MOYΣΕΙΟ ΤΕΥΧΟΣ 4
of 32
-
Upload
marioncreta6192 -
Category
Documents
-
view
217 -
download
0
Transcript of MOYΣΕΙΟ ΤΕΥΧΟΣ 4
-
8/8/2019 MOY 4
1/32
Mo: 21 -
fi.
:
fi, fi
fi
-
8/8/2019 MOY 4
2/32
4o 2003ISSN: 1109-7434
fi -
fi: & ,. . .
, :. .
. . . .
:. .
fi:kapa-sto-tetragono
:B. & E.
:. .
fi :. . . .
. . fi. . . .
:
,157 84,
:210 74 61 229, 210 72 76 465
E-mail:[email protected]@[email protected]
Eo: fi .
fi fi . fi.
/ /- .
:
:1000-1500
:
, fi fi ,
, .
fi fi
, fi
:
( 200 ): , , . fi,
fi
:
,
. ( 300 )
:
fi Word
Times New Roman
12
: fi
(Humanities Style Author Date Style),
, , fi ,
fi ,
- - :
fi fi, fi fi (.. . 1) , fi
fi . fi
. fi,
. fi fi
fi, .
fi, ,
fi fi , . - fi , fi
.
-
8/8/2019 MOY 4
3/32
fi
fi
fi fi ,
fi fi fi. fi fi
fi , fi
fi ,
fi
, fi
,
.
2004, . . ,
,
: 21
.
,
fi, , fi
.
fi , .
fi
fi
,
fi
. .
, fi
fi
fi , fi
. , .
fi fi
, fi
fi . ,
: fi, fi
fi,
, fi . ,
fi
. fi. , :
21 fi , fi fi
fi .
fi
-
8/8/2019 MOY 4
4/32
fi fi
fi
fi fi
fi
fi fi fi
fi ,
fi fi, fi
fi fi .
fi fi ,
fi fi , fi
fi
,
,
,
fi fi
fi
, fi fi ICOM.
E fi, fi
ICOM, , fi, fi
,
, fi fi
, ,
fi ,
.
fi fi
fi,
,
fi, fi,fi fi .
fi fi -
.
fi
,
fi
fi
, ,
fi .
, .
, fi
,
fi fi
fi 7
1829. fi
fi
fi
.
fi fi
. fi
fi , fi
fi fi
fi .
fi fi , fi
, fi, fi, fi, ,
, .
fi
fi .
.
fi fi fi
fi
, fi
, ,
,
,
,
fi, ...
fi .
fi fi
fi
, fi
fi
,
fi
.
fi
fi .
fi ,
fi
.
,
,
fi
,
fi
. fi fi
, , , fi
,
,
,
fi
fi . ,
fi , depot (a),
,
, ,
fi fi ...
,
fi ,
,
,
fi,
fi .
Mo: 21 *
* 2004
4
-
8/8/2019 MOY 4
5/32
fi . fi fi
fi fi
.
fi .
fi,
,
,
.
fi
fi
.
,
, , fi ,
, fi
fi
fi .
fi
fi ,
.
,
fi fi
fi . , ,
80,
fi
fi fi ,
fi fi
fi.
fi
, fi
fi :1.
fi
fi fi
, ,
fi fi
.
2. fi fi
.
, ,
,
fi fi fi .
fi fi
, fi
fi ,
.
fi
fi
, fi
fi.
(). fi
fi,
fi .
3. ,
.
:
. ,
fi fi
,
(
).
. ,
fi
, ,
,
, ,
.
. , fi
. , , fi ,
fi.
. ,
fi
fi fi
fi ,
, , ...
. ,
,
,
.
. /fi , ,
.
. ,
.
. fi,
fi fi fi ,
fi,
fi, ...
. , fi
fi
,
fi.
fi fi
:
fi fi fi:
1.
2.
3.
4.
5. ,fi fi fi fi :
1.
2.
3.
4.
5.
6. ...
,
fi fi , ,
fi -
. ,
5
-
8/8/2019 MOY 4
6/32
fi
. fi fi, .
:
fi fi
fi ,
fi fi fi
fi.
fi
, , , fi
.
fi ;
fi
fi ,
fi fi
,
.
fi fi
fi
:-
-
-
:
/, ,
,
fi .
,
,
/
, fi fi
fi fi.
fi
,
, ,
fi
.
fi fi fi,
, fi fi ,
,
fi.
,
fi
,
fi
,
, ,
, fi fi, fi,
fi fi .
,
,
.
fi ,
fi,
,
fi . fi
fi .
fi
fi
fi . fi fi
,
fi fi, :
fi fi , fi
fi fi fi
,
.
fi fi,
fi , ,
. fi
fi fi
fi , fi
.
fi fi.
fi
. fi
fi
fi. , fi
fi. fi
fi .
fi fi
, fi fi
fi
fi. fi
fi fi
fi,
fi
, fi,
.
