{"id":377,"date":"2013-04-07T17:34:29","date_gmt":"2013-04-07T17:34:29","guid":{"rendered":"http:\/\/www.ubaye-rupestre.fr\/site\/?p=377"},"modified":"2025-02-02T09:45:53","modified_gmt":"2025-02-02T09:45:53","slug":"4-le-support-rocheux","status":"publish","type":"page","link":"https:\/\/www.ubaye-rupestre.fr\/site\/4-le-support-rocheux\/","title":{"rendered":"4-LE SUPPORT ROCHEUX"},"content":{"rendered":"

L’emploi de la pierre pour un usage comm\u00e9moratif, monumental est une tradition de l’humanit\u00e9:<\/p>\n

\u00ab\u00a0L\u00e0 Josu\u00e9 \u00e9crivit sur les pierres, une copie de la loi que Mo\u00efse avait \u00e9crite pour les israelites…\u00a0\u00bb(Jos 8.32)<\/p>\n

Cette citation de la Bible, rappel\u00e9e par E.Anati dans son ouvrage \u00ab\u00a0La montagne de Dieu\u00a0\u00bb -Payot-1986- montre bien la conscience inn\u00e9e de l’importance de toute trace port\u00e9e par un rocher.<\/p>\n

A tort ou \u00e0 raison, un support min\u00e9ral est suppos\u00e9 quasi \u00e9ternel et l’information qu’il porte est sans doute irr\u00e9cusable, mais avant tout, essentielle pour son auteur.<\/p>\n

Des figures de NAZCA aux alignements de CARNAC,\u00a0 le mineral est par lui-m\u00eame signifiant.<\/p>\n

-il y a le min\u00e9ral organis\u00e9 et ses formes fantastiques.-Fig 60-<\/strong>\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La \u00ab\u00a0main du g\u00e9ant\u00a0\u00bb ?-Fig 61-<\/strong>\"\"<\/a><\/p>\n

L’\u00e9rosion naturelle ou bien un polissoir?-Fig 62-<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Jeu de la Nature ?<\/p>\n

-il y a aussi la beaut\u00e9 intrins\u00e8que de la roche.-Fig-63-64-65-<\/strong><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Pour les civilisations asiatiques, la v\u00e9n\u00e9ration du min\u00e9ral va plus loin: on parle de Pierres de R\u00eave, Pierres Philosophiques, Pierres de Lettr\u00e9s.-Fig 66-<\/strong><\/p>\n

\"\"<\/a>\"\"<\/a><\/p>\n

\"\"<\/a>Fig- 67-<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 68<\/strong><\/p>\n

\"\"<\/a>Fig 69<\/strong><\/p>\n

Fig 70<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 71<\/strong><\/p>\n

Ces curiosit\u00e9s sont un support de r\u00eaveries, de m\u00e9ditations et suscitent la convoitise et m\u00eame la collection effr\u00e9n\u00e9e.<\/p>\n

C’est probablement Roger CAILLOIS ( L’Ecriture des Pierres\u00a0\u00bb-SKIRA-1970-) qui\u00a0 analyse le plus finement ce rapport \u00e9motionnel au min\u00e9ral:<\/p>\n

\u00ab\u00a0\u00a0\u00bbles pierres poss\u00e8dent on ne sait quoi de grave, de fixe et d’ extr\u00e8me, d’imp\u00e9rissable, ou de d\u00e9j\u00e0 p\u00e9ri. Elles s\u00e9duisent par une beaut\u00e9 propre, infaillible, imm\u00e9diate, qui ne doit de compte \u00e0 personne…. C’est que les pierres pr\u00e9sentent quelque chose d’\u00e9videmment accompli, sans toutefois qu’il y entre ni invention ni talent ni industrie, rien qui en ferait une oeuvre au sens humain du mot, et encore moins une oeuvre d’art\u00a0\u00bb-Fig 72-<\/strong>\"\"<\/a><\/p>\n

