By Michael Doulgerides, 2003
Technology, History & Conservation
Wednesday 4 March 2009, by Icon Network
All the versions of this article:
- [ελληνικά]
- [English]
By Michael Doulgerides
Conference, Byzantine & Christian Museum, 29 January 2003, Mikra Mouseiologika I, Athens 2005.
ISBN:960-214-475-3, pages:59-60
Given that works of art suffer irreversible deterioration, while men are defined by them, the need for the protection of artworks emerged at an early date.
thoroughly, studying not only the environmental parameters connected with the display of an object, but also the manner in which it is presented, the special interventions in its form and structure, and finally, its existence within the cultural process in the cultural process that promotes communication between people. The problems that arose during conservation work on these objects increased as time went by.
Given that every work of art carries with it testimony to the place in which it was made and also the political and social conditions under which it emerged, it needs to be conserved as well as possible.
About the end of the 20th century, it was judged necessary to for conservation experts to deploy the great achievements of the natural sciences, and this changed not only the capability of keeping and protecting artworks, but also our knowledge about them. The use of new technologies opened up new paths, not only for a reading of the art, but also for an understanding of the historical past that created it. It reoriented the perspective of scientists (archaeologists, conservators, art historians), and made it possible to construct new interpretations (historical or archaeological) of the past.
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