6
-
8/8/2019 MOY 4
7/32
-
-
7
fi
. fi
fi ,
fi
.
fi fi
, -
,
fi ,
-
. fi
fi fi (),
fi,
fi
,
fi ,
fi ()
,
.
) 18
fi
fi
(fi
fi)
fi
fi
.
) 1920
fi
fi
.
, fi
fi fi
(
) fi
;
,
fi
.
fi ( )
fi .
,
fi fi
fi
fi
fi
.
, ,
fi ,
.
fi
;
-
, , fi
fi
;
, fi
.
-
fi fi
fi , ( )
.
(fi ),
fi fi
fi ,
, ,
,
fi, fi
[
,
,
(
, ).
fi
- fi fi .
fi (fi fi
-
8/8/2019 MOY 4
8/32
fi )
fi ,
. fi,
fi (
/ Internet) fi
fi fi fi
(Edward O. Wilson).
,
fi
fi
fi,
( , ,
, ..)
fi
, fi
.
fi 2-3 fi
/ Internet,
fi fi
,
.
,
fi.
fi, fi -
fi -
.
fi Bruno Latour
, , ,
fi.
"", "fi"
"fi"
fi
fi. ,
""
8
1, 2 : Damien Hirst,
-
8/8/2019 MOY 4
9/32
-
8/8/2019 MOY 4
10/32
. fi
fi .
fi Pier Levy
fi fi
fi fi fi
.
,
fi fi
fi
20-25
fi fi fi.
fi,
,
.
fi
fi fi fi fi
fi , fi
,
.
fi ,
fi
fi fi
,
, .
fi
fi,
fi
,
.
fi fi fi fi
fi
, fi fi ,
.
-
fi fi
fi
, (
) .
fi
, fi
fi .
fi ,
fi , , fi
fi fi
fi ,
fi .
fi
fi ( - ).
fi
fi fi
-
fi .
fi
.
, ,
fi . fi
, fi fi
fi .
,
fi
fi ,
,
.
fi
,
-
,
fi fi
.
1. Cesare Brandi, ,
fi , 2001
2. Edward O. Wilson, ,
fi , 1998
3. Bruno Latour, ,
fi , 2000
4. Claude Levi Strauss, ,
fi 1977
5. Bruno Latour, fi..
6. ,
fi
, 2001,
fi
7. , fi..
8. Dorren Massey,
fi, fi fi
... , 2001
9. Pier Levy, fi.
,
fi , 1999
10. ,
, 2004,
10
-
8/8/2019 MOY 4
11/32
fi
1.
,
fi
.
fi :
fi
,
fi
2.
fi
fi fi
,
fi
.
fi
.
,
3.
fi ,
,
fi ,
, fi
. :
. , ,
fi
fi .
,
.
,
.
.
. - .
(,
..)
fi
fi .
. .
fi
(
, )
fi
fi,
fi
4.
,
fi
fi
fi fi.
fi (,
). fi,
,
fi
.
,
,
fi fi
, ,
..
fi.
11
fi
.
fi fi
fi
fi
fi fi
,
fi
fi
.
fi
fi.
fi
( ):
fi
fi
( , ,
..)
.
fi fi fi
(.. ,
)
().
fi
fi
-
8/8/2019 MOY 4
12/32
fi
(fi, fi, fi
fi )
.
, .
fi
,
( , ,
,
)11.
fi
,
.
fi
12
.fi
fi
fi
,
(fi
).
fi
fi fi
,
fi
fi . fi
(fi
).
fi
.
fi
5.
fi
fi,
fi
fi
fi ( )6.
,
fi fi
fi
,
,
fi
. fi fi
fi7.
fi
.
fi
fi
fi,
fi
.
fi
,
fi fi
,
,
fi
.
fi.
fi
.
,
.
fi
fi, fi
fi
fi ,
8.
,
fi fi
.
9.
, fi
fi
,
10.
.
12
-
8/8/2019 MOY 4
13/32
13
. fi
,
fi
7.
.
fi
fi
(fi
fi), 50-55% RH
2% RH.
5%
fi .
20C
2-3
C13
.
,
fi fi.
(fi
).
(
, fi,
)
fi
fi
. fi
fi.
(fi )
(
)
. fi
.
fi
fi ,
fi .
fi
fi
150 LUX.
fi
fi (fi
)14.
fi
35 45 db
(fi ).
fi
15.
fi
fi
,
,
fi .
fi,
fi
fi,
.
. ,
fi
fi
fi .
1. . fi .
