تاثير مفهوم لذت گراييِ زيباشناختي در بستر تاريخي مرمت ‌تابلوهاي نقاشي در سده نوزدهم

The Effect of Aesthetic Hedonism on Historical Ground of the Restoration of Paintings in 19th Century

ديدگاه‌هاي زيباشناختي و معيارهاي فلسفي از جمله مباني تاثيرگذار بر رويكردهاي هنري در اعصار مختلف تاريخي ا ست كه مي-توانند به نوعي اين گرايش ها را هدايت كنند. در ميان مفاهيم مطروحه در حوزه هنر، مي توان رد پاي نوعي بينش زيباشناختي مبتني بر لذت گرايي را كه ريشه هاي آن تا يونان كلاسيك قابل بازكاوي است، جستجو كرد. با توجه به تمركز بندتو كروچه فيلسوف و زيباشناس سده بيستم بر مفاهيم و تعاريف لذت گراييِ زيباشناختي، مي توان اين ديدگاه را در بستر تاريخي سده نوزدهم ميلادي بررسي كرد. از سوي ديگر، رويكردهاي فلسفي از جمله مباني تاثيرگذار در حوزه هايي همچون نگاهداشت و مرمت آثار تاريخي نيز هستند. اين پژوهش سعي دارد تاثير زمينه فكري مورد اشاره بر مرمت‌هاي صورت‌گرفته روي تابلوهاي نقاشي در سده نوزدهم ميلادي را مورد بررسي قرار داده و نمونه‌هاي شاخص آن را معرفي كند. در واقع پرسش اين است كه آيا ديدگاه مذكور بر مرمت تابلوهاي نقاشي در سده نوزدهم اثر مستقيم و چشمگير داشته است؟ پژوهش پس از تبيين نظريه و ارايه مثال هاي ملموس، به بيان ديدگاه هاي مطروحه در اين حوزه مي پردازد و صحه بر تاثير اين نگره بر روند مرمت نقاشي اين سده مي گذارد.

Aesthetic viewpoints and philosophical concepts are effective factors which can conduct artistic movements. The impact of philosophical basis on the cultural, social, historical and artistic tendencies is to extent that the mentioned philosophical basis is specified as detailed and separated chapters. Among the development and exposition of the philosophical concepts of art area, there are some hedonism-based aesthetic sights in the different of age of history rummaged its roots to the classic age. Aesthetic hedonism can be classified as those philosophical topics rooting in philosophy of ancient Rome and Greece and in addition to its efflorescence in the 18th century in hedonism framework; the considerable development can be seen in middle 19th. Considering the viewpoints of Benedetto Croce, the philosopher and aesthete of 20th century, on concepts and definitions of aesthetic hedonism, this viewpoint can be study in the 19th works. The opposition of rationalism and irrationalism viewpoints in this century and the success of romanticists in the late 20th century have greatly assisted in forming of these concepts. On the other hand, the effect of philosophical concepts on the conservation, preservation and restoration of historical objects is unavoidable. With the starting of 19th century and the formation of new concept in conservation and restoration of historical object, special sights on the philosophical grounds of the century have been started which reached its summit in 20th century. Positioning of painting on one hand and restoration on the other hand, has started interesting challenge in philosophical and aesthetical topics. In this situation, the minimalist sights of some of the conservators (or some restorers) have been replied by the special view such as complete or aesthetical restoration. This research try to study the effect of aesthetical hedonism discussed as philosophical concept of 19th century with the restoration done on the painting of this century, also after the introducing characterize specimens criticizes them. Indeed, the question is that if the mentioned viewpoints have straight and significant effect on the restoration of paintings in 19th century or not? This question is very important to understanding of aesthetical and philosophical concepts in restoration of paintings in 19th century. After the appointment and exampling of common specimens, we discuss the introduced viewpoints in this extent and confirm the effectiveness of this sight on the restoration of paintings in 19th century. Basic philosophy and element applied in restoration are based on absolute aesthetic thought, correction and finally, satisfaction of viewer swinger or exhibiting of important points of those paintings. This concept can be traced in the some cases such as special sight of Giuseppe Molteni in National Gallery of London, FrèdèricVillot in Louvre Museum of Paris and Stefano Bardini in Italy. Art and reproducing of pleasure are among the concepts accepted by painters and painting restorers and conservators in the 19th century confirming the sight of some workers as Andréa Rothe, whom believe that restoration approaches are affected by common philosophical criteria and indicators in the various historical ages.