{"id":601,"date":"2013-09-10T14:51:02","date_gmt":"2013-09-10T14:51:02","guid":{"rendered":"http:\/\/www.ubaye-rupestre.fr\/site\/?p=601"},"modified":"2025-02-02T09:47:25","modified_gmt":"2025-02-02T09:47:25","slug":"7-bergers-en-ubaye","status":"publish","type":"page","link":"https:\/\/www.ubaye-rupestre.fr\/site\/7-bergers-en-ubaye\/","title":{"rendered":"7-BERGERS EN UBAYE"},"content":{"rendered":"

L’\u00e9tat de Berger a toujours fait r\u00eaver, avec une belle continuit\u00e9 de l’antiquit\u00e9 \u00e0 nos jours, avec des aspects po\u00e9tiques, utopiques qui ont s\u00e9rieusement min\u00e9 la cr\u00e9dibilit\u00e9 de nombreux travaux, dits \u00ab\u00a0ethnologiques\u00a0\u00bb.<\/p>\n

Un des aspects remarquables est qu’a quelques exceptions pr\u00e8s (Denis EMERIC: \u00ab\u00a0BERGER, Sur la route\u00a0 des grandes transhumances \u00e0 pied\u00a0\u00bb-Cheminements-2002) \u00a0 \u00a0 \u00a0 les bergers sont MUETS<\/strong>.<\/p>\n

On ne leur demande qu’une chose: laisser les sp\u00e9cialistes nous expliquer ce qu’ils sont<\/strong> ,en toute bonne conscience, puisque ces gens n’\u00e9crivaient pas…ou du-moins\u00a0 parce que\u00a0leurs traces restaient, jusqu’\u00e0 pr\u00e9sent ,invisibles.<\/p>\n

The shepherd status has always been a source of dreams, from antiquity to to-day with poetry, utopia which\u00a0 undermined many said- \u00ab\u00a0ethnographic\u00a0\u00bb papers.<\/em><\/span><\/p>\n

A main feature is that ,with rare exceptions (Denis EMERIC-BERGER-Cheminements 2002) most of shepherds are DUMB<\/strong>.<\/em><\/span><\/p>\n

Specialists require only one thing: \u00ab\u00a0leave us explain what you are\u00a0\u00bb<\/em><\/strong>,with a totally clear conscience because these guys didn’t wrote…or , because , till now, their traces remained \u00ab\u00a0invisible\u00a0\u00bb.<\/em><\/span><\/p>\n

Aim\u00e9e Castain, \u00ab\u00a0La Berg\u00e8re du Gubian\u00a0\u00bb, pr\u00e8s de Revest-des-Brousses, s’est exprim\u00e9e par le texte et la peinture, en nous livrant une image\u00a0 tr\u00e8s id\u00e9alis\u00e9e de la vie dans les Alpes de Haute-Provence dans la premi\u00e8re moiti\u00e9 du XXe si\u00e8cle.<\/p>\n

Aim\u00e9e Castain, \u00ab\u00a0Gubian’s shepherdess\u00a0\u00bb, near Revest des Brousses (Alpes de Haute-Provence) is an exception, she\u00a0 delivered, using words and paintings an ideal image of this country by mid XXth century.<\/em><\/span><\/p>\n

\"\"<\/a>L’analyse de ce tableau (fig 123<\/strong>) pourrait \u00eatre un passe-temps; on notera simplement la malice de l’artiste qui confronte ici, l’apparente placidit\u00e9 du berger et l’activisme des femmes au lavoir… C’est que cette oeuvre s’adresse \u00e0 des tiers, des \u00e9trangers, \u00e0 qui on doit offrir une image plaisante conforme \u00e0 leurs certitudes.<\/p>\n

Analysis of this painting might be some kind of pastime, but one must underline the mischief of the artist who\u00a0 opposes the apparent placidity of the shepherd to the activity of washerwomen;. indeed, this work is made for third parties, foreigners to this country, in order to please and offer something pleasant , complying to their certainties.<\/em><\/span><\/p>\n

De mani\u00e8re analogue ,ce vitrail (Fig 124)<\/strong> de la chapelle N-D de l’Ortigui\u00e8re-au Revest du Bion- reprend cette vision \u00e9vanescente du Berger…\"\"<\/a>In the same way, this leaded glass-window from L’Ortigui\u00e8re chapel near Revest du Bion takes up again the ethereal\u00a0 vision of shepherds.<\/em><\/span><\/p>\n

Mais voici maintenant que par leurs traces en Ubaye, les Bergers nous parlent, sans interm\u00e9diaire , sans traduction, ni interpr\u00e9tation, et cela, \u00e7a n’a pas de prix.<\/strong><\/p>\n

