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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
https://keisen.repo.nii.ac.jp/records/166
https://keisen.repo.nii.ac.jp/records/166518dd34b-cc36-43ee-88f1-e030901a93a5
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
潜在的統一性の考察 (464.6 kB)
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| Item type | 紀要論文(ELS)_JAIRO Cloud（WEKO3）対応_9c8f75df(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2007-03-01 | |||||
| タイトル | ||||||
| タイトル | 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 | |||||
| タイトル | ||||||
| タイトル | A Study on "Unita potenziale" | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 論文名よみ | ||||||
| その他のタイトル | センザイテキ トウイツセイ ノ コウサツ : ブランディ ノ リロン ト ゲイジュツ サクヒン ノ テイギ | |||||
| 著者名(日) |
池上, 英洋
× 池上, 英洋 |
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| 著者名よみ |
イケガミ, ヒデヒロ
× イケガミ, ヒデヒロ |
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| 著者名(英) |
IKEGAMI, Hidehiro
× IKEGAMI, Hidehiro |
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| 著者所属(日) | ||||||
| 値 | 恵泉女学園大学 | |||||
| 著者所属(英) | ||||||
| 言語 | en | |||||
| 値 | Keisen University | |||||
| 抄録(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 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. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA12120901 | |||||
| 書誌情報 |
恵泉女学園大学紀要 en : Keisen University Bulletin 巻 19, p. 109-128, 発行日 2007-03 |
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