSDUDDDGDSWDomRGRV
ROKRVTXHFDYDPDSDUHQWHVVREDVSiOSHEUDV$IDFHHUD[DGDQRYDPHQWH
jFDEHoDFRPFRODFUDYRVRXSLQRVGHPDGHLUD2WLSRGHFRUWHIDFLDOSDUD
DFRORFDomRGRVROKRVGHYLGURHUDIHLWRSULQFLSDOPHQWHQDSDUWHDQWHULRUGD
FDEHoD$LPDJHPGH1RVVD6HQKRUDGDV0HUFrVDSUHVHQWDROKRVGHYLGUR

HVIpULFRVHRFRVFRPSHG~QFXORH[DGRVjIDFHSRUGRLVFUDYRV)LJXUD
209
A B
)LJXUD'HWDOKHGDFDEHoDGDHVFXOWXUDHPPDGHLUDSROLFURPDGDGH1RVVD6HQKRUDGDV
0HUFrVSHUWHQFHQWHj,JUHMD1RVVD6HQKRUDGR5RViULR6mR*RQoDORGR5LR$EDL[R0LQDV
*HUDLV$)RWRJUDDFRPOX]YLVtYHOH%UDGLRJUDDHYLGHQFLDQGRRVFUDYRVXVDGRVSDUD
D[DomRGDIDFHXPORFDOL]DGRQDUHJLmRGDWHVWDHRRXWURQRTXHL[RHRVROKRVGHYLGUR
1RUPDOPHQWH D JXUD HVFXOSLGD HUD DSUHVHQWDGD VREUH XPD HVWUXWXUD
WDPEpPHVFXOSLGDGHQRPLQDGDEDVH$EDVHSRGLDDSUHVHQWDUVHFRPRSDUWH
do bloco principal ou ser feita em um bloco separado. A parte inferior do corte
WUDQVYHUVDO GD EDVH GDV HVFXOWXUDV JHUDOPHQWH UHFHELD XP RULItFLR FHQWUDO
FRP D QDOLGDGH GH SURSRUFLRQDU D [DomR GHVVDV LPDJHQV HP XP DQGRU
(PDOJXQVFDVRVHQFRQWUDPRV[DVREUHHVVHWLSRGHRULItFLRXPDFKDSD
de ferro com uma abertura circular em rosca no meio. Presumivelmente, esse
recurso era utilizado para proporcionar maior segurana na prtica de prender
DHVFXOWXUDQRDQGRU4XDQGRRWUDEDOKRGDWDOKDWHUPLQDYDDHVFXOWXUDHUD
preparada para receber a policromia.
$ WpFQLFD SLFWyULFD HPSUHJDGD QDV HVFXOWXUDV HQFRQWUDVH GHVFULWD QRV

PDQXDLVDUWtVWLFRVSURGX]LGRVQRVVpFXORV;,,;,9;9,;9,,,;,;SRUDXWRUHV
FRPR 0RQJH 7HyOR &HQQLQR &HQQLQL 3KLOLSSH 1XQHV H :DWLQ 0277$
$PHWRGRORJLDQRSUHSDURGDPDGHLUDSDUDUHFHEHUDSROLFURPLDFRQWLGD
QHVVHVPDQXDLVFRQVWLWXtDVHEDVLFDPHQWHQDDSOLFDomRGHHQFRODJHPEDVH
GH SUHSDUDomR JHVVR JURVVR H JHVVR QR EROR QR FDVR GH GRXUDPHQWR
DTXRVRHSLQWXUDTXHSRGLDVHUDWrPSHUDRXROHRVD0('(,526
A encolagem consistia na aplicao com cola proteica sobre todo o suporte

FRPDQDOLGDGHGHIHFKDURVSRURVGDPDGHLUDSUHSDUDQGRDSDUDUHFHEHU
camadas de gesso grosso feito de carbonato de clcio, sulfato de clcio ou
caulim misturado a cola de origem animal. Sobre o gesso grosso seco, era
DSOLFDGDFDPDGDGHJHVVRQRRXVRWLOOHTXHSRUUHVXOWDUHPXPDFDPDGD
PXLWROLVDHQDHUDLGHDOSDUDUHFHEHUDSOLFDomRGREROR
2 EROR HUD FRQVWLWXtGR GH FDXOLP H y[LGRV GH IHUUR TXH OKH GDYDP DV
WRQDOLGDGHVDPDUHORRFUHRXYHUPHOKRRFUHPLVWXUDGRVjFRODSURWHLFD(UDR
WLSRGHSUHSDUDomRSDUDUHFHEHURGRXUDPHQWRIHLWRFRPDSOLFDomRGHIROKDV
GH RXUR FKDPDGR GH GRXUDPHQWR j EDVH GiJXD RX D WrPSHUD 628=$
(VVD WpFQLFD GH GRXUDPHQWR HUD D PDLV XWLOL]DGD SHORV SLQWRUHV
GRXUDGRUHV FRORQLDLV 3RGHULD WDPEpP VHU XVDGD D IROKD GH SUDWD SRUpP
210
menos encontrada nas imagens mineiras.
6REUHRGRXUDPHQWRjEDVHGiJXDRVSLQWRUHVGRXUDGRUHVXVDYDPWpFQLFDV
GHGHFRUDomRFRPRHVJUDDGRSLQWXUDDSLQFHOSXQomRSDVWLJOLRRXUHOHYR
DSOLFDomRGHODFDVRXYHODGXUDVHGHDFDEDPHQWRFRPRYHUQL]HV628=$
0('(,526
e LPSRUWDQWH VDOLHQWDU TXH R GRXUDPHQWR GDV HVFXOWXUDV PLQHLUDV HP
DOJXQV FDVRV SRGLD VHU HIHWXDGR FRP D DSOLFDomR GDV IROKDV GHL[DQGR XP
HVSDoDPHQWR HQWUH HODV SURFHVVR FKDPDGR GH GRXUDPHQWR GH UHVHUYD
&2(/+2
As reas de carnao das esculturas (onde o artista representava a pele, por

H[HPSOR UHJL}HV GR URVWR FROR PmRV H SpV WDPEpP QmR HUDP GRXUDGDV
A carnao era feita geralmente a leo ou tmpera oleosa, aplicada sob
preparao e encolagem.
$ DQiOLVH GRV PDWHULDLV H GDV WpFQLFDV GDV HVFXOWXUDV EDUURFDV GHPRQVWUD

FODUDPHQWH TXH D XQLmR GD WDOKD FRP D SROLFURPLD p DOJR LQHUHQWH H
LPSUHVFLQGtYHOjH[SUHVVmRHVWpWLFDGDpSRFDTXHDOPHMDYDFRQIHULUOKHVXP
aspecto real e natural. A escultura religiosa em madeira policromada possui
XPD XQLGDGH GH IRUPD H SROLFURPLD TXH VmR LQGLVVRFLiYHLV H TXH GHYHP
ser consideradas ao se estabelecerem os conceitos de sua preservao.
%$//(675(0
Diagnstico do estado de conservao e preservao do patrimnio
eFRQVHQVRHQWUHRVFRQVHUYDGRUHVUHVWDXUDGRUHVTXHRVSULQFLSDLVREMHWLYRV

GHTXDOTXHULQWHUYHQomRHPXPEHPFXOWXUDOpDSURPRomRGDFRQVHUYDomR
GHVXDPDWpULDHGRFRQKHFLPHQWRHSUHYHQomRGRVIDWRUHVGHGHWHULRUDomRD
TXHHVVHVREMHWRVHVWmRVXMHLWRV
&RPRYLVWRDQWHULRUPHQWHDHVFXOWXUDHPPDGHLUDSROLFURPDGDpXPREMHWR
FRPSRVWR SRU PDWHULDLV GLYHUVRV H SDUD SUHVHUYiOD p LPSRUWDQWH REVHUYDU
essa peculiaridade frente aos seguintes fatores de deteriorao:
RHQYHOKHFLPHQWRGRVPDWHULDLVTXHDFRPS}H
211
DVFDUDFWHUtVWLFDVQDWXUDLVGDPDGHLUDFDUDFWHUL]DGDSHODSUHVHQoDGHQyV
UHVLQRVRVQyGXORVEXOERVIHQGDVRXUDFKDGXUDV
R DPELHQWH HP TXH HVWi H[SRVWD HRX DFRQGLFLRQDGD FRQVLGHUDQGR DV