BUT, THROUGH THEIR TRACES IN UBAYE, SHEPHERDS, NOW,SPEAK, WITHOUT INTERMEDIATE,TRANSLATOR, NEITHER INTERPRETING, AND THIS IS PRICELESS.<\/strong><\/span><\/p>\n

L’abondance des informations, si minces soient-elles (un nom, une date),est d’une grande utilit\u00e9 et permet v\u00e9ritablement d’employer l’outil statistique pour recenser les dynasties de bergers,leurs parcours, l’am\u00e9nagement de ces territoires.Ces zones ne sont plus sauvages depuis bien longtemps, elles ont \u00e9t\u00e9 largement humanis\u00e9es selon une progression qui s’est d\u00e9roul\u00e9e sur des si\u00e8cles; pouvoir pr\u00e9ciser cette \u00e9volution, corr\u00e9ler ces signes au maillage des bergeries, cheminements et abris pr\u00e9sente un int\u00e9r\u00eat historique, sans doute, mais aussi technique et toujours actuel, car: \u00ab\u00a0La science des hommes a sans cesse besoin d’unir l’\u00e9tude des morts \u00e0 celle des vivants\u00a0\u00bb-Marc BLOCH-<\/p>\n

Even a short information (date, name) becomes useful, due to the number of similar data now available.This is the base for reliable statistical work to identify shepherds dynasties,trails,country planning. These areas are no-more wild, since centuries; they have been \u00ab\u00a0humanis\u00e9es\u00a0\u00bb through a long process. The possibility to analyze this progression, correlate these traces to the sheepfold network, trails and shelters is of high historic , technical interest for past AND PRESENT. <\/em><\/span><\/p>\n

As Marc BLOCH stated: \u00a0\u00bb Mankind science needs in a permanent way, to link the study of dead\u00a0 to that of living people\u00a0\u00bb.<\/em><\/span><\/p>\n

Cette nouvelle source de donn\u00e9es ne pr\u00e9tend pas \u00eatre exhaustive: elle ne saurait refl\u00e9ter tous les aspects de la vie du Berger; ni \u00eatre totalement fid\u00e8le :pourquoi les bergers se seraient-ils tous exprim\u00e9s?<\/p>\n

Mais il y a un choix n\u00e9cessaire entre: porter un peu d’attention \u00e0 des r\u00e9alit\u00e9s irr\u00e9cusables et exploiter des t\u00e9moignages fragiles , des constructions intellectuelles\u00a0 hasardeuses et surtout des g\u00e9n\u00e9ralisations imprudentes.<\/p>\n

\u00a0This new source of information is of course not exhaustive: she cannot reflect all features of shepherds life; she also cannot be totally reliable: it is obvious that all shepherds did not left their trace… But we are facing a simple choice: either pay a minimum attention to reliable informations ,or use fragile testimonials ,hypothetical mental constructions and distressing extrapolations.<\/em><\/span><\/p>\n

Une des questions permanentes ,sous-jacentes ,est celle des motivations du graveur?<\/p>\n

A traditional question is : understanding reasons leading shepherds to leave some trace.No clear explanation exists, but Claude Roy, discussing with Albert Giacometti (NAQUANE-Clairefontaine-Lausanne-1966) provides us some help.<\/em><\/span><\/p>\n

Sans pr\u00e9tendre vouloir tout expliquer, cette reprise d’une citation de Giacometti (par Claude Roy)\u00a0\u00bbNAQUANE- Clairefontaine-Lausanne-1966) est susceptible de nous \u00e9clairer:<\/p>\n

\u00ab\u00a0Je fais de la peinture et de la sculpture pour mordre sur la r\u00e9alit\u00e9, pour mieux me d\u00e9fendre,pour me nourrir,pour grossir: grossir pour mieux me d\u00e9fendre, pour mieux attaquer, pour accrocher, pour avancer le plus possible sur tous les plans, dans toutes les directions, pour me d\u00e9fendre contre la faim, contre le froid, contre la mort, pour \u00eatre le plus libre possible.\u00a0\u00bb<\/em><\/strong><\/p>\n

\u00ab\u00a0Painting and carving allow me to bite over realities, to defend myself in a better way,to feed myself,to grow;growing to enable a better defense, to\u00a0 assault more efficiently, to grasp, to progress as much as possible in all ways, to defend myself againt hunger, against cold,against death, in order to be as free as possible\u00a0\u00bb<\/strong><\/em><\/span><\/p>\n

Et voici quelques aspects de ces r\u00e9alit\u00e9s:<\/p>\n

Pauvres bergers.<\/strong><\/p>\n

\u00ab\u00a0Le berger est malheureux\u00a0\u00bb. S’il est l\u00e9gitimement attractif pour l’ethnologue de recueillir pr\u00e9f\u00e9rentiellement les plaintes et textes \u00e9mouvants ; il faut aussi pond\u00e9rer leur importance de celle de toutes les autres traces , souvent positives ,et on sait bien de surcro\u00eet que c’est toujours une minorit\u00e9 qui s’exprime.<\/p>\n

