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Researches in the Scientifically Oriented Examination Methods of European Painting

欧洲绘画科学化考核方法研究

基本信息

批准号：
07301009
负责人：
NAKAMURA Toshiharu
金额：
$ 6.59万
依托单位：
KYOTO UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (A)
财政年份：
1995
资助国家：
日本
起止时间：
1995 至 1996
项目状态：
已结题

项目摘要

The purpose of the reseaches was that two art historians, a conservator and a conservation scientist discuss the possibilities and limits of the scientifically oriented examination methods of painting, as X-ray and infrared photography, in order to clalify how useful and, at the same time how problematic these methods are for the studies of art history. T.Nakamura, specialist of 17th-century Netherlandish painting, considered the today's tendency of art historical studies which give more and more weight to the scientific examinations. He also noted that in spite of this tendency the traditional "connoisseurship" still plays the most important part for the attribution of a painting. M.Koshikawa, specialist of ltalian Renaissance art, studied the controversy about the understanding of the X-ray photos of a paiting by Veronese. He thus clarified that the X-ray photos are now new objects for the interpretaion in art history. Kawaguchi, conservator, carried out scientific reseaches on a tryptych by Patinir and made a detailed report on this work. Kanba, conservation scientist, tried the "interpretation" of the results of scientific reseaches on various european paitings. These studies led to the conclusion that in spite of the importance of scientific researches for the studies of art history, we must never forget the fact that the results of these researches must be "subjectively" interpreted by art historians and conservators.

研究的目的是两位艺术史学家，一位保护者和一位保护科学家讨论了科学导向的绘画检查方法的可能性和局限性，如X射线和红外摄影，以澄清这些方法对艺术史研究的有用性和同时存在的问题。17世纪尼德兰绘画专家T.中村认为，当今艺术史研究的趋势是越来越重视科学的检验。他还指出，尽管有这种趋势，传统的“鉴赏”仍然在绘画的归属中发挥着最重要的作用。意大利文艺复兴艺术专家越川先生研究了关于对韦罗内塞绘画的X光照片的理解的争议。因此，他澄清说，X光照片现在是艺术史解释的新对象。保护人川口对帕提尼尔的一幅三联画进行了科学研究，并作了详细的工作报告。保护科学家kanba尝试了对各种欧洲绘画的科学研究结果的"解释"。这些研究得出的结论是，尽管科学研究对艺术史研究很重要，但我们绝不能忘记这样一个事实，即这些研究的结果必须由艺术史学家和保护者“主观”解释。