中國重慶大足石刻：對一個世界遺產(chǎn)地保護問題的個人經(jīng)歷和嚴格評估

ERNESTO Borrelli（國際文物保護與修復研究中心，羅馬 意大利）

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中國重慶大足石刻：對一個世界遺產(chǎn)地保護問題的個人經(jīng)歷和嚴格評估

ERNESTO Borrelli
（國際文物保護與修復研究中心，羅馬 意大利）

摘 要：大足石刻位于重慶市，是一處具有重要宗教及歷史價值的世界遺產(chǎn)地。大足石刻同云岡石窟、龍門石窟一起構(gòu)成了中國特有的、表現(xiàn)形式極為豐富的文化形式之一，但同時也是保護上最具挑戰(zhàn)的文化遺產(chǎn)之一。文章對該遺產(chǎn)地的問題提供了嚴格的評估，從現(xiàn)狀維護、科技研究、環(huán)境及地質(zhì)幾個角度回顧大足石刻過去、現(xiàn)今的保護措施。文章的特點是科學的，但更是一位西方觀察者、保護者面對中國文化遺產(chǎn)時所經(jīng)歷的一個專業(yè)的、令人著迷的經(jīng)歷的故事。

本文在參考《中國日記》的基礎上做了進一步調(diào)查，該書的著者切薩雷·布蘭迪曾寫作聞名世界的《文物修復理論》，并于1939年創(chuàng)立了意大利文化遺產(chǎn)保護修復協(xié)會。

關(guān)鍵詞：中國；大足石刻；保護；世界遺產(chǎn)地

1　Introduction

The first time I became aware of these enormous Buddhist statues carved out of the rock was while reading the description by the art historian Cesare Brandi1 who，after visiting several of themost important Chinese cultural sites at the invitation of theministry of Culture of the People's Republic of China in the 1980s，included an interesting chapter in his publication“The Chinese Diary”①Cesare Brandi（1906—1988）founded and directed the Istituto Centrale per il Restauro（1939—1961）.on the Yungang Grottoes.Unfortunately I had not had the opportunity of visiting the Yungang Grottoes that Brandi describes as being“ofmysterious solemnity”but after reading his diary when I first joined the Institute Istituto Centrale per il Restauro in Rome，I would never have imagined that years later，first in 2006 and subsequently in 2008（under the auspices of the Italianministry of Foreign Affairs），I would be invited to China to collaborate on a project to set up a“Stonemonuments Conservation Centre”at the sites of Longmen on the banks of the River Yi to the south of the ancient capital of Luoyang in Henan Province，and at Dazu in Sichuan province（Chongqingmunicipality）:two sites on the World Heritage List whosemajestic rock carvings are as impressive as those of the Yungang Grottoes②Zhou Hua，（2013），“Evaluation of surface cleaning technology for Yun gang Grottos”，in Science ofConservation and Archaeology，Vol.25，March，Shanghai.near the city of Datong in the province of Shanxi.

I had already been to China twice，but in both cases it involved a brief stop in Beijing，in transit，however it was sufficiently long enough to instil inme the desire to return in the not too distant future.My journeys to China now number almost ten，for relatively long periods and to different areas，but with every departuremy feelings always remain constant:“……and yet this life touches your heart:you will remember it forever，you will have lived outside your time in your time，as if it were an enclave，almost like in a setting for a film，and instead it has been your real life”③Brandi C.，op.cit.，pag.5..

I find that these words that Cesare Brandi wrote in his diary，reflectmore than anythingmymemories of“Chinese journeys”.

2　The site

I arrived at Dazu in the spring of 2006 by virtue ofmy experience in the conservation of ancientmonumental works.Before leaving I had acquired some historical data from various publications on China and from the appropriate WHC（Word Heritage Center-UNESCO）web page，having only vague and limited notions of Taoist and Buddhist doctrine and their representations，and likewise of Confucianism:diverse religious sentiments and spirituality that I was able to become acquainted with（later and never enough），literally exploring those immensemajestic carved rock walls.

On arriving at Dazu，we were received by the local authorities and Chinese experts in conservation of cultural heritage with great ceremony.At the entrance to the Artmuseum of Dazu Rock Carving，we were pleasantly surprised to find a banner welcoming the Italian and Chinese experts for the project to set up the Dazu Stonemonument Conservation Center.There we were immediately invited to an introductorymeeting in which the terms for the Italy-China cooperation programme were clarified for the establishment of a centre aimed at performing actions to safeguard the site through a continuing process of scientific studies，and conservation and restoration works.

