{"id":2481,"date":"2021-02-06T11:21:34","date_gmt":"2021-02-06T10:21:34","guid":{"rendered":"https:\/\/arsuspaper.com\/?page_id=2481"},"modified":"2021-02-06T11:21:34","modified_gmt":"2021-02-06T10:21:34","slug":"tutankhamun","status":"publish","type":"page","link":"https:\/\/arsuspaper.com\/en\/mural-painting\/tutankhamun\/","title":{"rendered":"Tutankhamun"},"content":{"rendered":"

Tutankam\u00f3n<\/strong><\/h2>\n

\"\"<\/p>\n

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

Pintura mural de la XVIII Dinast\u00eda.<\/strong>
\nValle de los Reyes, Luxor. Egipto.<\/strong><\/p>\n

Desde que fuera descubierta por Howard Carter en 1922, -y\u00a0debido a su gran riqueza arqueol\u00f3gica-\u00a0la tumba de Tutankam\u00f3n se ha convertido en la im\u00e1gen iconogr\u00e1fica del Antiguo Egipto. Debido a esta creciente popularidad, m\u00e1s de 2.000 personas la visitan diariamente. Esta presi\u00f3n tur\u00edstica ha provocado que la conservaci\u00f3n de sus pinturas est\u00e9 en una situaci\u00f3n cr\u00edtica.
\nZahi Hawass -m\u00e1ximo responsable de la conservaci\u00f3n del Valle de los Reyes en la \u00faltima d\u00e9cada- anunciaba a principios de 2011 la intenci\u00f3n de cerrar las puertas de diversas tumbas, entre ellas la de Nefertari, Seti I y Tutankam\u00f3n. Propone a su vez, la creaci\u00f3n del \u201cValle de las R\u00e9plicas\u201d con el que se intentar\u00eda dar un respiro al descanso de los faraones.<\/p>\n

\n

La primera reproducci\u00f3n exacta de las pinturas de la tumba de Tutankam\u00f3n<\/strong>, ha sido producto de la colaboraci\u00f3n entre las empresas Factum Arte y Arsus Paper.\u00a0En el proceso para la realizaci\u00f3n del facs\u00edmil se ha recurrido a las nuevas tecnolog\u00edas disponibles: escaner de superficie, fotograf\u00eda digital, mecanizado por control num\u00e9rico,\u00a0impresi\u00f3n inkjet de tinta pigmentada con calidad fotogr\u00e1fica, y transferencia de las im\u00e1genes con Papelgel.<\/p>\n<\/div>

El proceso<\/em>\u00a0llevado a cabo\u00a0es igual que el realizado por Arsus Paper\u00a0en 2007\u00a0<\/em>para la ejecuci\u00f3n del
\n<\/em><\/strong>Retablo G\u00f3tico de Guimer\u00e0<\/a><\/span>.<\/span><\/p>\n<\/div>

<\/div>
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\naspecto de los plafones<\/strong><\/h4>\n<\/div>
<\/div><\/div><\/div>

Factum Arte\u00a0fotografi\u00f3 y escane\u00f3 los\u00a0muros de la c\u00e1mara funeraria original. Una vez\u00a0en Madrid -sede de la empresa- y con la informaci\u00f3n recogida, se mecanizaron los vol\u00famenes y texturas superficiales.<\/p>\n

Los veinticuatro plafones que completan los sesenta metros cuadrados de imagen mural, fueron trasladados a las instalaciones de Arsus Paper, en Barcelona.<\/p>\n<\/div>

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

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Como si de un mapa topogr\u00e1fico en relieve se tratase, la superficie de los muros de la c\u00e1mara presentan una accidentada orograf\u00eda,\u00a0y como tales han sido tratados. La imagen se ha ajustado con precisi\u00f3n a cada accidente, textura, concavidad o resalto. Esto es posible gracias a las ventajas inigualables del sistema Papelgel:<\/p>\n<\/div>

\"\"-Papelgel presenta una fase el\u00e1stica que permite adaptar la imagen sobre cualquier superficie, permitiendo realizar ajustes y correcciones dimensionales. No se arrastran o acumulan posibles errores.<\/p>\n

-es transparente: el control y seguimiento del trabajo es completo.<\/p>\n

-el adhesivo empleado (en este caso un copol\u00edmero acr\u00edlico) se puede elegir buscando la adecuada\u00a0compatibilidad\u00a0con las caracter\u00edsticas del material del soporte. Es lo \u00fanico que permanece (adem\u00e1s de la tinta) despu\u00e9s de retirar la pel\u00edcula de Papelgel.<\/p>\n<\/div>

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\nsuperficie del muro<\/p>\n<\/div>

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\ndetalle del relieve<\/p>\n<\/div>

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

\"\"
\ndetalle del relieve<\/p>\n<\/div>

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

\"\"
\nPapelgel impreso entre el soporte y la imagen proyectada, previamente situada y ajustada.
\n\"\"
\ndetalle de la precisi\u00f3n de la proyecci\u00f3n.
\n\"\"
\nuni\u00f3n de dos im\u00e1genes<\/p>\n<\/div>

<\/div><\/div><\/div>
\n\n\n
Las im\u00e1genes<\/strong>\u00a0en alta resoluci\u00f3n\u00a0de las pinturas de\u00a0la c\u00e1mara funeraria\u00a0-con una\u00a0superficie aproximada de\u00a060 metros cuadrados- fueron montadas y posteriormente recortadas aprovechando la silueta de los motivos.El color fue corregido y ajustado teniendo en cuenta las referencias crom\u00e1ticas tomadas de la pintura original.<\/p>\n

Para la colocaci\u00f3n de las im\u00e1genes se utiliz\u00f3 un sistema de proyecci\u00f3n similar al usado en montajes de ortofotograf\u00eda.<\/p>\n

Cada una de las im\u00e1genes -una vez determinada su situaci\u00f3n y recorte- son\u00a0 proyectadas sobre la zona a la que corresponden,\u00a0facilitando\u00a0una primera aproximaci\u00f3n.<\/p>\n

El material permite el deslizamiento de la imagen hasta su posici\u00f3n correcta. La transparencia aporta un control muy preciso para situar la imagen . De este modo y gracias a la elasticidad del material, es posible ajustar incluso el leve relieve que presentan los hongos que han colonizado las pinturas.<\/p>\n

La l\u00e1mina se solapa y recorta sin riesgo de desviaciones, descuadres o duplicaci\u00f3n de detalles.<\/p>\n

Cada elemento es suficientemente representativo. De cada detalle depende que la obra adquiera el realismo y la objetividad necesaria para presentar el elevado valor pl\u00e1stico y simb\u00f3lico de la obra original.<\/p>\n

Finalmente, se aplica un barniz protector con diferentes cargas de s\u00edlice mateante que aportan un acabado semejante\u00a0 a la obra original.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>

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