Frances to list members... This topic on artistic treasures was originally seen by me as being of peripheral concern to a theory of architecture, which it very well likely is, but its scope clearly exceeds this field alone, therefore a new subject altogether is here proposed.
Aesthetic objects can be natural or cultural to include social or institutional, and then as social they can be theistic or artistic. Artistic objects can further be personal or familial or tribal or colonial or national. Artistic objects that are especially valued will often warrant being conferred with the status of artistic treasures. If the artistic object is an architectural work, then the artistic treasure might also be called a heritage site. If by some recognized authority in society certain expert artists and agreed artworks were legislated by national bodies as cultural treasures in the interests of mainly art, then such objects would presumably be protected and their use limited. They could not without official approval be at least for example exported or destroyed or modified or disposed or taxed. Their sale for private profit and their storage from public access would also be curtailed. Issues turning on copyright and trademark and ownership, as well as human rights and civil liberties and constitutional protections, would of course need to be resolved, to the satisfaction of the public good. The role of capitalism must therein be kept at bay to reduce its negative impact on the objects of art, and for that matter on the objects of tech and science and philosophy and religion. It would likely fall to the collective community of learned experts within the art world who by a consensus of opinion would agree on what might be eligible as an artistic treasure. Those extraordinary objects subsequently deemed as lofty works of fine art could include those that are visual and aural and verbal. This inclusion might also entail other works of liberal art and applied art. The exclusion of ineligible candidates would however tend to relegate them as some other kind of art, and push them to the margins of the art world. My understanding is that this dubbing of artistic treasures has been attempted in several countries with various degrees of success. The good treatment of artworks is a welcome goal and result, yet the scheme tends to be somewhat questionable.