Poor shepherds…It is indeed stimulating for any ethnologist to focus on moans and emotional information; but one must take in account (balance) the global available information , most of\u00a0 these data are positive and it is well known that always minorities speak louder than others.<\/em><\/span><\/p>\n

La transhumance:<\/strong><\/p>\n

C’est un peu l’alpha et l’omega, pour tout ethnologue: il y a tant \u00e0 dire et c’est \u00ab\u00a0si pittoresque\u00a0\u00bb.<\/p>\n

.Si les \u00ab\u00a0\u00e9trangers\u00a0\u00bb laissent leur trace, nos graveurs d\u00e9montrent que le pastoralisme local (ovin et bovin) est une solide r\u00e9alit\u00e9…et c’est peut \u00eatre aussi ces traces \u00e9trang\u00e8res qui les incitent \u00e0 se manifester \u00e0 leur tour.<\/p>\n

Transhumance is the alpha and omega for any ethnologist, for at least one good reason: it is so\u00a0 colourful… If foreigners leave their trace; our Ubaye’s shepherds show that local ovine and bovine pastoralism is a reality.And if they also leave traces, this is perhaps in reaction to this foreign practice.\u00a0<\/em><\/span><\/p>\n

\u00a0 \u00ab\u00a0EMILE\u00a0\u00a0 PASCAL\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\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 ELEVEUR A COTIGNAC\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\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 PAYS DU BON VIN-VAR\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1938-1941-1942\u00a0\u00bb <\/strong><\/span><\/p>\n

\u00ab\u00a0YVON REVERTEGAT \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\u00a0 MONTFORT SUR ARGENS \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\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 PAYS DES BELLES P\u00caCHES\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\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 1943\u00a0\u00bb<\/strong><\/span><\/p>\n

La filiation du formalisme du texte de ces gravures semble \u00e9vidente ,ce sont\u00a0 les seules qui fassent explicitement r\u00e9f\u00e9rence \u00e0 des transhumants…<\/p>\n

Obviously the second shepherd mimicked the former…More intersting: these are to-date the only reliable traces of foreigners.<\/em><\/span><\/p>\n

Cette observation est confort\u00e9e par les r\u00e9alit\u00e9s: les noms de nos bergers-graveurs se retrouvent dans les cimeti\u00e8res de la Vall\u00e9e: la majorit\u00e9 des gravures est,de-fait,due \u00e0 des bergers locaux.<\/p>\n

The carved names of shepherds can be found in the cemeteries of these valleys; this clearly shows that most of traces belong to local people.<\/em><\/span><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 125- \u00ab\u00a0JOSEPH\u00a0 PELLISSIER\u00a0 MELZIN 1769\u00a0\u00bb \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Une gravure \u00e9l\u00e9gante, avec un cartouche purement d\u00e9coratif car c’est la seule gravure sur une large dalle enterr\u00e9e.Melzin est l’orthographe de l’\u00e9poque pour le M\u00e9l\u00e9zin<\/strong> .Le d\u00e9cor \u00e0 fleurs de lys\u00a0 est rare. Restitution en fausses couleurs.
\n<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 126-\u00ab\u00a0ARNAUD ISIDORE BERGER EN 1891\u00a0\u00bb\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 Ici le cartouche se justifie en raison de l’encombrement du support. Le d\u00e9crochement en chapeau de gendarme abritait une croix et le haut de la gravure \u00e9pouse la forme du rocher,comme un napperon.
\n<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 127-\u00ab\u00a0BELLON CELESTIN 18..\u00a0\u00bb\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L’art de laisser sa trace en veillant \u00e0 sa calligraphie. \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 (Le support est dans une zone de solifluxion.)<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0 Fig 128-\u00ab\u00a01897\u00a0 RICHARD ADRIEN 12 Juin\u00a0\u00bb \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 Cette gravure progressivement enterr\u00e9e montre la maitrise du graveur et un \u00e9tat de conservation favoris\u00e9 par sa position verticale.<\/strong><\/p>\n

Et des berg\u00e8res…\"\"<\/a><\/p>\n

Fig 129-\u00ab\u00a0APOLLONIE BERGERE 1871\u00a0\u00bb<\/strong><\/p>\n

\"\"<\/a>Fig 130-\u00ab\u00a0MATHILDE CAIRE 1921\u00a0\u00bb \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 Graffito sur enduit \u00e0 la chaux.<\/strong><\/p>\n

