Aloïs Riegl’in Tarihi Anıtlar Kuramı ve Modern Kült Olarak Anıtlar

R. Filiz Atay

ALOIS RIEGL, THE MODERN CULT OF MONUMENTS

Yıl 2016, Sayı: 16, 21 - 26, 01.12.2016

Öz

Aloïs Riegl is an Austrian art historian of the medieval and later Baroque areas; member of the “First Vienna School” of art history and a key figure for modern methods of art history. He was born in Linz and died in Vienna . Riegl enrolled at the University of Vienna, but eschewing legal studies and he instead pursued philosophy and history courses in the same university. Riegl accepted an important position at the Austrian Museum for Art and Industrie in Vienna, where he has worked more than ten years, first as director of the textile department, then as the responsible of many departments of this establishment. Riegl’s first two books, Altorientalische Teppiche Ancient Oriental Carpets and Stilfragen Problems of Style , has been published between the years of 1891 and 1893. Riegl held an important position at the University of Vienna in 1894. In 1895, he began lecturing on baroque art, and he resigned voluntarily from the office of the museum. He developed the concept of Kunstwollen -untranslatable in other languages, means “artistic will”-, in these years of his life. During this period, Riegl’s works, Kunstgeschich und Universalgeschich Art History and World History Kunstindustri to Spätrömisch Late Roman Period of Industrial Arts works have been published respectively. Riegl, with this concept of art, rejects a normative understanding of art history; in his work the innovative and scientific spirit memory and perception concepts takes a perspective. He published in 1903 his pionner work, Der moderne Denkmalkultus The modern cult of monuments: its character and origin . Aloïs Riegl was the first theoretician of the discipline of history of art, who pointed out the differences between the monuments and historical monuments. Riegl, defined the monument in two categories: Monuments those designated as monuments intentionally Das gewollte Denkmal and unintentionally Das ungewollte Denkmal

Kaynakça

Choay, F., Allégorie du patrimoine, Ed. du Seuil, Paris, 1992, 272 s.
Fabre, D. (ed.), Domestiquer l’histoire : ethnologie des monuments historiques, Coll. Ethnologie de France, Cahier 15, Ed. de la maison des sciences de l’homme, Paris, 2000, 223 s.
Führ, E. H., “Mimarlığın Mevcudiyeti”, Zaman ve Mekân, A. Şentürer, Ş. Ural, Ö. Berber, F. Uz Sönmez (ed.), çev. Dr. Enver Orhan, YEM Yayınevi, İstanbul, 2008, s. 40-57.
Riegl, A., Le culte moderne des monuments : son essence et sa genèse, Alm. çeviren Daniel Wieczorek, önsöz Françoise Choay, Ed. du Seuil, Paris, 1984, 123 s.
Tricaud, P. M., Conservation et transformation du patrimoine vivant : étude des conditions de préservation des valeurs des patrimoines évolutifs, Thèse de doctorat, yön. Thierry Paquot, Université Paris-Est, 2010, 252 s. http://www.dictionaryofarthistorians.org/riegla.htm
F. Choay, Allégorie du patrimoine, Ed. du Seuil, Paris, 1992, s. 131, 159. A. Riegl, a.g.e, s. 17.
Aloïs Riegl, tarihi eseri modern toplumun bir meselesi, gelecek kuşaklar için üzerinde düşünülmesi gereken bir anahtar sorun olarak da görür.