潜在的統一性の考察 : ブランディの理論と芸術作品の定義

スポンサーリンク

概要

• 論文の詳細を見る

• Cesare Brandi, the founder of "the Central Institute of Restoration" in Rome, had shown his theory of "Unita potenziale (Italian)" in his treatise Teoria del Restauro (1963). Before entering into the practical phase of restoration, it is required to define the "purpose.state". It is generally thought to be the "original.state" of the work, but it is not always correct. There are cases that the work acquired a kind of additional "history" after the termination of the phase of creation. In this case, for example, even the negative change of the colors of varnish should be considered as the so.called "patina": the important element as the "historical evidence" that the work achieved during the whole "life". So it is always needed to seek the state of "Unita potenziale", which includes the historical aspect. Today, all practical rules in restoration in the Western world are based on the theory of Brandi. Almost all rules can be utilized also in Japan, but some must be reconsidered before their practical applications. For example, Brandi's concept of the "Unita potenziale" put the importance especially on the "original materials". It is quite severe, because the work might be considered to lose a part of its originality and history, if the materials are renewed by the new one, even if both are chemically "same". On the other hand, in our country, the materials should be replaced with new materials every two or three decades, because the main structure of Japanese art is made of wood. The purpose of this study is to reconsider this theory and its validity.

著者

• 池上 英洋

  恵泉女学園大学

関連論文

• 工業デザインと遠近法 : ディセーニョの技法と概念の成立におけるレオナルド・ダ・ヴィンチの寄与
• 空間性の均質化への、遠近法とデザインの寄与 : 東洋の空間性に関する造形言語の、西洋における受容
• レオナルドとヴィニョーラ : 遠近法のふたつの血脈
• 潜在的統一性の考察 : ブランディの理論と芸術作品の定義
• ある"古典的な"問いの見直し : マニエリスムとバロックの絵画空間を概観するために
• イヴとパンドラ : 描かれた女性たち(1)

スポンサーリンク