In order to better understand what was being discussed we were taken on a guidedtour inside the site and introduced to the history and significance of the rock carvings with a wealth of detail and explanations.My amazement at themagnificence of those carvings accompaniedme for the entire visit.How can one not remain astonished when confronted with the figures of the“nine protectors of the law”（Fig.1）Dharmapalas or that of the“Sleeping Buddha”（Fig.2）.

Fig.1　Dharmaplas

Fig.2　Sleeping Buddha

How can one not be surprised to find somany similarities with our culture such as the allegorical representations of“filial piety”or even“parental love”，but the image that leftme truly astounded was the one that I beheld in the presence of the goddess Guanyin，（Fig.3 and Fig.4）the divinity with the thousand golden hands outstretched to receive the requests of devotees④Dazu Rock Carvings of China（1991），Dazu Rock Carvingsmuseum in Chongqing，Publisher Wan Li Book Co..

Fig.3　The guanyin

Fig.4　Detail of The guanyin

Obviously on that particular site the planning of a highly scientific specialist centre，such as the one we had been asked to contribute towards，could not have any other objective than that of setting up a whole series of studies and activities aimed at recovering and safeguarding themagnificent sculpted heritage that we encounter along the rock walls of the Dazu site.

3　Conservation Problems

At the time ofmy visit，however，my astonishment was accompanied by serious concerns regarding the evident signs of alteration and deterioration clearly visible onmany sculpted surfaces.

My task on that occasion involved the provision of technical expertise for the setting up of a scientific restoration laboratory，but clearly this assignment would also have to be based on other considerations linked strictly to the general context of the site and its conservation and environmental conditions.It was，in fact，necessary to take note of every visible conservation problem，though only from a simple visual inspection.In this way I was able to ascertain at close quarters，the problem of the swelling and loss of the gold leaf on the hands of the Guanyin（but generally onmost of the golden surface）.Other forms of deterioration weremore easily evident to the naked eye:the growth of calcareous concretions；the loss of substantial pieces of the carvings（as on the faces of some of the nine Dharmapalas Fig.5）；the loss of polychrome layers；the formation of salt efflorescences（Fig.6），particularly in the area of the Sleeping Buddha；or the evident biological growth over the extensive damp surfaces as well as a widespread presence of vegetation.

Fig.5　Loss ofmaterial

Fig.6　Formation of salt

efflorescences The analogy with this extract again recorded by Cesare Brandi in his Diario with reference to the bas-reliefs of Yungang is curious:“The winds have caused evenmore damage andmany of the wall carvings are corroded:you can also see an attempt at restoration that-as often happens-has donemore harm than good”.And strangely it continues:“Under the Qing dynasty，in fact，the grottoes were taken care of and they tried to restore them under the illusion that they could replace themissing parts，and for this reason they were peppered with large holes in order to apply a fillingmaterial，a thick plaster，I imagine.The plaster has disappeared and the holes remain”⑤Brandi C.，op.cit.pag.60..

It would not be incautious to think that the carved surfaces with evident losses of parts of the rock that show clear evidence of holes also present at Dazumay well be the same as those observed and recorded in detail by Brandi.In this case I refer，in particular，to one of the figures under the“flute player”or to the ensemble of figures of the“ritual site of buffaloes”（Fig.7 and Fig.8）.

Fig.7　Ritual site of buffaloes（evidence of biological growth）

Fig.8　Detail of the holes in the rock

During that visit the necessity for a programme of intervention that would embrace works of extreme urgency，maintenance，restoration and conservation soon became apparent，but the task that I emphasised asmore urgent than anything else was that of analysing the hydrodynamic conditions of the whole cliff:a study of the soil and the effectivemanagement of the flow of water，both on the surface and from rainfall.With regard to this，it is extremely interesting to read what is written in the text drawn up in 1998 for the registration of the site in the Unesco World Heritage List in the chapter relating to“key indicators formeasuring state of conservation”in which the following extract comes under the title of“Permeation”:“Permeation has occurredmainly in the niches of carvings at Beishan and Boadingshan.Although numerous projects have been launched since 1950s to improve them and good results have been achieved，permeation is still very serious due to the complicated structure and crisscrossing crevices of the rocks of some niches.We plan to complete improvement of these niches by stages in about 10 years”⑥World Heritage Convention（1998），nomination of cultural heritage:Dazu rock carvings，Beijing，China:StateBureau of Cultural Relics，“key indicators formeasuring state of conservation”..

