Miroslav Tyrš – estetik, historik umění a „památkář“

Stránky	61–72
Citace	MATÚŠEK, Miloš . Miroslav Tyrš – estetik, historik umění a „památkář“. Časopis Národního muzea. Řada historická. Praha: Národní muzeum, 2013, 182(1-2), 61–72. ISSN 1214-0627. Dostupné také z: https://publikace.nm.cz/periodicke-publikace/anrhmah/182-1-2/miroslav-tyrs-estetik-historik-umeni-a-pamatkar

Časopis Národního muzea. Řada historická | 2013/182/1-2

Although Tyrš was not deeply involved in the theory or practice of conservation, he did delve into a number of fields which relate to conservation. The paper points to Tyrš’s theory of convergence, inspired by Hippolyte Taine, who lies behind Tyrš’s solution to issues on the completion of historical architecture, or more general issues whether, or how, to creatively build on the ‘idea’ embodied in an artwork. Tyrš was a student of Herbatian aestheticist, Robert Zimmermann who worked on Tyrš’s formulation for general aesthetic principles and influenced his interpretation method and analyses of form construction of artworks. It points to Tyrš’s inspiration in Ancient Greece, which stood at the beginnings of his relation to physical education (kalokagathia), and also triggered his interest in Ancient arts. His deep relation to antiquity fundamentally helped create Tyrš’s clear preference for Renaissance Revival architecture, which in its specific national form (Czech Renaissance) he recommended as the most appropriate alternative for new buildings in a national historical location.

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