中国重庆大足石刻：对一个世界遗产地保护问题的个人经历和严格评估

ERNESTO Borrelli（国际文物保护与修复研究中心，罗马 意大利）



中国重庆大足石刻：对一个世界遗产地保护问题的个人经历和严格评估

ERNESTO Borrelli
（国际文物保护与修复研究中心，罗马 意大利）

摘 要：大足石刻位于重庆市，是一处具有重要宗教及历史价值的世界遗产地。大足石刻同云冈石窟、龙门石窟一起构成了中国特有的、表现形式极为丰富的文化形式之一，但同时也是保护上最具挑战的文化遗产之一。文章对该遗产地的问题提供了严格的评估，从现状维护、科技研究、环境及地质几个角度回顾大足石刻过去、现今的保护措施。文章的特点是科学的，但更是一位西方观察者、保护者面对中国文化遗产时所经历的一个专业的、令人着迷的经历的故事。

本文在参考《中国日记》的基础上做了进一步调查，该书的著者切萨雷·布兰迪曾写作闻名世界的《文物修复理论》，并于1939年创立了意大利文化遗产保护修复协会。

关键词：中国；大足石刻；保护；世界遗产地

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！（Fig.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，……has 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　简介

我第一次了解到大量石刻佛教造像是在艺术史学家切萨雷·布兰迪的描述中，他在20世纪80年代受邀访问中华人民共和国的多处文化遗产之后撰写了《中国日记》（The Chinese Diary）①切萨雷·布兰迪（1906—1988），创建并指导中央修复研究所（1936—1961）。，其中非常有意思的一章是对云冈石窟的描写。遗憾的是，在我看完他的日记后，直到刚刚加入罗马的中央修复研究所时，都没有机会参观被布兰迪描述为“神秘庄严所在”的云冈石窟。我永远想不到几年之后，在2006年和2008年（在意大利外交部的赞助下），我有幸受到中国政府的邀请，合作进行“石质文物保护中心”的筹建项目，保护中心将在位于伊河岸边的洛阳龙门石窟和重庆市大足石刻这两处世界文化遗产地建立，其精妙庄严的石刻与山西大同石窟一样令人震撼②周华，《云冈石窟表面清理技术的评估》，《文物保护与考古科学》，3月，上海。。

我去了中国两次，每次都在北京中转，尽管短暂却也足以让我渴望尽快回到这里。现在我来中国已近10次，去过不同的地方，待过不短的时间，但是每次出发我的感受始终一样：

“生活已触动你的心：你会始终铭记，你将在你的时代中超脱于时代之外，好像电影中的场景，然而它却是你真实的生活”③切萨雷·布兰迪，《中国日记》，第3页。。

我发现布兰迪在他的日记当中所写的正是我对“中国之旅”的记忆。

2　遗址

得益于我在古代石质文物上的工作经验，2006年春天我来到大足。在来之前我通过中国各类出版物和WHC（联合国教科文组织世界遗产中心）收集了不少历史数据，对道教和佛教的教义和表现方式，以及儒学的情况有了一些初步的认识，了解这些种类繁多的宗教情感，使我（在将来也持续性地）得以正确认识这些巨大、庄严的石刻崖壁。

到达大足之后，当地政府和中国文化遗产保护的专家热情接待了我们。在大足石刻艺术博物馆门口，我们惊喜地发现了一幅欢迎意大利和中国专家参与建立大足石刻保护中心的标语。我们马上被邀请参加一个介绍会，在会上介绍了中心的成立宗旨：通过持续的科学研究、保存和修复工作对大足石刻进行保护。

为了更好地了解介绍内容，大足石刻的管理人员带我们在遗址内部进行了参观，并详细地说明了该石刻的历史和重要性。整个参观过程，我都被这些石刻的壮丽所震惊。当一个人面对如“九护法”（图1）或“卧佛”（图2）这样的情景时，怎么能不震惊呢。

当看到描写“孝道”“舐犊之爱”的寓言时，又让我惊讶于这些寓言与我们文化的相似之处。然而让我真正感到震撼的是观音（图3、图4）那一千双外伸的、接受着信徒们的请求的金手。