In other words，before embarking on any recovery or restoration work，it would be necessary to devise amanagement plan for the site as a whole or，what in technical terms would be defined also in this case as an extensive programme of“preventive conservation”.Some interventions of this nature appear to have been implemented for the Longmen site in 2010 according to a project published by Zhang Bing-feng，which refers to the rock structure of the Qianxi temple where in fact they conducted exploratory geophysical investigations to define themechanisms and damage due to the effects of water⑦Zhang Bing-feng（2010），“Analysis of Quianxi temple's rock body structure，Longmen Grottoes，Henan province”，in Science of Conservation and Archaeology，Vol.22，Nov.，Shanghai..

It is known that the phenomena of the formation of calcareous concretions，especially in caves（Fig.9），or of the freeze-thaw action of water result in disruptivemechanical actions in rockmaterials and the destructive action due to the crystallisation of salts is strictly linked to the spread of damp fronts and water evaporation cycles.It is also known that biological growth and its consequent disfiguring action of painted surfaces is particularly fertile in damp environments；and likewise the growth of vegetation.If we direct our attention on phenomena that regard the above-mentioned carved surfaces，it is not difficult to be persuaded that themost serious problem to address in sites such as that ofDazu，as in any other hypogean environment，is that ofmanaging as far as possible the hydrogeological features of the surrounding environment?。‵ig.10）

Fig.9　Formation of calcareous concretions

Fig.10　The surrounding environment

The above listed observations correspond to those recorded also in works published in 2011 by experts from the Chinese Academy of Cultural Heritage（CACH），Beijing，such as Yuan Hu et alii in“The Deteriorationmechanism Study for sandstone of Avalokitesvara Sculptures on the Dazu Rock Carvings”⑧“Sustainability of traditional constructionmaterials inmodern society”（2011）Geophysical Research Abstracts Vol.13，EGU2011-5360.from which this extract has been taken.

“The Sculpture has been seriously decayed in the past 800 years.Now it is in very dangerous condition.Because better understanding of the deterioration processes andmechanism could help tomake preventivemeasures and remedial treatments，investigation and survey has been done since 2002.Micro-environmentmonitoring was also carried out in 2006.Themain types of sandstone deterioration and its distribution were studied.Themain deterioration is powdering which occurs not only on the surface but also inside the sandstone.It is found that the sandstone is less decayed on the area covered by gold leaf than that painted with pigments and the deterioration condition of the lower part and the upper part is different on the cliff”

4　The Remedial

It will not pass unnoticed thatmy observations refer to the period ofmy last visit to Dazu that dates back to summer 2008 and is therefore too long ago for them to be of use；nevertheless they are still valid.And it was precisely in 2008 that a booklet⑨A preliminary study on rescue conservation project of the statue of Avalokitesyara Bodhisattva in Da Zu rock carvings（2008）.was published which，among other things，mentions a“detailed investigation on geotechnical engineering geology and study onmonitoring and analysis on condensation water”followed by an international symposium in 2009 by the Academy of Dazu Rock Carvings（although skimming through the proceedings of this event it is apparent in this case that all the attention was focused exclusively on subjects of an iconographic nature⑩Proceedings of the International Symposium on Dazu rock carvings，Chongqing（2009），Academy of Dazu Rock carvings--A series of Dazu Studies，2012 ［Chongqing］.）.Fortunately thanks to other works published it is evident thatmany positive events have occurred in these years！ Proof of this is another article published in 2011“Rescue Conservation and Restoration Project of the Statue of Avalokitesvara Bodhisattva in Dazu Rock Carvings”（11）Sharing Conservation，Several approaches to the conservation of artmade with differentmaterials.Atti del convegno（2011），a cura di Stefania Pandozy.Edizionimusei Vaticani Città del Vaticano.，on the occasion of the International Conference Sharing Conservation organised by the Vaticanmuseums from which this significant extract was taken:“……Avalokitesvara that ismainlymade from sandstone，plaster，painting，andgold foil，is suffering from severe irreversible weathering caused by various natural and human factors.This processing is accelerating in recent years……In order to better conserve the statue of Avalokitesvara Bodhisattva，Chinese Academy of Cultural Heritage，……h(huán)as invited Dunhuang Academy，Peking University，China University of Geosciences，and Tsinghua University to carry out joint scientific research，……Technicians havemade system survey on preservation condition of statue of Avalokitesvara Bodhisattva since June，2008:they adopted griddingmethods tomakemanual and computer drafting and summary of thousand hands and faqi one by one，to systematically comprehend diseases conditions of bed rocks，gold foils and colored paintings；then they organized amultidisciplinary team composing of hydrology，geology，environment，chemistry，physics，and biology，to discuss working plans，detail research content……”

