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Y Técnicas(II) diccionario de materias y técnicas (II) Stefanos K. Kroustallis Stefanos K. Kroustallis Es doctor en historia y diplomado en restauración y conserva- ción de bienes culturales. Su campo de investigación científica se ha centrado en el estudio de las fuentes de la tecnología ar- tística –de la Antigüedad a la Edad Media– y, especialmente, en el estudio de la escritura e iluminación del libro manuscrito. A parte de su actividad investigadora, el autor también ha desa- rrollado su actividad profesional como documentalista, así como restaurador de documento gráfico. Fotografías: IMAGEN CUBIERTA: Broche visigodo. Museo de Calatayud, n.º inv.: 00809 (Foto: Nora Guinda Larraza). IMAGEN SUPERIOR: Chaquetilla marsellés. Museo del Traje CIPE, n.º inv.: CE000978 (Foto: Lucía Ybarra Zubiaga). Diccionario de Materias y Técnicas (II. Técnicas) Tesauro para la descripción y catalogación de bienes culturales Stefanos K. Kroustallis DIRECCIÓN GENERAL DE BELLAS ARTES Y BIENES CULTURALES Y DE ARCHIVOS Y BIBLIOTECAS MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE SUBDIRECCIÓN GENERAL DE MUSEOS ESTATALES Catálogo de publicaciones del Ministerio: www.mecd.gob.es Catálogo general de publicaciones oficiales: publicacionesoficiales.boe.es Edición 2015 Autor: Stefanos K. Kroustallis Dirección: Reyes Carrasco Garrido María Carrillo Tundidor Coordinación: Emilia Aglio Mayor Alejandro Nuevo Gómez Colaboración técnica: Sara Sánchez Hernández Fotografías: Centro Andaluz de Arte Contemporáneo, Colección Municipal Dispersa y Emita de San Antonio de la Florida, David Izquierdo, IAACC Pablo Serrano, Museo Arqueológico de Ibiza y Formentera, Museo Arqueológico de Sevilla, Museo Arqueológico Nacional, Museo Arqueológico y Etnológico de Córdoba, Museo Arqueológico y Etnológico de Granada, Museo Cerralbo, Museo de Albacete, Museo de Almería, Museo de América, Museo de Bellas Artes de Córdoba, Museo de Bellas Artes de Granada, Museo de Bellas Artes de Sevilla, Museo de Cádiz, Museo de Calatayud, Museo de Creencias y Religiosidad Popular del Pirineo Aragonés, Museo de Historia de Madrid, Museo de Huelva, Museo de Huesca, Museo de Jaén, Museo de la Alhambra, Museo Lázaro Galdiano, Museo de las Peregrinaciones y de Santiago, Museo de Málaga, Museo de San Isidro. Los orígenes de Madrid, Museo de Zaragoza, Museo del Grabado de Goya, Museo del Greco, Museo del Traje. CIPE, Museo Monográfico del Castro de Viladonga, Museo Nacional Centro de Arte Reina Sofía, Museo Nacional de An- tropología, Museo Nacional de Arqueología Subacuática ARQUA, Museo Nacional de Arte Romano, Museo Nacional de Artes Decorativas, Museo Nacional de Cerámica y Artes Suntuarias “González Martí”, Museo Nacional de Escultura, Museo Nacional del Prado, Museo Nacional del Romanticismo, Museo Nacional y Cen- tro de Investigación de Altamira, Museo Pedagógico de Aragón, Museo Sefardí, Museo Sorolla. MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Documentación y Publicaciones © Del texto: su autor NIPO: 030-15-129-6 Agradecimientos La elaboración y publicación del Tesauro y Diccionario de Materias y Técnicas (II. Técnicas) para la identificación, descripción y catalogación de bienes culturales ha sido un proyecto multidisciplinar y no podría haberse llevado a cabo sin el esfuerzo continuado y la colaboración que todos los profesionales de los museos llevan de- sarrollando desde hace años en el desempeño de sus tareas de estudio, conservación y difusión del patrimonio que custodian. Este trabajo ha contado, además, con el asesoramiento y colaboración directa de numerosos especialistas a los que queremos agradecer especialmente su desinteresada ayuda. María del Carmen Hidalgo, Rocío Bruquetas, Ana Carrassón López de Letona y Beatriz Gonzalo Alconada (Instituto del Patrimonio Cultural de España); Javier Blas (Museo Nacional Centro de Arte Reina Sofía), Ana Cabrera (Museo Nacional de Artes Decorativas); Jaume Coll (Museo Nacional de Cerámica y Artes Suntuarias “González Martí”); Rosario Fernández (Museo Nacional de Escultura); Isabel Izquier- do (Dirección General de Bellas Artes y Bienes Culturales y de Archivos y Bibliote- cas); Ana López (Museo Nacional de Antropología); Salvador Nadales (Museo Na- cional Centro de Arte Reina Sofía); Margarita Moreno, Carmen Marcos, Paloma Otero y Paloma Cabrera (Museo Arqueológico Nacional); Ana Tomás (Subdirección General de Promoción de las Bellas Artes), Carolina Miguel (Museo Nacional del Romanticismo); Nuria Moreu (Museo de América); Juan Carlos Rico (Museo del Traje. CIPE); Maricer González (Museo Nacional y Centro de Investigación de Alta- mira); Blanca Gamo (Museo de Albacete); Luis Cristóbal Antón (Escuela Superior de Conservación y Restauración de Bienes Culturales). Para las tareas de documentación gráfica