期刊名称：Proceedings of the European Society for Aesthetics
电子版ISSN：1664-5278
出版年度：2017
卷号：9
页码：183-201
出版社：European Society for Aesthetics
摘要：Over the past few decades debates in the field of conservationhave called into question the suppositions underpinning contemporaryrestoration theory and practice. Restorers seem to base their choices in thelight of implicit ideas about the authenticity, identity and value of works ofart, ideas that need to undergo a more systematic theoretical evaluation. Ibegin by focusing on the question of whether authenticity is fully establishedin the process of the creation of an artwork: namely, at its initial point ofexistence. If the answer is affirmative (1), we commit to the idea thatauthenticity is determined by the work’s creator; thus, it is considered agiven, exempt from historical flux. If the answer is negative (2), we takeauthenticity to be a combination of initial creation and temporal change; inthis sense the work is considered a ‘historical being’. These two conceptionscome from opposite ontological perspectives on the identity of artworks. Inexamining them we will gain insight into how different conservationnarratives can be considered and configured in conceptual terms. One’sinterpretation of what makes an artwork authentic will greatly influence howto go about preserving or restoring it.
