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1、Historical and Philosophical Issues in the Conservation of Cultural Heritage Edited by Nicholas Stanley Price M. Kirby Talley Jr. Alessandra Melucco Vaccaro Los Angeles：the Getty Conservation Institue，1996 同济大学建筑系同济大学建筑系 陆地（粗译）陆地（粗译） 仅供内部学习参考，请勿转载。欢迎大家踊跃校对仅供内部学习参考，请勿转载。欢迎大家踊跃校对 O(_)O，请把校对意见发邮件到，请把校对
2、意见发邮件到 。 PART Restoration and Anti-Restoration 第五部分 修复与反修复 INTRODUCTION TO PART 308 第五部分的引言 READING 阅读材料 30 Eugne-Emmanuel Viollet-le-Duc | Restoration 尤金-艾玛纽尔 维欧勒-勒-杜克论修复 31 William Morris | Manifesto of the Society for the Protection of Ancient Buildings 威廉莫里 斯古建筑保护协会宣言 32 John Ruskin | The Lamp o
3、f Memory 约翰拉斯金 记忆之灯（二） P308 Introduction to Part Restoration and Anti-Restoration Translated by Alexandra Trone 第第 4 部分部分 修复与反修复修复与反修复 The nineteenth century is a complex period from which many current trends in conservation are directly descended. All the readings in Part V, which often start from
4、the same premises, stress the essential dichotomy that runs through the century. This applies not only to the relationship between Classicism and Romanticism, but also within the Romantic Movement itself, in which opposing sensibilities and standpoints confront one another above and beyond the predi
5、lection for the medieval and reassessment of the Gothic. 十九世纪是一个复杂的时期，许多现今的保护趋向直接发源于此。第五部分的所有文 章，通常有着相同的前提，都强调贯穿整个世纪的基本的二元对立。这不仅适用于古典主义 和浪漫主义之间的关系，而且也适用于浪漫主义运动本身。对立的情感和立场相互对峙，超 越了对中世纪的偏好和对哥特风格的重新评价。 The ethics of restoration also exemplify and reflect this conflict, which is particularly severe in t
6、he field of architecture. One need only think of Eugene-Emmanuel Viollet-le-Duc on the one hand, and William Morris and John Ruskin on the other. 修复伦理也体现和反映了这种冲突， 在建筑领域尤其剧烈。 你只需想想维奥莱-勒-迪克， 再想想威廉莫里斯和约翰拉斯金（的理论）就知道了。 Viollet-le-Duc is considered to be the greatest exponent of the movement whose adheren
7、ts thought of restoration as imitation and as reconstruction “in the style of the original“ (see Reading 30, pages 314-18). This group believed that by studying the monuments of the past, especially the great Gothic cathedrals, and with meticulously accurate and detailed documentation of the charact
8、eristics of style as well as of the details of the buildings and the methods of construction, they could make possible the complete and accurate rebuilding of entire parts or phases of these buildings. 维奥莱-拉-迪克被尊为这场运动最伟大的倡导者，其拥护者认为修复就是“用建筑原有 的风格”模仿和重建（见阅读材料 30，P314-318） 。他们相信通过研究过去的古迹尤其 是哥特式大教堂以及通过一
9、丝不苟地、 精确而详细地记录各种风格的特点以及建筑和建 造方式的细节，他们就能够完整而精确地重建这些建筑的所有部分或片段。 In the Teoria del restauro, Brandi, like all the idealist philosophers of this century, railed 1against the pretense that one could reinsert oneself into the process of creating a work of art - an attempt at canceling the passage of time
10、- and condemned this school of restoration as falsification pure and simple. 在修复理论（Teoria del restauro） 一书中，像这个世纪所有唯心主义的哲学家一样， 布兰迪严厉谴责了那种艺术作品的创作过程能够被再次插入的观点， 认为这是在试图忽视时 间的推移，同时指责这种修复流派是在伪造纯朴和简洁。 P309 Even earlier, Morris and Ruskin, who were among the contemporaries of Viollet-le-Duc, violently oppo
11、sed Viollet-le-Ducs work. They took a firm stand against all restoration, a stand that Camillo Boito took up again in Italy at the end of the century (see the introduction to Part , pages 262 63). 更早之前，与维奥莱-拉-迪克同时代的莫里斯和拉斯金，强烈地反对勒-迪克的工作。 他们坚决反对一切修复，而这也是二十世纪末卡米洛博伊托再次采取的立场（见对第四部 分的介绍，P262-263） 。 In The
12、 Stones of Venice (1853), above all, Ruskin gave free expression to his decadent rather than purely Romantic tendencies. Thanks to the success of his prophetic prose, illustrated by splendid watercolors painted from life, he immortalized the disfigured but incomparable beauty of the City on the Lago
13、on, already in full decline. This contributed decisively to the dissemination throughout the British Empire of the Gothic style (considered by Ruskin to be the apex of human creative endeavor) and to a celebration throughout Victorian England of the ogives (pointed arches) and carved marble. 拉斯金首先在威
14、尼斯之石（1853） 中挥洒地表达了他颓废派的观点，而不是纯粹的 浪漫主义倾向。他预言性的散文，来源于生活的壮丽水彩画插图获得了极大的成功，使得泻 湖之城（威尼斯）破败却无可比拟的美丽不朽化了，即使这种美丽已完全衰败。这对哥特式 风格（被拉斯金认为是人类创造性努力的巅峰）在大英帝国的传播、尖拱（哥德式拱尖形拱 券）和大理石雕刻在整个维多利亚时期的盛行有着决定性的贡献。 Ruskin is the prophet of a radical way of perceiving age value (see Riegl, Reading 6, pages 72-75). Together with
15、Morris, he initiated the Anti-Restoration movement, whose aims were declared in the Manifesto of the Society for the Protection of Ancient Buildings (see Morris, Reading 3I7 pages 319 - 21). 拉斯金预言了激进地感知年代价值的方式（见 P72-75，第六章，里格尔） 。他与莫里斯 一起发起了反修复运动，他们的目标表述于古建筑保护协会宣言中（见 P319-321，第 三十一章，莫里斯） 。 The only i
16、ntervention apparently intended to reconcile the real necessity for structural treatment with the Romantic concepts of the “beautiful ruin” and of the “picturesque“ - and which, curiously, anticipates Ruskins violent, nihilistic creed by half a century - is to be found at the Colosseum in Rome (Figs. 1-3). This took the form of a buttress built against the side toward