Personally I cannot help but feel gratified when I read the last line（underlined above）of this extract that bears close similarities to the observations I was able tomake duringmy surveys and to which I have previously referred.Although very recent works such as that published with the article“Application of portable X-Ray Radiography to assess the weathering condition of the

Avalokitesvara Sculpture in Dazu rock carvings”（12）Zhou Hua.（2012），in Science of Conservation and Archaeology，Vol 24，Nov.，Shanghai.，also of considerable scientific importance，indicate a constant effort to preserve the cultural patrimony of Dazu or that of the cult of Guanyin.

5　Conclusion

The works reported alwaysmention on each occasion actions aimed at the recovery of one of themost prestigious sculptures of Dazu，namely that of the cult of Guanyin.Now that，lastmay 2015，the restoration was completed and presented to experts and local authorities I am sure，that the attention was not focused on“one part”instead of“the whole”and the announced hydrological，geological，environmental and biological studies have found solutions for the overallmanagement of the site with its numerous and complex conservation problems.I sincerely hope so，for the importance that this site has had and has in Chinese culture，for its universal nature，for thememory of the professional experience，for the work dedicated to it and for its historical significance.

Finally，in order to show a clear sign of how pleasant this experience was，I would like to conclude with a personal note referring once again to the early pages of the already frequentlymentioned“The Chinese Diary”：“the visitor arouses curiosity，of course，and all themore so as you travel south，where they crowd round you，along the street，in the shops，but always smiling…”（13）Brandi C.（1982），op.cit.Pag.6.

The visitor arouses curiosity，of course，and all themore so as you travel south，where they crowd round you，along the street，in the shops，but always smiling…”

1　簡介

我第一次了解到大量石刻佛教造像是在藝術(shù)史學家切薩雷·布蘭迪的描述中，他在20世紀80年代受邀訪問中華人民共和國的多處文化遺產(chǎn)之后撰寫了《中國日記》（The Chinese Diary）①切薩雷·布蘭迪（1906—1988），創(chuàng)建并指導中央修復研究所（1936—1961）。，其中非常有意思的一章是對云岡石窟的描寫。遺憾的是，在我看完他的日記后，直到剛剛加入羅馬的中央修復研究所時，都沒有機會參觀被布蘭迪描述為“神秘莊嚴所在”的云岡石窟。我永遠想不到幾年之后，在2006年和2008年（在意大利外交部的贊助下），我有幸受到中國政府的邀請，合作進行“石質(zhì)文物保護中心”的籌建項目，保護中心將在位于伊河岸邊的洛陽龍門石窟和重慶市大足石刻這兩處世界文化遺產(chǎn)地建立，其精妙莊嚴的石刻與山西大同石窟一樣令人震撼②周華，《云岡石窟表面清理技術(shù)的評估》，《文物保護與考古科學》，3月，上海。。

我去了中國兩次，每次都在北京中轉(zhuǎn)，盡管短暫卻也足以讓我渴望盡快回到這里?，F(xiàn)在我來中國已近10次，去過不同的地方，待過不短的時間，但是每次出發(fā)我的感受始終一樣：

