Reflections on Forgery in the Context of Art Institutions

Abstract

Abstract: In the world of art, the forgery has generally been considered inferior to the original. Through a thought experiment comparing a perfect fake with the original which cannot be differentiated in appearance, it is revealed that they are alike just in external aesthetic features, but for the intrinsic aesthetic values, the differences are tremendous. The forgery is void of two essential properties of art: the authenticity which emphasizes the uniqueness of the artwork, the originality which focuses on the creative process. As a historical concept, the idea of forgery is established along with the development of the institutions of art. Consequently, both authenticity and originality are not intrinsic requirements of the artwork itself, but measures by which art institutions take to dispel forgery.

Key words: forgery, aesthetic aalue, authenticity, originality, institutions of art

Li Sujun. Reflections on Forgery in the Context of Art Institutions[J]. Theoretical Studies in Literature and Art, 2016, 36(5): 210-216.

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(1)以马忤斯的晚餐在西方宗教画里是一个常见题材,讲述的是复活后的基督和门徒在以马忤斯相遇,并共进晚餐的故事。卡拉瓦乔和伦勃朗都创作过这个题材的画作。研究者对米格伦的这幅作品的命名不尽相同,大致有《以马忤斯的重逢》(Meeting at Emmaus)、《以马忤斯的门徒》(Disciples at Emmaas)、《基督在以马忤斯》(Christ at Emmaus),以及本文所用的《以马忤斯的晚餐》(The Supper at Emmaus)。
(2)本文在最普遍的意义上使用艺术体制这个概念,即艺术是独立于其他社会体制的一个子系统,它不仅包括艺术生产性和分配性的机构,如艺术学校、博物馆、画廊等,也涵盖流行于特定的时期的、决定着艺术创作、接受和欣赏的观念和思想。
(3)克里斯特勒在《现代艺术体系》一文中,指出“艺术”或“美的艺术”通常指的仅是视觉艺术,但是从广义上说,“艺术”包括五种主要的形式:绘画、雕塑、建筑、音乐和诗歌。参见"The Modem System of the Arts:A Study in the History of Aesthetics".Journal of the History of Ideas,Vol.12,No.4(Oct.,1951).本文所辨析的主题为艺术赝品,使用的“艺术”概念是狭义上的,即指视觉艺术,主要以绘画为主。
(4)参见Sandor Radnoti,The Fake:Forgery and Its Place in Art,trans.Ervin Dunai,Rowman&Littlefield Publishers,1999,47.
(5)参见Paul Oscar Kristeller."The Modem System of the Arts:A Study in the History of Aesthetics",Journal of the History of Ideas 12.4(1951):497.

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