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联合实验室中英双语双月刊《遗产研究国际动态》（内刊）2025年第三期（总第二十一期）已发布，全刊内容可在此下载

JLBRI国家“一带一路“联合实验室《遗产研究国际动态》总第二十一期 The Heritage Spectator No.21.pdf

历史建筑及遗址的重建：保护原则与文化背景

“重建”一词可定义为将一栋不完整但具有价值的建筑或创造性的艺术品恢复到它原初的完整状态，从而增强其可读性。重建在历史物证的保护领域一直是一个极具争议的议题。自19世纪末以来，保护理论一直在讨论修复可以进行到何种程度，这就包括了近来在世界遗产语境下的讨论，因为近期被提名及一些已被列入世界遗产名录的遗址由于采用了重建的干预措施而受到了审查。

该领域的专业人士最为熟悉的是约翰·拉斯金对十九世纪的批判，以及维欧勒·勒·杜克对历史建筑的“风格性修复”，相较于尊重建筑在历史中积累的年代价值，它更意在复兴早期的风格。尽管诸如可逆性、最小干预等原则一直是保护理论的核心，但涉及重建的规则却很有限。

重建在战后或灾后的语境下更易于被接受，因为此时群体渴望重建联系。然而，我们亟需构建一种满足需求的重建方法，它既能够提升艺术作品的可读性与可理解性，也可兼顾历史建筑的活化利用目标以及不同文化背景下对“重建”概念的差异化认知。

因此，有必要彻底审视近来支持与反对重建的论点，以制定由专业人士指导可接受的“重建”的基本原则。在全球化时代的当下，关于“真实性”概念的争论也极其重要，对传统连续性的破坏在如海湾地区在内的一些区域内已司空见惯。

Reconstruction of Historic Buildings and Sites: Conservation Principles and Cultural Contexts

“Reconstruction” can be defined as re-establishing an incomplete valued building or a creative artwork to its original whole in order to increase the legibility. The practice of reconstruction has continued to be a controversial issue in the field of conservation of historic material evidence.Since the late 19th century the conservation theory has discussed the extent to which restoration can be undertaken; this includes more recent discussions in a World Heritage context, as several sites more recently nominated to include in the World Heritage list or some which have been listed were scrutinized due to interventions conducted at them with reconstruction work.

Professionals working in the field are most familiar with John Ruskin’s critique of the nineteenth century, and of Viollet Le Duc’s ‘stylistic restoration’of historic buildings that aimed at reviving earlier styles, rather than respecting the age value that a building had accumulated through its history.While principles such as reversibility and minimal interventions have been at the heart of conservation doctrine, rules as to how far reconstruction should be conducted are limited.

Reconstruction is often more acceptable in post-war or post-disaster contexts due to group desires to re-establish connections; however,there is a great need to address the requirements of an informed reconstruction approach with other intentions related to increasing the legibility and understanding of artwork, or any other motives such as the reuse of historic structures and perceptions of the notion of “reconstruction” in different cultural contexts.

Therefore, there is a need to thoroughly review recent trends concerned with present justifications relevant to the practice of reconstruction and arguments against them, and to devise basic principles aimed at guiding acceptable “reconstruction” by the professional community.Recent debates concerned with the notion of “authenticity” are also important in a globalization era, where disruption of traditional continuity has become commonplace in some world regions such as the Gulf.

资料来源：

Urban Conservation and Reconstruction in the Arabian Gulf – Seminar Proceedings. DUBAI MUNICIPALITY/ICCROM-ATHAR, 2016.

实践案例

世界遗产城市的重建：以华沙为例

1980年，世界遗产委员会决定将华沙老城列入世界遗产名录。该遗址于1944年华沙反抗纳粹占领的起义期间被毁，当时距纳粹德国战败、二战结束不足六个月，此后，华沙进行了重建。值得强调的是，这是联合国教科文组织世界遗产名录中唯一被完全摧毁，其后又完全重建的。联合国教科文组织的这一决定对当时的整个波兰民族意义非凡，它是对华沙人前所未有的决心和努力的尊重，他们通过重建努力恢复了历史与文化认同。

列入世界遗产名录对于波兰及更广域的保护专家来说具有特别的意义。他们等待了四分之一个世纪，以期该领域的国际准则和理论观点能跟上现代实践的步伐。他们必须等待当时社会广泛呼吁的重建成为被保护哲学接受的方法。他们必须争取到当地社会群体的支持，其行动才能成为遗产保护与城市发展过程中的关键要素。对真实性普遍态度的演变需假以时日，进而削弱认为真实结构源于基督教文化以及十九世纪古迹保护理论的欧洲中心主义观念。此外，在与远东、中东、非洲和世界其他地区的文化对话中，真实性的概念也会随时间被重新定义。

很多人参观过重建的华沙老城。这是一个非常特别的地方，充满生机却依然保持着温馨而亲切的氛围。对于华沙的许多居民来说，这个地区具有神奇的品质，一种能唤起深刻情感的象征价值，在历史上与众多当地家庭悲惨地交织。这一活跃的公共空间受到所有华沙人的欢迎，他们对其充满了特殊的情感与喜爱。尽管如此，许多学者仍认为华沙的重建只是一个等比例的仿制品，这个模型几乎无法反映这座城市在被摧毁前的真实样貌。这些学者认为，我们今天所看到的在表达和感知上无法被视为“真实的”城市，即使一座城市被视为是经过了独特的重建。

