托福official61听力lecture3 To present opposing viewpoints about art restoration原文解析+翻译音频

[00:00.00]Listen to part of a lecture in an art history class.
[00:04.45]Professor: Now, unfortunately works of art don’t last forever. [00:09.29]The question is, what do we do about that? [00:12.05]I mean when you’re going to restore art, well, there’s question, isn’t there? [00:16.68]On the one hand, we want to repair the work. [00:19.42]We want to replace a sculpture missing arm, for example, or make the colors of a painting that’s faded and changed over time. [00:26.74]We want to put it back like it was, we want to restore it, make it whole again, perhaps even improve it. [00:34.05]But on the other hand, we want to preserve the authentic remains. [00:38.26]We don’t want to change it. We want it pure, true. [00:42.53]And the history of restoration practices reflects this struggle. [00:47.32]During European Renaissance, the 16th and 17th centuries, the discovery of antiquities, ancient works of art was at all time high and so was restoration. [00:59.14]But even then, there was this debate. [01:02.13]On the one hand, and this is the school of thought that is perhaps best represented by the Italian sculptor Benvenuto Cellini. [01:10.26]Anyway, for Cellini, the goal was repair and not only repair. [01:16.76]Cellini and others considered it their artistic prerogative to use ancient material as both a model of inspiration and as a source of raw material, many, they took a lot of fragments and combine them into complete sculptures.
[01:34.83]Male student: But how did they know what the complete sculpture looked like if all they had was a fragment?
[01:40.80]Professor: Well, that’s just it, they didn’t, and it didn’t matter. [01:45.39]They just created parts as they thought it. [01:48.93]Sometimes they’d combine fragments, put together an arm from here, a leg from there.
[01:55.45]Male student: You mean from different sculptures?
[01:57.18]Professor: Sometimes even from different time periods. [02:00.29]Take for example of the so-called Bateman statue of Mercury. [02:05.06]The Bateman statue of Mercury at the Los Angels county museum of art is just such a pastiche, the head isn’t from the same sculpture as the body, and the legs as well as the base were made by the restore.
[02:19.26]Male student: But that’s hardly restoration. That’s just well, creation, I guess. [02:25.41]They are just making their own sculpture out of recycled parts.
[02:29.27]Female student: Well, but what’s wrong with that? I mean, why not reuse the broken bits?
[02:34.38]Male student: Well, isn’t it a bit of a lie? [02:36.24]I mean, especially if they present the restored work as the original as restored art rather than created art, it’s a matter of what’s authentic and what’s not. [02:45.78]And don’t you think it’s a little disrespectful to use famous bits as raw material?
[02:50.35]Professor: You know I remember Cellini being quoted as saying, quote: the excellence of this great artist calls me to serve him, end quote. [03:01.01]And then he proceeded to serve him by creating from just a torso, a whole brand-new sculpture. [03:09.07]Of course, the main the major criticism of that kind of restoration is that it imposes the contemporary aesthetic on the original work. [03:19.83]The person doing the so-called restoration is no doubt influenced by the fashions and tastes of the day. [03:26.66]Remember they often thought of themselves as improving the work. [03:30.60]Now on the other hand, in contrast to Cellini, were Michelangelo and company, those who thought the goal was simply preservation. [03:40.73]Michelangelo believed ancient fragments should be left alone preserved as is. [03:47.22]If it’s just a torso, leave it is just the torso, as the original work. [03:53.20]His view some say shows a far greater respect for the original art.
[03:58.71]Female student: Yeah, well Cellini probably thought he was helping the original artist by completing perhaps even improving the original.
[04:07.00]Professor: Perhaps.
[04:08.00]Male student: Arrogance is more like it.
[04:09.36]Professor: OK OK, now later though in the 18th century, we are talking a couple of centuries after the renaissance, restores who worked in the Cellini model were criticized in just the ways you’ve suggested. [04:23.68]They were accused of disregarding the value of ancient material and of self-aggrandizement of using restoration to advance their own careers. [04:33.49]And so restores started to incorporate attention to historical accuracy into their efforts. [04:40.57]The field of restoration started to become more of a science than an art. [04:45.09]Though of course art was still central, but those who engaged in restoration now were not so much artists as they were historians. [04:54.41]That shift may be one of the most important moments defining the development of restoration. [05:00.41]The goal changed from artistic invention to authenticity, from restoration to preservation.
[05:09.10]Male student: Michelangelo would have been happy with that shift.
[05:11.70]Professor: Yes, I think he would have.