Historic Preservation and the Image of the Middle Ages.Conceptual Paradigms and Image Production in the Context of Medieval Ecclesiastical Architecture in Germany and France

历史保护与中世纪形象。德国和法国中世纪教会建筑背景下的概念范式与图像制作

• 批准号: 269856417
• 负责人: Professor Dr. Stephan Albrecht
• 金额: --
• 依托单位: Lehrstuhl für Kunstgeschichte, insb. für Mittelalterliche Kunstgeschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2014
• 资助国家: 德国
• 起止时间: 2013-12-31 至 2018-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/269856417?language=en
• 关键词: Historic; Preservation; Image; Middle; Ages.Conceptual

The image that we have of medieval sacred architecture is to a large extent coloured by changing conceptual paradigms in the field of historic preservation, which has shaped these buildings according to its vision and understanding of the medieval past. The proposed research project centres on a systematic and comparative investigation of this process of "image production" as it unfolded during the 20th century. With this concentration on the Modern period, the study breaks new ground. Since 1900, with the move away from Historicism and the practice of "creative conservation", the discipline of historic preservation has come to understand itself increasingly as an objective science, one dedicated to studying and preserving artefacts as they exist. This study challenges this understanding by suggesting that the formal goals of 20th-century restorations in fact represent a continuation - albeit in another form, and rarely explicitly or self-consciously - of the practice of shaping the image of the past. As a result, changing and varied images of medieval sacred architecture continue to be produced by the field, despite its overt commitment to a modern doctrine of scientific objectivity.The research project aims at reconstructing the different conceptual paradigms in operation in France and Germany, two countries with comparatively long histories of institutionalized preservation as well as dominant roles in the international preservation discourse during much of the 20th century. In a first step, a sample of monuments from each country will be analyzed with respect to the different restoration campaigns carried out and the processes of image production that these seem to embody. In a second step, the relationship of these restoration practices both to the accepted tenets of historic preservation at the time and to representative modes of popular photography, such as postcards and travel or architectural guidebooks, will be investigated. Finally, a comparison will be undertaken to clarify how and why markedly different images of the Middle Ages were pursued in France and Germany over extended periods during the 20th century.The broad perspective taken by the study will place our knowledge of the reception of the Middle Ages in modernity on a correspondingly broader basis. Moreover, through its consistent and appropriate contextualization of the restoration campaigns within both contemporary theoretical debates and the changing imaginary of popular print media, the project will make an important contribution to intellectual history: in contrast to the prevailing self-conception of historic preservation as an objective science, the discipline will be consistently presented as historically-determined cultural technique. It is an approach that promises to offer new impulses to a field that currently finds itself in conceptual crisis.

我们对中世纪神圣建筑的印象在很大程度上受到历史保护领域不断变化的概念范式的影响，这些范式根据其对中世纪过去的看法和理解塑造了这些建筑。 拟议的研究项目集中在这个过程中的“形象生产”，因为它在20世纪展开系统和比较调查。 随着对现代时期的关注，这项研究开辟了新的领域。 自1900年以来，随着历史主义和“创造性保护”的实践，历史保护学科越来越多地将自己理解为一门客观科学，致力于研究和保护现有的文物。 本研究对这种理解提出了挑战，认为20世纪革命的正式目标实际上代表了塑造过去形象的做法的延续--尽管是以另一种形式，而且很少是明确或自觉的。 因此，尽管该领域公开致力于科学客观性的现代学说，但中世纪神圣建筑的变化和多样的形象继续由该领域产生。该研究项目旨在重建法国和德国运作的不同概念范式，这两个国家有着相对悠久的制度化保护历史，在大部分时间里在国际保护讨论中发挥着主导作用。世纪。 在第一步中，将分析每个国家的古迹样本，以了解所开展的不同修复活动以及这些活动所体现的图像制作过程。 第二步，将调查这些修复实践与当时公认的历史保护原则以及流行摄影的代表性模式（如明信片和旅行或建筑指南）的关系。 最后，我们将通过比较来阐明20世纪法国和德国在很长一段时间里是如何以及为什么追求明显不同的中世纪形象的。本研究所采取的广泛视角将把我们对现代性中中世纪接受的认识置于一个相应更广泛的基础上。 此外，通过在当代理论辩论和流行印刷媒体不断变化的想象中对修复运动进行一致和适当的背景化，该项目将对思想史做出重要贡献：与普遍的历史保护作为客观科学的自我概念相反，该学科将始终作为历史决定的文化技术呈现。 这是一种方法，承诺提供新的推动力，目前发现自己在概念危机的领域。