Investigación acerca de la interrelación entre la continuidad de la memoria colectiva y la restauración de las pinturas de pared de Zand en Shiraz.

  • Zahra Abbasi Universidad de las Artes, Teherán.
  • Kouros Samanian
  • Seyed Saeed Zahed Zahedani
Palabras clave: pinturas murales, memoria colectiva, restauración, conservación, Karim Khan

Resumen

La hipótesis de investigación es que la búsqueda de medidas de protección en relación con las pinturas murales históricas puede experimentar un cambio en la memoria colectiva de una comunidad, estudiándose las pinturas murales de la Karim Khan en Shiraz. La recolección de datos se realizó en dos etapas: de biblioteca y de estudio de campo, siendo los datos analizados con el software SPSS. Los resultados mostraron que aspectos como los históricos, los culturales, los físico-espaciales, los físico-mentales, los económicos, los sociales, los estructurales y los estéticos de la conservación y la protección de los murales, manteniendo los valores históricos y los estéticos, pueden fortalecer el sentido de pertenencia, la cohesión social y el sentido del lugar hacia el mural histórico, conduciendo esto hacia la continuidad de la memoria colectiva mural a través del tiempo. 

Citas

Abdollahi Chanzanagh, H. Y. A., Fatemeh. (2013). Iran's Contemporary History in Iranian Collective Memory: An Inter-Ethnic Study. Sociological Studies, 20(2).

Anderson, J. (1990). The first cleaning controversy at the National Gallery 1846-1853. Appearance, Opinion, Change, 5.

Azad, Z. P., Parvin. (2013). A Comparative Study of the Place of the Tehran Fields in Maintaining and Promoting the Collective Memory of Citizens (Case Study: Tajrish Square and Baharestan Square). Urban Studies Quarterly, 4.

Daley, M. ( 2013). The Sistine Chapel Restorations: Part I from ARTWATCH UK Online http://artwatch.org.uk/the-sistine

Davoudi, A. A. (2012). The role of collective memory in the emergence of ethnic conflicts. sociology of Iran, 13(1).

De Jong, J. (2005). Damnatio Memoriae ER Varner: Mutilation and Transformation. Damnatio Memoriae and Roman Imperial Portraiture.(Monumenta Graeca et Romana 10.) Pp. x+ 340, pls. Leiden and Boston: Brill, 2004. Cased,€ 199, US $249. ISBN: 90-04-13577.

Esfandiyaripour, H. (2010). Art of Painting of the Zandieh Period: Findings of the Restoration of the Citadel. Shiraz: Institute of Research of Fars.

Falahat, M. S. (2006). The concept of the sense of place and its constituent elements. Journal of Fine Arts, 26.

Falahi, A. A., Fereshteh. (2015). Reconstruction of the market neighborhood after the Bam earthquake of 2003 with the approach of collective memories. The Art of Fine Arts, 4.

Farahmand Boroujeni, H. (1993). Adhesive in three-dimensional paintings, restoration of the Coronation Hall of Mary, attributed to the Vang Church of Isfahan. (MA), Isfahan Art, Isfahan.

Gaetani, C., & Santamaria, U. (2000). The laser cleaning of wall paintings. Journal of Cultural Heritage, 1, S199-S207.

Gohari, A., Irani Behbahani. Homa & Salehi.Esmaeil. (2016). Methodology of Urban Landscape Perception in Connection with Collected Minds and Memories, Case Study of Tajrish Neighborhood. Environmental Studies, 42(1).

Gombrich, E. H. (1962). Dark varnishes: variations on a Theme from Pliny. The Burlington Magazine, 104(707), 51-55.

Halbwachs, M. (1992). On collective memory: University of Chicago Press.

Hosseini Komala, M. S. A., Fatemeh. (2013). The role of collective memory in urban tissue regeneration: providing a solution to the Lahijan historical region. The Fine Arts - Architecture and Urbanism, 18(4).

Kamali Sarvestani, C. (2005). Encyclopedia of Historic Monuments of Fars. Shiraz: Cultural and Research Institute of Fars Encyclopedia in association with Cultural Heritage and Tourism Organization.

Kazemi, K. (2009). Study of the collective memory of events in contemporary Iranian history. Comparative Study of Shiraz University Students in Shiraz. (PHD ), Shiraz University, Shiraz

Kazemi, K. M., Ali. (2014). The collective conscience of the people and its relationship with the attitude towards the identity system (case study of Boukan city). sociology of Iran, 15(1).