Reconstruction in World Heritage Cities: The Case of Warsaw

In 1980, the World Heritage Committee decided to inscribe the historic centre, or Old Town, of Warsaw in the World Heritage List. The site had been reconstructed following its destruction in 1944 during Warsaw’s uprising against Nazi occupation, less than six months before the defeat of Nazi Germany and the end of World War II. It is worth emphasizing that this is the only site included on the UNESCO World Heritage List that has been completely destroyed and, subsequently, totally rebuilt. The decision of UNESCO, which was of great significance for the entire Polish nation at that time, honouredthe unprecedented determination and effort of Varsovians, who through the act of reconstruction had endeavouredto restore their historical andculturalidentity.

This inclusion on the World Heritage List was particularly meaningful for Polish conservators,and conservation specialists more widely.Those working in the field of conservation had been waiting a quarter of a century for international doctrines and theoretical views of conservation to catch up with modern practices in this field.They had to wait for reconstruction,which was widely called for by society at the time,to be recognized as an approach that was embraced by the philosophy of conservation.They had to wait for local communities to become supportive of them engaging in certain preservation actions, to become a key element in the process of heritage preservation and city development. Time was needed for the common attitude towards authenticity to evolve and,in turn, weaken the Eurocentric notion of an authentic structure as originating from Christian culture and the nineteenth-century theory of monument preservation. Furthermore, it took time before the concept of authenticity was redefined in a dialogue with the cultures of the Farand Middle East, Africa and other parts of the world.

Many have visited the rebuilt Old Townin Warsaw. It is a very special place, full of life yet retaining an atmosphere of warmth and intimacy. For many inhabitants of Warsaw, this area has a magical quality, a symbolic value that evokes deep emotions, tragically entwined in the history of so many local families.Itisan active public space fully embraced by all Varsovians and regarded with a special sentiment and affection. Nevertheless, many scholars continue to express the opinion that there construction of Warsaw is only a life-size impression, a model that reflects little of what the city was before its destruction.These scholars argue that what we see today cannot be considered a ‘real’ city in its expression and perception, even if a city is deemed to have be enuniquely re-built.

资料来源：

Urban Conservation and Reconstruction in the Arabian Gulf – Seminar Proceedings. DUBAI MUNICIPALITY/ICCROM-ATHAR, 2016.

平台动态

关于油画保护的研究：对微生物污染和艺术家材料的评估

油画起源于中世纪，至今仍是最重要的艺术表现形式之一，具有重要的历史和文化价值，是重要的文化遗产。这些艺术品包含多种有机材料，例如作为不同颜料层的介质和添加剂的蛋白质材料、多糖和油脂，以及作为支撑材料的木材、织物、纸张或羊皮纸。这些成分容易因物理、化学和生物因素（如光、温度、湿度和微生物作用）的影响降解，导致肉眼可见的结构和美学损伤。

本研究采用基于酶联免疫吸附测定（ELISA）的方案，针对油画中处于明显劣化状态且需要立即干预的部位，快速且特异性地识别其微量样本中的蛋白质材料。研究分析可以为油画的保护和修复过程提供针对性策略。

研究对四幅存在色彩和结构退化及高微生物污染的十九世纪末油画进行了分析，目的是确定生物污染源和绘画材料。这些画作色彩较为单一，因此所用颜料范围有限，包括铅白、方解石、钡白、骨黑、石英、红色氧化铁和铝硅酸盐。尽管这些画作的横截面结构符合当时的典型特征，它们最大的区别在于底料层：在私人收藏的两幅肖像画中，第一层底料含有钡白，而《弗雷·曼努埃尔·多·塞纳库洛》肖像画中则没有。这组油画的绘画媒介主要由干性油和蛋白质组成。通过提取和定量蛋白质化合物，并通过免疫分析鉴定主要蛋白质，结果显示可能存在与使用的某些颜料和蛋白质粘合剂的对应关系。另一方面，通过扫描电子显微镜检测到这些画作上微生物群落的增殖。鉴定出的主要微生物群落为丝状真菌，包括曲霉菌属、芽枝霉属、根霉属、青霉菌属、乌洛霉属和枝孢霉属。分析表明，真菌群落的增殖与绘画中观察到的结构退化有关。

On the conservation of easel paintings: evaluation of microbial contamination and artists materials

Easel paintings emerged in the Middle Ages and have been since then one of the  most important art expressions, constituting today relevant cultural heritage assets with important historic and cultural value. These artworks contain a diversity of organic materials, namely proteinaceous materials, polysaccharides and oils, used as mediums and additives in the different paint layers, as well as support materials like wood, fabric, paper or parchment. These components are easily degraded by  several physical, chemical and biological factors such as light, temperature, humidity   and microorganism action, causing visible structural and aesthetic damages.