“生活已觸動你的心：你會始終銘記，你將在你的時代中超脫于時代之外，好像電影中的場景，然而它卻是你真實的生活”③切薩雷·布蘭迪，《中國日記》，第3頁。。

我發(fā)現(xiàn)布蘭迪在他的日記當中所寫的正是我對“中國之旅”的記憶。

2　遺址

得益于我在古代石質(zhì)文物上的工作經(jīng)驗，2006年春天我來到大足。在來之前我通過中國各類出版物和WHC（聯(lián)合國教科文組織世界遺產(chǎn)中心）收集了不少歷史數(shù)據(jù)，對道教和佛教的教義和表現(xiàn)方式，以及儒學的情況有了一些初步的認識，了解這些種類繁多的宗教情感，使我（在將來也持續(xù)性地）得以正確認識這些巨大、莊嚴的石刻崖壁。

到達大足之后，當?shù)卣椭袊幕z產(chǎn)保護的專家熱情接待了我們。在大足石刻藝術(shù)博物館門口，我們驚喜地發(fā)現(xiàn)了一幅歡迎意大利和中國專家參與建立大足石刻保護中心的標語。我們馬上被邀請參加一個介紹會，在會上介紹了中心的成立宗旨：通過持續(xù)的科學研究、保存和修復工作對大足石刻進行保護。

為了更好地了解介紹內(nèi)容，大足石刻的管理人員帶我們在遺址內(nèi)部進行了參觀，并詳細地說明了該石刻的歷史和重要性。整個參觀過程，我都被這些石刻的壯麗所震驚。當一個人面對如“九護法”（圖1）或“臥佛”（圖2）這樣的情景時，怎么能不震驚呢。

當看到描寫“孝道”“舐犢之愛”的寓言時，又讓我驚訝于這些寓言與我們文化的相似之處。然而讓我真正感到震撼的是觀音（圖3、圖4）那一千雙外伸的、接受著信徒們的請求的金手。

很顯然，針對特定遺址建立具有高度科學性的專家中心別無其他目的，正如我們參與的這項工作一樣，就是要進行整個系列的研究工作，以修復和保護大足石刻中那些宏偉的雕刻④《中國大足石刻》，大足石刻博物館，重慶出版社，1991年。。

3　保護問題

在參觀過程中，我在震撼同時又伴隨著深深的憂慮，這憂慮來自許多石刻表面明顯的蝕變和劣化痕跡。我當時的任務是，包括為建立科學修復實驗室所進行的必要的技術(shù)支持，然而這項任務的執(zhí)行很明顯也要基于其他的情況考慮，如它的整體情況、它的保存情況和環(huán)境條件等。事實上，有必要記錄所有可見的保護問題，雖然這些僅僅是通過簡單的視覺觀察所獲得的。通過這種方式，我能夠近距離觀察膨脹的問題和千手觀音手部的貼金掉落情況（幾乎所有的貼金表面都出現(xiàn)了這個問題）。還有其他用肉眼就可以輕易地看到的劣化痕跡：鈣質(zhì)結(jié)核的滋生、石刻的剝落（如圖5中一些“九護法”的面部），彩繪層的剝落、鹽霜的形成（圖6），這兩種病害以臥佛所在區(qū)域最為嚴重，還有在大片潮濕表面生物滋生的痕跡和植被的擴散。

布蘭迪在他的日記中所引用云岡淺浮雕的摘錄與大足的情況驚人的類似：

“風帶導致了更為嚴重的侵害，大部分墻上的雕刻都被侵蝕了，你也可以看到嘗試進行的修復——這經(jīng)常發(fā)生，帶來更多是弊而非利。令人奇怪的是這種做法卻一直持續(xù)著，在清代，這些石窟就經(jīng)過處理，他們以為可以恢復缺失的部分，于是在密密麻麻布滿孔洞的上面填充某種厚灰泥。而如今灰泥消失了，孔洞卻留了下來”⑤切薩雷·布蘭迪，《中國日記》，第60頁。。

不難想象，在大足發(fā)現(xiàn)的石刻表面明顯的巖石剝落及洞窟痕跡，也許正是和布蘭迪在云岡所詳細觀察和記錄到的情況是一樣的。這樣的例子在“吹笛人”下面的人物上（圖7）和“牧牛圖”（圖8）中均可見到。