XWXDo}HVLQGHYLGDVGHWHPSHUDWXUDT) e umidade relativa (UR), os impactos
ItVLFRV GH FDUiWHU PHFkQLFR H[SRVLomR j UDGLDomR XOWUDYLROHWD DWDTXHV
ELROyJLFRV SROXLomR DWPRVIpULFD GHVDVWUHV QDWXUDLV FRPR LQFrQGLRV H
LQXQGDo}HVYDQGDOLVPRLQWHUYHQo}HVKXPDQDVDEDQGRQRHGLVVRFLDomR
9DOHOHPEUDUTXHDdissociao foi incorporada aos agentes de deteriorao

VRPHQWHQHVWD~OWLPDGpFDGDDSHVDUGHVHUXPIDWRUGHJUDQGHUHOHYkQFLDHP
UHODomRjFRQVHUYDomRGRVREMHWRVSDWULPRQLDLV2WHUPRGLVVRFLDomRpXWLOL]DGR
SDUDFDUDFWHUL]DURGHVDSDUHFLPHQWRGHREMHWRVHRXSDUWHVFRPSOHPHQWDUHV
TXHRVFRPS}HPDSHUGDGHGDGRVUHODFLRQDGRVDRVREMHWRVHDFDSDFLGDGH
GH DVVRFLDU LQIRUPDo}HV D HOHV ,VVR SRGH RFRUUHU SRU H[HPSOR GHYLGR D
eventos raros como catstrofes ou em funo de procedimentos imprprios
GHFRQVHUYDomRRXGHJHUHQFLDPHQWRGHFROHo}HV
Entre os fatores de deteriorao citados, trs destacam-se por sua recorrncia:

R DWDTXH GH FXSLQV GD PDGHLUD VHFD RX GR VROR D XWXDomR GD XPLGDGH
UHODWLYDHDVDo}HVKXPDQDV
2V FXSLQV DOLPHQWDPVH GD PDGHLUD 3DUD LVVR IRUPDP JDOHULDV QR LQWHULRU
GDVHVFXOWXUDVHGHL[DPSHTXHQRVIXURVQDSDUWHH[WHUQDSDUDGHVSHMRGRV
H[FUHPHQWRV TXH VmR GH DVSHFWR JUDQXODGR H FRPSDFWR 5HVVDOWDVH TXH
XPREMHWRTXHWHQKDVXDHVWUXWXUDLQWHUQDJUDYHPHQWHFRPSURPHWLGDSHODV
JDOHULDV GH FXSLQV SRGH DSDUHQWDU XP DVSHFWR H[WHUQR tQWHJUR ,VVR RFRUUH
SRUTXH R FXSLP SRU QmR WROHUDU D OX] SRXSD DSHQDV XPD QD SHOtFXOD GD
madeira (policromada ou no).
$V FRQGLo}HV FOLPiWLFDV LQXHQFLDP D GLQkPLFD GR PHLR DPELHQWH H D

XPLGDGHHDWHPSHUDWXUDHVWmRHQWUHRVSULQFLSDLVIDWRUHVTXHGHVHQFDGHLDP
SURFHVVRV GH GHJUDGDomR GRV REMHWRV FXOWXUDLV SULQFLSDOPHQWH QDTXHOHV
FRQVWLWXtGRV SRU PDWHULDLV RUJkQLFRV $ PDGHLUD p XP PDWHULDO RUJkQLFR
KLJURVFySLFRHDQLVRWUySLFRTXHVREDLQXrQFLDGDVYDULDo}HVGHXPLGDGH
SRGHPRGLFDUVXDVGLPHQV}HV(VVHIHQ{PHQRpGHQRPLQDGRGHUHWUDomRH
LQFKDPHQWRKLJURVFySLFRGDPDGHLUDTXHRFRUUHHPIXQomRGDXWXDomRGD
212
XPLGDGHUHODWLYDDPELHQWDO(VVDVYDULDo}HVGLPHQVLRQDLVGLIHUHPVHJXQGRR
plano de corte do tronco.
6mRWUrVDVGLUHo}HVJHRPpWULFDVGDPDGHLUDGHQLGDVSHORFRUWHRWUDQVYHUVDO
TXH p SHUSHQGLFXODU DR HL[R GR WURQFR R UDGLDO TXH REHGHFH D XP SODQR
ORQJLWXGLQDOTXHVHHVWHQGHSHORHL[RGRWURQFRQRVHQWLGRGRVSDUrQTXLPDV
UDGLDLVHRWDQJHQFLDOTXHWDPEpPpSDUDOHORDRHL[RGRWURQFRSRUpPQR
VHQWLGR WDQJHQFLDO HP UHODomR DRV DQpLV GH FUHVFLPHQWR ),6&+(66(5
1981).
1DVHVFXOWXUDVHPPDGHLUDH[LVWHDSUHGRPLQkQFLDGDXWLOL]DomRGRWURQFRQR
VHQWLGRYHUWLFDO/RQJLWXGLQDOPHQWHDPDGHLUDpIRUPDGDSULQFLSDOPHQWHSRU
EUDVTXHQmRDEVRUYHPXPLGDGHDVVLPDPRYLPHQWDomRPHFkQLFDQHVVD
GLUHomRpPtQLPDSRUWDQWRRFRPSULPHQWRGHXPDHVFXOWXUDQmRYDULDPXLWR
TXDQGR SHUGH RX JDQKD XPLGDGH &/e5,1 2V HIHLWRV GD FRQWUDomR
e dilatao na madeira so sentidos de forma mais intensa na direo
perpendicular tangencial.
8PD HVFXOWXUD HP PDGHLUD DSUHVHQWD HVVHV WUrV SODQRV GH FRUWH H WDOKRV
LQWHUPHGLiULRVHQWUHHOHV$OpPGLVVRpFRPSRVWDJHUDOPHQWHSHODXQLmRGH
GRLV RX PDLV EORFRV FXMDV UHVSHFWLYDV EUDV SRGHP DSUHVHQWDU GLUHo}HV GH
FRUWHRSRVWDVXPDjRXWUD(VVDWpFQLFDGHFRQVWUXomRDOLDGDjFDUDFWHUtVWLFD
anisotrpica da madeira, determina as tipologias de degradao das
HVFXOWXUDVTXHVHPDQLIHVWDPSULQFLSDOPHQWHGDVVHJXLQWHVIRUPDV
Danos ao suporte:
5DFKDGXUDV H VVXUDV RFRUUHP VREUHWXGR QR VHQWLGR GR FHQWUR iUHD

GD PHGXOD SDUD D UHJLmR H[WHUQD DEULQGRVH HP IRUPD GH 9 GHYLGR j
SUHYDOrQFLDGDFRQWUDomRWDQJHQFLDOVREUHDUDGLDOTXDQGRDPDGHLUDSHUGH
XPLGDGHSDUDRDPELHQWH
'HIRUPDo}HV HPSHQDPHQWRV H WRUo}HV H VHSDUDo}HV GRV EORFRV

constituintes das esculturas: os blocos mais propensos ao desprendimento
VmRRVFRUUHVSRQGHQWHVjVMXQo}HVGDVDUWLFXODo}HVGRVEUDoRVGHGRVGDV
PmRVHiUHDVFRPSOHPHQWDUHVDRSDQHMDPHQWR
213
$IURX[DPHQWRGRHQWRUQRGRVHOHPHQWRVGH[DomRGRVEORFRVFRPRFUDYRV
SUHJRV RX SLQRV GH PDGHLUD H WUDYDPHQWRV GH DUWLFXODo}HV SUHVHQWHV QDV
esculturas de vestir.
Danos policromia:
&UDTXHOrV GH RULJHP PHFkQLFD TXDQGR D PDGHLUD GLODWD HP IXQomR GD
DEVRUomR GH XPLGDGH GR DPELHQWH R HVWUDWR SLFWyULFR p VXEPHWLGR D XPD
IRUoDGHWUDomRTXHUHVXOWDQDIRUPDomRGHFUDTXHOrVHOHVSRGHPVRIUHUR
OHYDQWDPHQWRRXVREUHSRVLomRVHKRXYHUDFRQWUDomRGDPDGHLUD
- Desprendimento, total ou parcial, da camada pictrica (base de preparao

