Problemy estetyczne w konserwacji zabytków ruchomych

• Authors: Chrzanowski Tadeusz

Title variants

EN

ESTHETIC PROBLEMS IN THE CONSERVATION OF MOBILE ART MONUMENTS

• Languages of publication: PL

Abstracts

EN

From the point of view of conservation works esthetic qualities can be divided into three basic groups: 1) intentional primary qualities (resulting from a conscious work of the creator and, to some extent, from natural properties of the material), 2) unintentional secondary qualities which can be further divided into two groups : (a) caused by natural transformations of the material (chemical changes, corrosion, patina, cracks, etc.), (b) mechanical impairment resulting from organic causes, most frequently because of time effect bringing about losses, 3. intentional secondary qualities. Considering the third group of the phenomena, the following conclusions can be drawn: (1) intentional secondary qualities should not be assessed critically only because in fact they are secondary and do not represent the conscious conservatory activities, (2 coonservatory activities should not be approached uncritically but should be subjected to verified opinions, (3) the conservator is and must be not only a technician but also an artist. Of utmost importance in the conservation of art monuments is the problem of the internal space of a work of art and its relation to the external space. Observations in this field may be rendered as follows : 1. There is a need for new esthetic qualities resulting from conservatory activities ; they may be manifested both in the work of art, i.e. in its internal space ; they can also appear in a broader context» within the external space in which it exists and with which the internal space of the work is in a close correlation. 2. It is not possible to codify precisely the principles according to which a conservatory procedure should develop. Every time the historic monument poses new problems for the conservator ; they are particularly sharp not in the shpere of technical and conservation activities but there where such activities assume the qualities of artistic creativity. 3. It is a duty of the conservator to get subordinated to the work of art in its two dimensions (internal and external space) ; apart from that he should show respect for everything that constitutes an authentic proof of intenational primary qualities. Indispensable is also an objective evaluation of secondary qualities and weighing out mutual relations between all these qualities and the qualities that are to be introduced into that polyphony. 4. In the case of the work of the conservator — the artist, on every occasion he takes up a great risk because every error may encumber the work of somebody else. Conservatory works should be evaluated not only from the point of view of the correctness of the method and of the precision of execution, but also from the point of view of the relations of esthetic values resulting from it.

• Publisher: Narodowy Instytut Dziedzictwa
• Journal: Ochrona Zabytków
• Year: 1980
• Issue: 2
• Pages: 165-169

Dates

published

1980

Contributors

author

Chrzanowski Tadeusz

• Kraków