此次參觀明顯反映出有必要進行干預，以提供極度緊急維護、修復和保護工作。我認為重中之重是調(diào)查整個崖壁的水流狀況：研究土壤成分，以及石刻表面和降雨造成的水流的有效管理。關(guān)于這個問題，在1998年大足申報聯(lián)合國教科文組織世界遺產(chǎn)名錄時的文本中有著極有趣味的描寫，以下這段摘錄于“衡量保護狀況的重要指標”一章中的“滲水情況”一節(jié)：“滲水主要發(fā)生在北山和寶頂山的壁龕中，盡管自1950年開始針對這個問題已經(jīng)開展了為數(shù)眾多的項目，并且取得了不錯的效果，但由于部分壁龕中巖體復雜的結(jié)構(gòu)和交叉裂隙，滲水情況仍然十分嚴峻。我們計劃在大約10年內(nèi)按階段完成對這些壁龕的改善工作”⑥世界遺產(chǎn)會議（1998年），文化遺產(chǎn)提名：大足石刻，文物局，“衡量保護狀態(tài)的主要指標”。北京，中國。。

換句話說，在開始任何復原或修復工作之前，有必要設計一個整體性的遺址管理方案，或者用技術(shù)術(shù)語，界定為“預防性保護”的延伸性項目。根據(jù)張兵峰撰寫的項目報告，部分干預措施，曾于2010年在龍門石窟潛溪寺的巖石構(gòu)造調(diào)研中應用過，通過探索式地球物理學調(diào)查用以界定水對石質(zhì)文物的影響機理和破壞⑦張兵峰，《河南洛陽龍門石窟潛溪寺巖體構(gòu)造特征分析研究》，《文物保護與考古科學》，2010年11月，上海。。

眾所周知，鈣質(zhì)結(jié)核的形成，特別是在洞穴中（圖9），或是由于水的凍融作用導致的巖石材料破裂；而鹽分析出則與濕潤前的擴散及水蒸發(fā)的循環(huán)有密切關(guān)系；生物滋生及其引發(fā)的涂繪表面毀損在潮濕的環(huán)境中尤為頻繁；植被的滋生也是同理。如果將注意力轉(zhuǎn)向上述石刻表面產(chǎn)生的現(xiàn)象時，不難確定當下像大足這類遺址面臨最嚴峻的問題是，盡可能管理好周邊環(huán)境中的水文特征（圖10）。

上述觀察符合在2011年由中國文化遺產(chǎn)研究院（CACH）的專家撰寫出版的著述，以下內(nèi)容摘錄于胡源《大足石刻砂巖千手觀音像的劣變機理研究》⑧Sustainability of traditional constructionmaterials inmodern society（2011），Geophysical Research Abstracts Vol.13，EGU2011-5360.一文：“造像在過去的八百年受到了嚴重的破壞，如今它的狀況十分危險。由于對劣化過程和機理的更好理解有助于實行預防性方法及補救措施，從2002年以來，已經(jīng)開展了調(diào)查和研究。宏觀環(huán)境監(jiān)控在2006年施行。研究了砂巖劣化的主要類型和分布。粉化是主要的劣化形式，粉化不僅發(fā)生在表面，也在砂巖內(nèi)部發(fā)生著。研究發(fā)現(xiàn)砂巖在金箔覆蓋的區(qū)域較顏料涂繪的區(qū)域劣化速度更慢，并且崖壁上部和下部的劣化條件有所區(qū)別”。

4　補救措施

我上次參觀大足是在2008年的夏天，由于時日已久，當時的觀察印象盡管仍然鮮活，卻很難用其說明當下的保護現(xiàn)狀。恰好2008年出版了一本宣傳冊⑨《大足石刻千手觀音造像搶救性保護修復工程前期研究》（2008）。，當中提到“關(guān)于地質(zhì)工程的詳盡調(diào)查及冷凝水的分析”，2009年大足石刻研究院舉辦了一個國際研討會（瀏覽該活動的過程可發(fā)現(xiàn)，研討集中在石刻的圖像研究上⑩《大足石刻國際研討會程序》（2009），大足石刻研究院。）。幸運的是，通過其他出版物可知，近年以來還是進行了許多積極的活動！依據(jù)來源于2011年發(fā)表在“大足石刻千手觀音像搶救性保護及修復工程”（11）Sharing Conservation，Several approaches to the conservation of artmade with differentmaterials.Atti del convegno（2011），a cura di Stefania Pandozy.Edizionimusei Vaticani Città del Vaticano.中的另一篇文章。以下內(nèi)容摘錄自梵蒂岡博物館組織的國際研討會上有關(guān)該工程的發(fā)言：“千手觀音造像主要由砂巖、灰泥、涂繪及金箔組成，正經(jīng)歷嚴重的因各種自然及人文因素導致的不可逆風化。近幾年劣化加速……為了更好地保護千手觀音塑像，中國文化遺產(chǎn)研究院已經(jīng)邀請了敦煌研究院、北京大學、中國地質(zhì)大學、清華大學聯(lián)合開展這一科技研究項目……技術(shù)人員從2008年6月以來系統(tǒng)性地對千手觀音保存狀況進行調(diào)查：他們應用了網(wǎng)格法進行手工及計算機制圖，并逐個計算總結(jié)觀音手及法器情況，以便系統(tǒng)性地理解基巖、金箔及彩繪的病害情況。之后他們組織了一個由水文學、地質(zhì)學、環(huán)境、化學、物理及生物學專家組成的多學科小組，探討工作計劃及研究內(nèi)容細節(jié)”。

