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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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The systematic research of art conservation from the mid 20th century is based on the progressive theory and philosophy, and tries to move beyond the negative experiences and memories of the past. It has dealt with many complicated issues concerning with characteristics of each material as well as the historical and aesthetic values of works of art, and many imprudent restorations have been regarded as criminal activities.
With these efforts, Italy decided to begin the conservation of the frescoes in the Sistine Chapel widely considered one of the great masterpieces of all the time. Since continuous deterioration and damage has accumulated, they started to collect basic data on the state of conservation in 1980 with the viewpoint of preventive conservation to protect the frescoes from the additional damage in the long-term. The treatment was focused on the recovery of original color, the removal of layers of animal glue which were causing widespread flaking, and the consolidation of the cracks on the surface of the frescoes. This project was led by skillful conservators of the Vatican Museum which were taking all responsibilities the maintenance and the preservation of the Sistine Chapel. Many scholars from various field such as art historians, computer programmers, and scientists participated in this conservation which took about 20 years from 1980 to 1999.
Conservation is one of the methodologies of understanding art and cultural assets as well as a way of opening the new history of art. After the 20 years treatment, Michelangelo’s frescoes came to us as a painting surprisingly different from the art which had been familiar to us over the centuries.
We experienced not only losing the cultural and social value of the work of art due to the distortion of the original but also forgetting or disappearing from our daily lives due to distortion over the periods. So, the recent interests in culture increases need to protect and preserve traces of the past and the evidences of our history.
The purpose of restoration is to extend the life of the work of art and to deliver to the next generation. But many treatments under the name of repairing and restoration cause the work of art to be distorted or caused serious damage to the extent that the original work cannot be recovered. The fundamental reason for these results can be found in ‘the inevitability of conservation’. This means that it is necessary to carry out conservation to extend the life of cultural assets which have the limitation of material as I mentioned above. But, sometimes we misjudge that it will be impossible to preserve for a longer period if we do not interrupt with the conservation at this moment and have an illusion that we can restore and preserve perfectly. Even though it will take time to prove whether it was a misjudgement or not, we have to deeply consider the conservation of the frescoes in the Sistine Chapel regarding the modern theoretical aspects and the technical aspects. In addition, we have to do some multilateral discussion on the new understanding and acceptance for the restored art or damaged work of art which needs inevitable conservation.
With these efforts, Italy decided to begin the conservation of the frescoes in the Sistine Chapel widely considered one of the great masterpieces of all the time. Since continuous deterioration and damage has accumulated, they started to collect basic data on the state of conservation in 1980 with the viewpoint of preventive conservation to protect the frescoes from the additional damage in the long-term. The treatment was focused on the recovery of original color, the removal of layers of animal glue which were causing widespread flaking, and the consolidation of the cracks on the surface of the frescoes. This project was led by skillful conservators of the Vatican Museum which were taking all responsibilities the maintenance and the preservation of the Sistine Chapel. Many scholars from various field such as art historians, computer programmers, and scientists participated in this conservation which took about 20 years from 1980 to 1999.
Conservation is one of the methodologies of understanding art and cultural assets as well as a way of opening the new history of art. After the 20 years treatment, Michelangelo’s frescoes came to us as a painting surprisingly different from the art which had been familiar to us over the centuries.
We experienced not only losing the cultural and social value of the work of art due to the distortion of the original but also forgetting or disappearing from our daily lives due to distortion over the periods. So, the recent interests in culture increases need to protect and preserve traces of the past and the evidences of our history.
The purpose of restoration is to extend the life of the work of art and to deliver to the next generation. But many treatments under the name of repairing and restoration cause the work of art to be distorted or caused serious damage to the extent that the original work cannot be recovered. The fundamental reason for these results can be found in ‘the inevitability of conservation’. This means that it is necessary to carry out conservation to extend the life of cultural assets which have the limitation of material as I mentioned above. But, sometimes we misjudge that it will be impossible to preserve for a longer period if we do not interrupt with the conservation at this moment and have an illusion that we can restore and preserve perfectly. Even though it will take time to prove whether it was a misjudgement or not, we have to deeply consider the conservation of the frescoes in the Sistine Chapel regarding the modern theoretical aspects and the technical aspects. In addition, we have to do some multilateral discussion on the new understanding and acceptance for the restored art or damaged work of art which needs inevitable conservation.
목차
Ⅰ. 서론
Ⅱ. 20세기 현대보존이론
Ⅲ. 미켈란젤로의 프레스코 그 원형에 대한 도전
Ⅳ. 보존학적 문제제기
Ⅴ. 결론
참고문헌
Abstract
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