e pintura) sobre o suporte: isso pode ocorrer com a contrao da madeira em
IXQomRGHXPDEUXVFDTXHGDGHXPLGDGHUHODWLYDGRDPELHQWH1HVVHFDVR
KiRURPSLPHQWRGDLQWHUIDFHHQWUHRVXSRUWHHDFDPDGDSLFWyULFD
3HUGDVYHULFDVHTXHDViUHDVGDVHVFXOWXUDVFRPHVSHVVXUDPDLVQDH
DVUHJL}HVGHXQLmRGRVEORFRVFRQVWLWXLQWHVGDSHoDVmRDVPDLVSURSHQVDV
a apresentar perdas da camada pictrica em funo da movimentao
KLJURVFySLFDGDPDGHLUD$VSHUGDVGDSROLFURPLDQHVVHFDVRFRQFHQWUDPVH
SULQFLSDOPHQWHQDVVHJXLQWHVORFDOLGDGHVGDHVFXOWXUDH[WUHPLGDGHVGDWHVWD
QDUL]TXHL[RGHGRVGDVPmRVHSpVGDVSUHJDVHEDUUDVGDVYHVWLPHQWDV
*HUDOPHQWHDViUHDVGHSDQHMDPHQWRH[HFXWDGDVFRPGRXUDPHQWRDTXRVRH
WrPSHUDWrPPDLVWHQGrQFLDVDRVGHVSUHQGLPHQWRVHSHUGDVTXHDViUHDVGH
FDUQDomRTXHVmRROHRVDVRXWrPSHUDVROHRVDV
As esculturas, ao longo de sua passagem no tempo, foram e esto sujeitas a

LQWHUYHQo}HVUHDOL]DGDVSRUOHLJRVFRPQDOLGDGHVGLYHUVDVWDQWRSDUDWHQWDU
sanar algum problema de deteriorao como para atender a demandas de
FXQKRUHOLJLRVRVRFLDOSROtWLFRHFRQ{PLFRRXGHJRVWRHVWpWLFRFXOWXUDO(VVDV
Do}HVLQIHOL]PHQWHHPPXLWRVFDVRVFRPUHVXOWDGRVGDQRVRVSRGHPRFRUUHU
GLUHWDPHQWHQDFRQVLVWrQFLDItVLFDGRREMHWRQRDPELHQWHHRXQRHQWRUQRGD
VXD ORFDOL]DomR$ UHSLQWXUD p XP H[HPSOR GHVVH WLSR GH LQWHUYHQomR DLQGD
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coibir atos criminosos.
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indispensveis para a elaborao de planos em prol da proteo, preservao
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Referncias
$/9(6&pOLR0DFHGR8PHVWXGRLFRQRJUiFR,Q&2(/+2%HDWUL]2UJ
Devoo e Arte: imaginria religiosa em Minas Gerais. 6mR 3DXOR (GXVS
9LWDH
$1'5$'(/,0$ ' $OJXPDV FRQVLGHUDo}HV VREUH D FXOWXUD GR FHGUR QR

Brasil. Instituto de Pesquisa Agronmica5HFLIHQ
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of wood objects. ,Q&21)(5(1&,$'(/&85625($/,=$'2(1(1
18(9$ <25. 62%5( /$ &216(59$&,1 '( 2%-(726 '( 3,('5$ <
0$'(5$ 1RYD <RUN Preprints... HG Y S 'H OD
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&XOWXUDO\'HVDUUROR318'81(6&2
%26&+, &DLR &HVDU Os leigos e o poder LUPDQGDGHV OHLJDV H SROtWLFD

colonizadora em Minas Gerais. 6mR3DXORWLFD9,,,(QVDLRV
&$55$12 025(,5$ $ ) Os cupins ELRORJLD H VHX FRQWUROH %UDVtOLD

0LQLVWpULR GD (GXFDomR H &XOWXUD 5HFLIH 8QLYHUVLGDGH )HGHUDO 5XUDO GH
Pernambuco, 1979.
&/e5,13La sculptureWRXWHVOHVWHFKQLTXHV3DULV'HVVDLQHW7ROGUD
&2(/+2%59A Escultura Policromada do sculo XVIII em Minas Gerais:

XPDDERUGDJHPLQWHUGLVFLSOLQDU,Q3$125$0$$78$/'$&216(59$d2
1$$0e5,&$/$7,1$3HWUySROLVAnais5LRGH-DQHLUR$VVRFLDomR
Brasileira de Conservadores e Restauradores de Bens Culturais, 1994. p. 40-
45.
&2(/+2 %HDWUL] 2UJ Devoo e arte: imaginria religiosa em Minas

216
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),6&+(66(5%Conhecer as rvores.*XDtED&ROHomR(XURDJUR
/,6%2$ 3 8PD PDGHLUD PXLWR XVDGD QR EDUURFR PLQHLUR Cincia Hoje, v.
117, n. 97, 1994.
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Minas Gerais.5LRGH-DQHLUR0(&
0('(,526*)Tecnologia de acabamento de douramento em esculturas

em madeira policromada no perodo barroco e rococ em Minas Gerais: estudo
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0('(,526 *LOFD )ORUHV GH 0217( (OLDQD 2EUDV HP WHOD HQFRODGD
em Minas Gerais: estudo e catalogao. Revista Imagem Brasileira, Belo
+RUL]RQWHQS
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1(0(5-RVp$OEHUWRA mo devota: santeiros populares das Minas Gerais

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60,7+5REHUW&Igrejas, casas e mveis: aspectos de arte colonial brasileira.

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628=$ /$ & Evoluo da tecnologia de policromias nas esculturas em

Minas Gerais no sculo XVIIIRLQWHULRULQDFDEDGRGDLJUHMD0DWUL]GH1RVVD

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%HOR+RUL]RQWH
217
Bustos relicrios atribudos
ao mestre Aleijadinho: estudo

completas e inacabadas como
elementos de caracterizao

Lucienne Maria de Almeida Elias

Professora mestre do Curso de Conservao Restaurao de Bens
&XOWXUDLV'$3/8)0*
Lucienne Maria de Almeida Elias, Luiz Antnio Cruz

Professor doutor do Curso de Conservao - Restaurao em Bens
Souza e Antnio Fernando Batista dos Santos

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Antnio Fernando Batista dos Santos

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Introduo
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de autoria e autenticidade de obras de arte suscita a transdisciplinaridade e
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construtiva do escultor, marcas de ferramentas, materiais constitutivos, e as
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com base nos resultados obtidos pelo diagnstico do estado de conservao e
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e possivelmente autorais.
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Autores como Cesare Brandi, em seus escritos, ressaltam a importncia da