In this paper we use an ELISA-based protocol for a rapid and specific identification of proteinaceous materials present in micro-samples collected from easel paintings that are in evident decay and require immediate intervention. These analyses aim to provide relevant information for a focused strategy of conservation and restoration process.

Four easel paintings from the late nineteenth century with chromatic and structural decay and high microbial contamination were analyzed in order to identify the biocontamination source and the painting materials. The paintings in study are quite monochromatic, demanding thus a limited range of pigments: lead white, calcite, barium white, bone black, quartz, a red iron oxide and aluminosilicates. While the  paintings’ cross sections are typical for that period, the biggest difference among the paintings is in their ground layers: in both portraits from a private collection, the first ground layer applied contained barium white while the portrait of Frei Manuel do Cenáculo does not. The painting media of this set of paintings is composed mainly of siccative oil combined with protein. Protein compounds were extracted and quantified and immunological assays allowed to identify the main proteins present, showing a possible correspondence with some pigments and protein binder used. On the other hand, proliferation of microbial communities that colonizes these artworks was detected by SEM. The predominant microbial population was identified as being filamentous fungi of the genera Aspergillus,Cladosporium,Mucor,Penicillium,Ulocladium and Scopulariopsis. The analyses showed that their proliferation seems to be associated with the structural degradation observed in the paintings.

资料来源：

中国 - 葡萄牙“一带一路”文化遗产保护科学联合实验室（埃武拉）

活动报道

“遗产和恢复：廓尔喀地震的十年经验”国际会议在尼泊尔召开

维多利亚与艾尔伯特博物馆文化危机项目与斯特林大学以及巴哈社会科学合作举办“遗产和恢复：廓尔喀地震的十年经验”国际研讨会。会议于2025年4月2日至4日在尼泊尔拉利特布尔召开。

本次会议及研讨会汇聚了尼泊尔的遗产专业人士、活动家、学者以及参与各种遗产恢复工作的社区成员，共同讨论过去十年中的努力成果、面临的挑战和取得的成功，并探讨未来共享学习的机会。

International Conference“Heritage and Recovery: A Decade of Learning from the Gorkha Earthquake” Held in Nepal

The Victoria & Albert Museum’s Culture in Crisis Programme in partnership with the University of Stirling and Social Science Baha, organized a major international conference “Heritage and Recovery: A Decade of Learning from the Gorkha Earthquake”held from 2 to 4 April 2025, in Lalitpur, Nepal.

This conference and its workshops brought together Nepalese heritage professionals, activists, academics and community members involved in various forms of heritage recovery. Together they discussed their efforts across the past decade; their challenges and successes, as well as exploring shared learning opportunities for the future.

“文化生态系统与生物文化遗产”工作坊在葡萄牙召开

作为欧洲国家气候行动联合计划倡议和文化遗产联合计划倡议的合作行动，“文化生态系统机能与生物文化遗产：连接自然与文化，建设可持续未来”工作坊将于5月20日至21日在葡萄牙召开。

本次工作坊将突出两项倡议的协同作用，并进一步加强两者的联系。通过携手合作，这两项倡议可以更有效地应对全球挑战，为欧洲乃至全世界的可持续未来做出更大贡献。

“Cultural Ecosystem Services and Biocultural Heritage”Workshop Held in Portugal

As a collaborative action of the Joint Programming Initiative on Climate (JPI Climate) and the Joint Programming Initiative on Cultural Heritage (JPI CH)between European countries,“Cultural Ecosystem Services And Biocultural Heritage: Connecting Nature and Culture for a Sustainable Future”will be held from May 20 to 21 in Portugal.

The workshop will highlight the synergies and further strengthen the links between the two initiatives.By joining forces, both JPIs can contribute more effectively to tackling global challenges and ensuring a more sustainable future for Europe and the world.

联合国教科文组织“世界遗产经济学大会”在西班牙举行

3月20日至21日，国际文化经济学会（ACEI）和阿尔汉布拉宫及赫内拉里菲理事会与联合国教科文组织世界遗产中心合作，在西班牙格拉纳达举办了一场名为“格拉纳达世界遗产经济学国际大会”的科学论坛。

本次会议从多个角度探讨世界遗产经济学，涉及经济价值评估、旅游影响、治理、可持续性、遗产保护的挑战、国际合作、社区参与以及遗产对创造力和地方经济发展的促进作用等议题。

UNESCO “International Convention on the Economics of WorldHeritage”Held in Spain

From March 20 to21, the Association for Cultural Economics International (ACEI) and the Alhambra and Generalife Council, in cooperation with the UNESCO World Heritage Centre organized a scientific forum “Granada International Convention on the Economics of World Heritage”, in Granada, Spain.

The conference addressed the Economics of World Heritage from various perspectives. Topics such as economic valuation, tourism impact, governance, sustainability, preservation challenges, international cooperation, community involvement and the effects of heritage on creativity and local economic development, among others, were examined.

资料来源：

https://soscbaha.org/heritage-and-recoverya-decade-of-learning-from-the-gorkha-earthquake/

https://www.bioculturalheritage.com/

https://whc.unesco.org/en/events/1798