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Authenticity in art has a variety of meanings related to different ways in which a work of art or an artistic performance may be considered authentic. Denis Dutton distinguishes between ''nominal authenticity'' and ''expressive authenticity''. The first refers to the correct identification of the author of a work of art, to how closely a performance of a play or piece of music conforms to the author's intention, or to how closely a work of art conforms to an artistic tradition. The second sense refers to how much the work possesses original or inherent authority, how much sincerity, genuineness of expression, and moral passion the artist or performer puts into the work. A quite different concern is the authenticity of the experience, which may be impossible to achieve. A modern visitor to a museum may not only see an object in a very different context from that which the artist intended, but may be unable to understand important aspects of the work. The authentic experience may be impossible to recapture. Authenticity is a requirement for inscription upon the UNESCO World Heritage List. According to the ''Nara Document on Authenticity'', it can be expressed through 'form and design; materials and substance; use and function; traditions and techniques; location and setting; spirit and feeling; and other internal and external factors.' ==Authenticity of provenance== Authenticity of provenance means that the origin or authorship of a work of art has been correctly identified. As Lionel Trilling points out in his 1972 book ''Sincerity and Authenticity'', the question of authenticity of provenance has acquired a profoundly moral dimension. Regardless of the appearance of the object or the quality of workmanship, there is great importance in knowing whether a vase is a genuine Ming vase or just a clever forgery. This intense interest in authenticity is relatively recent and is largely confined to the western world. In the medieval period, and in countries such as modern Thailand, there was or is little interest in the identity of the artist. The case of Han van Meegeren is well known. After failing to succeed as an artist in his own right, he turned to creating fake Vermeer paintings. These were accepted as genuine by experts and acclaimed as masterpieces. After being arrested for selling national treasures to the Germans, he caused a sensation when he publicly demonstrated that he was the artist. To guard against forgeries like this, a certificate of authenticity may be used to prove that a work of art is authentic. But there is a sizable market in fake certificates. The financial importance of authenticity may bias collectors to acquiring recent works of art where provenance can more easily be proven, perhaps even by a statement from the artist. For older works, an increasingly sophisticated array of forensic techniques may be deployed to establish authenticity of provenance. The philosopher Nelson Goodman discusses at length the question raised by Aline B. Saarinen: "If a fake is so expert that even after the most thorough and trustworthy examination its authenticity is still open to doubt, is it or is it not as satisfactory a work of art as if it were unequivocally genuine?" Goodman concludes that the question is academic, since there must be some way to distinguish a forgery from the original, and once the forgery is known for what it is, that knowledge alters the perception of value. However, Arthur Koestler in ''The Act of Creation'' answers that if a forgery fits into an artist's body of work and produces the same kind of aesthetic pleasure as other works by that artist, there is no reason to exclude it from a museum. The question of the value of a forgery may be irrelevant to a curator, since they are concerned only with the provenance of the work and not with its artistic merit. Even for the curator, in many cases provenance is a matter of probabilities rather than a certainty - absolute proof is not possible. But once a forgery has been exposed, no matter how highly the work was praised when it was thought to be "authentic" there is rarely any interest in evaluating the work on its own merit. Reproduction is inherent to some forms of art. In Medieval Europe, an artist might create a drawing which was used by another craftsman to create a woodcut block. The drawing was usually destroyed in the block-cutting process, and the block was thrown away when it became worn out. The copies printed from the block are all that remain of the work. In a 1936 essay, Walter Benjamin discussed the new media of photography and film, in which the work of art can be reproduced many times with no one version being the authentic "original". He linked this shift from authentic objects to broadly accessible mass media with a transformation in the function of art from ritual to politics. Modern art may raise new issues of authenticity of provenance. For example, the artist Duane Hanson instructed the conservators of his 1971 sculpture ''Sunbather'' to feel free to replace elements such as the bathing cap or swimsuit if they became faded. As Julian H. Scaff points out, the computer and the internet further confuse the issue of authenticity of provenance, since a digital work of art may exist in thousands or millions of identical versions, and in variants where there is no way to determine the original version or even the author. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Authenticity in art」の詳細全文を読む スポンサード リンク
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