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a presena de estilemas, aplicados como assinatura de sua obra. Esse fato
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anatmica, ou seja, de partes preestabelecidas do corpo da escultura, a
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221
Bustos relicrios e o estudo de caso
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elemento busto relicrio, TXH p FRQVLGHUDGR XP REMHWR GHFRUDWLYR FRP
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o local escavado e, em geral, vedado por um tampo de vidro, com o intuito
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referente a oito bustos em madeira, policromados e dourados, pertencentes
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Arte Sacra de Mariana.
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na parte posterior e est possivelmente encerado.
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possivelmente entre os poucos conjuntos presentes em Minas Gerais.
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documentao para anlise individual de cada obra, possibilitando uma
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e abraso em reas pontuais da policromia, com douramento aparente e
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escultura, os traos marcantes dos instrumentos usados no ato de esculpir e
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do mestre, com a possibilidade da participao direta de Antnio Francisco
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Ao buscarmos dados materiais sobre esse conjunto, coletamos amostras

da madeira na regio inferior das bases dos bustos de Santo Antnio, So
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esterioscpico e o software$[LR9LVLRQ/(1HVVDRSRUWXQLGDGHREVHUYDPRV
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IUDJPHQWRVIRUDPHQYLDGRVDR,QVWLWXWRGH3HVTXLVD7HFQROyJLFD/DERUDWyULR
de Madeira e Produtos Derivados, na cidade de So Paulo, para anlise e
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mais clara da fatura e estrutura desses objetos.
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e aparentemente apresentam aspectos de um material orgnico, para
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da caracterizao de suas propriedades, observadas ao microscpio ptico.
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surpreendentemente, presena de carbonato de clcio e amarelo ocre.
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conceitos e metodologia aplicada no conjunto de bustos relicrios, assim
como os estudos e anlises realizadas. A metodologia tem como referncia
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no est autorizada e encontra-se em fase de reviso dos dados, estudo
comparativo da presena de estilemas nas obras e caracterizao de cada
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do tronco em formato arredondado est presente em todas as obras, sendo
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fundamental a continuidade da coleta de dados, a busca de pistas materiais,
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Referncias
%5$1',&HVDUHTeoria da restaurao&RWLD$WHOLr(GLWRULDO
%26&+,&DLR&. O barroco mineiroDUWHVHWUDEDOKR6mR3DXOR%UDVLOLHQVH

1988.
&2(/+2%HDWUL]59A escultura policromada do sc. XVIII em Minas Gerais:

uma abordagem interdisciplinar. ,Q6(0,15,2'$$%5$&253$125$0$
$78$/'$&216(59$d21$$0e5,&$/$7,1$3HWUySROLVQRY
3HWUySROLV$EUDFRU
*,1=%85*&Indagaes sobre Piero5LRGH-DQHLUR3D]H7HUUD
*,1=%85*&0RUHOOL)UHXGH6KHUORFN+ROPHVSLVWDVHRPpWRGRFLHQWtFR
7UDG)UDQFLVFR$6*URVVL>VQW@SHistory Workshop Journal/RQGRQQ

9, 1980.
+,// 0DUFRV GH 6HQQD 5RWHLUR SDUD DQiOLVH IRUPDO H HVWLOtVWLFD Boletim
CEIB
0$57,16 -XGLWK 'LFLRQiULR GH DUWLVWDV H DUWtFHV GRV VpFXORV ;9,,, H ;,;
em Minas Gerais 5LR GH -DQHLUR 0LQLVWpULR (GXFDomR H &XOWXUD
3XEOLFDo}HVGR,QVWLWXWRGR3DWULP{QLR+LVWyULFRH$UWtVWLFR1DFLRQDOQY
/( *$&$JQqV$/&2)25$'2$QD Frei Cipriano da Cruz em Coimbra.

230
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526$'2 $OHVVDQGUD Histria da Arte Tcnica XP ROKDU FRQWHPSRUkQHR
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tela e madeira. Tese (Doutorado), Escola de Belas Artes, Universidade Federal
GH0LQDV*HUDLV%HOR+RUL]RQWH
6$1726 $QW{QLR )HUQDQGR %DWLVWD GRV 52'5,*8(6 2OLQWR Glossrio

de bens mveis e integrados Instituto de Patrimnio Histrico e Artstico
Nacional3RUWDULDV35(6,3+$1QoH-
:,77.2:(55XGROIEscultura6mR3DXOR0DUWLQV)RQWHV
:2/))/,1 + Conceitos fundamentais da Histria da Arte. So Paulo:

Martins Fontes, 1984.
Agradecimento:
$JUDGHFHPRV DR DSRLR GD )XQGDomR GH$PSDUR j 3HVTXLVD GR (VWDGR GH
Minas Gerais (Fapemig).

231
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dos materiais
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a preservao de sua memria.
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233
Introduo
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universos.
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244
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247
Referncias
%2/2*1$ )HUGLQDQGR I metodi di Studio dellarte italiana e il problema

metodolgico oggi. ,Q Storia dellarte italiana. Coord. Paolo Fossati. Parte
3ULPDFXUD*LRYDQQL3UHYLWDOL7RULQR*LXOLR(LQDXGL(GLWRUHYS

%5$1',&HVDUHTeoria del Restauro./H]LRQLUDFFROWHGD/9ODG%RUUHOOL-

5DVSL6HUUDH*8UEDQL5RPD(GL]LRQLGL6WRULDH/HWWHUDWXUD7RULQR
Einaudi, 1977.
&2332/$6RUD\D$SDUHFLGDOYDUHVOs caminhos do sagradoFRQKHFLPHQWR

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0* H 6mR /XLV0$ 7HVH 'RXWRUDGR HP$UWHV 9LVXDLV (VFROD GH
%HODV$UWHV8QLYHUVLGDGH)HGHUDOGH0LQDV*HUDLV%HOR+RUL]RQWH
.8+/ %HDWUL] 0XJD\DU Arquitetura de ferro e arquitetura ferroviria em

So Paulo UHH[}HV VREUH D VXD SUHVHUYDomR So Paulo: Ateli Editorial,
)$3(636HFUHWDULDGD&XOWXUD.
5,(*/$ORLV 6&$552&&+,$ 6DQGUR Il culto moderno dei monumenti: Il

suo carattere e i suoi inizi. %RORJQD1XRYD$OID(GLWRULDOH
5,(*/$ORLV *UDPPDWLFD VWRULFD GHOOH DUWL JXUDWLYH. Trad. it. Di F. Diano.

%RORJQD1XRYD&DSSHOOL
6&$552&&+,$ 6DQGUR Alois Riegl: teoria e prassi della conservazione

dei monumenti. Antologia di scritti, discorsi, rappori 1898-1905, con la scelta

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248
(a cura di). Alois Riegl: teoria e prassi della conservazione dei monumenti.
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Notas
1Fsica e Qumica.
2Quatremre De Quincy (1775-1849), Viollet-Le-Duc (1814-1879), John Ruskin (1819-1900), William
Morris (1834-1896); Luca Beltrami (1854-1933, aluno de Boito) e Gaetano Moretti (1860-1938).
3Camilo Boito (1836-1914), Giovanni Morelli (1816-1891), Giovan Battista Cavalcaselle (1819-1897),
Adolfo Venturi (1856-1941), Gustavo Giovannoni (1873-1947) e Giulio Carlo Argan (1909-1992).
4O termo desenvolvimento foi prefervel ao termo evoluo, exatamente para no aproximar seu
pensamento quele darwiniano da poca, reiterando, neste sentido, a importncia de seu pensamento
neste estudo.
5<http://sammlungen.mak.at>.
6Obra das mos do homem, criada com o intuito preciso de conservar sempre presentes e vivos
pequenos atos ou destinos humanos (ou questes ligadas a estas) na conscincia das geraes
(RIEGL, 1990, p. 27).
7 Riegl explica que, quanto abordagem dos grupos de obras, seu projeto trata das obras tticas e ticas,
visto que as obras acsticas esto classificadas como obras escritas (escrituras).
8Orientada pelo prof. dr. Luiz Antonio Cruz Souza.
9Tambm sob a orientao do prof. dr. Luiz Antonio Cruz Souza.

