Ablingos skulptūrų ansamblio restauravimas: iššūkiai ir sprendimai

LTReikšminiai žodžiai: Ablinga; Ablingos skulptūrų ansamblis; I. Užkurnis; Liaudies menas; Medienos konservavimas; R. Puškorius; Sintetiniai polimerai; Skulptūrų ansamblis; Tautodailininkai; Žvaginių piliakalnis; Ablinga; Folk art; I. Užkurnis; Polimers; R. Puškorius; Skulptural ensemble in Ablinga; The Restoration of the wood; The sculpture ensemble; Wood restoration; Žvaginiai hilfort.

ENThe memorial sculpture ensemble in Ablinga was established in 1972 in memory of the massacre on the second day of the Nazi invasion of Soviet Union when the villagers were executed and the village was burnt down. The ensemble is important as the first collective monumental display of folk sculptures. The sculptures, carved from oak trees, measure from 5 to 8 meters in height. The sculptures were created hastily, departing from the technical requirements. Based on the photo evidence, we can judge that the sculptures were carved from freshly cut off trees, sometimes even with tree bark. Over the several decades the sculptures deteriorated, the wood was damaged by humidity and pests, it cracked and crumbled. Same carving and construction elements were lost. The lower parts of the sculptures rotted in the ground, some of them bent down and fell. The condition of the memorial sculptures in Ablinga was critical, and the exposition territory was not safe for the visitors. The decision to restore the ensemble was made. For several years in the scientific research department of the Lithuanian Art Museum P. Gudynas Restoration Centre the research with various wood strengthening materials had been conducted. The consolidation material for the wooden sculptures was chosen based on the polymer features data that was found under the supervision of the restoration specialist and expert Janina Lukšėnienė.The restoration work program was prepared by the polychrome wood restoration expert Alfonsas Šiaulys. All the sculptures were moved and laid down on the wooden crossbars. The sculpture parts that were rotten in the ground as well as the scurf, moss and disintegrated sculpture fragments were removed. The wood was strengthened with polymers and covered with water resistant coating, disintegrated sculpture parts were carved. The sculptures were erected on metal constructions in order to avoid direct contact with the ground and covered with copper sheets to keep the sculptures from rain. [From the publication]