Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  RESTORATION
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

WSPÓŁCZESNA TEORIA KONSERWACJI I RESTAURACJI DÓBR KULTURY. ZARYS ZAGADNIEŃ

100%
Szmelter I. M.
Ochrona Zabytków
|
2006
|
issue 2
5-39
EN
Apresentation of an outline of problems relating to the conservation-restoration of cultural property, including painting and sculpture, from the times of the Old Masters to modern ephemeral art, as well as accompanying theories, with particular emphasis placed on their contemporary social dimension. The history and present of the conservation-restoration of cultural property is part both of the history of civilisation and the variable perception of art. Praxis, whose beginnings go back to antiquity, was connected with the skills of the artists, and constituted a source of knowledge originally limited to technological reflections; in the course of the eighteenth century it evolved towards a distinct profession of the conservator-restorer which led to, i. a. the publication of guidelines for pursuing this profession. During the nineteenth century those collections of directives and recommendations changed into a number of assorted theories relating to the protection of historical monuments associated with current cultural trends. An analysis of the situation of European art and pertinent protection demonstrates vast historical differentiation within the interpretation of such basic ethical and aesthetic questions as: “to conserve or to restore?”. Understanding the past and the motives of the protectors of art has, paradoxically, become extremely useful for recognising the contemporary reasons for the changing fate of the protection of art and thus also the state of art itself. The present-day theory of the conservation of cultural property is made up of components of the most varied origin: fundamental studies, starting with classical nineteenth-century theories, Ruskin’s arguments in discussions involving Romantic historicism and stylistic purists, theories maintained in the spirit of historical relativism launched by A. Riegel and M. Dworak, and the twentieth-century aesthetic theory of restoration devised by C. Brandi and U. Baldini, all the way to the contemporary stands represented by, i. a. C. Caple and S. Munoz Vinas, interpreting the question of “sustainable conservation”. During the second half of the twentieth century the conservation-restoration of cultural property in a number of countries remained relatively autonomous. Upon the basis of respected conservation charters and codified principles, professionals decided about the diagnosis and conception of conservation as well as the projects of selecting the importance of operations in the “to conserve and not to restore” spirit – or to restore as little as possible. Specially established professional experts, together with conservators- restorers, art historians, architects, archaeologists, etc., were entrusted with the joint task of tackling the investors. During the last quarter of the twentieth century an entirely new group has assumed leadership in the protection of cultural heritage. This social group, possessing its own criteria and opinions, includes economists, specialists on tourism, as well as others who in their capacity as the protectors of cultural heritage also express their objectives. Cesare Brandi described this tendency as one which accompanied conservation in the 1970s, but some thirty years later it became dominating. Within such a social context, the universally expressed need is that for reinforcing the authority of the conservation milieus, including the conservator-restorer envisaged as the author of projects aimed at protecting a given object. Within the choice of such premises as the recognition and selection of the merits of an object, the assessment of its welfare, and its significance as a work of art, a supposition stemming from its substance as a monument, structure and message, importance is attached to a consensus with economic factors and functions in contemporary society. Acting as an advocate of the wellbeing of a given object, the conservator- restorer represents in complex negotiations the interest of future generations conceived as users, i. e. a cause which often might be deemed unpopular. Taking into account the fact that the unfortunately universal feature of contemporary civilisation is indifference to the past and the protection of its souvenirs, this situation cannot be simply ignored. “Sustainable conservation” forecasts a more extensive and pro-social activity of conservators-restorers and numerous social groups organised for the sake of protecting cultural heritage than has been the case in heretofore systems. Contemporary conservation ethics thus introduces and foresees the existence of sociological instruments which imply a social understanding of theory and its practical aspects. The media and modern social communication, open to other environments, can prevent the alienation and misunderstanding of the priorities of protecting historical monuments . The conservation-restoration of cultural property is composed of distinctive parts of scientific and artistic disciplines, comprising a specific, constantly and dynamically developing branch of science. It may exist exclusively as an interdisciplinary and independent unit, combining science and art, and should not be atomised or divided into two parts – scientific, i. e. a fragment of the humanities or the exact sciences, and artistic. In praxis, this approach is evidenced by the more than sixty-years old tradition of the academic training of Polish conservatorsrestorers. Taking into account the complexity of the presented problems of conservation-restoration and the variable and differentiated perception of art, the far-reaching target of contemporary theory has assumed the shape of creating a foundation for a socially wide comprehension of the welfare of cultural heritage. Respect for society’s need to participate in culture comes down to basic questions about the active protection of cultural property: what exactly is the object of protection conceived as common heritage?, how should protection be performed in accordance with the standards of good practice? and, finally but just as importantly, for whose sake are we acting?! By understanding the past and interpreting the present – that sad global “today” of cultural heritage which lacks sufficient funds and appreciation for the essence of cultural heritage – contemporary theory relies on the basic idea of social cooperation, transcending all boundaries between society and cultural property.
2