., 1986.
2. M.T.Simpson & M. Huntley, Sothbeys Caring for
Antiques, Simon and Schuster, 1992
3. .,
fi ,
, 1994
4. .
.
5. .- , .
,fi fi, 1993
6. .
.
, , 1998.
7. . , . . . ,
:
fi
fi
.
.
(L.Giordano, 1653, ) 1999.
8. H.J.Plenderleith & A.E.A Werner
"The Conservation of Antiquities and Works of
Art: Treatment, Repair and Restoration"
Oxford University Press, 1989
9. ,
fi ,
22, 1987
10. Umberto Baldini, Teoria del Restauro e Unita di
Methodologia, 1978.11. . .
fi, fi , fi
, 17, 1985
12. .
, ,
1995
13. G.Thomson The Museum Environment
The Butterworth-Heinemann Series in
Conservation and Museology, 2000.
14. fi
fi, fi , ,
2000
15.
, , 1986
-
8/8/2019 MOY 4
14/32
14
fi,
fi
,
fi
.
fi
fi
. fi,
fi ,
, fi
, fi
,
.
fi fi fi
fi
.
fi
fi fi fi
fi
fi ,
.
,
, : )
fi ( )
fi , )
fi
fi (
), ) fi
fi .
fi
,
fi , fi
fi fi
fi
.
fi
80, fi
.
fi fi
()
1986. 5
1986 fi -,
fi fi
fi
1.
fi
.
fi
fi fi
fi
( 1998)
fi
.
fi
fi
fi.
fi fi
26 fi,
fi 1994 fi
fi 2.
fi
, fi
,
,
fi
,
.
1996
-
8/8/2019 MOY 4
15/32
15
fi fi .
fi (1997)
,
6,5 . . 1997, fi fi
1991 (2 . .)3. H
fi 1997
30%. fi,
fi
4
:1. - :
30%
2. : 13,1%
3. : 10,4%
4. : 7,7%
5. - fi: 4,9%
6. fi : 4,6%
7. : 2%
8. : 0,7%
fi fi
(, , ..).
fi,
fi
,
fi
().
10%
fi
()
fi .
fi
fi fi
fi
fi fi
,
:
) ,
fi,
,
) fi(, , ..)
.
fi
.
-
fi fi
(fi fi fi
),
( fi
) fi
( fi
9 18
)5.
fi
fi fi ,
.
, fi fi
fi
fi
fi
fi,
. fi fi
,
fi,
.
fi
fi
.
fi
,
,
fi
.
-
8/8/2019 MOY 4
16/32
.
:
) fi
:
fi fi ,
, , ,
,
fi (logo) -.
)
...: fi
fi
... ,
,
.
)
(Corporate Hospitality):
:
fi
Opinion Leaders (
) fi,
fi fi fi.
fi
-.
-fi.
fi
(2000-2010)
,
fi fi fi
fi
.
fi
fi
fi
(
-) fi
.
1. , . 1992. :
, ,
. . :
. . 85.
2. fi
1994-1995. :
(). . 100.
3. 97. 1998. : . . 22-24.
4. 97. 1998. : . . 200.
5. Fishel, David. 1993. The Arts Sponsorship handbook.
London: Directory of Social Change. . 79.
1. Allen, Mary. 1990. Sponsoring the Arts: New
Business Strategies for the 1990s, Special Report
No. 2069. London: The Economist Intelligence
Unit (EIU).
2. Martorella, Rosanne. 1996. Art and Business - An
International Perspective on Sponsorship.
London: Praeger Publishers.
3. Sauvanet, Nathalie. 1999. Cultural Sponsorship in
Europe. Paris: ADMICAL.
4. , . 2001.
. : fi
.
5. , . 1996. fi fi & . :
fi .
16
-
8/8/2019 MOY 4
17/32
17
fi fi -
,
.
.
fi fi
.
.
fi
,
.
fi ,
, fi
fi
.
fi fi
fi
. fi
fi
fi,
fi
,
fi
.
fi
fi
fi
fi
(fi,
AIC, CAPC, UKIC, ECCO, AICCM)
, ,
, , ,
fi, fi fi, ,
, ,
.
fi fi
fi
, fi
fi
fi . ( ,
, fi
,
) fi
fi
1.
fi fi fi
2.
fi
fi fi
fi .
(conceptual art)
fi
.
. Riegl
fi
(Kunstwollen) fi fi
3.
fi
fi . Brandi
Philippot fi
fi ,
, fi fi
fi 4.
,
5.
,
, , ,
fi 6.
fi fi (
fi
),
(fi
) fi .
fi
fi
. fi
fi .
. ,
fi
fi (
)
.
fi ,
fi,
.
fi
( ,
, , ..)