Bergers d’ailleurs.<\/strong><\/p>\n

Les pi\u00e9montais ont toujours \u00e9t\u00e9 tr\u00e8s appr\u00e9ci\u00e9s dans cette r\u00e9gion: on leur a volontiers confi\u00e9 les t\u00e2ches ingrates: conduire les troupeaux, ma\u00e7onner les forts militaires, pratiquer le forestage dans des endroits impossibles…leurs traces sont reconnaissables, raffin\u00e9es et , pour eux, l’\u00e9pisode ubayen semble avoir \u00e9t\u00e9 plut\u00f4t heureux.<\/p>\n

People from Piemonte (Italy) have always been well estimated in these valleys: local people readily employed them to thankless tasks: shepherds, masons (for defence works building), hard forestry work…their traces are typical and delicate and it seems that their stay here was rather positive.<\/em><\/span><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 131-\u00ab\u00a0BG\u00a0 1909 AISONE\u00a0\u00bb \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 -Restitution en n\u00e9gatif et fausses\u00a0 couleurs.\u00a0\u00a0 La repr\u00e9sentation de ferronneries et de fanions signe l’origine italienne de cette gravure<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 132-\u00ab\u00a0PASTOR\u00a0 GB\u00a0 ITALIA\u00a0\u00bb\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L’auteur semble avoir voulu \u00e9viter toute ambiguit\u00e9 quant \u00e0 la symbolique du drapeau avec un fl\u00e9chage…\u00e9nergique. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong><\/p>\n

Confluences.<\/strong><\/p>\n

La gravure attire la gravure: est-ce du mim\u00e9tisme, un esprit de comp\u00e9tition,? Certains supports attirent pr\u00e9f\u00e9rentiellement des gravures multiples, sans souci de coh\u00e9rence dans la pr\u00e9sentation, mais sans oblit\u00e9ration flagrante.<\/p>\n

It seems that any carving stimulates production of additional ones: competition?mimetism?\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 Some slabs seem to attract multiple carvings without geometrical coherence but without evident obliteration.<\/em><\/span><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 133-Peu de \u00ab\u00a0rochers des bergers\u00a0\u00bb pr\u00e9sentent cette situation monumentale, impossible \u00e0 n\u00e9gliger .Le nombre\u00a0 des roches d\u00e9nomm\u00e9es: des bergers, des p\u00e2tres, des soldats, d’Hannibal\u00a0 reste relativement r\u00e9duit.<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 134-Cette parcelle est honor\u00e9e par deux-cents ans de gravures qui se terminent par cette repr\u00e9sentation du sacr\u00e9-coeur qui est la plus moderne (1899)<\/strong>, c’est le t\u00e9moin le plus\u00a0 important de la continuit\u00e9 de la fr\u00e9quentation d’un site et de l’acte de graver.<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0 Fig 135-Toute dalle en position horizontale s’\u00e9rode ais\u00e9ment (voir le Chapitre 5), le calque qui suit rend compte de l’enveloppe des trac\u00e9s, mais assez mal de la texture du support et des gravures.<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 136-L’int\u00e9r\u00eat manifeste des graveurs pour cette roche reste inexpliqu\u00e9.<\/strong><\/p>\n

Cette pratique explique probablement le recours au \u00ab\u00a0cartouche\u00a0\u00bb qui est souvent christianis\u00e9 et sugg\u00e8re souvent le\u00a0 sch\u00e9ma d’un oratoire. \"\"<\/a><\/p>\n

Fig 137-Un d\u00e9tail des figures 135-136. La figuration du calvaire est particuli\u00e8rement soign\u00e9e et la croix additionnelle respecte les traces des pr\u00e9d\u00e9cesseurs: absence de croix a gauche du cartouche.<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 138-Calvaire. Le trac\u00e9 a \u00e9t\u00e9 finalis\u00e9 au ciseau plat.<\/strong><\/p>\n

et le cartouche am\u00e8ne naturellement a une repr\u00e9sentation de type blason avec des croix aux multiples significations possibles: religieuse,politique (Savoie), familiale: couple..\u00a0\u00a0 .(Fig 139)<\/strong>\"\"<\/a><\/p>\n

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

\u00a0 Fig 140-\u00ab\u00a0PG 1866\u00a0\u00bb-\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\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 Document en n\u00e9gatif et fausses couleurs, tr\u00e8s us\u00e9, en perdition dans les divagations d’un torrent.Les symboles v\u00e9g\u00e9taux repr\u00e9sentent vraisemblablement l’IF, symbole d’\u00e9ternit\u00e9.\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\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 Un document \u00e9mouvant dans sa d\u00e9r\u00e9liction.<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 141-\u00ab\u00a0PINONCELY AUGUSTIN DE LARCHE 1871 \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 Calligraphie savante -incision au couteau-<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 142-\u00ab\u00a0CHARPENEL ADRIEN 1881\u00a0\u00bb a r\u00e9alis\u00e9 un cartouche joliment\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ondulant, une fois de plus\u00a0 l’utilitaire n’est pas incompatible avec l’esthetique.<\/strong><\/p>\n

