{"id":4781,"date":"2023-11-20T22:36:09","date_gmt":"2023-11-20T16:36:09","guid":{"rendered":"https:\/\/kzkh.kz\/?page_id=4781"},"modified":"2023-11-20T22:39:46","modified_gmt":"2023-11-20T16:39:46","slug":"paleontologiyalyq-eksponattardyn-koushirmelerin-zhasau-aidisteri","status":"publish","type":"page","link":"https:\/\/kzkh.kz\/en\/qazaqstan-zoologiya-habarshysy-2023-t-4-%e2%84%962-8\/paleontologiyalyq-eksponattardyn-koushirmelerin-zhasau-aidisteri\/","title":{"rendered":"Methods of making copies of paleontological exhibits"},"content":{"rendered":"
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DOI: <\/em>https:\/\/doi.org\/10.54944\/kzbkx783tv94<\/em><\/a><\/p>\n

UDC 069.5:730 + 73.026 <\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Nazymbetova G.Sh., Akynov Zh.A. <\/strong><\/p>\n

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Institute of zoology,. Al-Farabi, 93, Almaty, 050060, Qazaqstan g.nazymbetova@mail.ru<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Abstract:<\/strong><\/h4>\n

The article presents methods of making copies of paleontological exhibits based on many years of experience in making copies of paleontological exhibits. The proposed methods allow you to avoid errors, improve the quality of exhibits, reduce the production time and increase the service life. These guidelines are addressed to restoration artists, art critics and museum keepers. These recommendations are based on many years of experience in training young specialists in the necessary professional skills during internships for the manufacture of copies and restoration of paleontological fossil bones at the Museum of Nature of the Republican State Enterprise \u201cGylym Ordasy\u201d Ministry of Science and Higher Education of the Republic of Kazakhstan.<\/p>\n

Key words:<\/em><\/strong> <\/em>Restoration, museum, copy, exhibit.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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To download <\/span>full version of the article<\/strong> by PDF-file:<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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<\/path><\/svg>Download PDF (In Kazakh language)<\/span><\/a><\/div>\n<\/div>\n<\/div>\n
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Introduction:<\/strong><\/h4>\n

The purpose of museum exhibitions is to show museum objects that have become exhibits. Sometimes, along with originals, copies of museum objects often act as exhibition material. The first museum of casting (copies) was founded in 1827 in Bonn. The most famous casting museums are: the Royal Albertina Museum in Dresden (located in the rebuilt Arsenal building since 1887), the Museum of Fine Arts in Moscow (now the Pushkin State Museum of Fine Arts). Replicas are items specially made for display instead of museum pieces. The copy reproduces the main features of the original. The size, shape, color and texture of the original are accurately reproduced by dummies made of wax, papier-m\u00e2ch\u00e9, plastic, plaster and other materials.<\/p>\n

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The use of gypsum as a sculptural material has been known since ancient times. The Egyptians were the first to use ego to create sculptural portraits. The oldest plaster products were found in the workshops of the Akhenaten era and date back to the 40s of the 14th century. The Hellenic era created a new method of working with gypsum - casting. This technology significantly speeds up the process of creating a sculpture and allows you to repeat the finished monuments. This technique is fundamental (Nicholas Penny [Nicholas Penny] 1993).<\/p>\n

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To make a copy of the original work, covered with a layer of clay and paper, they are covered with plaster, inside which, if the volume of work is large, reinforcing elements are placed. After solidification and removal of the body from the original, minor defects of the resulting form are eliminated and holes are drilled for pouring artistic plaster (Odnoralov [Odnoralov] 1982). Copying is strictly based on the original work, but you can proportionally resize the copy. It is not easy to make a copy of the original. The resulting objects are similar to exact copies of natural objects. At first glance, even experts do not notice the difference.<\/p>\n

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The purpose of writing this article is to provide information about the methodological description of the technical production of copies of museum exhibits, the main stages of work, the necessary materials and tools.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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References:<\/strong><\/h4>\n

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Nicholas Penny 1993. The Materials of Sculpture. Yale University Press. 318 \u0440.<\/p>\n

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Odnoralov N.V. 1982. Skulptura i skulpturnyye materialy. Moskva: Izobrazitelnoe iskusstvo. 224 \u0440<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n

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