Perduodamos iš kartos į kartą: Lazdijų magdeburginių teisių privilegijos : išlikimo istorija ir restauravimas
LTReikšminiai žodžiai: Alytaus kraštotyros muziejus; Atviras kūrinys; Jonas Reitelaitis; Konservavimo procesas; Kultūros paveldas; Lazdijai; Magdeburginės privilegijos; Magdeburgo privilegija; Restauravimas; Cultural heritage; Jonas Reitelaitis; Lazdijai; Magdeburg privileges; Open artwork; Process of conservation; Restoration; The Alytus regional museum.
ENMuseums are the main fosterers and creators of local communities self-awareness. This historical self-awareness is frequently supplemented and its new significances created from the new data retrieved by investigators and local enthusiasts. One of the cases of creating local historical self-awareness are the extant five Magdeburg privileges of Lazdijai town. It could be stated that they were restored for the second life when in 2005 the poor condition of these privileges was identified, and the Alytus Regional Museum handed them over to P. Gudynas Restoration Centre. The extant Magdeburg privileges of Lazdijai are unique and exceptional. The following two aspects reveal the uniqueness of the mentioned privileges. First, the factor of survival. None of the towns except Lazdijai managed to preserve all privileges. Second, the place of storage. The Lazdijai privileges are stored in a nearby town Alytus; while the privileges of other Lithuanian towns were scattered and stored in the archives of Vilnius, Warsaw and Krakow. In 1921 historian Jonas Gutauskas mentioned that the parchments deteriorated, and their texts in places unreadable, and the text of Vladislovas Vaza confirmation privilege of 1636 was lost and almost illegible. We faced extremely severe damages of the parchment surface and structure: dirt, impurities on the surface and deeply penetrated between fibres, a lot of different stains, rust deposits and holes, mechanical damages, tears, huge deformations, hydrolysis of the parchment impacted by moisture and microorganisms; traces of previous restorations.We had to solve restoration as the whole medium and functionality problem, destruction of the text ink and legibility problems, conservation and exhibition dilemma. Therefore, strictly defined aesthetical principles practically do not exist and most solutions are based on postmodern aesthetics that legalized a lot of restoration methods. Recently, in book and paper conservation, we implement the so-called concept of environmental aesthetics. Restoration methods born in this trend cover both the object itself and its social, cultural, psychological environment and relations to treat historical objects within the context of their surroundings and social conservation goals. The conservation process not only interprets the work of art, but also creates a potential to translate it in the future. It creates opera aperta for future experiences, and also gives a chance to a number of successive interpretations for prospective conservations. [From the publication]
