Augen gneiss: the more carioca of the rocks
Autor(a) principal: | |
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Data de Publicação: | 2008 |
Outros Autores: | , , |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Anuário do Instituto de Geociências (Online) |
Texto Completo: | https://revistas.ufrj.br/index.php/aigeo/article/view/6782 |
Resumo: | The city of Rio de Janeiro is known by its natural beauties. The mountains and the sea make the city the postcard of Brazil. The sculpture of the carioca landscape is closely related to the augen gneiss, very resistant rock to the weathering and, for this reason, it stands out in the relief. It gives form for Sugar Loaf and Corcovado, for example. Augen gneiss was used in the construction of most of the historical buildings of the city, including museums and churches, many of them were built in the 19th century. It was used in the sculpture of ornaments, facades and frames of doors and windows. The exploitation of the augen gneiss was presented by Jean Baptiste Debret in his book "Voyage Pittoresque et Historique au Brésil". A picture of quarry is presented at Morro da Glória and describes the extraction method by slave labor. He informes that the augen gneiss is softer, less expensive and more easily exploited. It was destined, mainly, to the parts of the buildings that should be sculpted. This rock is still present in an important event of the history of the brazilian arts. Pedra do Sal, a stairway sculpted in the augen gneiss Downtown, was the place that African people met in the past to tell their histories, to do religious cults and to sing. In these meetings in Pedra do Sal samba was born |
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Augen gneiss: the more carioca of the rocksO gnaisse facoidal: a mais carioca das rochasThe city of Rio de Janeiro is known by its natural beauties. The mountains and the sea make the city the postcard of Brazil. The sculpture of the carioca landscape is closely related to the augen gneiss, very resistant rock to the weathering and, for this reason, it stands out in the relief. It gives form for Sugar Loaf and Corcovado, for example. Augen gneiss was used in the construction of most of the historical buildings of the city, including museums and churches, many of them were built in the 19th century. It was used in the sculpture of ornaments, facades and frames of doors and windows. The exploitation of the augen gneiss was presented by Jean Baptiste Debret in his book "Voyage Pittoresque et Historique au Brésil". A picture of quarry is presented at Morro da Glória and describes the extraction method by slave labor. He informes that the augen gneiss is softer, less expensive and more easily exploited. It was destined, mainly, to the parts of the buildings that should be sculpted. This rock is still present in an important event of the history of the brazilian arts. Pedra do Sal, a stairway sculpted in the augen gneiss Downtown, was the place that African people met in the past to tell their histories, to do religious cults and to sing. In these meetings in Pedra do Sal samba was bornA cidade do Rio de Janeiro é conhecida por suas belezas naturais. Montanhas que mergulham no mar fazem da cidade um cartão postal do Brasil que em conjunto com o espírito solidário e alegre de seu povo, proporcionaram-lhe o título de Cidade Maravilhosa. O que se pretende com este trabalho é demonstrar a importância da geologia, por meio de um tipo específico de rocha, o gnaisse facoidal, na construção da cidade e dos aspectos culturais que moldaram seu povo e transformaram sua paisagem em um ícone turístico para o país. A paisagem carioca que encanta a todos, desde os naturalistas que visitaram o Brasil nos séculos XVIII e XIX até o turista de hoje, está intimamente relacionada ao gnaisse facoidal, rocha ortoderivada bastante resistente ao intemperismo e que, por este motivo, se sobressai no relevo, dando forma ao Pão de Açúcar e ao Corcovado, por exemplo. Foi usado na construção de grande parte dos monumentos históricos da cidade na forma de ornamentos, fachadas e molduras de portas e janelas, bem como do meio-fio da parte mais antiga da cidade. O uso do gnaisse facoidal na cantaria foi descrito por Jean Baptiste Debret em seu livro "Viagem Pitoresca e Histórica ao Brasil", onde explica que ele é mais macio, menos caro e facilmente explorável, destinando-se às partes dos edifícios que deveriam ser esculpidas. Esta rocha está presente, ainda, em um importante marco da história das artes brasileiras. Foi na Pedra do Sal, escada esculpida no gnaisse facoidal, que os negros se reuniam para contar histórias, realizar cultos religiosos e cantar. Destas reuniões na Pedra do Sal nasceu o sambaUniversidade Federal do Rio de