Il existe m\u00eame dans la plupart des cas un respect scrupuleux du trac\u00e9 du confr\u00e8re.\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 143-\u00ab\u00a0HOMMES SOYEZ FORTS ET UNIS JUSQU’A LA\u00a0 MORT \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 ABEL FOUQUE 19 ANS 1939\u00a0\u00bb \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 L’auteur a plus ou moins respect\u00e9 le liser\u00e9 en zig-zag de son pr\u00e9decesseur. L’inscription ant\u00e9rieure \u00ab\u00a0AA 1868\u00a0\u00bb est encadr\u00e9e de deux\u00a0 croix rayonnantes particuli\u00e8rement \u00e9l\u00e9gantes. La technique au poin\u00e7on donne l’illusion d’une broderie accentu\u00e9e par la restitution en n\u00e9gatif.<\/strong><\/p>\n

Des traces vivantes:<\/strong><\/p>\n

Au fil des ann\u00e9es les gravures sont compl\u00e9t\u00e9es, enrichies avec un rapport au temps de plus en plus \u00e9vident.<\/p>\n

By the time, completion , enrichment occurs, with a link to time-conscience which becomes more and more evident.<\/em><\/span><\/p>\n

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

\u00a0 Fig 144-Le p\u00e8re du petit Massil a c\u00e9l\u00e9br\u00e9 sa pr\u00e9sence \u00e0 l’alpage jusqu’\u00e0 l’an 2000. Il y a trois gravures \u00e0 gauche de la faille verticale et un texte (cf Fig 145) \u00e0 sa droite.Cet ensemble remarquable, outre sa technicit\u00e9 ,signe l’apparition de gravures contemporaines explicites,en quelque-sorte:sous-titr\u00e9es et l’int\u00e9gration d’une symbolique proche de celle de l’Art africain.Tous ces \u00e9l\u00e9ments sont nouveaux pour le patrimoine de l’Ubaye.<\/strong><\/p>\n

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

Fig 145- D\u00e9tail (calque) d’une des gravures de \u00ab\u00a0Massil\u00a0\u00bb<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 146-Des dynasties de bergers qui inscrivent opini\u00e2trement les dates de leurs campagnes: fiert\u00e9 et lassitude ?<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0 Fig 147-Un cadran de montre inachev\u00e9<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0 Fig 148-\u00ab\u00a01897 PIASCO PIERRE\u00a0\u00bb a-t-il voulu repr\u00e9senter un sablier ?<\/strong><\/p>\n

Le cadran inachev\u00e9 (Fig 147) n’a certes pas la qualit\u00e9 de la figure 40, mais son int\u00e9r\u00eat r\u00e9side dans\u00a0 la r\u00e9p\u00e9tition du th\u00e8me . De m\u00eame ce sablier pr\u00e9sum\u00e9 ,rejoint\u00a0 cet int\u00e9r\u00eat pour les symboles\u00a0 du temps mesur\u00e9.<\/p>\n

L’interpr\u00e9tation de ce type de trace n’est pas \u00e9vidente car les bergers graveurs semblent g\u00e9n\u00e9ralement se d\u00e9sint\u00e9resser de la repr\u00e9sentation de leur environnement physique ou vivant, qui est sans doute pour eux \u00e9vident, banal, indigne d’une p\u00e9rennisation ou d’une comm\u00e9moration.<\/p>\n

Cet aspect qualitatif de la trace grav\u00e9e nous semble essentiel…et imm\u00e9morial.<\/p>\n

This uncompleted watch cannot compete with the quality of Fig 40, but the interest is about the repetition. In the same way, this possible hourglass underlines the interest of carvers for symbols of \u00ab\u00a0time-passing\u00a0\u00bb. Such interpretation is not evident as carving-shepherds seem to do not take much care about symbols of their physical, animal and vegetal environment.<\/em><\/span><\/p>\n

They appear to them,so evident, so common that there is no need to carve .<\/em><\/span><\/p>\n

Qualitative aspects of carvings seems us a major feature to consider.<\/em><\/span><\/p>\n

Philosophie.<\/strong><\/p>\n

L’abondance des maximes, proverbes, citations\u00a0 nous ram\u00e8ne au contenu de\u00a0 ces \u00ab\u00a0cahiers de morale scolaire\u00a0\u00bb d’il y a des d\u00e9cennies, et leur simplicit\u00e9 est de bon aloi.<\/p>\n