很显然，针对特定遗址建立具有高度科学性的专家中心别无其他目的，正如我们参与的这项工作一样，就是要进行整个系列的研究工作，以修复和保护大足石刻中那些宏伟的雕刻④《中国大足石刻》，大足石刻博物馆，重庆出版社，1991年。。

3　保护问题

在参观过程中，我在震撼同时又伴随着深深的忧虑，这忧虑来自许多石刻表面明显的蚀变和劣化痕迹。我当时的任务是，包括为建立科学修复实验室所进行的必要的技术支持，然而这项任务的执行很明显也要基于其他的情况考虑，如它的整体情况、它的保存情况和环境条件等。事实上，有必要记录所有可见的保护问题，虽然这些仅仅是通过简单的视觉观察所获得的。通过这种方式，我能够近距离观察膨胀的问题和千手观音手部的贴金掉落情况（几乎所有的贴金表面都出现了这个问题）。还有其他用肉眼就可以轻易地看到的劣化痕迹：钙质结核的滋生、石刻的剥落（如图5中一些“九护法”的面部），彩绘层的剥落、盐霜的形成（图6），这两种病害以卧佛所在区域最为严重，还有在大片潮湿表面生物滋生的痕迹和植被的扩散。

布兰迪在他的日记中所引用云冈浅浮雕的摘录与大足的情况惊人的类似：

“风带导致了更为严重的侵害，大部分墙上的雕刻都被侵蚀了，你也可以看到尝试进行的修复——这经常发生，带来更多是弊而非利。令人奇怪的是这种做法却一直持续着，在清代，这些石窟就经过处理，他们以为可以恢复缺失的部分，于是在密密麻麻布满孔洞的上面填充某种厚灰泥。而如今灰泥消失了，孔洞却留了下来”⑤切萨雷·布兰迪，《中国日记》，第60页。。

不难想象，在大足发现的石刻表面明显的岩石剥落及洞窟痕迹，也许正是和布兰迪在云冈所详细观察和记录到的情况是一样的。这样的例子在“吹笛人”下面的人物上（图7）和“牧牛图”（图8）中均可见到。

此次参观明显反映出有必要进行干预，以提供极度紧急维护、修复和保护工作。我认为重中之重是调查整个崖壁的水流状况：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。关于这个问题，在1998年大足申报联合国教科文组织世界遗产名录时的文本中有着极有趣味的描写，以下这段摘录于“衡量保护状况的重要指标”一章中的“渗水情况”一节：“渗水主要发生在北山和宝顶山的壁龛中，尽管自1950年开始针对这个问题已经开展了为数众多的项目，并且取得了不错的效果，但由于部分壁龛中岩体复杂的结构和交叉裂隙，渗水情况仍然十分严峻。我们计划在大约10年内按阶段完成对这些壁龛的改善工作”⑥世界遗产会议（1998年），文化遗产提名：大足石刻，文物局，“衡量保护状态的主要指标”。北京，中国。。

换句话说，在开始任何复原或修复工作之前，有必要设计一个整体性的遗址管理方案，或者用技术术语，界定为“预防性保护”的延伸性项目。根据张兵峰撰写的项目报告，部分干预措施，曾于2010年在龙门石窟潜溪寺的岩石构造调研中应用过，通过探索式地球物理学调查用以界定水对石质文物的影响机理和破坏⑦张兵峰，《河南洛阳龙门石窟潜溪寺岩体构造特征分析研究》，《文物保护与考古科学》，2010年11月，上海。。

众所周知，钙质结核的形成，特别是在洞穴中（图9），或是由于水的冻融作用导致的岩石材料破裂；而盐分析出则与湿润前的扩散及水蒸发的循环有密切关系；生物滋生及其引发的涂绘表面毁损在潮湿的环境中尤为频繁；植被的滋生也是同理。如果将注意力转向上述石刻表面产生的现象时，不难确定当下像大足这类遗址面临最严峻的问题是，尽可能管理好周边环境中的水文特征（图10）。

