{"id":2436,"date":"2021-02-06T09:43:26","date_gmt":"2021-02-06T08:43:26","guid":{"rendered":"https:\/\/arsuspaper.com\/?page_id=2436"},"modified":"2021-02-06T09:43:26","modified_gmt":"2021-02-06T08:43:26","slug":"kobenkoba","status":"publish","type":"page","link":"https:\/\/arsuspaper.com\/en\/kobenkoba\/","title":{"rendered":"-Kobenkoba"},"content":{"rendered":"

KobenKoba<\/strong><\/h2>\n

\"\"\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Pintura rupestre.<\/strong>
\nCueva de Los Judios.
\nKarrantza. Bilbao.
\n<\/strong><\/p>\n

Kobenkoba, es un nuevo centro de interpretaci\u00f3n del arte paleol\u00edtico. Habilitado dentro de una cueva natural -conocida como de Los Jud\u00edos- entre Lanestosa y Karrantza, muestra de forma amena y did\u00e1ctica, cu\u00e1les eran las condiciones de vida de nuestros antecesores. En los distintos recorridos se describe c\u00f3mo viv\u00edan, c\u00f3mo cazaban y c\u00f3mo se relacionaban socialmente. En una de las zonas, de unos 70 metros cuadrados y bajo el nombre de ‘El esplendor del arte cuaternario europeo’, se despliega un conjunto de 21 r\u00e9plicas de los yacimientos pict\u00f3ricos rupestres m\u00e1s importantes, principalmente del \u00e1rea franco-espa\u00f1ola (donde se concentra la mayor parte del arte mural parietal).<\/p>\n

\n<\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/span><\/div>
<\/span><\/div>
<\/span><\/div>
<\/div><\/div><\/div>

El gabinete de arqueolog\u00eda\u00a0GAEM\u00a0, empresa especializada en gesti\u00f3n de recursos culturales y encargada del proyecto\u00a0, plante\u00f3 la necesidad de realizar r\u00e9plicas de pintura mural rupestre en\u00a0la cueva natural<\/strong>\u00a0de “los judios” para apoyar el discurso explicativo sobre el paleol\u00edtico.<\/p>\n

Nunca antes se hab\u00eda dado la circunstancia (ni la posibilidad) de transferir una imagen en muros donde el agua rezuma libre y continuamente, donde se ha depositado barro y polvo o se han creado relieves por el sedimento del\u00a0bicarbonato c\u00e1lcico\u00a0que acompa\u00f1a al agua que se filtra en la cueva.
\nA\u00a0las condiciones ambientales en la galer\u00eda, con una humedad relativa constante de “punto de rocio” (m\u00e1s del 95%) y 14\u00baC de temperatura a lo largo del a\u00f1o, se sumaban las dificultades de acceso a las zonas de trabajo.<\/p>\n

En el l\u00edmite<\/strong>\u00a0de las prestaciones del sistema de transferencia Papelgel, las im\u00e1genes se aplicaron sobre superficies muy irregulares, de relieves angulosos y vol\u00famenes complejos. En algunos casos directamente sobre barro; en otros, sobre formaciones calc\u00e1reas mojadas.<\/p>\n

Fue necesario un estudio detallado y muchos ensayos “in situ” para dar una soluci\u00f3n adecuada al trabajo.<\/p>\n

Todas estas valoraciones se llevaron a cabo en estrecha colaboraci\u00f3n con\u00a0Ram\u00f3n Montes,\u00a0director del proyecto. Se definieron los emplazamientos y los pa\u00f1os naturales m\u00e1s adecuados para cada figura, aprovechando en algunos casos los vol\u00famenes coincidentes con los del original.<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div>
\"\"Olga transfiriendo la imagen de un bisonte de Altamira<\/h6>\n

Se seleccionaron\u00a0las im\u00e1genes<\/strong>\u00a0que mejor representaban el hilo hist\u00f3rico de las manifestaciones art\u00edsticas del Arte Parietal\u00a0que\u00a0hoy conocemos, eligiendo tipos variados tanto en su forma de ejecuci\u00f3n, como de los motivos representados.
\nEn algunos casos, para simplificar la comprensi\u00f3n de ciertos motivos,\u00a0la copia se resolvi\u00f3 con im\u00e1genes gr\u00e1ficas sintetizadas, como en el caso de los renos de la cueva de Las Monedas. En otros, se decidi\u00f3 la realizaci\u00f3n de una r\u00e9plica fotogr\u00e1fica, es el caso del bisonte de Altamira.<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div>
<\/span><\/div>

caballo de Pech Merle<\/p>\n<\/div>

<\/span><\/div>

ciervo de Salitre<\/p>\n<\/div>

<\/span><\/div>

bisonte de Niaux<\/p>\n<\/div>

<\/span><\/div>

vaca de Lascaux<\/p>\n<\/div>

<\/span><\/div>

marc con un caballo de Garma<\/p>\n<\/div>

<\/div><\/div><\/div>
<\/span><\/div>

bisonte Santimami\u00f1e<\/p>\n<\/div>

<\/span><\/div>

cierva de Arenaza<\/p>\n<\/div>

<\/span><\/div>

olga con mamut de\u00a0La Bone<\/p>\n<\/div>

<\/span><\/div>

reno de Las Monedas<\/p>\n<\/div>

<\/span><\/div>

olga preparando el muro<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>

PROCESO DE APLICACI\u00d3N<\/strong><\/p>\n<\/div>

<\/div><\/div><\/div>
\"\"

eliminaci\u00f3n del fondo de la imagen
-vulvas de Tito Bustillo-<\/p><\/div>\n<\/div>

<\/div><\/div><\/div>

\"\"
\nimagen impresa<\/p>\n<\/div>

<\/div><\/div><\/div>

\"\"
\nemulsionado<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div>

\"\"transferencia sobre la roca<\/p>\n<\/div>

<\/div><\/div><\/div>

\"\"caballo de Ekain transferido al relieve<\/p>\n<\/div>

<\/div><\/div><\/div>

\"\"
\naspecto final<\/p>\n<\/div>

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