249
A pintura em
imitao de txtil
como elemento
integrando arte
colonial mineira
Professor da Universidade Fumec
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251
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252
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trata-se de tecido em seda lavrada de decorao por trama e composio em
PRWLYRVRUDLV
254
)LJXUDVH6DFUiULRGRUHWiEXORGR6HQKRUGRV3DVVRVGD,JUHMD
Matriz de Santo Antnio, Tiradentes.
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)RWRJUDDGH$)6DQWRV6$1726
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VDFUiULRVpFXOR;9,,,
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VDFUiULRVpFXOR;9,,,

A seda como referncia para o repertrio pictrico rococ
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ornamentao do objeto sagrado de maior importncia no culto religioso, o
altar. Assim esses bens receberam, tradicionalmente, um tratamento de grande
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255
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lavrados em pedra ou mesmo forrados em prata, muitos deles continuaram
a reproduzir o frontal primitivo em tecido, mas dessa vez de maneira ilusria,
FRPUHOHYRVSROLFURPLDHWpFQLFDVVRVWLFDGDVGHGRXUDPHQWRFRPLQFLV}HVH
pastigliosUHSUHVHQWDQGRQmRVyRWHFLGRODYUDGRPDVRVJDO}HVDVIUDQMDV
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$ SLQWXUD GH SHUVSHFWLYD QD GHFRUDomR LQWHULRU GRV HGLItFLRV UHOLJLRVRV GR
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colonial em Minas Gerais. Esse gnero de pintura, caracterizado principalmente
por sua natureza monumental e ornamental e de forte tendncia decorativa,
foi de grande utilidade para a criao dos espaos sagrados destinados ao
culto, em cujas paredes e tetos imprimiram-se pinturas religiosas inspiradas
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elemento ornamental principal a rocalha, representada como suporte do
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SDOPHWDV HQWUH RXWURV 2 VHJXQGR HVWi UHSUHVHQWDGR SRU XPD SLQWXUD

GHFRUDWLYDTXHWHPFRPRSULQFLSDOLQVSLUDomRRVPRWLYRVRUDLVGRVWHFLGRV
em seda lavrada de origem estrangeira. Esse tipo de pintura decorativa surgiu
SDUD VXSULU D IDOWD GRV WHFLGRV ODYUDGRV QDTXHOH SHUtRGR SDUD R XVR FRPR
PDWHULDOGHIRUUDomRGHYLGRSULQFLSDOPHQWHjGLFXOGDGHHDRHOHYDGRFXVWR
TXHUHVXOWDYDDLPSRUWDomRGRVWHFLGRVGRH[WHULRU'HVWDFDVHTXHRVWHFLGRV
256
GHVHGDODYUDGDTXHFKHJDUDPjVLJUHMDVPLQHLUDVGXUDQWHRVpFXOR;9,,,VH
limitaram a peas de indumentria religiosas j confeccionadas e a conjuntos
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forrao dos espaos sagrados resultou na necessidade da criao, pelos
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religioso os artistas usaram como modelo as estampas de missais e gravuras,
a fonte de inspirao para essa outra classe de pintura decorativa fora o tecido
de seda lavrada de origem estrangeira, cujos motivos foram reproduzidos por
PHLRGHGLIHUHQWHVWpFQLFDVGHSROLFURPLDHGRXUDPHQWRGHJUDQGHWUDGLomR
entre os pintores e douradores de Minas Gerais.
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HVVHIDWRHXPGRVPDLVHVFODUHFHGRUHVpRFRQWUDWRTXHVHIH]FRPRSLQWRU
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encontrou-se em Diamantina, em um termo de ajuste com o pintor bracarense
-R]p6RDUHVGH$UD~MRSDUDDGHFRUDomRLQWHUQDGD,JUHMDGH1RVVD6HQKRUD
GR&DUPRHPWHUPRHPTXHRDUWLVWDVHREULJDDH[HFXWDUXPDSLQWXUD
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H[HPSORDSUHVHQWDVHXPWHUPRGHDMXVWHFRPRSLQWRU0DQRHO5LEHLUR5RVD
SDUDDSLQWXUDGDFDSHODPRUGD,JUHMDGH-RVpHP2XUR3UHWRHPD
TXDOLQGLFDTXHR7URQRVHUiGRUDGRRVVHXVRUQDWRVHOHWHVHRPDLVQJLUi
6HGDGDIiEULFD 75,1'$'(.
Figura 11 Damasco em
257
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Diamantina. para a pintura do oratrio.
)RWRJUDDGH$)6DQWRV
)RQWH)RWRJUDDGH$)6DQWRV6$1726 6$1726
Essa categoria de pintura ocorreu no interior das igrejas mineiras a partir
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GpFDGDVGRVpFXOR;,;VDOYRGRLV~QLFRVH[HPSODUHVDQWHULRUHVDRSHUtRGR
rococ mineiro, localizados em Tiradentes, Minas Gerais, representados pelas
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1RVVD6HQKRUDGR5RViULRHGD&DSHODGR3DVVRGR/DUJRGR5RViULRSLQWXUDV
TXHGDWDPGDSULPHLUDPHWDGHGRVpFXOR;9,,,VHQGRDVHJXQGDDWULEXtGDD
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do conjunto de retbulos analisados, as primeiras pinturas em imitao de
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IRUUDo}HVGRVFDPDULQVGRVUHWiEXORVGH6DQWD/X]LD6mR)UDQFLVFRH6DQWR
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%$=,1RVUHWiEXORVGH6DQWR$QW{QLRHGH6mR)UDQFLVFRGH3DXOD
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Os tecidos lavrados e as pinturas em imitao txtil
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ornamentais e motivos decorativos dos tecidos de seda lavrada e das pinturas
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motivos dos tecidos de seda lavrada.
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258
decorao dos brocatis HVSDQKyLV GR QDO GR VpFXOR ;9, H SULQFtSLRV GR
;9,, RX GRV YHOXGRV GH VHGD ODYUDGD GHVWLQDGRV j GHFRUDomR H SURGX]LGRV
QR PHVPR SHUtRGR 7HFLGRV FDUDFWHUL]DGRV SRU VXD FRPSRVLomR GH IROKDV
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HP VLPHWULD VREUH R FDPSR GR WHFLGR GHFRUDomR FDUDFWHUtVWLFD GR SHUtRGR
barroco, e inspirada em modelos italianos.
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/i]DUR*DOGLDQR0DGUL)RQWH)RWRJUDDGH$)6DQWRV6$1726
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Z)LJXUD)URQWDOGHDOWDU&DSHODGR3DVVRGR/DUJRGR5RViULR Antnio Fernando Batista dos Santos

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Assinalam-se como primeira referncia em comparao com a pintura os

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259
do Rosrio, e da Capela do Passo do Rosrio, ambas em Tiradentes. Trata-
VH GH SLQWXUDV LGHQWLFDGDV FRPR DV SULPHLUDV PDQLIHVWDo}HV SLFWyULFDV QD
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de fundo liso.
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(VSDQKDPHWDGHVpFXOR;9,,,)RQWH)RWRJUDDGH$)6DQWRV6$1726
260
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adamascado ou efeito liser. 1HVVHPRGHORVHLQFOXHPDVSLQWXUDVGRIURQWDO
do retbulo de So Francisco de Paula e as pinturas de fundo do camarim de
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rendas e damasco.
Figura 17 Seda lavradas e brocada )LJXUD)URQWDOGHDOWDUGD%DVtOLFD

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dispostos em simetria sobre o restrito fundo do tecido. Essa composio
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261
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popular do modelo.
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pinturas dos camarins dos retbulos de Santa Tereza e de Santo Elias da
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GRDOWDUPRUGD,JUHMDGH6mR)UDQFLVFRGH$VVLVQDPHVPDFLGDGH(VVDV
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263
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Terrassa. Carmo, e Diamantina. Diamantina.
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264
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HPODUJDVUHQGDVHRWtSLFRHIHLWRGHFRUDWLYRGHOLJDPHQWRVWr[WHLVGLVWLQWRV
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GpFDGD GR VpFXOR ;9,,, GH LQXrQFLD GR URFRFy IUDQFrV H GH SURGXomR
constante nas sedas valencianas. Sua representao pictrica no interior das
igrejas mineiras pode ser considerada a mais usual e aparece pela primeira vez
QD6p&DWHGUDOGD$VVXQomRGH0DULDQDQDSLQWXUDGHIRUUDomRGRFDPDULP

do retbulo dedicado a Santo Antnio. Trata-se de uma pintura composta por
UDPDOKHWHV RUDLV DVVLPpWULFRV GH ULFR FRORULGR PDWL]DGR VHPHDGR VREUH
R IXQGR GHFRUDGR HP ODUJDV UHQGDV H R FDUDFWHUtVWLFR HIHLWR liser francs
QJLGR$FRPSRVLomRHODERUDGDGHIRUPDPDLVVXDYHpWUDEDOKDGDHPIRUPD
GH ORVDQJRV H SRU SHTXHQRV UDPRV GH RUHV GRXUDGRV TXH VH XQHP DR
265
PRWLYRRUDOSULQFLSDO$HVVHPRGHORVHHQTXDGUDPDPDLRULDGDVSLQWXUDV
GH IRUUDomR GRV FDPDULQV GR SHUtRGR URFRFy PLQHLUR 2 PRGHOR GH JRVWR
tipicamente rococ foi referncia para a maioria das pinturas de imitao
GH VHGD H EDVWDQWH GLIXQGLGR SRU SLQWRUHV FRPR 0DQRHO GD &RVWD$WDtGH H
)UDQFLVFR;DYLHU&DUQHLURQDVLJUHMDVGH0DULDQDH,WDYHUDYD
O oitavo e ltimo modelo de pintura em imitao txtil pode ser considerado
o resultado de uma evoluo das composies do modelo anterior que
correspondem aos motivos dos tecidos lavrados do final do sculo XVIII,
marcado por uma simplificao do desenho, cujo motivo decorativo assimtrico
e de menor proporo se apresenta de forma isolada sobre o fundo de efeito
liser. Incluem-se nesse modelo as pinturas dos camarins dos retbulos de
So Roque e Santa Rosa de Viterbo da Igreja de So Francisco de Assis, em
Mariana, e dos retbulos de Santa Efignia e So Elesbo da Igreja de Nossa

