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“Investigación De La Tecnología De La UNIVERSIDAD TECNOLÓGICA EQUINOCCIAL FACULTAD DE ARQUITECTURA, ARTES Y DISEÑO CARRERA DE RESTAURACIÓN Y MUSEOLOGÍA TESIS PREVIA A LA OBTENCIÓN DEL TÍTULO DE LICENCIADO EN RESTAURACIÓN Y MUSEOLOGÍA “INVESTIGACIÓN DE LA TECNOLOGÍA DE LA PRODUCCIÓN DE LA OBRA ESCULTÓRICA DE CASPICARA, POR MEDIO DEL ESTUDIO TÉCNICO DEL CONJUNTO ESCULTÓRICO: “LA SABANA SANTA” UBICADA EN LA CATEDRAL DE QUITO.” GABRIELA STEPHANIA LARRIVA ORDÓÑEZ DIRECTOR: LICENCIADO JULIO MORALES QUITO, JUNIO, 2014 Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez AUTORÍA Yo, Gabriela Stephania Larriva Ordóñez, declaro bajo juramento que el proyecto de grado titulado: “Investigación de la tecnología de la producción de la obra escultórica de Caspicara, por medio del estudio técnico del conjunto escultórico: “La Sabana santa” ubicada en la Catedral de Quito”. Es de mi propia autoría y no es copia parcial o total de algún otro documento u obra del mismo tema. Asumo la responsabilidad de toda la información que contiene la presente investigación. Atentamente, __________________________ Gabriela Stephanía Larriva Ordóñez II Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez CERTIFICADO Por medio de la presente certifico que la Sra. Gabriela Stephanía Larriva Ordóñez, ha realizado y concluido su trabajo de grado, titulado: “Investigación de la tecnología de la producción de la obra escultórica de Caspicara, por medio del estudio técnico del conjunto escultórico: “La Sabana Santa” ubicada en la Catedral de Quito” para la obtención del título de, Licenciada en Restauración y Museología de acuerdo con el plan aprobado previamente por el Consejo de Investigación de la Facultad de Arquitectura, Artes y Diseño. De igual manera asumo la responsabilidad por los resultados alcanzados en el presente trabajo de titulación. Atentamente, Licenciado Julio Morales Vásconez III Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez DEDICATORIA A Dios, mi papi del cielo quién me mostro que debo perseverar hasta el final, ya que mejores recompensas tiene el fin de un trabajo que el principio del mismo. A mis papis quienes nunca dejaron de confiar en que iba a terminar esta etapa tan importante como es la universitaria, Miguel, mi papucho, quien siempre me guio por el camino de que el “ser” es mucho es importante que el “tener”, Elvira, mi mamita y mi mejor amiga, gracias a sus interminables tardes y noches junto a mí y a mis hijos, su amor y su fe, fue uno de los más grandes motores de la culminación de este trabajo. A Luis, mi peluso, mi esposo, mi mejor amigo, el amor de mi vida, quien siempre me impulsó a terminar, y gracias a su sacrificio y amor diario es parte fundamental de la realización de esta tesis y me dio los ánimos para culminar esta etapa tan importante de mi vida. A mi Luis Enrique que desde hace ocho años me da más razones para despertarme y ser una mejor persona, un mejor ejemplo de vida, te amo mi chino hermoso. A mi Isabela, que llego a revolucionar mi vida y mi corazón, mi princesa traviesa, por quien todos los días espero ser una mejor mujer. Te amo mi chiquita hermosa. IV Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez AGRADECIMIENTOS De igual forma no puedo empezar a agradecer a todas las personas que hicieron esta tesis posible sin poner en primer lugar a Dios, gracias por abrir caminos. Un agradecimiento especial a Monseñor Luis Tapia, Ecónomo de la Catedral de Quito al Monseñor Héctor Soria, quien junto a la Ingeniera Magaly Vásquez, nos dieron la apertura para poder realizar todos los estudios necesarios del conjunto Escultórico. A mi Director Julito Morales, gracias por el apoyo, el material, las ganas y la dedicación que le dio a este tema y gracias por su amistad. Gracias a Luis, definitivamente mi otra mitad, que me apoyo incondicionalmente, me llevó, me trajo y me ayudó a darme modos para terminar. Gracias mi amor, definitivamente sin ti no lo hubiera logrado. A mis dos chiquitos, mis bendiciones de vida, que a su manera única y especial me apoyaron incondicionalmente. A mis papis que siempre han estado dispuestos a hacer lo que sea por mí, gracias papitos por no dejar de creer nunca en mí. En especial gracias mamita porque nunca dejaste de luchar por este título. A mi Chu, mi José Julián y Gabito, quienes son una parte muy importante en mi crecimiento personal. A mis suegros y cuñados quienes siempre tuvieron una palabra de ánimo y apoyo para que culmine mi carrera. V Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez RESUMEN Este documento nace por la inexistencia de un estudio técnico de la Tecnología de la producción de la obra atribuida a Manuel Chili, comúnmente conocido como “Caspicara”, uno de los representantes más notables de la Escuela Quiteña. Por