《文化遗产保护的历史与哲学问题09》第五部分修复与反修复 之 威廉•莫里斯 《古建筑保护协会宣言》
《文化遗产保护的历史与哲学问题（Historical and Philosophical Issues in the Conservation of Cultural Heritage）》是文化遗产保护领域的经典之作，该书按照不同的专题收录了文化遗产保护领域的诸多名家名篇。
本人3年前初译了一下，也曾在同济大学“历史建筑保护概论”课上作为辅助材料分发给“历史建筑保护工程”专业07级的本科生翻译过（每人10多页）。
应众多建筑遗产保护爱好者的要求，从今日起连载译稿（草稿）。由于本来只作为内部学习用，本人翻译和校核的次序并没有按照原文的次序，故此次连载亦不按次序，望谅解。
注意：只作为内部交流，请勿转载。同时请广大同道对译文进行纠错。
同济大学建筑系副教授 陆地
P319
Reading 31
Manifesto of the Society for the Protection of Ancient Buildings
William Morris
阅读文章31
古建筑保护协会宣言
威廉•莫里斯
From WILLIAM MORRIS，“The Principles of the Society[for the Protection of Ancient Buildings]As Set Forth upon Its Foundation，”Builder 35(25 August,1877)．Reprinted without alteration from the original(as it has been reprinted in every annual report of the Society since its inception)by permission of the Society for the Protection of Ancient Buildings．
引自威廉•莫里斯，“作为阐述（古建筑保护协会）成立基础的协会原则”《建造者》35（1877.08.25）。经古建筑保护协会准许毫无修改地重印（自协会成立以来，每年年报均要重印原版）。
A society coming before the public with such a name as that above written must needs explain how, and why, it proposes to protect those ancient buildings which to most People doubtless, seems to have so-many and such excellent protectors. This, then, is the explanation we offer.
由于绝大多数公众无疑已经认为我们似乎已经有了如此多的、如此优秀的古建筑保护者，因此，在拥有前面提到的这样一个名字的协会出现在公众面前之时，协会必须阐释我们提议保护古建筑的方式和理由。以下是我们提供的阐释。
No doubt within the last fifty years a new interest, almost like another sense has arisen in these ancient monuments of art; and they have become the subject of one of interesting of studies, and of an enthusiasm religious, historical, artistic, which is one of the undoubted gains of our time; yet we think that if the present treatment of them be continued, our descendants will find them useless for study and chilling to enthusiasm. We think that those last fifty years of knowledge and attention have done more for their destruction than all the foregoing centuries of revolutions violence and contempt.
毫无疑问，在过去的五十年里，对于艺术性古迹，一种新兴趣几乎就像人们对于古迹的其他意识一样开始生发出来；他们业已成为人们感兴趣的研究主题之一，成为某种宗教、历史、艺术热情的主题之一，这无疑是我们时代的一个收获。然而，我们认为，如果目前对古建筑的那种处理继续下去，我们的后代将发现那些古建筑不再有研究之用，无法再唤起热情。我们认为，过去五十年对古建筑的知识掌握和关注对他们所造成的破坏比以前所有世纪的革命暴力与轻视所造成的破坏更甚。
For Architecture, long decaying, died out as a popular art at least, just as the knowledge of mediaeval art was born. So that the civilized world of the nineteenth century has no style of its own amidst its wide knowledge of the style of other centuries. From this lack and this gain arose in men's minds the strange idea of the Restoration of ancient buildings; and a strange and most fatal ideal, which by its very name implies that it is possible to strip from a building this, that, and the other part of its history-of its life that is-and then to stay the hand at some arbitrary point, and leave it still historical, living, and even as it once was.
正如中世纪艺术知识的诞生，建筑长期衰落最终死亡，但最终至少都蜕变成了一种流行的艺术风格。这也使得19世纪这个拥有其它世纪广泛建筑风格知识的文明时代却没有了自己的风格。由于这种自我风格的缺乏，人们脑海里开始冒出修复古建筑这个奇怪的念头。这个奇怪且致命的想法，正如其名称一样暗示着这可能从一个建筑上剥离这个建筑上作为其生命史的这个、那个以及其他历史部分，并以多少武断的观点使之依旧以历史的、存活的，甚至就像他曾经那样的留在人们手中。
P320
In early times this kind of forgery was impossible, because knowledge failed the builders, or perhaps because instinct held them back. If repairs were needed, if ambition or piety pricked on to change, that change was of necessity wrought in the unmistakable fashion of the time; a church of the eleventh century might be added to or altered in the twelfth, thirteenth, fourteenth, fifteenth, sixteenth, or even the seventeenth or eighteenth centuries; but every change, whatever history it destroyed, left history in the gap, and was alive with the spirit of the deeds done midst its fashioning.