Tout comme tant d’autres observateurs attentifs: botanistes, microscopistes, astronomes cet auteur fait le constat de notre d\u00e9sarroi qui accompagne la prise de conscience de l’universelle abondance de formes; de structures et de fonctions qui nous apparaissent parfaites,inhumaines ou plut\u00f4t inconcevables.<\/p>\n

Les roches de l’Ubaye, leur \u00e9piderme \u00e9rod\u00e9 pr\u00e9sentent une richesse, une vari\u00e9t\u00e9 qui ne semblent gu\u00e8re avoir passionn\u00e9 le visiteur et m\u00eame la plupart des collectionneurs; m\u00eame si nous sommes en marge de la min\u00e9ralogie traditionnelle: convenue et assez st\u00e9rile.<\/p>\n

A c\u00f4t\u00e9 du \u00ab\u00a0Mus\u00e9e imaginaire\u00a0\u00bb des gravures de l’Ubaye, existe un \u00ab\u00a0Mus\u00e9e\u00a0 de plein air\u00a0\u00bb des roches qui est tr\u00e8s remarquable et qui m\u00e9riterait d’\u00eatre\u00a0 consid\u00e9r\u00e9 et qui attend ses cr\u00e9ateurs et responsables.<\/strong><\/p>\n

Il semble bien toutefois, que nos graveurs n’aient gu\u00e8re \u00e9t\u00e9 sensibles \u00e0 ce caract\u00e8re,et cela semble logique, car la conscience de cet int\u00e9r\u00eat est relativement r\u00e9cente.<\/p>\n

En g\u00e9n\u00e9ral, le graveur se soucie peu de la qualit\u00e9 du support, de sa p\u00e9rennit\u00e9;par contre la localisation\u00a0 est souvent raisonn\u00e9e, sinon raisonnable, avec malgr\u00e9 tout de nombreuses exceptions…l’analyse de ces exceptions est un domaine prometteur.notre approche du patrimoine grav\u00e9 doit s’accompagner d’un tri entre nos r\u00e9f\u00e9rences actuelles et celles de ces graveurs.-Fig 73-<\/strong>\"\"<\/a><\/p>\n

\"\"<\/a>Le berger Revertegat a comm\u00e9mor\u00e9 l’an 1943: \u00ab\u00a0celui de la guerre de Sicile\u00a0\u00bb sans trop de soucier de la qualit\u00e9 du support.-Fig 74-<\/strong><\/p>\n

Contrairement \u00e0 ce que l’on pourrait imaginer , cet art \u00ab\u00a0monumental\u00a0\u00bb s’accomode aussi de gravures sur des galets, des lauzes comme en t\u00e9moigne cette oeuvre contemporaine d’une jeune berg\u00e8re devant son mod\u00e8le<\/strong>.Cette pratique,en apparence contradictoire ouvre le champ \u00e0 de nouvelles recherches.Et,d\u00e8s lors que des gravures \u00ab\u00a0mobili\u00e8res\u00a0\u00bb existent, de nombreuses hypoth\u00e8ses comm\u00e9moratives doivent \u00eatre consid\u00e9r\u00e9es avec prudence.-Fig 75-<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Enfin et nous y reviendrons, la m\u00e9connaissance\u00a0 des qualit\u00e9s du support constitue un facteur de risque d\u00e9terminant quant \u00e0 la p\u00e9rennit\u00e9 de ces traces.-Fig 76-<\/strong><\/p>\n

\"\"<\/a><\/p>\n

The use of stone engravings is a tradition for mankind. \u00ab\u00a0Hereby Josuah wrote on stones a copy of Moses’s-law written for Israelites\u00a0\u00bb(Jos-8.32).This mention of the Bible by E.Anati in \u00ab\u00a0La montagne de Dieu\u00a0\u00bb-Payot-1986- clearly highlights the consciousness of the importance of engravings on rocks.<\/em><\/span><\/p>\n