The number of simple \u00ab\u00a0scholar\u00a0\u00bb maxims and proverbs clearly refers to school practices till mid-XXth century. Such simplicity appears to be respectable.<\/em><\/span><\/p>\n

\u00ab\u00a0AVEC LE TRAVAIL AMIS\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\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 NOUS RENVERONS BIEN LOIN SES \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 TROIS MAUX AFREUX L’ENNUI, LE VICE ET LE BESOIN\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 RICHARD.ADRIEN\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\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 LE 3 SEPTEMBRE 1898\u00a0\u00bb<\/strong><\/p>\n

\u00ab\u00a0FAITEs\u00a0 BIEN EST LAISSER DIRE\u00a0\u00bb<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 149-\u00ab\u00a0RIEN NE SERT DE COURIR IL FAUT PARTIR A POINT\u00a0\u00bb\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Une des rares gravures r\u00e9alis\u00e9es sur un quartz amorphe (extr\u00e8mement r\u00e9sistant) , qui a du n\u00e9cessiter un long travail pour une maxime qui nous para\u00eet aujourd’hui bien banale.<\/strong><\/p>\n

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

\u00ab\u00a0VIS DE TELLE MANIERE QUE SI LA MORT TE SURPREND ELLE TE TROUVE JOURS PR\u00caT\u00a0\u00bb<\/strong><\/p>\n

\u00ab\u00a0HOMMES SOYEZ FORTS\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\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 ET UNIS JUSQU’A LA MORT\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\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 ABEL FOUQUE\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\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 19 ANS\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1939 \u00ab\u00a0<\/strong><\/p>\n

Ces messages, \u00e0 l’\u00e9vidence, s’adressent aux autres et pas sp\u00e9cialement \u00e0 des initi\u00e9s, des coll\u00e8gues, des confr\u00e8res; ils ont pour leurs auteurs une port\u00e9e universelle et on notera l’absence fr\u00e9quente de r\u00e9f\u00e9rence \u00e0 la religion.<\/p>\n

These messagges are obviously dedicated to \u00ab\u00a0others\u00a0\u00bb; for their authors they carry universality sense and value; curiously links to religion, theology is not frequent.<\/em><\/span><\/p>\n

Il semble bien que la proclamation de foi, la pri\u00e8re, la r\u00e9f\u00e9rence aux symboles religieux, soient moins \u00e9videntes qu’on ne pourrait l’imaginer. On est face \u00e0 une abondance de croix qui correspond \u00e0 un rituel de protection qui rappelle la pratique des Croix des Rogations , tr\u00e8s vivace en Ubaye et, plus quotidiennement, la b\u00e9n\u00e9diction du pain avant de le rompre.<\/p>\n

\u00a0It seems indeed that faith claims,prayers,use of religion symbols is less evident than expected. there is abundance of crosses which is related to protection rituals like Rogation crosses which is vivid in Ubaye and bread benediction before breaking it.<\/em><\/span><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 150-Croix patt\u00e9e fortement incis\u00e9e (11mm) dans une poutre d’une bergerie<\/strong><\/p>\n

Dans \u00ab\u00a0Les bl\u00e9s de l’Et\u00e9\u00a0\u00bb-Editions Alpes de Lumi\u00e8re-N\u00b079\/80-1983-P.Martel rapporte la tradition de la B\u00e9n\u00e9diction des crousettes aux Thuiles en 1951, d’apr\u00e8s le r\u00e9cit recueilli aupr\u00e8s de l’Abb\u00e9 M.IMBERT, cur\u00e9 des Thuiles.<\/p>\n

\u00ab\u00a0…Une crousette est une petite croix faite de deux simples lattes de bois r\u00e9unies par deux petits clous , qu’on a l’habitude de mettre pour la protection des maisons, des gens, des r\u00e9coltes.On les appelle les croisettes des Rogations. chaque ann\u00e9e, les trois jours des Rogations…on fait la procession des fruits de la terre.On assiste \u00e0 la messe…puis on part en procession chaque jour d’un c\u00f4t\u00e9 diff\u00e9rent en chantant les Litanies des Saints…Mais surtout on fait encore une chose qu’on devait faire partout, para\u00eet-il autrefois dans la Vall\u00e9ia (en Ubaye): quand le cur\u00e9 b\u00e9nit les champs, les maisons et les r\u00e9coltes…les gens font b\u00e9nir en m\u00eame temps des \u00ab\u00a0paquets\u00a0\u00bb de petites croix qui ensuite \u00ab\u00a0emportent la b\u00e9n\u00e9diction\u00a0\u00bb, rentr\u00e9s chez-eux, les gens mettent ces croix dans la maison, les \u00e9tables, les champs\u00a0\u00bb.<\/p>\n

