Abstract

Modern conservation was formed under the influence of two approaches, ‘stylistic restoration’ and ‘conservation’ as pioneered by Eugène Viollet-le-Duc and John Ruskin, respectively. In Iran, due to the prevalence of both modernity and nationalism at the beginning of the twentieth century, a period of extensive restoration of historic buildings was begun. The aim of this study is to identify the implicit principles of that restoration, and it is argued that it had its own characteristics due to the unfamiliarity in Iran with European approaches to conservation. Case studies were used to provide data for analysis to identify the principles and themes guiding the restoration. These included effecting the ‘perfection or completeness of the architectural work’, ‘decoration and beautification’, ‘harmony’, and restoration that exemplified ‘traditional art’ and ‘traditional proficiency’, all of which indicate a similarity with the characteristics of ‘stylistic restoration’, the purpose of which, according to Viollet-le-Duc, was to reinstate a building in a complete and ideal condition. This approach is interpreted as being in accordance with the prevalence of nationalism both in Europe and Iran, but where modern principles such as readability and minimal intervention were disregarded in the Iranian approach to such restorations.

摘要

现代保护是在两种方法的影响下形成的，这两种方法分别由 Eugène Viollet-le-Duc 和 John Ruskin 开创的“风格修复”和“保护”。在伊朗，由于二十世纪初现代性和民族主义的盛行，开始了对历史建筑进行大规模修复的时期。这项研究的目的是确定该恢复的隐含原则，并且有人认为，由于伊朗不熟悉欧洲的保护方法，它具有自己的特点。案例研究用于提供分析数据，以确定指导恢复的原则和主题。这些包括影响“建筑作品的完美或完整性”、“装饰和美化”、“和谐”、以及体现“传统艺术”和“传统能力”的修复，所有这些都表明与“风格修复”的特征相似，根据 Viollet-le-Duc 的说法，其目的是在完整的情况下恢复建筑物和理想状态。这种方法被解释为符合欧洲和伊朗盛行的民族主义，但伊朗对此类修复的方法忽略了可读性和最小干预等现代原则。