The rocky medium is supposed to be eternal and the carried information is unimpeachable, moreover essential, for the carver.<\/em><\/span><\/p>\n

From NAZCA lines and figures to CARNAC\u00a0 lines, stones are themselves significant.<\/em><\/span><\/p>\n

But we have also to consider :<\/em><\/span><\/p>\n

-Organized stones and their fantastic figures.<\/em><\/span><\/p>\n

-Intrinsic beauty of the stone. For Asian civilizations,stone veneration goes further: we have to consider: \u00ab\u00a0Dream-stones\u00a0\u00bb,\u00a0\u00bbPhilosophic stones\u00a0\u00bb,\u00a0\u00bbErudite stones\u00a0\u00bb.These curios raise\u00a0 dreams, meditations,covetousness and passionate collection. Roger CAILLOIS (L’Ecriture des Pierres-SKIRA-1970-) cleverly analyzed this emotional behaviour,facing minerals:<\/em><\/span><\/p>\n

\u00ab\u00a0stones own something grave, firm and extreme,imperishable or already dead. They appeal by their own infallible,immediate, intrinsic beauty.Stones exhibit something\u00a0 which is obviously completely achieved, out of contribution of invention,talent or industry; nothing related to human \u00ab\u00a0work\u00a0\u00bb and even\u00a0 \u00ab\u00a0work of art\u00a0\u00bb.<\/em><\/span><\/p>\n

As many other careful analysts: botanists, microscopists,astronomers, this author establishes our confusion\u00a0 when we become aware of the universal abundance of shapes,structures and functions which appear to be perfect, inhuman or at least inconceivable.<\/em><\/span><\/p>\n

Ubaye’s rocks, their epidermic erosion, show a rich diversity which seems to have been undersestimated by visitors and even most of collectors,even if we are far from traditional mineralogy .<\/em><\/span><\/p>\n

Beside the \u00ab\u00a0Mus\u00e9e Imaginaire\u00a0\u00bb of Ubaye’s engravings, already exists a remarkable \u00ab\u00a0Open-air Museum of Rocks\u00a0\u00bb, waiting\u00a0 for its manager and visitors.<\/strong><\/em><\/span><\/p>\n

It seems that our carvers were poorly sensitive to rock aesthetic and timelessness qualities; this is coherent with the fact that this approach is quite recent. Moreover, carvers do not take care about rock quality; but location of the carving is more careful, but this is not a general rule.<\/em><\/span><\/p>\n

This underlines again the necessary care\u00a0 about the way to approach carvings analysis: our refrences are almost completely different from those of the carvers. <\/em><\/span><\/p>\n

It is surprizing to observe that \u00ab\u00a0monumental\u00a0\u00bb carving art cohabits with carving on pebbles,\u00a0\u00bblauzes\u00a0\u00bb; as shows this contemporary work showed by a young shepherdess,<\/strong> before its model landscape. A new area for research… and additional care is required about usual, \u00ab\u00a0so evident\u00a0\u00bb\u00a0 commemoration practices hypothesis.<\/em><\/span><\/p>\n

Last but not the least, ignorance of rock quality is a serious risk for conservation of these traces.<\/em><\/span><\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

L’emploi de la pierre pour un usage comm\u00e9moratif, monumental est une tradition de l’humanit\u00e9: \u00ab\u00a0L\u00e0 Josu\u00e9 \u00e9crivit sur les pierres, une copie de la loi que Mo\u00efse avait \u00e9crite pour les israelites…\u00a0\u00bb(Jos 8.32) Cette citation de la Bible, rappel\u00e9e par … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-377","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/377","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/comments?post=377"}],"version-history":[{"count":21,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/377\/revisions"}],"predecessor-version":[{"id":1385,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/377\/revisions\/1385"}],"wp:attachment":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/media?parent=377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}