7.
fi fi
fi (. .
fi )
. fi
fi fi
:
fi, fi fi
-
8/8/2019 MOY 4
18/32
18
1: fi ( )
8.
, fi
fi ( ). ,
,
fi fi ,
fi (. .
)9.
1 fi
fi fi
.
() fi
. fi, fi
,
.
fi
,
.
fi .
fi fi
,
.
fi
fi
,
(..
AIC, UKIC), fi
.
(
,
)
( , fi,
fi ).
, .
.
fi
fi fi.
Violette-le-Duc, Ruskin Morris
fi
(
)
fi
10,
Brandi fi Philippot
fi fi
fi
,
fi .
fi
fi fi fi
fi.
fi
fi (, )
.
fi
fi
fi
. fi
.
fi fi fi, fi
fi fi, , ,
fi fi .
1. fi
fi
fi UNESCO
. ,
fi
UNESCO,
.
fi
( )
UNESCO,
( )
fi
UNESCO.
-
8/8/2019 MOY 4
19/32
19
2. fi ,
fi ,
.
. ,
fi fi ,
fi ,
fi . fi
.
3.
,
,
,
fi ,
fi
.
2
fi
fi
.
. fi fi
fi fi
fi . fi fi fi
fi,
fi
fi
. fi
fi
. fi ,
fi
fi
fi
. fi fi
fi.
fi
fi fi, fi
.
fi
fi (
)11.
,
,
fi
.
~~ ~
~
~ ~
1. Tschudi-Madsen S., (1987), Restoration and Anti-
Restoration, European Cultural Heritage
Newsletter on Research, 1 (3): 3-5.
2. Brandi C., (2001), ,
: . , . , .
3. Arrhenius T., The Fragile Monument: On Riegls
Modern Cult of Monuments,
www.aho.no/Forskerutdanning/konferanse/Papers
/Arrhenius.doc
4. Price N.S, Kirby M., Talley Jr. and Vaccaro A.M.,
(1996), Historical and Philosophical Issues in the
Conservation of Cultural Heritage, GCI, Los
Angeles.
5. Koller M., (2000), Surface Cleaning and
Conservation, Conservation, The GCI Newsletter,
15 (3).
6. Ashley-Smith J., (1982), The Ethics of Conservation,
The Conservator, 6: 1-5.
7. Caple C, (1995), Conservation Skills. Judgement,
method and decision making, Routledge Pub.
8. Oddy A, (1992), The Art of the Conservator,
British Museum Press.
9. Economakis R., (1994), Acropolis Restoration.
The CCAM Interventions, Academy Editions,
London.
10. Leavengood P., (1993), Loss Compensation
Theory and Practice: A Brief History, In: Loss
Compensation Symposium Postprints, Western
Association for Art Conservation Annual Meeting
1993, 1-5.
11. , (1994), , . ,
: fi
fi
. .
.
fi. (2004).
fi fi
UNESCO
fi
2:
-
8/8/2019 MOY 4
20/32
20
,
1835.
fi , 1837.
1908
- ,
- ,
fi fi
. fi
1982
.
. fi (1845-1892) .
fi (1845-1910),
,
. 1910 .
(1912-1935).
.
(1936-1946)
. (1946-1965) .
(1973-1993),
. fi 1268/82
,
,fi
,
.
fi
. . 2000
. .
fi .
, 1979,
,
( ),fi
() fi
1996.
19 ,
fi ( fi fi
fi ),
fi .
1997,
,
. . fi
fi ,
fi .
.
fi . fi .
, fi
. , fi
.
7
2000.
fi fi
. fi fi fi
fi -
.
fi
fi
,
fi
fi "" fi
- ,
, fi
fi fi
.
.
1858 fi
Kaemmerer,
. ( 158) fi
fi. 1859
Penosta fi fi,
1860, fi
fi , fi
, 555
fi .
, , 450
fi fi fi (220
), . (60
).
1863,
fi
Fiedler fi fi .
. fi
. 1868 fi
. 100
fi
, 150
fi Nordenskjold.
A. Lindermayer fi fi
400 fi
fi.
H
A fi
-
8/8/2019 MOY 4
21/32
21
.
(1874)
B. Wappler (1880) 1200
fi fi fi.
fi Christian Ernst 1899
150
fi, 1902 fi
. fi 140
fi .
fi fi, 350
fi fi (1883), 120
fi . fi (1901), 60
fi . (1912)
. (1914).
.
. ,
.
fi . (1913-
1935) fi ,
fi
.
1930
fi
.
fi
,
. fi 1912
-fi fi
fi
.
1928 fi fi
. ,
. ( fi
) 1929
600 . 1931 , fi
,
. fi
.
fi .