Senhora do Rosrio, em Ouro Preto, entre outros. Essas pinturas se limitam
a um ramalhete floral disposto de maneira intercalada e isolada sobre o fundo
do tecido trabalhado com efeitos de ligamentos txteis fingidos.
266
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D HOHV DJUHJDGRV WRUQDVH SRVVtYHO OHU JUDQGH SDUWH GD KLVWyULD GR PXQGR
(P 0LQDV *HUDLV FRORQLDO R WHFLGR GH VHGD ODYUDGD SURFHGHQWH GH /LVERD
H RULJLQiULR SULQFLSDOPHQWH GD (VSDQKD FKHJRX D DWLQJLU WDPDQKR HOHYDGR

JUDXGHDSUHFLDomRHVLJQLFDGRVLPEyOLFRTXHVHXVPRGHORVUHVXOWDUDPQDV
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DUTXLWHWXUDFRORQLDO
267
Referncias
%$=,1 *HUPDLQ A arquitetura religiosa barroca QR %UDVLO 5LR GH -DQHLUR
Record, 1983.
&21&/,2'(75(172,QSXUOSW%LEOLRWHFD1DFLRQDOGH
3RUWXJDO$FHVVRHPQRY
'(/ 1(*52 &DUORV Escultura ornamental barroca no Brasil: portadas de

LJUHMDVGH0LQDV*HUDLV%HOR+RUL]RQWH(GLo}HV$UTXLWHWXUD
*,//2: -RKQ 6(17$1&( %U\DQ Tejidos del mundo: guia visual de las
WpFQLFDVWUDGLFLRQDOHV+RQGDUULELD(GLWRULDO1HUHD
,3+$1 ,167,7872 '2 3$75,01,2 +,675,&2 ( $5767,&2

1$&,21$/Inventario Nacional de Bens Mveis e Integrados Tiradentes.
%HOR+RUL]RQWH,3+$1
/(9< +DQQDK 0RGHORV HXURSHXV QD SLQWXUD FRORQLDO Pintura e Escultura I

Textos escolhidos da Revista do IPHAN6mR3DXOR)$8863S
1978.
0$6'(8&025$7$/. Restauracin y conservacin de tejidos,Centro de

documentacin y museo textil de Tarrasa%DUFHORQD7HUUDVVD
0(1(=(6,YR3RUWRGH3HVTXLVDGRFXPHQWDO ,Q$7$'(0DQRHOGD&RVWD
$VSHFWRVKLVWyULFRVHVWLOtVWLFRVLFRQRJUiFRVHWpFQLFRV%HOR+RUL]RQWH&
$UWH
52:(5 )UHL %DVtOLR Dicionrio Litrgico para uso do Revmo. Clero e dos
Fieis 3HWUySROLV 6$1726 $QW{QLR )HUQDQGR % A Igreja de Nossa
Senhora do Carmo em Diamantina e as pinturas ilusionistas de Joz Soares
268
de ArajoLGHQWLFDomRHFDUDFWHUL]DomR'LVVHUWDomR0HVWUDGR3URJUDPD

de Ps-graduao em Artes, Escola de Belas Artes, Universidade Federal de
0LQDV*HUDLV%HOR+RUL]RQWH
6$1726 $QW{QLR )HUQDQGR % A imagem de Nossa Senhora das Mercs
de Ouro Preto e a genialidade escultrica de Antnio Francisco LisboaWK
,QWHUQDWLRQDO0HHWLQJRQ+HULWDJH&RQVHUYDWLRQ9DOHQFLD(VSDQKDS

6$1726$QW{QLR )HUQDQGR % Los tejidos labrados de la Espaa del siglo

XVIII y las sedas imitadas del arte rococ em Minas Gerais: anlisis formal y
DQDORJLDV7HVH'RXWRUDGR(VFRODGH%HODV$UWHV8QLYHUVLGDGH3ROLWpFQLFD
GH9DOrQFLD9DOrQFLD(VSDQKD
75,1'$'( &{QHJR 5DLPXQGR A Igreja de So Jos, em Ouro Preto ,Q

5HYLVWDGR,3+$1Y5LRGH-DQHLUR3XEOLFDo}HVGR0(6'3+$1
S

269
Penetrvel n.5, De luxe: anlise

construtivas de uma obra de arte
contempornea
Conceio Linda de Frana
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Kleumanery de Melo Barboza

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da UFMG
Amanda Cristina Alves Cordeiro
Amanda Cristina Alves Cordeiro e Luiz Antnio Cruz Souza

Conceio Linda de Frana, Kleumanery de Melo Barboza,
0HVWUDQGDHP&RQVHUYDomRHP$UWHV9LVXDLVFRPrQIDVHHPFRQVHUYDomRHUHVWDXUDomRGHEHQV
culturais na Escola de Belas Artes da UFMG

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Resumo: &RQVHUYDU H UHVWDXUDU REUDV FRQWHPSRUkQHDV LPSOLFD FRQKHFHU H

FRPSUHHQGHURVPDWHULDLVTXHDVFRPS}HPEHPFRPRWRGRRVHXFRQWH[WR
Dessa forma, por meio de uma parceria entre a Escola de Belas Artes da
Universidade Federal de Minas Gerais (UFMG)HR,QVWLWXWR,QKRWLPHVWHWH[WR
271
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n 5, De Luxe GH+pOLR2LWLFLFD
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Restaurao
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confrontado com uma desconcertante profuso de estilos,
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pelo menos de um ponto de vista tradicional. Por um lado no
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arte: a arte recente tem utilizado no apenas tinta, metal e pedra,
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RXWUDVFRLVDV$5&+(5
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arte dos objetos convencionais do cotidiano, decorrente dos acontecimentos
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contempornea.
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Entretanto, a prtica da escultura assumiu um espectro muito mais amplo de

272
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obra-prima de um objeto comum.
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D GLYHUVDV YDULiYHLV WDOYH] D TXHVWmR TXH VH GHYH FRORFDU FRPR SRQWR GH
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)5(,7$6
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no pode ser captado diretamente. Para aprender a arte contempornea,
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&$848(/,1
Pensar arte contempornea no campo da Conservao-Restaurao

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273
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relevam o conceito e a ideia em detrimento da permanncia sendo esta
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SHUPLWLXTXHRVDUWLVWDVFRQWHPSRUkQHRVVHYDOHVVHPGHXPDLQQLGDGHGH
possibilidades de uso de materiais,FULDQGRJUDQGHVGHVDRVSDUDRkPELWRGD
Conservao-RHVWDXUDomRQRTXHGL]UHVSHLWRjLQWHUDomRHDRVWUDWDPHQWRV
aplicados a eles.
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aplicao de tecnologia e da cincia ao campo da Conservao, adotando,
GH IRUPD DQiORJD jV REUDV WUDGLFLRQDLV FRPR QHFHVVLGDGH SULPHLUD SDUD D
salvaguarda dessa tipologia de arte, a Conservao Preventiva.
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tradicionais, para a arte contempornea deve-se considerar a importncia da
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a tangenciam. De uma maneira mais geral e abreviada, ela
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tratando-se tanto da fuso, como dos limites, entre arte e vida.
6REUHWXGRRTXHGHQHXPDLQVWDODomRpDWUDQVIRUPDomRTXH
VHRSHUDQXPHVSDoRTXHPDLVTXHDEULJiODWDPEpPDFRQVWLWXL
&267$).
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segundo ele, pode ser visto, em partes, como a continuao da pintura por
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$UFKHU R FDUiWHU DEVWUDWR QmR FRPSRVWR QmR UHIHUHQFLDO GR PLQLPDOLVPR
RIHUHFLDXPDFRQVLGHUiYHOUHVLVWrQFLDDRVPpWRGRVUHJXODUHVGHDSUHFLDomR
GD DUWH 8P GHVVHV PpWRGRV HVWDYD IXQGDPHQWDGR QD PDQHLUD FRPR RV