lo que, utilizando como fuentes primarias la respectiva recopilación de los antecedentes históricos, referentes de la época y datos biográficos del mismo y adicionando los exámenes científicos pertinentes, se pretende realizar una herramienta para que todas las personas que manejan Bienes Culturales Patrimoniales atribuidas a este gran exponente del Siglo XVII y XVIII, como son: Museólogos, Restauradores, Curadores, etc. Tengan un lineamiento claro para utilizar una correcta metodología al momento de intervenir o tratar la obra. Considerando que una de sus atribuciones más características es el conjunto Escultórico: “La Sábana Santa”, ubicada en la Catedral de Quito, se lo ha tomado como muestra para realizar los diversos exámenes que se pueden aplicar a las obras de arte, como son los de laboratorio y rayos X, y con los resultados de los mismos acercarnos científicamente a la producción inicial de esta escultura. Lo cual es la base principal para un correcto manejo de la misma como ya lo habíamos dicho anteriormente. VI Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez ABSTRACT This document arises from the absence of a technical study of the technology of the production of all the artwork attributed to Manuel Chilli, commonly known as "Caspicara", one of the most notable representatives of the Quito School. So, using the relevant primary sources of historical collection, concerning to the time and biographical data of the author and adding relevant scientific assessments, the purpose of this document is to make a tool for all those who handle Heritage Cultural Assets allocated to this great exponent of seventeenth and eighteenth century, including: museum curators, restorers, curators, and so on. With this they will have a clear guideline to use the correct methodology when it´s necessary to intervene or treat this artwork. Considering that one of his most characteristic artwork is the sculpture, "The Holy Altar Cloth", located in the Cathedral of Quito, it has been sampled for various tests that can be applied to works of art, such as laboratory and X-rays, and the results of this, will give a scientific approach to the initial production of this sculpture. This is basic for the proper management of it, as I had said earlier. VII Universidad Tecnológica Equinoccial Gabriela Stephanía Larriva Ordóñez INDICE DE CONTENIDOS AUTORÌA………………………………………………………………………………………. II CERTIFICADO..………………………………………………………………………………. III DEDICATORIA…………………………………………………………….……………….… IV AGRADECIMIENTOS………………………………………………………………………… V RESUMEN…………………………………………………………………………………….. VI ABSTRACT…………………………………………………………………………………… VII INDICE…………………………………………………………………………………………IX INDICE DE ANEXOS ................................................................................................................ XI INTRODUCCIÓN ............................................................................................................................ 14 CAPÍTULO I ............................................................................................................................... 16 1. EL PROBLEMA ...................................................................................................................... 16 1.1. Planteamiento del problema ...................................................................................... 16 1.2. Formulación del problema .......................................................................................... 17 1.3. Delimitación del problema.......................................................................................... 18 1.4. Justificación o relevancia ............................................................................................ 18 1.5. Objetivos ...................................................................................................................... 19 1.5.1. Objetivo general .................................................................................................. 19 1.5.2. Objetivos específicos ........................................................................................... 19 CAPÍTULO II .............................................................................................................................. 21 2. MARCO DE REFERENCIA ...................................................................................................... 21 2.1. Antecedentes de la investigación ............................................................................... 21 2.2. Antecedentes Históricos ............................................................................................. 25 2.2.1. Escultura en el Siglo XVIII en el Ecuador ............................................................. 25 2.2.2. Escuela
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