(400 fi
)
1935, 1938 fi
fi Transvaal .
. fi fi
fi ( fi
. ) ( fi
fi ),
1958-1962,
fi . .
1997 .
140 fi
, fi
. ( fi
fi), . ( fi ).
1999
. .
fi fi
fi
fi . Kielty-
.
fi ,
.
, fi ,
.
10.000 15.000
,
fi 3500
400
.
III.
,
, ,
, fi
.
fi ,
fi
fi,
.
fi
fi
.
,
fi .
fi
.
fi
,
, -
.
,
. ,
fi
fi .
fi , fi
.
, fi
,
. fi
fi fi , ,
.
, ,
-
8/8/2019 MOY 4
22/32
, 19 .
fi fi
fi
fi
. fi
, fifi
fi19 .
fi , fi ,
.
60 cm
fi
fi
.
fi
2.500
fi fi
700 ,
.
fi
fi.fi fi
,
16 ,
,
.
.
fi
,
,
. fi ,
.
fi
.
fi ,
fi (18 -
19 ) fi ,
fi , , fi
fi
( fi, 340 )
fi
fi fi .
,
fi ,
fi ,
fi
( ) ,
fi .
fi
, fi
.
,
fi , , fi ,
.
fi
fi fi, fi
.
fi
, fi
video-
,
,
.
.
fi
fi
.
fi
.
fi
22
fi
3. .
-
8/8/2019 MOY 4
23/32
23
fi
. fi fi, , ... ,
,
,
,
fi ,
1. et al., 2003.
2. fi
fi fi .
3. , 2003
fi
1
fi
.
(fi fi ,
fi),
...
,
1999.
fi
fi
2 fi
3
fi fi
fi fi fi
fi , , ..
.
H fi
185 . fi 9
, 18
fi, 13 ,
145 .
, fi
, fi
19
20 , .
fi ,
fi .. (. 1).
fi
fi ,
fi
,
fi. , fi
fi,
fi :
- fi
-
fi
- fi
fi
fi
, fi
, ,
( )
, fi , fi
fi.
(, , fi
),
. fi fi
fi
, fi
(.
1 2). fi fi
fi
fi
, fi
fi
.
. 1: , fi
fi 20 .
,
fi
.
-
8/8/2019 MOY 4
24/32
24
4. , 1994, .27; Untracht, 1986,pp.141,565.
5. , 1930, .13; , 1994, .27;Untracht, 1986,pp.245.
6. , 1989, .120-121.7. , 1976, .9-19.
8. et al., 2003.
1. , 1976, .9-19.2. , 1976, .9-19.
3. , 1976, .9-19.
- fi
fi.
, fi
fi 19 20 4.
fi
,
fi fi
fi 5.
fi
,fi
fi6. , fi
fi ,
(. .
7, 8 ..)
fi 9.
fi , 10.
fi 4
,
fi
(. 3).
fi
fi:
. fi
fi
fi
. -
, fi -, fi
fi
. fi -
fi
fi
19 20 ,
.
:
- -
fi
( , , . )
- fi
- fi fi
fi
,
fi, ,
. fi
, fi
, fi fi
,
.
fi
fi , fi
, fi fi
, fi
.
, 185 fi
22
.
:
- ,
4.
) , fi
) , - (. 3).
- ,
29.
) , fi
)
(. 2).
. 2: fi fi
. fi fi , , , , fi .
fi
fi fi fi
fi fi
. fi ,
fi
.
fi
,
.
fi fi
fi
-
8/8/2019 MOY 4
25/32
.
fi , fi
fi
.
fi
11.
fi 106
:
- fi fi fi -
Hoppes -
fi fi
.
- ,
fi
.
- 5%
(w/v) Paraloid B-72 fi fi
fi
Renaissance.
fi fi
fi ,
fi fi
.
,
12.
2 ,
,
-
(pinpoint rusting)
(. 4).
.
fi
,
fi ,
fi
fi
. , fi
fi fi , fi fi
. ,
fi : 36
.
12 Paraloid B-72
Renaissance, 12 Hoppes, 12
. , 6
6
(Tupperware)
fi silica gel. fi 6
,
Paraloid B-72 Renaissance,
Hoppes,
. fi
,
fi
fi
fi,
fi .
fi
fi
fi fi
fi, fi
,
- .
fi
fi :
-
, fi
fi
.
- fi
fi ) -
)
,
.
-
-
.
- ,
fi
.
fi
fi ,
,
.