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PHQRUHVHTXHSRGLDPVHUHQJHQKDGRVGHPRGRDVHDGHTXDUHPGHPDQHLUD
H[DWDjVGLPHQV}HVGHVHMDGDVIHUURDoRFREUHDOXPtQLRperspex).
Esses materiais, nesse momento, podiam receber ou apresentar cores de

acordo com a inteno do artista, no perdendo de vista as possibilidades
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campo dos materiais acabaram, em alguns casos, por criar a necessidade
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275
em sua obra.
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Os Penetrveis LQFRUSRUDP D LGpLD GH REMHWRV TXH +pOLR GHQRPLQRX GH

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a seguir traduz a essncia do projeto de Penetrvel Magic Square n. 5, De
Luxe, de 1977:
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algumas delas. Sobre a parede azul e sobre uma das paredes brancas, estaria
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Projeto Magic Square segundo Hlio Oiticica: materiais e tcnicas
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com o pincel para cada cor e mesmo para o verniz, como pode ser visto no
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grama.
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Como o artista no vivenciou a construo da obra, no deparou com vrias

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As experincias de montagem do projeto deixado por Oiticica se

deram em duas instituies brasileiras: no Museu do Aude, no Rio de
Janeiro, e, posteriormente, no Instituto Cultural Inhotim, em Minas
Gerais. Analisaremos este ltimo ao longo do texto. Vale salientar
que, nas duas instituies, houve o apoio tcnico do Projeto Hlio

Oiticica, representado por um dos irmos de Hlio, Csar Oiticica,
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questes prticas de sua execuo.
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local onde ela foi implantada.
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utilizada para a preparao para a montagem do corte, foram levemente
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montagem dos mesmos.
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em obras desse tipo, pontuadas pelo levantamento de toda a produo de
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procedimento de interveno.
Referncias

$5&+(5 0LFKDHO Arte contempornea: XPD KLVWyULD FRQFLVD 6mR 3DXOR
0DUWLQV)RQWHVS
%5$1',&HVDUHTeoria da restaurao. &RWLD63$WHOLr
BRETT, Guy. Hlio Oiticica. 5LR GH -DQHLUR )XQDUWH 3DULV -HX GH 3DXPH
5HXQLRQGHVPXVHHVQDWLRQDX[
&$121*,$/LJLDO legado dos anos 60 e 705LRGH-DQHLUR-RUJH=DKDU

&$848(/,1$QQHArte contempornea: uma introduo. So Paulo: Martins

)RQWHV&ROHomR7RGDVDV$UWHV
287
&267$&DFLOGD7HL[HLUDGD Arte no Brasil 1950-2000: movimentos e meios.
6mR3DXOR$ODPHGD
'2&72560DUFLREspao de Instalaes Permanentes do Museu do Aude

Hlio Oiticica5LRGH-DQHLUR0XVHXGR$oXGH
DUARTE, Paulo Sergio. Anos 60 WUDQVIRUPDo}HV GD DUWH QR %UDVLO 5LR GH
-DQHLUR(GLWRUD&DPSRV*HUDLV
)$9$5(772 &HOVR )HUQDQGR A inveno de Hlio Oiticica. So Paulo:

(GXVS
)5(,7$6 9HUODLQH Adorno & arte contempornea. 5LR GH -DQHLUR -RUJH
=DKDU
+8&+(76WpSKDQH$LQVWDODomRHPVLWXDomR,Q1$=5,2/XL] )5$1&$
3DWUtFLD Concepes Contemporneas da Arte. Belo Horizonte: Editora
8)0*
.5$8665RVDOLQG6FXOSWXUHLQWKHH[SDQGHGHOG,Q.5$8665RVDOLQG
The originality of the Avant-Garde and other modern myths. Cambridge Mass:
0,73UHVVS
1$=5,2 /XL] )5$1&$ 3DWUtFLD 'LDV Concepes contemporneas da

arte. %HOR+RUL]RQWH(GLWRUD8)0*
2,7,&,&$+pOLRAspiro ao grande labirinto5LRGH-DQHLUR5RFFR
2/,9(,5$ 1LFRODV GH $5&+(5 0LFKDHO 2;/(< 1LFROD 3HWU\ 0LFKDHO

Installation art. :DVKLQJWRQ6PLWKVRQLDQF
5$05(=0DUL&DUPHQ),*8(,5('2/XFLDQRHlio Oiticica: WKHERG\RI

color./RQGRQ7DWH3XE+RXVWRQ0XVHXPRI)LQH$UWV*DOOHU\
288
O museum
que acabou se
encontrando
Rui Mouro
Escritor, professor aposentado da Universidade de BrastOLD/HFLRQRXQRV
Estados Unidos, nas Universidades Tulane, Houston e Stanford
Resumo: &ULDGR SHOR JRYHUQR 9DUJDV R 0XVHX GD ,QFRQGrQFLD VRIUHX

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O patrimnio e o

sobre o carter
pblico-patrimonial
das esculturas em Belo
Horizonte
Rita Lages Rodrigues

Professora do Curso de Conservao e Restaurao de Bens Culturais
Mveis da Escola de Belas Artes da Universidade Federal de Minas Gerais
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1 Este texto baseia-se em pesquisas realizadas de 2001 a 2005 financiadas inicialmente pelo Programa
de Pesquisa da Universidade FUMEC e, posteriormente, pelo Fundo Municipal de Cultura da Cidade de
Belo Horizonte. Atualmente, a autora voltou a pesquisar o tema, a partir de financiamento do CNPQ
e da Pr-Reitoria de pesquisa da UFMG, aprofundando questes tericas inicialmente apresentadas.
Agradecimentos aos bolsistas Marcelo Lages Murta, Nelyane Santos e Breno Alvarenga Nunes pelo
trabalho realizado de levantamento de dados e discusses de 2001 a 2005.
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pblico por excelncia, os elementos que constituem esse espao da cidade so tambm pblicos e as
esculturas so parte desse patrimnio pblico pertencente aos cidados da cidade, compreendidos no
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comportam como produtores econmicos, consumidores e membros de uma
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de uma esfera pblica burguesa. Essa representatividade pblica, surgida na
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ou de determinados mandantes no tem nada a ver com essa
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da esfera pblica burguesa estaria relacionado ao surgimento da burocracia
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o parlamento e o poder judicirio. Em oposio a todo esse aparato estatal,
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sociedade.
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responsvel pela intermediao entre o Estado e a sociedade. A opinio
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de certa forma, um representante dos interesses da sociedade. Pblico e
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procedimentos onde as pessoas afetadas por normas sociais gerais e
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na cidade e seus sentidos pblicos devem ser pensados a partir da prpria
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seja representando.
Considerando o espao das cidades como pblico, de encontro entre esferas

