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<p>[QUOTE="2manybooks, post: 9508082, member: 8267"]The linked article by Byung-Chul Han (above) provides a fascinating insight into this completely different view of material stuff. I encourage folks to read the whole thing. We who are raised in the western tradition of individuality and creativity, (not to mention the "sacredness" of the "original", even if fragmentary), may disagree but it is a view to be aware of. It certainly explains all of the anachronistic dynasty marks on Chinese ceramics, for example.</p><p><br /></p><p>If you produce/reproduce the same thing for 1000 years, you can get really good at it -</p><p><br /></p><p> "The Ise Grand Shrine, the supreme Shinto sanctuary located on Honshu island, is 1,300 years old for the millions of Japanese people who go there on pilgrimage every year. But in reality this temple complex is completely rebuilt from scratch every 20 years.</p><p> This religious practice is so alien to Western art historians that, after heated debates, UNESCO removed this Shinto temple from the list of World Heritage sites. For the experts at UNESCO, the shrine is 20 years old at most. In this case, which is the original and which the copy?</p><p> In a culture where continual reproduction represents a technique for conservation and preservation, replicas are anything but mere copies</p><p> This is a total inversion of the relationship between original and copy. Or the difference between original and copy vanishes altogether. Instead of a difference between original and copy, there appears a difference between old and new. We could even say that the copy is more original than the original, or the copy is closer to the original than the original, for the older the building becomes, the further it is from its original state. A reproduction would restore it, as it were, to its ‘original state’, especially since it is not linked to a particular artist."[/QUOTE]</p><p><br /></p>
[QUOTE="2manybooks, post: 9508082, member: 8267"]The linked article by Byung-Chul Han (above) provides a fascinating insight into this completely different view of material stuff. I encourage folks to read the whole thing. We who are raised in the western tradition of individuality and creativity, (not to mention the "sacredness" of the "original", even if fragmentary), may disagree but it is a view to be aware of. It certainly explains all of the anachronistic dynasty marks on Chinese ceramics, for example. If you produce/reproduce the same thing for 1000 years, you can get really good at it - "The Ise Grand Shrine, the supreme Shinto sanctuary located on Honshu island, is 1,300 years old for the millions of Japanese people who go there on pilgrimage every year. But in reality this temple complex is completely rebuilt from scratch every 20 years. This religious practice is so alien to Western art historians that, after heated debates, UNESCO removed this Shinto temple from the list of World Heritage sites. For the experts at UNESCO, the shrine is 20 years old at most. In this case, which is the original and which the copy? In a culture where continual reproduction represents a technique for conservation and preservation, replicas are anything but mere copies This is a total inversion of the relationship between original and copy. Or the difference between original and copy vanishes altogether. Instead of a difference between original and copy, there appears a difference between old and new. We could even say that the copy is more original than the original, or the copy is closer to the original than the original, for the older the building becomes, the further it is from its original state. A reproduction would restore it, as it were, to its ‘original state’, especially since it is not linked to a particular artist."[/QUOTE]
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