1. MUNGER C. G.,(1997), CorrosionPrevention by ProtectiveCoatings, National Association of Corrosion Engineers,UnitedStatesof America
2. UNTRACHT O., (1986), , . ,
3. ., (1976), ,
4. ., (1995), fi fi ,fi , fi , . 86
5. ., (1989), 1790-1860, , . ,
6. .,(1994), , ,
7. ., ., (2001), fi , , ... , . ....,
8. ., (2003), , ,... , ....,
9. ., ., ., ., ., ., (2003) fi :
, , 3,.20-22
10. .,(1930), ,
fi
fi
, fi fi
. fi fi
fi
. fi
,
fi , fi
, fi
.
, fi
,
fi
fi , . fi
fi
fi fi
,
.
,
fi ,
.
25
-
8/8/2019 MOY 4
26/32
26
fi ,
(.),
,
fi:
(2002) ISBN 960-375-310-6
fi
.
fi fi
fi fi,
,
fi ,
. ,
fi
,
fi , fi
.
fi
fi , fi
.
Hooper-Greenhill Eilean (ed),
Museum, Media, Message, Routledge
(1995) ISBN 0-415-19828-3
fi
fi fi.
Museum, Media, Message
fi
fi
. .
fi
fi
.
fi ,
fi fi ,
.
-
8/8/2019 MOY 4
27/32
27
fi fi
,
fi
-
,
fi
.
,
fi
fi
,
fi
.
2004 ( 2
), .
fi,
, ,
30 19:30 ..
:
11/10/2004
.
,
: fi
8/11/2004
. ,
13/12/2004
. ,
,
fi
fi
I
.
. : 210 36 89 502
210 36 89 506,
6974 19 1105
Fax: 210 36 89 501
.
: 210 72 77 426
210 72 77 431
210 81 37 716
.
: 210 72 75 747
. fi
: 210 72 74 112
210 72 74 124
210 72 74 123
210 72 74 121
Fax: 210 72 74 883
e-mail: [email protected]
.
.
T: 210 72 74 606
210 72 74 372
e-mail: [email protected]
.
.
.
T: 210 72 74 174
210 72 74 394
210 72 74 202
210 72 74 166Fax: 210 72 41 888
. fi -
T: 210 72 74 363Fax: 210 72 74 325
e-mail: [email protected]
.
. .
T: 210 36 10 136
210 76 67 827
210 36 33 413
.
T: 210 72 77 564
210 72 77 510
e-mail: [email protected]
.
.
T: 210 77 88 644Fax: 210 74 62 539
e-mail: [email protected]
fi
.
.
T: 210 77 06 868
210 77 16 098
210 77 93 775
e-mail: [email protected]
.
T: 210 77 71 142
210 88 10 797
210 74 62 904
fi
.
T: 210 72 74 240
210 72 43 325
Fax: 210 72 74 885
e-mail: [email protected]
..
T: 6977 20 8002
210 74 61 229
e-mail: [email protected],
. fi
T: 210 74 62 577210 77 90 841
210 82 36 176
-
8/8/2019 MOY 4
28/32
28
Business Sponsorship is an important factor in
the development of cultural organizations in
Europe and in Greece as well. We must
mention the fact that the museums are an
executive part of these organizations and the
primary preference of arts sponsors. In Greece,cultural sponsorship is a new institution and
only during the last decade have Greek
businesses understood the strategic role of
sponsorship in the marketing communication
mix. It is a fact that most of the cultural
organizations in Greece are not prepared to
support their fundraising plans and deal with
the sponsors. The main benefits of sponsorship
for cultural organizations are the following: a) to
fund their projects (exhibitions, programs, etc),
b) to increase their awareness and improve
their image, and c) to strengthen their relations
with the local, cultural, political and business
communities. In order to achieve these results,they need a sponsorship proposal, an integrated
research of the sponsorship market and a
specific timetable.
The business sponsorship andcultural organizations in Greece.
Peter Zounis
EconomistDoctor of Panteion University in
Business Sponsorship
The modern aesthetic perception presents new
facts concerning art and chromatic restoration of
the works of arts.
This specific intervention on the works of art,
called chromatic restoration, depends on two
determinative factors. The know-how andknowledge in general and the aesthetic
perception, integrally related to space and time
concepts.
Thus, it depends on the civilization of a society
in a given space time period in relation with
the civilization of another society in an identical
or different space time period.
At all events, the obvious reason is the
restoration of the broken painting tissue of a
whole (of the work of art) so that the viewer
will be able to see it as an entity, without having
the plethora of the historical elements which
this work of art presents, obliterated, and
without having produced a forged work of art.On the contrary, the existence of voids in the
tissue of a work of art is disastrous for the visual
perception of the viewer of a museum and
doesnt agree with the role of the exhibition
space, let alone the role of the work of art itself.
Nevertheless, the subjective intervention
without the knowledge of the aesthetic and
visual perception of the era during which an
intervention takes place, is likely to render it
inopportune and vastly dangerous for the
comprehending the messages and values of the
work of art.