SPECIFICS OF STYLISED SHAPES OF CHINOISERIE-STYLE PAVILIONS AS THE BASIS OF THEIR RESTORATION

100%
Ivashko Y., Chang P., Dmytrenko A., Kobylarczyk J., Krupa M.
Muzeológia a kultúrne dedičstvo
|
2024
|
vol. 12
|
issue 2
27 – 41
EN
This article analyses the phenomenon of Chinoiserie style in European architecture. The basic principles of Chinese landscape design and the role of pavilions in the natural environment are highlighted. The fundamental difference between European and Chinese pavilions is shown at different levels – from the structure of the park to the composition to individual details – and it is also shown that European Chinoiserie-style pavilions were a much simplified and averaged version of the Chinese ones. The ambiguity of purpose and variety of functions inherent in ancient Chinese pavilions are lost in European ones, as the “Chinese-style” pavilion is intended for only one purpose – aesthetic entertainment. The appearance of the European pavilion, sometimes called a “tea pavilion”, does not follow that of ancient Chinese tea ceremony pavilions. In addition, the European park pavilions cannot be compared to the most famous Chinese “landscape pavilions”, as none of the former is located in such a majestic landscape with the possibility of viewing from a long distance.
3

Rīgas pils erkers

75%
Dirveiks I., Jaunzems-Pētersons U.
Makslas Vesture un Teorija
|
2018
|
vol. 21
6-18
EN
In today’s Latvia, only a few bay windows older than the rich historical quotes of the 19th century Historicist period are on view in their original locations. A bay window built in the mid-17th century has survived in the northwest corner of Riga Castle; this is the only such ancient structure in Latvia whose artistic quality permits comparisons to other Mannerist and Baroque examples of Northern Europe. Especially significant in Latvia’s history of architecture and art are the decorative reliefs on the bay window façades. This article aims to bring together the information we have so far and include changes resulting from the latest studies. This means giving a precise picture of how much and what exactly has been preserved from the original bay window construction and analyse its architectonic and artistic significance in the context of Riga’s 17th century architecture, while adding new facts to the known construction history. The walls of the Riga Castle bay window are made of a stone framework with decoratively treated slabs filling the space between the uprights and profiled horizontal cornices beneath the window openings. Each storey has a separate small, octagonal premise with doors leading to the rooms inside the block. The initial openings of the bay window were twice as high as those visible now. The stone walls were doubled inside with a half-timbered construction. Regardless of the details transformed over time, they give an idea of the artistic expression of the original reliefs and the programmatic message of the bay window’s décor. Even in the form of copies, this clearly demonstrates the artistic and architectural tendencies of a particular epoch, remaining among the most significant examples of 17th century Northern European Mannerist sculpture in Latvia.
4

PREPARING FOR THE POST-WAR RECONSTRUCTION OF HISTORICAL MONUMENTS IN UKRAINE: CONSIDERATIONS IN REGARD OF THE ONGOING POLISH POST-WWII EXPERIENCE AND INTERNATIONAL LAW ON THE PROTECTION AND CONSERVATION OF HISTORICAL MONUMENTS

75%
Ivashko Y., Tovbych V., Hlushchenko A., Belinskyi S., Kobylarczyk J., Kuśnierz-Krupa D., Dmytrenko A.
Muzeológia a kultúrne dedičstvo
|
2023
|
vol. 11
|
issue 1
53 - 71
EN
The article deals with three groups of issues, which are closely interrelated. The main problem discussed is the issue of the reconstruction, revalorisation and protection of Ukrainian monuments exposed to destruction as a result of warfare and Russia’s invasion of Ukraine. The second issue presented is the experience of Polish conservators in the area of cities destroyed during World War II. The third issue is international legislation in the field of heritage protection, which was analysed for the planned activities in the area of reconstruction and revaluation of Ukrainian monuments after the end of the war. The above-mentioned research was carried out by the Polish-Ukrainian team of heritage conservators, which seeks to be involved in the process of saving Ukrainian cultural heritage.
5

FROM BALTIC ARCHITECT WILHELM BOCKSLAFF'S MANUSCRIPT 'CONTRIBUTION TO THE CONSERVATION OF MONUMENTS' ABOUT RIGA AND DORPAT (TARTU) CHURCHES (No Baltijas arhitekta Vilhelma Bokslafa darba 'Ieguldijums piemineklu kopsana' par Rigas un Terbatas baznicam

75%
Grosmane E.
Makslas Vesture un Teorija
|
2004
|
vol. 3
47-57
EN
The material translated, introduced and commented by art historian Elita Grosmane is written by architect Wilhelm Bockslaff, commenting on the construction history and restoration of major Riga churches in the late 19th - early 20th century.
6

ARCHITECTURAL RESEARCH GROUP (AIG) (Arhitektoniskas izpetes grupa (AIG))

63%
Eglaja B., Strupule V.
Makslas Vesture un Teorija
|
2003
|
vol. 1
50-57
EN
The short insights focus on several projects of the company 'Architectural Research Group' that carry out reconstruction and restoration of historical buildings (manor houses, churches, castle ruins etc.) in Latvia. Kuksi manor house stands out by its polychrome painted interiors from the 19th century but Bervircava manor house is noted by its splendid baroque-style painted beams. In Riga significant values were discovered in the house at Liela Pils Street 21, featuring a decorated ceiling dated by early classicism, and Kalpaka Blvd 7 with a perfect ensemble of historicism with later art nouveau additions and neo-rococo elements from the 1920s.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.