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das esculturas por parte da populao da cidade, os funcionrios do Servio de
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o conceito da necessidade de se repensar o conceito de pblico.
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sua grande maioria, tombadas pelo poder pblico. Constituem parte integrante
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repensadas.
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seu passado comum: obras e obras-primas das belas-artes e
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cidados. Ao se tornar patrimnio, o bem se tornaria um monumento, ou
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monumentos. Questiona-se se o bem se torna monumento com o simples
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necessrio. o dinamismo da lgica dos monumentos.
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basta ampliar o acesso de outros grupos ao patrimnio, o patrimnio deve ser
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espetacularizao urbana iniciam-se com a patrimonializao das prprias
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contribuir para essa percepo cotidiana das esculturas como integrantes
materiais e simblicas do espao da cidade, um espao compreendido como
pblico.
A percepo das esculturas, uma partilha necessria
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as suas praas e ruas no so indiferentes aos marcos e
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a elas.
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grandiosas, a Praa da Rodoviria e a Praa da Estao.
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medida esses personagens se sentem como parte importante do processo de
construo da cidade?
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interessados na guarda e preservao dos monumentos.
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importante, no caso dos bustos e esculturas de corpo inteiro.
E os monumentos abstratos? Eles no so vistos por estes como obras de

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As esculturas mais simblicas so adjetivadas como bonitas, mas nunca com o

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no encontramos de fato uma ideia de pertencimento ao espao pblico da
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uso cotidiano das pessoas.
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parte da populao no devemos generalizar o resultado , as obras so
313
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das rvores venceu a disputa com a obra de arte.
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deve permitir a diferena e a presena das minorias. Contudo, no jogo de
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3DUD VH SHQVDU R SDWULP{QLR FRQWHPSRUDQHDPHQWH GHYHPRV UHHWLU VREUH

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pessoas no espao pblico. A presena dessas obras no solo da cidade
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314
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e como possibilidades de futuro.
Referncias
$5$17(6 $QW{QLR Paisagens paulistanas: WUDQVIRUPDo}HV GR (VSDoR

Pblico.&DPSLQDV(GLWRUDGD8QLFDPS6mR3DXOR,PSUHQVD2FLDO
$5(1'7 +DQQDK $V HVIHUDV S~EOLFD H SULYDGD ,Q $5(1'7 +DQQDK A

condio humana.5LRGH-DQHLUR)RUHQVH8QLYHUVLWiULDS
$5,63KLOLSSH3RUXPDKLVWyULDGDYLGDSULYDGD,Q$5,63KLOLSSH'8%<
G. Histria da vida privada 3: GD 5HQDVFHQoD DR 6pFXOR GDV /X]HV So
3DXOR&RPSDQKLDGDV/HWUDVS
%(1+$%,% 6H\OD 0RGHOV RI 3XEOLF 6SDFH +DQQDK $UHQGW WKH /LEHUDO
7UDGLWLRQDQG-UJHQ+DEHUPDV,Q&$/+281&UDLJ(GHabermas and
the public sphere.&DPEULGJH0DVVDFKXVVHWV7KH0,73UHVV
&$1&/,1,1HVWRU*DUFLD2SDWULP{QLRFXOWXUDOHDFRQVWUXomRLPDJLQDGDGR
nacional. Revista do Patrimnio Histrico Artstico Nacional %UDVtOLD Q
1994.
&$1&/,1,1HVWRU*DUFLDCulturas hbridas. So Paulo: Edusp, 1997.
&+2$<)UDQoRLVHA alegoria do patrimnio.6mR3DXOR(GLWRUD8QHVS
&+2$< )UDQoRLVH O patrimnio em questo: antologia para um combate.

%HOR+RUL]RQWH)LQR7UDoR
&267$)HUQDQGR%UDJDGDHomens invisveis: UHODWRVGHXPDKXPLOKDomR

VRFLDO6mR3DXOR*ORER
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'8%<*HRUJHV3(55270LFKHOOH'LUHistria das mulheres:RVpFXOR;;
315
3RUWR(GLo}HV$IURQWDPHQWRV
+$%(50$6-UJHQMudana estrutural na esfera pblica.5LRGH-DQHLUR

Tempo Brasileiro, 1984.
EUDY, Henry-Pierre. Espelho das cidades.5LRGH-DQHLUR&DVDGD3DODYUD

3(5527 0LFKHOOH Mulheres pblicas. So Paulo: Fundao Editora da

81(63
3(5527 0LFKHOOH 3UiWLFDV GD PHPyULD IHPLQLQD D PXOKHU H R HVSDoR

pblico. Revista Brasileira de Histria.6mR3DXOR$138+0DUFR=HURYQ
DJRVWRGHVHWHPEUR
5$1&,5( -DFTXHV A partilha do sensvel: HVWpWLFD H SROtWLFD 6mR 3DXOR

(G
5$1&,5(-DFTXHV. O inconsciente esttico.6mR3DXOR(G
6(11(7 5LFKDUG O declnio do homem pblico: as tiranias da intimidade.

6mR3DXOR&RPSDQKLDGDV/HWUDV
316

das reas de guarda do Arquivo
Pblico Mineiro: uma proposta
de conservao preventiva
Pedro de Brito Soares
Graduando em Histria pela Universidade Federal de Minas Gerais (UFMG),
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(APM).

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- Conservao Preventiva, professor adjunto do Departamento de Artes
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Pedro de Brito Soares e Willi de Barros Gonalves

Universidade Federal de Minas Gerais (UFMG).
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climatizao.
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do Estado.
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instalao dos servios de administrao e de atendimento ao pblico. Em
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nos projetos complementares originalmente propostos.

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Perdesoli (1997). Ambos ressaltaram a imediata necessidade de remodelar o
espao para privilegiar a preservao do acervo custodiado.
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documentos eletrnicos.
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pessoas responsveis por seus cuidados.
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O papel dos edifcios e seus sistemas na Conservao Preventiva de

colees
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conceito mais abrangente de Gerenciamento Ambiental (CASSAR, 1995).
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o controle da temperatura em detrimento do controle da umidade relativa ou
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de duas guas.
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de climatizao gerenciado pelo sistema Climus1: ar condicionado e sistemas

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para as reas de guarda de acervos sobre papel.
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criadas as reas de guarda, com refrigerao e controle de umidade, bem
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acervos sobre papel
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da tipologia climtica, sendo a umidade do ar o parmetro condicionante

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Referncias
%(&. , Relatrio sobre o estado de conservao do acervo do Arquivo

Pblico Mineiro. Belo Horizonte: APM, 1995. (Datilografado)
CASSAR, M. Environmental management./RQGRQ5RXWOHGJH
*&, *(77< &216(59$7,21 ,167,787(. Experts Roundtable on

Sustainable Climate Management Strategies Edited transcript. Tenerife:
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FRQVHUYDWLRQRXUBSURMHFWVVFLHQFHFOLPDWHURXQGWDEOHBWUDQVFULSWSGI!$FHVVR
HP
*21d$/9(6:%628=$/$&Potencial de uso de ventilao natural

328
ou forada na conservao preventiva de bens culturais mveis estudo de

caso. ,Q(1&217521$&,21$/(9,,,(1&21752/$7,12$0(5,&$12
'(&21)257212$0%,(17(&216758'2%UDVtOLDAnais...
%UDVtOLD$17$&YS
0(//2$2-5HODWyULRWpFQLFRGRSURMHWRGHFRQWUROHDPELHQWDOGRHGLFLR
anexo do Arquivo Pblico Mineiro. %HOR+RUL]RQWH$30(Datilografado)
3(5'(562/, -5 - / Relatrio sobre as condies de preservao

do acervo armazenado no edifcio anexo do Arquivo Pblico Mineiro. Belo
Horizonte: APM, 1997. (Datilografado)

329

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Ciencias Do Patrimonio 10062016

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Maria Raquel A. Ferreira, Yacy-Ara Froner e Luiz Antnio C.

Vilma Moreira Santos, Yacy-Ara Froner e Luiz Antnio C. Souza

na preservao do patrimnio cultural, o papel da Cincia e da Tecnologia

diagnstico de estado de conservao, compostos por relatrios de anlise de

Vilma Moreira Santos, Yacy-Ara Froner e Luiz Antnio C. Souza

Alessandra Rosado e Willli de Barros Gonalves

Yacy Ara Froner Gonalves discorre sobre o papel fundamental da memria

Alessandra Rosado e Willli de Barros Gonalves

Maria Raquel A. Ferreira, Yacy-Ara Froner e Luiz Antnio C. Souza

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4 Pgina eletrnica do Iphan: www.iphan.gov.br. Acesso em: 15 jun. 2010.

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