But how do the aesthetic and visual perceptioninteract? For instance, is the modern visual -
aesthetic perception different from that of the
previous century and by which factors has it
been influenced?
Modern art influences the chromatic restoration
of the works of arts of previous and even distant
centuries.
The modern Aesthetic - visualperception in art and Chromaticrestoration of the works of art
Leonidas Karabinis
Painter - Conservator of works of Art
The condition of an artifact depends on two
main factors the materials it is composed of,
which may vary enormously, and the conditions
it has been subjected to through its life. The
materials may be broadly divided into two
groups according to whether they are organic orinorganic in origin. The organic materials are
generally considered to be the ones more
susceptible to deterioration. Every icon presents
a different case of restoration.
As for the icon, bibliographic research as well as
the inspection by photographic methods, are of
great importance. Of equal importance is also
the physicochemical analysis, which is aimed at
identifying the constructing materials and their
condition. Having carried out the research, a
restorer can chose the most suitable materials
to use for the conservation.
Paintings on wood are particularly in need of
steady environmental control because allwooden panels will naturally expand and
contract.
The primary requirements are: clean
atmosphere, low lighting levels and stable
temperature and humidity levels.
The recommended levels for temperature and
relative humidity are 20 C, with fluctuation
2-3 C and 50-55% RH with daily fluctuation
not more than 2% RH. A range of 5% is
possible in exceptional cases.
A value of 150 LUX at the icon surface is more
suitable than a value of 200 LUX, which is the
present museum standard and is equivalent tonormal diffused daylight in a domestic setting.
As a conclusion, after analytical research and
suitable restoration of an icon, controlled and
stable environmental conditions in the museum
are important in order to keep the material
construction and to achieve maintenance
through the years.
Conservation treatment of icons.Conditions of their exhibition at amuseum.
Eleni Kavalieratou.
Conservator of works of Art
-
8/8/2019 MOY 4
29/32
29
The Criminal Museum holds a great collection
of decorated blade weapons connected with
the crimes that took place in Greece during the
19th and 20th century. The Museum functions
under the management of the School of
Medicine, of the University of Athens, which
has been collaborating with the Department of
Conservation of Antiquities and Works of Art ofthe Technical and Educational Institute in
Athens since 1999 in order to improve the
collections preservation and establish its high
value. This article presents the historical survey
concerning the blade weapons used in Greece
in the 19th and 20th century as well as the
classification that has been made, based on
morphological and technological characteristics
of the artifacts. Furthermore, conservation
survey is carried out in order to determine the
causes of rusting that appears on blades in a big
amount of conserved and coated blade
weapons.
Study of Conservation of the bladeweapons of the Criminal Museum ofthe Univercity of Athens
Argiropoulou V. Chemical Engineer, Associate
Professor at the Department of Conservation and
Antiquities and Works of Arts of the
Technological and Educational Institute of Athens
Sakki Z. Conservator of Works of Art of the
Criminal Museum at the School of Medicine of
the University of Athens
Maravelias K. Assistant Professor at the
Department of Forensic Medicine and Toxicology
at the University of Athens, Person in charge of
the Criminal Museum of the University of AthensKoutselinis A. Honorary Professor at the
Department of Forensic Medicine and Toxicology
at the University of Athens
The concept of integrity of objects under
conservation is composed of at least twelve
interrelated parameters, namely the material,
structural, aesthetic, conceptual, artistic,
historic, integrity of the parts of a whole,
archival, scientific, cultural, religious and thesocial. In practice this interrelation mostly takes
the form of conflicts, which obstruct the work
of the conservator and set him before dilemmas
of choices regarding the preferred dimension.
This paper stresses the holistic character of
integrity, identifies conflicts among its
parameters through examples from applications
and proposes a framework of objective criteria
for the resolution of those conflicts. The
objectivity of these criteria rests in their origin,
i.e. they are preferred either because they have
been officially recognized by the international
community, or because they are embedded in
the collective conscience of an entire nation, or,finally, because they are merely the product of
science. The inclusion of the proposed
framework among the postulates and general
principles of the science of conservation will
provide useful guidelines for decision making as
to the identification, in each case, of the most
salient components of integrity that will in turn
dictate the nature and limits of the conservation
treatment.
Museums and ConservationIntegrity, selection criteria and limitsof intervention
Stavroula Kapelouzou
Art historian - Conservator of antiquities
The original collections of the Museum were
created at the Natural History Society,
established in Athens in 1835. The University
has acquired the collections since its foundation
in 1837.
The Museum today has at least 10,000 mineralsamples and 15,000 samples of rocks and ores,
of which about 3500 mineral and 400 rock
samples are exhibited. It is not only the oldest
collection of minerals and rocks in Greece, but
also one of international repute.