在以往的时代，由于建造者缺乏对以往风格知识的掌握，或由于缺乏将古建筑带回到过去的本能意识，这种伪造是不可能的。如果需要修缮，如果人们的雄心或虔诚促使人们改变建筑，这种改变必然会烙印上那个时代显而易见的风尚。例如，一个十一世纪的教堂可能在十二、十三、十四、十五、十六、甚至十七或十八世纪被不断增建或改建。但每一次改变，无论是历史的破坏，岁月的裂缝 ，都是在工匠精加工后精神活力的体现。但每一个变化，即便是被摧毁的历史，都会留下历史裂隙，并以带有其时代风尚所做行为的精神而存活下来。
The result of all this often a building in which the many changes, though harsh and visible enough, were, by their very contrast, interesting and instructive and could by no possibility mislead. But those who make the changes wrought in our day under the name of Restoration, while professing to bring back a building to the best time of its history, have no guide but each his own individual whim to point out to them what is admirable and what contemptible; while the very nature of their task compels them to destroy something and to supply the gap by imagining what the earlier builders should or might have done.
尽管那些改变粗粝并足够引入注目，但正因为这种对比，这一切的结果常常使那种经历了多次改变的建筑显得更为有趣、更有启发性且绝不会误导人。但是，今天以修复之名锻造改变的那些人却鼓吹着将建筑带回到该建筑历史上的最好时刻，他们没什么指导原则，只是基于他们自我的异想天开点评什么是好的，什么是可鄙的。与此同时，他们的任务本能地驱使着他们摧毁一些东西并以对早期工人应该或者可能作法的想象来填补建筑缺失。
Moreover, in the course of this double process of destruction and addition the whole surface of the building is necessarily tampered with; so that the appearance of antiquity is taken away from such old parts of the fabric as are left, and there is no laying to rest in the spectator the suspicion of what may have been lost; and In short, a feeble and lifeless forgery is the final result of all wasted labor.
此外，在这种破坏与添加的双向过程中，建筑的整个表面必然遭到了篡改。以至于古建筑表面被从原先留下的如此古老的结构上剥离下来，使观者丝毫不会怀疑古建筑可能已经失去了什么。简而言之，所有白费劳动的最终成果就是一种虚弱的、毫无生气的赝品。
It is sad to say, that in this manner most of the bigger Minsters, and a vast number of more humble buildings, both in England and on the Continent, have been dealt with by men of talent often, and worthy of better employment, but deaf to the claims of poetry and history in the highest sense of the words.
我们很痛心的认为，大多数英国和欧洲大陆更大的大教堂以及大量较不起眼的建筑已经被那些通常被认为是天才的人以这种态度处理过了，他们的天赋其实更应该用在其他地方，而不是对诗意和历史最有意义的诉求充耳不闻。
For what is left we plead before our architects themselves, before the official guardians of buildings, and before the public generally, and we pray them to remember how much is gone of the religion, thought and manners of time past, never by almost universal consent, to be Restored; and to consider whether it be possible to Restore those buildings, the living spirit of which, it cannot be too often repeated, was an inseparable part of that religion and thought, and those past manners.
为了那些还存留下来的古建筑，我们恳请建筑师、建筑的官方监护者以及广大民众，我们祈求他们记住过去时代的宗教信仰、思想和社会方式已经逝去如此之多，人们几乎普遍认同，完全没有回复的必要。我们祈求他们考虑是否有修复这些建筑这种可能性，即修复建筑那通常几乎不能被重复的，作为宗教信仰和思想以及过去社会方式不可分割的活生生精神。
For our part we assure them fearlessly, that of all the Restoration yet undertaken the worst have meant the reckless stripping a building of some of its most interesting material features; while the best have their exact analog in the Restoration of an old picture, where the partly-perished work of the ancient craftsmaster has been made neat and smooth by the tricky hand of some unoriginal and thoughtless hack of today.