上述观察符合在2011年由中国文化遗产研究院（CACH）的专家撰写出版的著述，以下内容摘录于胡源《大足石刻砂岩千手观音像的劣变机理研究》⑧Sustainability of traditional constructionmaterials inmodern society（2011），Geophysical Research Abstracts Vol.13，EGU2011-5360.一文：“造像在过去的八百年受到了严重的破坏，如今它的状况十分危险。由于对劣化过程和机理的更好理解有助于实行预防性方法及补救措施，从2002年以来，已经开展了调查和研究。宏观环境监控在2006年施行。研究了砂岩劣化的主要类型和分布。粉化是主要的劣化形式，粉化不仅发生在表面，也在砂岩内部发生着。研究发现砂岩在金箔覆盖的区域较颜料涂绘的区域劣化速度更慢，并且崖壁上部和下部的劣化条件有所区别”。

4　补救措施

我上次参观大足是在2008年的夏天，由于时日已久，当时的观察印象尽管仍然鲜活，却很难用其说明当下的保护现状。恰好2008年出版了一本宣传册⑨《大足石刻千手观音造像抢救性保护修复工程前期研究》（2008）。，当中提到“关于地质工程的详尽调查及冷凝水的分析”，2009年大足石刻研究院举办了一个国际研讨会（浏览该活动的过程可发现，研讨集中在石刻的图像研究上⑩《大足石刻国际研讨会程序》（2009），大足石刻研究院。）。幸运的是，通过其他出版物可知，近年以来还是进行了许多积极的活动！依据来源于2011年发表在“大足石刻千手观音像抢救性保护及修复工程”（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。以下内容摘录自梵蒂冈博物馆组织的国际研讨会上有关该工程的发言：“千手观音造像主要由砂岩、灰泥、涂绘及金箔组成，正经历严重的因各种自然及人文因素导致的不可逆风化。近几年劣化加速……为了更好地保护千手观音塑像，中国文化遗产研究院已经邀请了敦煌研究院、北京大学、中国地质大学、清华大学联合开展这一科技研究项目……技术人员从2008年6月以来系统性地对千手观音保存状况进行调查：他们应用了网格法进行手工及计算机制图，并逐个计算总结观音手及法器情况，以便系统性地理解基岩、金箔及彩绘的病害情况。之后他们组织了一个由水文学、地质学、环境、化学、物理及生物学专家组成的多学科小组，探讨工作计划及研究内容细节”。

当我阅读到最后一行的摘录时（划线部分），不禁感到满足，因为这段话与我之前提到的在对大足石刻的调研中观察到的情况十分类似。近期的成果如《可携带X光线照相术在大足石刻千手观音像风化状态研究中的应用》（12）周华，文章发表于《文物保护与考古科学》，2012年，上海。这篇文章，同样具备重大科学意义，也展示出在保护大足的文化遗产和观音雕塑上的持续性努力。

5　结束语

目前发布的工作成果经常会提到大足千手观音塑像修复的各项内容，2015年5月，千手观音的修复工作完成，并将修复成果展示给专家及当地政府。我相信，这项工程的关注点并非只集中于“一部分”，而是着眼“全貌”，目前发布的水文、地质、环境及生物研究，也在该遗址地所面临的种类繁多且复杂的保护挑战中找到了综合管理的解决方案。考虑到大足石刻自身以及其对中国文化的重要意义，它的历史价值、普世性，这次专业体验的纪念意义以及为了它的历史价值所进行的保护和付出，都是我真心希望的。

最后，为了表明此次经历愉悦心情，我仍引用上文提到的《中国日记》中的一段私人批注来作为本文的结尾：“来访者引发了好奇，当你南下旅行时更是如此，他们簇拥着你，在街头、在店肆，笑意都挂在脸上……”（13）切萨雷·布兰迪，《中国日记》，第6页。

（翻译：徐琪歆）

动态信息

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

中图分类号：G122

文献标志码：A

作者简介：Ernesto Borrelli，男，文化遗产保护专家，独立顾问及培训师，意大利中央高级文物保护修复研究院（ISCR-罗马意大利）前任官员，国际文物保护与修复研究中心（ICCROM）前任官员，主要研究方向为国际项目管理、实验室管理、实验设计及研究方案推进、过程诊断、保护科学等。