Les croix de nos bergers sont cens\u00e9es ainsi, les prot\u00e9ger, mais aussi prot\u00e9ger leurs territoires.<\/p>\n

Dans le m\u00eame esprit, P.Martel rapporte l’ \u00e9trange histoire de ce paysan qui, fendant du bois un soir d’hiver, dans les ann\u00e9es 1950, trouva une croix\u00a0 de bois,\u00e0 l’int\u00e9rieur d’une b\u00fbche, tel un fossile dans un rocher.Les recherches permirent de retrouver la trace de la pratique suivante: au XVIIIe si\u00e8cle, le cur\u00e9 de la paroisse avait pour habitude d’apposer des croix de bois sur quelques arbres, en signe de protection, l’un d’eux, dans son d\u00e9veloppement, avait purement et simplement englouti ce fragile symbole.<\/p>\n

Shepherd’s carved crosses are intended to protect them AND also pastures…\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/span><\/p>\n

P.Martel reported this strange event: in the fifties a farmer who was splitting wood discovered a wooden-cross inside a log, like a fossil in the stone…Research enabled to identify a priest who ,in the XVIIIth century, used to affix on trees crosses as divine protections. By the time the growth of the tree included theses crosses<\/em><\/span>.<\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fig 151-Calvaire ou anthropomorphe ?.\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 On voit mal comment le graveur , qui sait traiter correctement ce qui pourrait \u00eatre la base simple d’un calvaire , n\u00e9glige les bras de la croix.Cette simple trace illustre sa puissance d’\u00e9vocation et d’incitation \u00e0 la r\u00e9flexion.<\/strong><\/p>\n

Pri\u00e8res des roches:<\/strong><\/p>\n

Dans la logique de ce qui pr\u00e9c\u00e8de , nous n’avons relev\u00e9 qu’une trace non ambigue et singuli\u00e8rement inspir\u00e9e.\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Fig 152-Trac\u00e9 au charbon de bois -en voie d’effacement en 1985-<\/strong><\/p>\n

\u00ab\u00a0FAIT LE 5 AOUT 1964 \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 VIVE L’AIR PUR ET LES MONTAGNES \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 QUE DIEU NOUS GARDE DE NE JAMAIS \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 LAISSER RAVAGER NOS ALPAGES\u00a0\u00bb \u00a0\u00a0<\/strong><\/p>\n

Il y a cinquante ans,la conscience \u00e9cologique n’\u00e9tait pas si r\u00e9pandue (l’ouvrage qui peut servir de rep\u00e8re de cette \u00e9volution est celui\u00a0 de Rachel CARSON: \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00ab\u00a0PRINTEMPS SILENCIEUX\u00a0\u00bb qui date de 1962…)<\/p>\n

-Ce sont les montagnards et les insulaires qui ont manifest\u00e9 le plus pr\u00e9cocement une conscience \u00e9cologique; c’est\u00a0 ,\u00e0 la r\u00e9flexion, absolument logique lorsqu’on vit dans un territoire limit\u00e9.<\/p>\n

Fifty years ago, ecology spirit was not so common (a reference might be Rachel CARSON’s \u00ab\u00a0SILENT SPRING\u00a0\u00bb published 1962).This trace is dated 1964. People living in mountains and islands were probably pioneers in ecology as living in restricted territories.<\/em><\/span><\/p>\n

Les traces de d\u00e9soeuvr\u00e9s ?:
\n<\/strong><\/p>\n

Ces traces, leur contenu sont loin de correspondre \u00e0 des passe-temps, mais il est tentant de m\u00e9priser ce que l’on ne comprend pas<\/p>\n

-En 1904, dans le journal LA NATURE (p215) le Dr CAPITAN ((pionnier de l’arch\u00e9ologie pr\u00e9historique) mentionne de curieux rochers grav\u00e9s en Vend\u00e9e, pr\u00e8s de Bressuire,en ces termes: \u00ab\u00a0Un tr\u00e8s grand nombre de ces blocs(de granit) portent sur leurs surfaces de bien singuli\u00e8res gravures qu’on avait remarqu\u00e9es depuis assez longtemps et qu’on avait attribu\u00e9es, suivant une opinion tr\u00e8s courante jusqu’\u00e0 ces derni\u00e8res ann\u00e9es,toutes les fois qu’il s’agissait de ces monuments antiques, \u00e0 un berger ou un idiot qui aurait ainsi charm\u00e9 ses loisirs…\u00a0\u00bb<\/p>\n

On notera que ces traces grav\u00e9es se voient attribuer le titre de MONUMENT<\/strong> et cela semble tout a fait pertinent.<\/p>\n

Certains de ces petits monuments font r\u00e9f\u00e9rence aux symboles et valeurs de la R\u00e9publique: drapeaux\u00a0 et devises\u00a0 (Fig 153 )<\/p>\n

