تاثیر مفهوم لذت گراییِ زیباشناختی در بستر تاریخی مرمت تابلوهای نقاشی در سده نوزدهم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دیدگاه های زیباشناختی و معیارهای فلسفی از جمله مبانی تاثیرگذار بر رویکردهای هنری در اعصار مختلف تاریخی ا ست که می توانند به نوعی این گرایش ها را هدایت کنند. در میان مفاهیم مطروحه در حوزه هنر، می توان رد پای نوعی بینش زیباشناختی مبتنی بر لذت گرایی را که ریشه های آن تا یونان کلاسیک قابل بازکاوی است، جستجو کرد. با توجه به تمرکز بندتو کروچه فیلسوف و زیباشناس سده بیستم بر مفاهیم و تعاریف لذت گراییِ زیباشناختی، می توان این دیدگاه را در بستر تاریخی سده نوزدهم میلادی بررسی کرد. از سوی دیگر، رویکردهای فلسفی از جمله مبانی تاثیرگذار در حوزه هایی همچون نگاهداشت و مرمت آثار تاریخی نیز هستند. این پژوهش سعی دارد تاثیر زمینه فکری مورد اشاره بر مرمت های صورت گرفته روی تابلوهای نقاشی در سده نوزدهم میلادی را مورد بررسی قرار داده و نمونه های شاخص آن را معرفی کند. در واقع پرسش این است که آیا دیدگاه مذکور بر مرمت تابلوهای نقاشی در سده نوزدهم اثر مستقیم و چشمگیر داشته است؟ پژوهش پس از تبیین نظریه و ارائه مثال های ملموس، به بیان دیدگاه های مطروحه در این حوزه می پردازد و صحه بر تاثیر این نگره بر روند مرمت نقاشی این سده می گذارد.The Effect of Aesthetic Hedonism on Historical Ground of the Restoration of Paintings in 19th Century
Abstract Aesthetic viewpoints and philosophical concepts are effective factors which can conduct artistic movements. The impact of philosophical basis on the cultural, social, historical and artistic tendencies is to extent that the mentioned philosophical basis is specified as detailed and separated chapters. Among the development and exposition of the philosophical concepts of art area, there are some hedonism-based aesthetic sights in the different of age of history rummaged its roots to the classic age. Aesthetic hedonism can be classified as those philosophical topics rooting in philosophy of ancient Rome and Greece and in addition to its efflorescence in the 18th century in hedonism framework; the considerable development can be seen in middle 19th. Considering the viewpoints of Benedetto Croce, the philosopher and aesthete of 20th century, on concepts and definitions of aesthetic hedonism, this viewpoint can be study in the 19th works. The opposition of rationalism and irrationalism viewpoints in this century and the success of romanticists in the late 20th century have greatly assisted in forming of these concepts. On the other hand, the effect of philosophical concepts on the conservation, preservation and restoration of historical objects is unavoidable. With the starting of 19th century and the formation of new concept in conservation and restoration of historical object, special sights on the philosophical grounds of the century have been started which reached its summit in 20th century. Positioning of painting on one hand and restoration on the other hand, has started interesting challenge in philosophical and aesthetical topics. In this situation, the minimalist sights of some of the conservators (or some restorers) have been replied by the special view such as complete or aesthetical restoration. This research try to study the effect of aesthetical hedonism discussed as philosophical concept of 19th century with the restoration done on the painting of this century, also after the introducing characterize specimens criticizes them. Indeed, the question is that if the mentioned viewpoints have straight and significant effect on the restoration of paintings in 19th century or not? This question is very important to understanding of aesthetical and philosophical concepts in restoration of paintings in 19th century. After the appointment and exampling of common specimens, we discuss the introduced viewpoints in this extent and confirm the effectiveness of this sight on the restoration of paintings in 19th century. Basic philosophy and element applied in restoration are based on absolute aesthetic thought, correction and finally, satisfaction of viewer swinger or exhibiting of important points of those paintings. This concept can be traced in the some cases such as special sight of Giuseppe Molteni in National Gallery of London, FrèdèricVillot in Louvre Museum of Paris and Stefano Bardini in Italy. Art and reproducing of pleasure are among the concepts accepted by painters and painting restorers and conservators in the 19th century confirming the sight of some workers as Andréa Rothe, whom believe that restoration approaches are affected by common philosophical criteria and indicators in the various historical ages.
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