Janeiro2008-12-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.ufrj.br/index.php/aigeo/article/view/678210.11137/2008_2_9-22Anuário do Instituto de Geociências; Vol 31, No 2 (2008); 9-22Anuário do Instituto de Geociências; Vol 31, No 2 (2008); 9-221982-39080101-9759reponame:Anuário do Instituto de Geociências (Online)instname:Universidade Federal do Rio de Janeiro (UFRJ)instacron:UFRJporhttps://revistas.ufrj.br/index.php/aigeo/article/view/6782/5379Copyright (c) 2008 Anuário do Instituto de Geociênciashttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessMansur, Kátia LeiteCarvalho, Ismar SouzaDelphim, Carlos Fernando MouraBarroso, Emilio Velloso2017-01-23T21:49:09Zoai:www.revistas.ufrj.br:article/6782Revistahttps://revistas.ufrj.br/index.php/aigeo/indexPUBhttps://revistas.ufrj.br/index.php/aigeo/oaianuario@igeo.ufrj.br||1982-39080101-9759opendoar:2017-01-23T21:49:09Anuário do Instituto de Geociências (Online) - Universidade Federal do Rio de Janeiro (UFRJ)false |
dc.title.none.fl_str_mv |
Augen gneiss: the more carioca of the rocks O gnaisse facoidal: a mais carioca das rochas |
title |
Augen gneiss: the more carioca of the rocks |
spellingShingle |
Augen gneiss: the more carioca of the rocks Mansur, Kátia Leite |
title_short |
Augen gneiss: the more carioca of the rocks |
title_full |
Augen gneiss: the more carioca of the rocks |
title_fullStr |
Augen gneiss: the more carioca of the rocks |
title_full_unstemmed |
Augen gneiss: the more carioca of the rocks |
title_sort |
Augen gneiss: the more carioca of the rocks |
author |
Mansur, Kátia Leite |
author_facet |
Mansur, Kátia Leite Carvalho, Ismar Souza Delphim, Carlos Fernando Moura Barroso, Emilio Velloso |
author_role |
author |
author2 |
Carvalho, Ismar Souza Delphim, Carlos Fernando Moura Barroso, Emilio Velloso |
author2_role |
author author author |
dc.contributor.author.fl_str_mv |
Mansur, Kátia Leite Carvalho, Ismar Souza Delphim, Carlos Fernando Moura Barroso, Emilio Velloso |
description |
The city of Rio de Janeiro is known by its natural beauties. The mountains and the sea make the city the postcard of Brazil. The sculpture of the carioca landscape is closely related to the augen gneiss, very resistant rock to the weathering and, for this reason, it stands out in the relief. It gives form for Sugar Loaf and Corcovado, for example. Augen gneiss was used in the construction of most of the historical buildings of the city, including museums and churches, many of them were built in the 19th century. It was used in the sculpture of ornaments, facades and frames of doors and windows. The exploitation of the augen gneiss was presented by Jean Baptiste Debret in his book "Voyage Pittoresque et Historique au Brésil". A picture of quarry is presented at Morro da Glória and describes the extraction method by slave labor. He informes that the augen gneiss is softer, less expensive and more easily exploited. It was destined, mainly, to the parts of the buildings that should be sculpted. This rock is still present in an important event of the history of the brazilian arts. Pedra do Sal, a stairway sculpted in the augen gneiss Downtown, was the place that African people met in the past to tell their histories, to do religious cults and to sing. In these meetings in Pedra do Sal samba was born |
publishDate |
2008 |
dc.date.none.fl_str_mv |
2008-12-01 |
dc.type.none.fl_str_mv |
|
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.ufrj.br/index.php/aigeo/article/view/6782 10.11137/2008_2_9-22 |
url |
https://revistas.ufrj.br/index.php/aigeo/article/view/6782 |
identifier_str_mv |
10.11137/2008_2_9-22 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.ufrj.br/index.php/aigeo/article/view/6782/5379 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2008 Anuário do Instituto de Geociências http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2008 Anuário do Instituto de Geociências http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal do Rio de Janeiro |
publisher.none.fl_str_mv |
Universidade Federal do Rio de Janeiro |
dc.source.none.fl_str_mv |
Anuário do Instituto de Geociências; Vol 31, No 2 (2008); 9-22 Anuário do Instituto de Geociências; Vol 31, No 2 (2008); 9-22 1982-3908 0101-9759 reponame:Anuário do Instituto de Geociências (Online) instname:Universidade Federal do Rio de Janeiro (UFRJ) instacron:UFRJ |
instname_str |
Universidade Federal do Rio de Janeiro (UFRJ) |
instacron_str |
UFRJ |
institution |
UFRJ |
reponame_str |
Anuário do Instituto de Geociências (Online) |
collection |
Anuário do Instituto de Geociências (Online) |
repository.name.fl_str_mv |
Anuário do Instituto de Geociências (Online) - Universidade Federal do Rio de Janeiro (UFRJ) |
repository.mail.fl_str_mv |
anuario@igeo.ufrj.br|| |
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1797053539184279553 |