These traces are not related to pastimes, despite the fact that we easily scorn anything we don’t understand.<\/em><\/span><\/p>\n

In 1904 in \u00ab\u00a0LA NATURE\u00a0\u00bb (France), Dr CAPITAN (pioneer of prehistorical science) mentions curious carved stones in Bressuire area -Vend\u00e9e- \u00ab\u00a0A number of these slabs show strange traces, already known from a long time, usually attributed (a common practice for antique monuments<\/strong>) to some shepherd or idiot, enabling some pastime\u00a0\u00bb<\/em><\/span><\/p>\n

Carved traces , for the first time, are qualified as MONUMENTS and this seems to be relevant.<\/em><\/span><\/p>\n

In Ubaye, some of these small monuments clearly refer to republican ideal (fig 153) <\/em><\/span><\/p>\n

\u00a0\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Fig 153-\u00ab\u00a0LIBERTE EGalit\u00e9…\u00a0\u00bb avec le drapeau tricolore\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 Fin piquetage sur marbre rose.<\/strong><\/p>\n

L’IMAGINAIRE ET LE LUXE DE L’INUTILE; <\/strong><\/p>\n

Il y a ce moment privil\u00e9gi\u00e9 ou l’artiste oublie l’utilitaire et laisse aller son imaginaire,<\/strong> comme ENZO (Fig 118 ),Aim\u00e9e CASTAIN(Fig 123) et bien d’autres :<\/p>\n

A remarkable\u00a0 step is the moment\u00a0 at which the artist forgets efficiency and releases its imagination, like ENZO (Fig 118) Aim\u00e9e CASTAIN\u00a0 (fig 123)and many others:<\/em><\/span><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0 -Fig 154-\u00ab\u00a0ARNAUD GASTON\u00a0 BER…\u00a0\u00bb a laiss\u00e9 sa signature et son profil au bord du chemin…<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0 -Fig 155-Il y a tr\u00e8s peu de gravures du berger,elles pr\u00e9sentent en g\u00e9n\u00e9ral un profil, caricatural, avec un b\u00e9ret ou un chapeau et assez souvent une pipe (ais\u00e9e \u00e0 tracer, sans doute, mais r\u00e9aliste.)<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0 -Fig 156-Cette \u00e9trange construction fait penser au \u00ab\u00a0Palais Ideal\u00a0\u00bb du Facteur Cheval?<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0 -Fig 157-Tripode ? Calvaire?L’empattement semble volontairement pr\u00e9cis.Cette construction voisine paisiblement avec les fines gravures du Berger Capare (Fig 153 et 156)<\/strong><\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Fig 158-\u00ab\u00a0Rosace\u00a0\u00bb\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\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 Marcel POBE, qui s’\u00e9tait beaucoup int\u00e9ress\u00e9 \u00e0 l’art en Provence et tout particuli\u00e8rement l’Art Roman aimait rappeler que l’\u00e9volution de l’Art allait toujours de la gravure superficielle \u00e0 l’\u00e9mergence des formes, en se d\u00e9gageant du support rocheux. Cette Rosace du d\u00e9but du XXIe si\u00e8cle illustre la persistance des pratiques de gravure , l’\u00e9volution de la technicit\u00e9 et l’apparition de figures stylis\u00e9es, voire abstraites.<\/strong><\/p>\n

\"\"<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -Fig 159-Il y a peu de symboles floraux et v\u00e9g\u00e9taux, et cette simplicit\u00e9 nous incite \u00e0 une\u00a0 APPROCHE SENSIBLE DES GRAVURES, essentielle et compl\u00e9mentaire\u00a0 \u00e0 l’Inventaire et l’Analyse.
\n<\/strong><\/p>\n

There are few carved flowers and plants, this simplicity requires\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 A SENSITIVE APPROACH OF CARVINGS ,\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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 this is a necessary key for analysis and inventory.<\/strong><\/em><\/span><\/p>\n

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

L’\u00e9tat de Berger a toujours fait r\u00eaver, avec une belle continuit\u00e9 de l’antiquit\u00e9 \u00e0 nos jours, avec des aspects po\u00e9tiques, utopiques qui ont s\u00e9rieusement min\u00e9 la cr\u00e9dibilit\u00e9 de nombreux travaux, dits \u00ab\u00a0ethnologiques\u00a0\u00bb. Un des aspects remarquables est qu’a quelques exceptions … 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-601","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/601","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=601"}],"version-history":[{"count":116,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/601\/revisions"}],"predecessor-version":[{"id":1391,"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/pages\/601\/revisions\/1391"}],"wp:attachment":[{"href":"https:\/\/www.ubaye-rupestre.fr\/site\/wp-json\/wp\/v2\/media?parent=601"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}