对于我们而言，我们要毫无畏惧使人们确信，迄今为止已经进行过的所有最糟糕的修复意味着轻率地剥去了建筑上最有趣的材料特征；即便是他们在古画修复中最好的进行了精确的模拟，古代匠师部分老化的作品如今也被那些非原创者的、毫无思想进行劈砍的狡捷之手弄得整洁而光滑了。
If, for the rest, it be asked us to specify what kind of amount of art, style, or other interest in a building, makes it worth protecting, we answer, anything which can be looked on as artistic, picturesque, historical, antique, or substantial: any work in short, over which educated, artistic people would think it worthwhile to argue at all.
除此之外，假如要我们指出一个建筑中具有什么样的艺术、风格、或其他有趣的方面才使其值得保护，我们的回答是，任何可被视为艺术的、如画的、历史的、古物的，或重要的东西：简而言之，任何可被有教养的、具有艺术审美的人们认为值得争辩一番的所有作品。
P321
It is for all these buildings, therefore, of all times and styles, that we plead, and call upon those who have to deal with them to put Protection in the place of Restorations, to stave off decay by daily care, to prop a perilous wall or mend a leaky roof by such means as are obviously meant for support or covering, and show no pretence of other art, and otherwise to resist all tampering with either the fabric or ornament of the building as it stands; if it has become inconvenient for its present use, to raise another building rather than alter or enlarge the old one; in fine to treat our ancient buildings as monuments of a bygone art, created by bygone manners, that modern art cannot meddle with without destroying.
为了所有时代和风格的建筑，我们恳请并呼吁那些以修复的立场来进行保护，对古建筑进行处理的人们应以日常护理避免建筑的衰败，通过显而易见的支撑或覆盖措施支撑危险的墙体或修补屋漏，这些措施不要以伪装成其他艺术风格的方式进行展现，与此同时抵制所有篡改建筑原本结构或装饰的行为。如果建筑已经不适应目前的使用，应该修建另一个建筑而不是改建或者扩建他。总之，应将我们的古建筑作为已经逝去的艺术、由已经逝去的方式创造的的纪念物而对待，当代艺术不能对其进行破坏性的干扰。
Thus, and thus only, shall we escape the reproach of our learning being turned into a snare to us; thus, and thus only can we protect our ancient buildings, and hand them down instructive and venerable to those that come after us.
这样，只有这样，我们才能逃脱将我们的知识化为我们自身陷阱的谴责；这样，只有这样，我们才能保护我们的古建筑，将他们富有教益的、值得尊重的传给我们的后人。
本人3年前初译了一下，也曾在同济大学“历史建筑保护概论”课上作为辅助材料分发给“历史建筑保护工程”专业07级的本科生翻译过（每人10多页）。
应众多建筑遗产保护爱好者的要求，从今日起连载译稿（草稿）。由于本来只作为内部学习用，本人翻译和校核的次序并没有按照原文的次序，故此次连载亦不按次序，望谅解。
注意：只作为内部交流，请勿转载。同时请广大同道对译文进行纠错。
同济大学建筑系副教授 陆地
P319
Reading 31
Manifesto of the Society for the Protection of Ancient Buildings
William Morris
阅读文章31
古建筑保护协会宣言
威廉•莫里斯
From WILLIAM MORRIS，“The Principles of the Society[for the Protection of Ancient Buildings]As Set Forth upon Its Foundation，”Builder 35(25 August,1877)．Reprinted without alteration from the original(as it has been reprinted in every annual report of the Society since its inception)by permission of the Society for the Protection of Ancient Buildings．
引自威廉•莫里斯，“作为阐述（古建筑保护协会）成立基础的协会原则”《建造者》35（1877.08.25）。经古建筑保护协会准许毫无修改地重印（自协会成立以来，每年年报均要重印原版）。
A society coming before the public with such a name as that above written must needs explain how, and why, it proposes to protect those ancient buildings which to most People doubtless, seems to have so-many and such excellent protectors. This, then, is the explanation we offer.
由于绝大多数公众无疑已经认为我们似乎已经有了如此多的、如此优秀的古建筑保护者，因此，在拥有前面提到的这样一个名字的协会出现在公众面前之时，协会必须阐释我们提议保护古建筑的方式和理由。以下是我们提供的阐释。
No doubt within the last fifty years a new interest, almost like another sense has arisen in these ancient monuments of art; and they have become the subject of one of interesting of studies, and of an enthusiasm religious, historical, artistic, which is one of the undoubted gains of our time; yet we think that if the present treatment of them be continued, our descendants will find them useless for study and chilling to enthusiasm. We think that those last fifty years of knowledge and attention have done more for their destruction than all the foregoing centuries of revolutions violence and contempt.