The importance of the collection does not
reside solely in the presentation of particularly
beautiful samples, but in the abundance and
quality of the minerals from "classical" sites
which have today been exhausted and are
known only from literature.
The Museum occupies a total area of about
1100 m2. The collections include among others:
aesthetic minerals, gemstones, meteorites,radioactive minerals, industrial minerals, a
darkened room to display the luminescence of
minerals and a special section on the Santorini
volcano.
The Museum of Mineralogy andPetrology, Athens Univercity
A. Karerinopoulos
Associate Professor at the Department of
Geology in the University of Athens,
Director of the Museum of Mineralogy and
Petrology of the University of Athens
-
8/8/2019 MOY 4
30/32
30
It gives us great pleasure to announce in this issue the launch of a series of
lectures, organized by the postgraduate studies course of Museum Studies held
by scientists of different professional specialization and other associates
directly involved in museum domain in Greece as well as abroad. In this way
there will be initiated a fruitful dialog, that will allow the broadness of
knowledge and experiences of museum employees, so that both postgraduate
students and the wider public, would be able to form a personal opinion, not
only concerning the new role of the museums within the society, but also
about the implementation of museology within the museum domain. During
the first semester of 2004, the General Director of the Ministry of Culture,Mss. M. Michailidou, launched the cycle of lectures of the postgraduate studies
by giving the first lecture under the title: Museum: Progress and Prospects of
the 21st Century.
In the 4th issue of the Museum, the presented articles deal with the subjects
related to various activities, specifically important, those of development and
maintenance of the museum organizations, as well as of sound preservation of
the museum collections. The article Business Sponsorship and Cultural
Organizations in Greece examines the nature of business sponsorship
institution and, in particular, focuses on the evolution of the institution, in the
last two decades, in Greece, in relation to cultural organizations. The article
Study of conservation of the blade weapons of the Criminal Museum of the
University of Athens concerns the presentation of the methods and problems
of conservation treatment that occurred during the repair of the damaged part
of the guns collection held by the University Museum of Criminology of
Athens University. In addition, L. Karabinis article deals with the field of
works of art conservation while it thoroughly examines the impact of culture and
society on the formation of aesthetical and optical views, concerning the restoration
treatment of color damage to works of art, caused by their exposure to light. In her
article, E. Kavalieratou explores the significance of the movable icons preservation andmonitors, in detail, the stages of work necessary for their research and conservation
treatment, aiming at the creation of stable environment in the museum field.
Furthermore, the article entitled Museums and Conservation. Integrity, selection
criteria and limits of intervention points out the holistic character of integrity and
proposes a framework of intervention criteria concerning objects. In this issue, the
Museum of Petrology and mineralogy is also presented by the Professor A.
Katerinopoulos. At last, the article Museum: Progress and Prospects of the 21st
Century presents in eligible manner, the problems, the dilemmas and the possibilities
of the cultural organizations enactment with the aim of their future viability.
e
d
it
o
ria
l
-
8/8/2019 MOY 4
31/32
SEMESTRAL EDITIONOF THE MUSEUMS BOARDOF THE UNIVERSITY OF ATHENS
4th SSUEDecember 2003ISSN: 1109-7434
EDITORIAL BOARD
Publisher Director:Professor, Vice Rector ofEconomic Affairs and DevelopmentDr. Michael D. Dermitzakis
Editorial commitee:. J. PapagrigorakisK. M. DermitzakiT. V. Doxanaki
Editing:M. ZoraH. Papagevrgiou
Phototype & setting:kapa-sto-tetragono
Printing:V. & E. Babais
Reviewers:G. PanagiarisM. Mouliou
In this issue co-operated:V. ArgiropoulouP. ounis. avalieratouS. apelouzouL. arabinis A. aterinopoulosA. KoutselinisK. Maravelias
. ichailidouZ. Sakki
ddress:Faculty of MathematicsUniv. of Athens, School of SciencesPane/poli, 157 84, IlissiaTel. 210. 727 6465, 210.7276434
Tel:+30 210 74 61 229, +30 210 72 76 465
E-mail:[email protected]@arch.uoa.gr
Front cover:The photos at the cover of the journalcome from Mineralogy and MuseunPetrology of the Univercity of Athens.
-
8/8/2019 MOY 4
32/32
The modern Aesthetic - visual perception in art andChromatic restoration of the works of art
Conservation treatment of icons. Conditions of their
exhibition at a museum
The business sponsorship and
the cultural organizations in Greece
Museums and Conservation
Integrity, selection criteria and limits of intervention
The museum of mineralogy and Petrology - Athens University