當我閱讀到最后一行的摘錄時（劃線部分），不禁感到滿足，因為這段話與我之前提到的在對大足石刻的調(diào)研中觀察到的情況十分類似。近期的成果如《可攜帶X光線照相術(shù)在大足石刻千手觀音像風化狀態(tài)研究中的應用》（12）周華，文章發(fā)表于《文物保護與考古科學》，2012年，上海。這篇文章，同樣具備重大科學意義，也展示出在保護大足的文化遺產(chǎn)和觀音雕塑上的持續(xù)性努力。

5　結(jié)束語

目前發(fā)布的工作成果經(jīng)常會提到大足千手觀音塑像修復的各項內(nèi)容，2015年5月，千手觀音的修復工作完成，并將修復成果展示給專家及當?shù)卣?。我相信，這項工程的關(guān)注點并非只集中于“一部分”，而是著眼“全貌”，目前發(fā)布的水文、地質(zhì)、環(huán)境及生物研究，也在該遺址地所面臨的種類繁多且復雜的保護挑戰(zhàn)中找到了綜合管理的解決方案?？紤]到大足石刻自身以及其對中國文化的重要意義，它的歷史價值、普世性，這次專業(yè)體驗的紀念意義以及為了它的歷史價值所進行的保護和付出，都是我真心希望的。

最后，為了表明此次經(jīng)歷愉悅心情，我仍引用上文提到的《中國日記》中的一段私人批注來作為本文的結(jié)尾：“來訪者引發(fā)了好奇，當你南下旅行時更是如此，他們簇擁著你，在街頭、在店肆，笑意都掛在臉上……”（13）切薩雷·布蘭迪，《中國日記》，第6頁。

（翻譯：徐琪歆）

動態(tài)信息

The Dazu Rock Carving，ChongqingChina:A Critical Appraisal of the Conservation Problems of a World Heritage Site and a Personal Experience

ERNESTO Borrelli
（ICCROM，Rome，Italy）

Abstract:The Dazu Rock Carvings are located in Sichuan province（Chongqingmunicipality）:a sites on the World Heritage List whosemajestic rock carvings are of great religious and historical significance.They constitutes one of themost diverse forms of cultural heritage particularly present in China as the Yungang Grottoes，the rock carvings of Longmen and all represent one of themost demanding challenges for their conservation.This paper offer a critical appraisal of the conservation problems of the site，it would be a review on the past and current action to preserve the site，on the scientific research，and on the environmental and geotechnical aspects of conservation.Themain feature of this article is scientific，but it is rather the story of a professional fascinating experience of a Western observer and conservationist approaching the Chinese cultural heritage.

The paper includes an updated survey of the literature including an unusual use of repeated citations of a nice old book“The Chinese Diary”of the Italian art historian Cesare Brandi，worldwide known as the author of the“Theory of Restoration”and founder（1939）of the Italian Institute for Conservation and Restoration of Cultural Heritage.

Key words:China；Dazu rock carvings；conservation；world heritage sites

中圖分類號：G122

文獻標志碼：A

作者簡介：Ernesto Borrelli，男，文化遺產(chǎn)保護專家，獨立顧問及培訓師，意大利中央高級文物保護修復研究院（ISCR-羅馬意大利）前任官員，國際文物保護與修復研究中心（ICCROM）前任官員，主要研究方向為國際項目管理、實驗室管理、實驗設計及研究方案推進、過程診斷、保護科學等。