As gemas do período contemporâneo : novas propostas para a investigação

Abstract

Este estudo cruza a História, a Gemologia e a Arte Contemporânea, tendo como objectivo, avaliar a aplicação dos meios técnicos tradicionais da Gemologia na investigação gemológica aplicada aos objectos de Arte. Neste sentido, efectua uma digressão histórica sobre as gemas, com incidência particular sobre a Época Contemporânea, onde as imitações, falsificações, simulantes e sintéticos surgem de forma exponencial e tecnicamente evoluída. Considerando que o historiador interessado no estudo da aplicação das gemas na Arte Contemporânea, não possui equipamentos complexos de preço elevado, procurou-se desenvolver e adaptar os aparelhos comuns, com especial atenção na sua utilização para o estudo das gemas cravadas, factor de barreira à sua identificação e avaliação. A recuperação de técnicas antigas e diversas experiências com materiais vulgares da actualidade, mas tecnicamente avançados, foram igualmente investigadas. Este processo de recuperação, modificação e melhoria foi acompanhado do estudo das gemas, com especial preocupação na sua avaliação identificativa em termos físicos, históricos e artísticos. Embora não pretendendo, de nenhuma forma, fazer deste trabalho um manual de gemologia, completamos a metodologia com a discussão e explicação das técnicas e conceitos gemológicos fundamentais, bem como as bases normativas das classificações e avaliações efectuadas na gemologia. Sendo esta última, só por si, uma forma de arte, a sua junção com outras obras de arte, mormente na joalheria profana e religiosa, assume nos séculos mais recentes uma dinâmica deslumbrante, de tal forma, que os recursos tecnológicos avançados são cada vez mais necessários para o seu estudo científico rigoroso. Este foi o paradigma que conduziu a este estudo, tendo em mente o recurso a parcos meios técnicos, onde a inovação e a simplicidade devem ser as aliadas do historiador que se debruça sobre o estudo do belo e do perene.

This study crosses History, Gemology and Contemporary Arts, in order to evaluate the application of traditional technical gemmological equipments in the investigation of gems used in Art objects. Therefore, it takes a historical digression on gems, with particular incidence in the Contemporary Epoch, where the imitations, falsifications, simulants and synthetics appears in an exponential and technically developed form. Considering that the historian interested in the application of gems in the Contemporary Art doesn't possess complex and expensive equipments, was tried to develop and adapt common devices and apparatus, with special attention to its use for the study of setting gems, barrier factor to their identification and evaluation. The recovery of old techniques and several experiences with existing common, but technically advanced materials, were equally investigated. This recovery, modification and improvement process was accompanied by the study of gems, with special concern for its evaluation and identification in physical, historical and artistic terms. Inspite of not intending, in any way, to turn this work into a gemmological manual, we completed the methodology with the discussion and explanation of the techniques and fundamental gemmological concepts, as well as the normative bases of the classifications and evaluations used in gemology. This last one, beeing in itself, an art form, its junction with other works of art, namely in the profane and religious jewelry, takes it in the most recent centuries, to a blinding dynamics, in such a way, that the advanced technological resources are more and more necessary for its rigorous scientific study. This was the paradigm that drove to this study, bearing in mind the modest technical resources, where innovation and simplicity should be the allied of the historian that looks upon the study of the beautiful and the perennial.

This study crosses History, Gemology and Contemporary Arts, in order to evaluate the application of traditional technical gemmological equipments in the investigation of gems used in Art objects. Therefore, it takes a historical digression on gems, with particular incidence in the Contemporary Epoch, where the imitations, falsifications, simulants and synthetics appears in an exponential and technically developed form. Considering that the historian interested in the application of gems in the Contemporary Art doesn't possess complex and expensive equipments, was tried to develop and adapt common devices and apparatus, with special attention to its use for the study of setting gems, barrier factor to their identification and evaluation. The recovery of old techniques and several experiences with existing common, but technically advanced materials, were equally investigated. This recovery, modification and improvement process was accompanied by the study of gems, with special concern for its evaluation and identification in physical, historical and artistic terms. Inspite of not intending, in any way, to turn this work into a gemmological manual, we completed the methodology with the discussion and explanation of the techniques and fundamental gemmological concepts, as well as the normative bases of the classifications and evaluations used in gemology. This last one, beeing in itself, an art form, its junction with other works of art, namely in the profane and religious jewelry, takes it in the most recent centuries, to a blinding dynamics, in such a way, that the advanced technological resources are more and more necessary for its rigorous scientific study. This was the paradigm that drove to this study, bearing in mind the modest technical resources, where innovation and simplicity should be the allied of the historian that looks upon the study of the beautiful and the perennial.