y préstamo de imágenes hemos contado además con el imprescindible apoyo de numerosas instituciones, a las que agrade- cemos su contribución en esta publicación: Centro Andaluz de Arte Contemporáneo, Colección Municipal Dispersa y Ermita de San Antonio de la Florida, IAACC Pablo Serrano, Museo Arqueológico de Ibiza y Formentera, Museo Arqueológico de Sevi- lla, Museo Arqueológico Nacional, Museo Arqueológico y Etnológico de Córdoba, Museo Arqueológico y Etnológico de Granada, Museo de Albacete, Museo de Alme- ría, Museo de América, Museo de Bellas Artes de Córdoba, Museo de Bellas Artes de Granada, Museo de Bellas Artes de Sevilla, Museo de Cádiz, Museo de Calatayud, Museo de Creencias y Religiosidad Popular del Pirineo Aragonés, Museo de Historia de Madrid, Museo de Huelva, Museo de Huesca, Museo de Jaén, Museo de la Al- hambra, Museo de la Fundación Lázaro Galdiano, Museo de las Peregrinaciones y de Santiago, Museo de San Isidro. Los Orígenes de Madrid, Museo de Málaga, Museo de Zaragoza, Museo del Grabado de Goya, Museo del Greco, Museo del Traje. CIPE, Museo Cerralbo, Museo Monográfico del Castro de Viladonga, Museo Nacional Cen- tro de Arte Reina Sofía, Museo Nacional de Antropología, Museo Nacional de Ar- queología Subacuática ARQUA, Museo Nacional de Arte Romano, Museo Nacional de Artes Decorativas, Museo Nacional de Cerámica y Artes Suntuarias “González Martí”, Museo Nacional de Escultura, Museo Nacional del Prado, Museo Nacional del Romanticismo, Museo Nacional y Centro de Investigación de Altamira, Museo Peda- gógico de Aragón, Museo Sefardí y Museo Sorolla. Finalmente me gustaría agradecer a Eva Alquézar por toda su dedicación, ánimo y esfuerzo para que este Tesauro viera la luz. A David Izquierdo por su generosidad. Al personal del Centro de Documentación del Ministerio de Educación, Cultura y Deporte y de la Biblioteca del Instituto del Patrimonio Cultural de España por hacer mi trabajo más fácil. Y, desde luego, a mis compañeros Isabel Trinidad Lafuente, Oskar Diego López, María Victoria López, Elisa Malpesa Montemayor, Maribel Mar- tínez Martín y Blanca González Pretel. Índice Pág. Prólogo ............................................................................................................. 9 Introducción ................................................................................................... 13 Diccionario ...................................................................................................... 25 Tesauro ............................................................................................................. 385 Estructura general: esquema ............................................................. 387 Estructura general: desarrollo ........................................................... 389 Cuerpo del Tesauro ........................................................................... 419 Bibliografía ..................................................................................................... 511 Prólogo Tesauro para la descripción y catalogación de bienes culturales La elaboración y publicación de vocabularios relacionados con el patrimonio cultural y especialmente con los bienes custodiados en los museos se ha con- vertido en los últimos años en una de las tareas principales de la Subdirección General de Museos Estatales. Los trabajos se enmarcaron desde un primer mo- mento en la política de normalización documental que esta Subdirección co- menzó a desarrollar a mediados de los años 90, y en la que la sistematización del lenguaje se consideró una herramienta fundamental para la adecuada con- secución de los objetivos planteados. Gracias a este esfuerzo han aparecido en los últimos años publicaciones que han contribuido a avanzar en el consenso en torno al lenguaje utilizado en la catalogación, descripción, y estudio de los diferentes bienes y colecciones con- servados en los museos: el Diccionario de materiales cerámicos, el Diccionario de numismática, el Tesauro de lugares geográficos, el Tesauro y diccionario de objetos asociados a ritos, cultos y creencias, el Diccionario y tesauro de objetos de expresión artística y el Diccionario de Materias y Técnicas (I. Materias), pu- blicado en el año 2008 y del que aparece ahora la segunda parte dedicada a las técnicas de elaboración y decoración de los bienes culturales. Este diccionario es, por tanto, resultado de esta labor callada y lenta que se ha ido desarrollando a lo largo de los años en los museos y los centros de inves- tigación y documentación del patrimonio cultural, pero aspira a convertirse, en un camino de regreso, en un punto de partida que nos permita iniciar una labor de consenso en torno a la tarea de elaboración de los tesauros, un empeño en constante evolución debido a
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