毫无疑问，在过去的五十年里，对于艺术性古迹，一种新兴趣几乎就像人们对于古迹的其他意识一样开始生发出来；他们业已成为人们感兴趣的研究主题之一，成为某种宗教、历史、艺术热情的主题之一，这无疑是我们时代的一个收获。然而，我们认为，如果目前对古建筑的那种处理继续下去，我们的后代将发现那些古建筑不再有研究之用，无法再唤起热情。我们认为，过去五十年对古建筑的知识掌握和关注对他们所造成的破坏比以前所有世纪的革命暴力与轻视所造成的破坏更甚。
For Architecture, long decaying, died out as a popular art at least, just as the knowledge of mediaeval art was born. So that the civilized world of the nineteenth century has no style of its own amidst its wide knowledge of the style of other centuries. From this lack and this gain arose in men's minds the strange idea of the Restoration of ancient buildings; and a strange and most fatal ideal, which by its very name implies that it is possible to strip from a building this, that, and the other part of its history-of its life that is-and then to stay the hand at some arbitrary point, and leave it still historical, living, and even as it once was.
正如中世纪艺术知识的诞生，建筑长期衰落最终死亡，但最终至少都蜕变成了一种流行的艺术风格。这也使得19世纪这个拥有其它世纪广泛建筑风格知识的文明时代却没有了自己的风格。由于这种自我风格的缺乏，人们脑海里开始冒出修复古建筑这个奇怪的念头。这个奇怪且致命的想法，正如其名称一样暗示着这可能从一个建筑上剥离这个建筑上作为其生命史的这个、那个以及其他历史部分，并以多少武断的观点使之依旧以历史的、存活的，甚至就像他曾经那样的留在人们手中。
P320
In early times this kind of forgery was impossible, because knowledge failed the builders, or perhaps because instinct held them back. If repairs were needed, if ambition or piety pricked on to change, that change was of necessity wrought in the unmistakable fashion of the time; a church of the eleventh century might be added to or altered in the twelfth, thirteenth, fourteenth, fifteenth, sixteenth, or even the seventeenth or eighteenth centuries; but every change, whatever history it destroyed, left history in the gap, and was alive with the spirit of the deeds done midst its fashioning.
在以往的时代，由于建造者缺乏对以往风格知识的掌握，或由于缺乏将古建筑带回到过去的本能意识，这种伪造是不可能的。如果需要修缮，如果人们的雄心或虔诚促使人们改变建筑，这种改变必然会烙印上那个时代显而易见的风尚。例如，一个十一世纪的教堂可能在十二、十三、十四、十五、十六、甚至十七或十八世纪被不断增建或改建。但每一次改变，无论是历史的破坏，岁月的裂缝 ，都是在工匠精加工后精神活力的体现。但每一个变化，即便是被摧毁的历史，都会留下历史裂隙，并以带有其时代风尚所做行为的精神而存活下来。
The result of all this often a building in which the many changes, though harsh and visible enough, were, by their very contrast, interesting and instructive and could by no possibility mislead. But those who make the changes wrought in our day under the name of Restoration, while professing to bring back a building to the best time of its history, have no guide but each his own individual whim to point out to them what is admirable and what contemptible; while the very nature of their task compels them to destroy something and to supply the gap by imagining what the earlier builders should or might have done.
尽管那些改变粗粝并足够引入注目，但正因为这种对比，这一切的结果常常使那种经历了多次改变的建筑显得更为有趣、更有启发性且绝不会误导人。但是，今天以修复之名锻造改变的那些人却鼓吹着将建筑带回到该建筑历史上的最好时刻，他们没什么指导原则，只是基于他们自我的异想天开点评什么是好的，什么是可鄙的。与此同时，他们的任务本能地驱使着他们摧毁一些东西并以对早期工人应该或者可能作法的想象来填补建筑缺失。
Moreover, in the course of this double process of destruction and addition the whole surface of the building is necessarily tampered with; so that the appearance of antiquity is taken away from such old parts of the fabric as are left, and there is no laying to rest in the spectator the suspicion of what may have been lost; and In short, a feeble and lifeless forgery is the final result of all wasted labor.
