Forgery, replica, fiction : temporalities of German Renaissance art
著者
書誌事項
Forgery, replica, fiction : temporalities of German Renaissance art
University of Chicago Press, c2008
- : cloth
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
Today we often identify artifacts with the period when they were made. In more traditional cultures, however, such objects as pictures, effigies, and buildings were valued not as much for their chronological age as for their perceived links to the remote origins of religions, nations, monasteries, and families. As a result, Christopher Wood argues, premodern Germans tended not to distinguish between older buildings and their newer replacements, or between ancient icons and more recent forgeries.But Wood shows that over the course of the fifteenth and early sixteenth centuries, emerging replication technologies - such as woodcut, copper engraving, and movable type - altered the relationship between artifacts and time. Mechanization highlighted the artifice, materials, and individual authorship necessary to create an object, calling into question the replica's ability to represent a history that was not its own. Meanwhile, print catalyzed the new discipline of archaeological scholarship, which began to draw sharp distinctions between true and false claims about the past.
Ultimately, as forged replicas lost their value as historical evidence, they found a new identity as the intentionally fictional image-making we have come to understand as art.
「Nielsen BookData」 より