伦理与法学的边界——从“来源研究”看“文化归还”的现实  

Boundary Between Ethics and Law:Reality of "Cultural Restitution" from the Perspective of "Provenance Research"

作　　者：沈森 Shen Sen(School of Arts and Humanities,Guangzhou Academy of Fine Arts)

机构地区：[1]广州美术学院艺术与人文学院

出　　处：《美术》2024年第8期64-69,共6页Art Magazine

基　　金：广州美术学院2023年度项目库科研项目《美术馆跨学科发展与新美术馆学研究》(项目编号:23XSC67)的阶段性研究成果。

摘　　要：在国际社会对“文化归还”工作的持续推进下,“被劫掠艺术品”是一个复杂而充满争议的文化议题,也持续激发着艺术博物馆学领域围绕机构的“去殖民化”讨论。本文以2013年“古利特事件”为引,考察德国艺术博物馆在21世纪重新审视被劫掠艺术品议题的缘起和经过,梳理关于艺术财产归还问题的多方辩论及相关行动。在法律法规和道德准则无法完全弥合的背景下,通过德国艺术博物馆界藏品审查和来源研究的阶段经验,呈现博物馆界从西方中心主义的叙事权威到对藏品溯源的态度转变,并讨论博物馆如何以符合道德和伦理的标准来促进“文化平等”与“文化正义”,并在文化艺术品追索问题上提供理论研究的可能。As the international community continues to promote "cultural restitution",the complex and controversial cultural issue-"looted artworks"-stimulates discussion on institutional"decolonization"in the field of art museology.Based on the Gurlitt case in 2013,this article reviews the cause and process of German art museums reexamining the issue of looted artworks in the 21st Century,and examines multi-party debates and relevant actions concerning the return of art property.As laws,regulations and moral norms cannot be completely bridged,this article presents,based on collection examination carried out by German art museums and their experience of provenance research,the change of attitudes from west-centered narrative authority to collection tracing.It discusses how museums promote"cultural equality"and"cultural justice"while following moral and ethical standards and provides possible theoretical research on tracing cultural artworks.

关 键 词：来源研究 被劫掠艺术品 文化归还 新美术馆学 

分 类 号：B82-05[哲学宗教—伦理学] J114[艺术—艺术理论] K86[历史地理—考古学及博物馆学] D90-052[历史地理—历史学]