此外，在这种破坏与添加的双向过程中，建筑的整个表面必然遭到了篡改。以至于古建筑表面被从原先留下的如此古老的结构上剥离下来，使观者丝毫不会怀疑古建筑可能已经失去了什么。简而言之，所有白费劳动的最终成果就是一种虚弱的、毫无生气的赝品。
It is sad to say, that in this manner most of the bigger Minsters, and a vast number of more humble buildings, both in England and on the Continent, have been dealt with by men of talent often, and worthy of better employment, but deaf to the claims of poetry and history in the highest sense of the words.
我们很痛心的认为，大多数英国和欧洲大陆更大的大教堂以及大量较不起眼的建筑已经被那些通常被认为是天才的人以这种态度处理过了，他们的天赋其实更应该用在其他地方，而不是对诗意和历史最有意义的诉求充耳不闻。
For what is left we plead before our architects themselves, before the official guardians of buildings, and before the public generally, and we pray them to remember how much is gone of the religion, thought and manners of time past, never by almost universal consent, to be Restored; and to consider whether it be possible to Restore those buildings, the living spirit of which, it cannot be too often repeated, was an inseparable part of that religion and thought, and those past manners.
为了那些还存留下来的古建筑，我们恳请建筑师、建筑的官方监护者以及广大民众，我们祈求他们记住过去时代的宗教信仰、思想和社会方式已经逝去如此之多，人们几乎普遍认同，完全没有回复的必要。我们祈求他们考虑是否有修复这些建筑这种可能性，即修复建筑那通常几乎不能被重复的，作为宗教信仰和思想以及过去社会方式不可分割的活生生精神。
For our part we assure them fearlessly, that of all the Restoration yet undertaken the worst have meant the reckless stripping a building of some of its most interesting material features; while the best have their exact analog in the Restoration of an old picture, where the partly-perished work of the ancient craftsmaster has been made neat and smooth by the tricky hand of some unoriginal and thoughtless hack of today.
对于我们而言，我们要毫无畏惧使人们确信，迄今为止已经进行过的所有最糟糕的修复意味着轻率地剥去了建筑上最有趣的材料特征；即便是他们在古画修复中最好的进行了精确的模拟，古代匠师部分老化的作品如今也被那些非原创者的、毫无思想进行劈砍的狡捷之手弄得整洁而光滑了。
If, for the rest, it be asked us to specify what kind of amount of art, style, or other interest in a building, makes it worth protecting, we answer, anything which can be looked on as artistic, picturesque, historical, antique, or substantial: any work in short, over which educated, artistic people would think it worthwhile to argue at all.
除此之外，假如要我们指出一个建筑中具有什么样的艺术、风格、或其他有趣的方面才使其值得保护，我们的回答是，任何可被视为艺术的、如画的、历史的、古物的，或重要的东西：简而言之，任何可被有教养的、具有艺术审美的人们认为值得争辩一番的所有作品。
P321
It is for all these buildings, therefore, of all times and styles, that we plead, and call upon those who have to deal with them to put Protection in the place of Restorations, to stave off decay by daily care, to prop a perilous wall or mend a leaky roof by such means as are obviously meant for support or covering, and show no pretence of other art, and otherwise to resist all tampering with either the fabric or ornament of the building as it stands; if it has become inconvenient for its present use, to raise another building rather than alter or enlarge the old one; in fine to treat our ancient buildings as monuments of a bygone art, created by bygone manners, that modern art cannot meddle with without destroying.
为了所有时代和风格的建筑，我们恳请并呼吁那些以修复的立场来进行保护，对古建筑进行处理的人们应以日常护理避免建筑的衰败，通过显而易见的支撑或覆盖措施支撑危险的墙体或修补屋漏，这些措施不要以伪装成其他艺术风格的方式进行展现，与此同时抵制所有篡改建筑原本结构或装饰的行为。如果建筑已经不适应目前的使用，应该修建另一个建筑而不是改建或者扩建他。总之，应将我们的古建筑作为已经逝去的艺术、由已经逝去的方式创造的的纪念物而对待，当代艺术不能对其进行破坏性的干扰。
Thus, and thus only, shall we escape the reproach of our learning being turned into a snare to us; thus, and thus only can we protect our ancient buildings, and hand them down instructive and venerable to those that come after us.
这样，只有这样，我们才能逃脱将我们的知识化为我们自身陷阱的谴责；这样，只有这样，我们才能保护我们的古建筑，将他们富有教益的、值得尊重的传给我们的后人。
-
最后来的是乌鸦 赞了这篇日记 2019-10-26 11:37:03