Keck, S. (1984). Some picture cleaning controversies: Past and present. Journal of the American Institute for Conservation, 23(2), 73-87.

Meyers, L. S., Gamst, G., & Guarino, A. J. (2016). Applied multivariate research: Design and interpretation: Agah.

Mirmoghtadai, M. (2009). Criteria for Measurement of the Possibility of Formation, Registration and Transfer of Collected Memorabilia in the City (Tehran Case Study). The Fine Arts, 37.

Mirshamsi, F. A. (2014). Investigating the Characteristics of Painting in Zandieh Architectural Works. (MA), Shiraz University, Shiraz

Morrison, R., Bagley-Young, A., Burnstock, A., Van den Berg, K. J., & Van Keulen, H. (2007). An investigation of parameters for the use of citrate solutions for surface cleaning unvarnished paintings. Studies in conservation, 52(4), 255-270.

Muir, K. H. S. (2007). Wounded masterpieces: restoring works of art when damage carries meaning.

Munoz-Vinas, S. (2012). Contemporary theory of conservation: Routledge.

Olick, J. K., & Robbins, J. (1998). Social memory studies: From “collective memory” to the historical sociology of mnemonic practices. Annual Review of sociology, 24(1), 105-140.

Painting of Bethlehem Church. (2011). from Directorate General of Heritage, Handicrafts and Tourism of Isfahan Province http://isfahancht.ir/newsfa.aspx?p=25&aiuid=77622664-f896-4e60-98af-5e3d89a79f88

Petrie, L. K. (1995). The controversy surrounding the cleaning and conservation of Michelangelo's frescoes on the ceiling of the Sistine Chapel.

Radstone, S. (2008). Memory studies: For and against. Memory Studies, 1(1), 31-39.

Restoration of the paintings of Chehelsotoon Palace. (2016). from Directorate General of Heritage, Handicrafts and Tourism of Isfahan Province. http://www.chtn.ir/Default.aspx?tabid=84&articleType=ArticleView&articleId=111193

Rhyne, C. S. (2006). Clean art? Journal of the American Institute for Conservation, 45(3), 165- 170.

Richardson, J. (1983). Crimes against the Cubists. The New York review, 32-34.

Saeedi, S. (1995). An Investigation of the Phenomenology and Color of Paints in the Persian Painting of the Safavid Period "Presenting a Conservation Method on the Color of Paper Paintings (Application of Hydrogen Peroxide on Sheikh White). (MA), Isfahan, Isfahan university.

Sami, A. (1984). Shiraz. Shiraz: Navid.

Schwartz, B., & Schuman, H. (2005). History, commemoration, and belief: Abraham Lincoln in American memory, 1945-2001. American Sociological Review, 70(2), 183-203.

Schwartz, B., Fukuoka, K., & Takita-Ishii, S. (2005). Collective memory: Why culture matters. The Blackwell companion to the sociology of culture, 253-271.

Shafiei, F. E., Hooshang. (2005). Art and Architectural Effect in Karimkhani Citadel. Shiraz: Cultural Heritage Organization of Fars Province.

Tavakoliyan Ferdosieh, M. E., Najma & Natasan Mohammadi, Mohammad Reza (2016). Market design based on the ability to formulate and record collective memories. Case Study: Khan Yazd Market. Baghe Nazar(39).

Vatandoost, A.-a., Beheshti, Seyed mohammad & Nairi, Parastoo. (2013). A study on the basics of the traditional restoration and restoration of wall paintings in Iran by looking at several examples of the works of the index Quarterly Baqhe Nazar, 10(27).

Wasserman, J. (2003). Leonardo da Vinci's Last Supper: The Case of the Overturned Saltcellar. Artibus et Historiae, 65-72.

White, R., & Roy, A. (1998). GC-MS and SEM studies on the effects of solvent cleaning on old master paintings from the National Gallery, London. Studies in conservation, 43(3), 159-176.

Zahed, S. S. (2015). Sociology of Art from a New Look. Shiraz Shiraz University Press.

Zakaee, M. S. (2012). ultural Studies and Memory Studies. Social Studies of Iran, 5(3).

Publicado
2019-05-01