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International Conference 2011
“Human Resources Development forTransmission of Traditional Skills:
National Approaches and their Application to Stone and Brick”(6-8 December 2011, Shanghai, CHINA)

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)−1−

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: +81 (0)742-20-5001
Fax: +81 (0)742-20-5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by Meishinsha
䣖 Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2012

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Preface
ACCU Nara Office has been holding International Conferences every year, but in this year we are very
happy to be able to host this conference together with WHITRAP Shanghai, the World Heritage
Institute of Training and Research for the Asia and Pacific Region. Since the establishment of
WHITRAP Shanghai in 2007, Professor Zhou Jian has suggested collaboration with ACCU Nara
Office. But although we explored various ideas, we were unable to decide what kind of program we
could actually work on together.
While considering this issue, we were able to have Professor Zhou attend the International Conference
held in Nara in 2010. We had the opportunity on that occasion for a long and friendly conversation. In
the course of our discussion, we reached the mutual understanding that as our two institutions bothhave the task of contributing to the protection of cultural heritage in the Asia and Pacific region, any
collaboration towards our shared goal would not only be mutually beneficial for our two institutions,but it should also help protect the Asia and Pacific region’s cultural heritage as well.
Then, as a project we could actually undertake together, it was decided to try holding International
Conferences as a start. In the last fiscal year, as the first attempt, the International Conference in Nara
was held through the cooperation of our institutions’ efforts. This conference is the first one to be
conducted under joint organisation, that is, through real collaboration between us.
This is also the second time when the International Conference is being held under the general themeof “Human Resources Development for the Transmission of Traditional Skills.” In the first conference,
we deepened discussion from a comprehensive perspective on tangible and intangible heritage,focusing on how to transmit traditional skills and materials for the future. The topic of the restorationof wooden historic buildings was taken up as the subtheme. This time the focus is on stone and brick.
Through lively discussion, we have drawn up a recommendation on the issues and future tasks forregeneration and transmission of traditional skills in stone and brick heritage, as a fruitful result.
Last but not least, I would like to extend special thanks to all those who have given advice and support
in regard to holding this conference, beginning with the Agency for Cultural Affairs, Japan(Bunkacho); the National Research Institute for Cultural Properties, Tokyo and Nara (Independent
Administrative Institution, National Institutes for Cultural Heritage); the JAPAN ICOMOS National
Committee; the Japanese Association for Conservation of Architectural Monuments (JACAM); theNara Prefectural and Municipal Governments; Tongji University and the Shanghai Tongji Urban
Planning and Design Institute. Also, special thanks for preparations for the conference are due to all of
the staff of the WHITRAP Shanghai.

NISHIMURA Yasushi
Director
ACCU Nara−5−

Preface
On behalf of the World Heritage Institute of Training and Research for the Asia and Pacific Region
under the auspices of UNESCO Shanghai (WHITRAP Shanghai), I would like to express my sincere
welcome to all participants and professionals.
In July 2010, WHITRAP Shanghai and ACCU Nara signed an official Memorandum of Understanding
initiating a series of conferences since 2011 on “Human Resources Development for the Transmissionof Traditional Skills”. The first session was held in Nara, Japan and focused on woodworking. Stoneand brick buildings, materials, decoration and furnishing were to be covered in the following sessions.
It is essential for craftspeople to master the traditional skills and implement them in the course ofheritage conservation. Meanwhile, traditional skills are facing the threat of extinction due to various
impacts. Accordingly, the organizers plan to promote a discussion regarding this topic. Taking thisopportunity, professionals from different countries are able to share and learn from one another’s
experiences. Through the transmission of traditional skills, development of human resources, relevant
policy and methods, the appropriate solutions can be sought and combined with practical experience topromote the expansion of cultural diversity.
The year of 2012 marks the 40th anniversary since the World Heritage Convention was approved in1972. In the past four decades, the number of world heritage sites in the Asia-Pacific region has
skyrocketed. At the same time, in parallel to the rapidly developing economy and urbanization in the
Asia-Pacific region, the world heritage preservation of these countries is facing new challenges thatdeveloped countries have never experienced. Such common problems include gradual loss of
traditional skills, breakdown of community due to modernization and urbanization, lack of humanresources, poverty, and pressure by commercial growth. Therefore, it is crucial for us to communicate
and seek out appropriate solutions while finding a path for mutual improvement. Today is a fresh start.
It is obvious that China is dealing with the decline of traditional craftspeople and their successors.
Especially in some areas with an advanced economy, the number of traditional stonemasons andartisans is declining. The young generation is not willing to learn these skills. These talented
craftspeople can only be found in underdeveloped areas. In my opinion, one of the most fundamental
reasons is that there is a shortage of supportive policy to protect and transmit traditional skills. On theother hand, experts like us should further study how to improve old-fashioned talents as they attempt
to meet the needs of modern society, and how to promote them for extensive use.
I hope this academic conference can be a new channel of communication and cooperation for regional
heritage conservation. We can all share experiences and lessons from others presentations and ideas
focusing on the theme of “Human Resources Development for the Transmission of Traditional Skills”.
Last but not least, I would like to express my sincere appreciation to Mr. NISHIMURA Yasushi andhis team for their efforts. I hope the conference will be a success and the cooperation between ACCU
Nara and WHITRAP Shanghai will become closer and closer.

ZHOU Jian
Director
WHITRAP Shanghai−6−

ContentsΣώKeynote Speechesᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1.

Tapping Stone and Brick: In Search of Traditional Skills and their Continuity
3
Gamini WIJESURIYA (ICCROM)
2. Introduction to Ancient Brick and Stone Buildings and its Conservation Restoration in China
25
HOU Weidong (China)
3. The Japanese Protection System for Preservation Technique for Traditional Stone Wall
43
MOTONAKA Makoto (Japan)
ᴾΤώPapers by Participantsᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1.
2.
3.
4.
5.
6.

7.

8.

Current Issues and Future Tasks for Conservation of Stone and Brick Structures in Philippines
Arnulfo DADO (Philippines)
Problems and Solutions of Cultural Heritage Made from Bricks Conservation in Indonesia
Soeroso (Indonesia)
Practical Experiences and Thoughts during the Protection of Shanghai Historic Buildings
WANG Anshi (China)
Conservation of World Heritage Site of Humayun’s Tomb, New Delhi
Sangeeta BAIS (India)
Current Issues of and Future Tasks for Conservation of Stone and Brick Structures in Sri Lanka
Jude Nilan COORAY (Sri Lanka)
Current Issues of and Future Tasks for Conservation of Stone and Brick Cultural Heritages
and Traditional Techniques in Korea
JO Sangsun (Korea)
Outline of a Project to Repair a Brick Building in Japan: The Challenges of Reproducing
Traditional Engineering and Structural Reinforcement
KIMURA Kazuo (Japan)
Restoration of Historic Natural Stones in the Past Decade in China – Case StudyDAI Shibing (China)

61
77
85
97
109
137

155

171

ΥώRecommendationᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
Recommendations of International Conference 2011ΦώAppendixᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ ᴾ
1.
2.
3.

General Information of the Conference
Schedule of the International Conference
List of Participants

185

ᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾᴾ
191
193
194

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I. Keynote Speeches− 10 −

and their Continuity (redefining traditions of heritage)

Gamini WIJESURIYA
Project Manager
ICCROM

Introduction
When speaking about traditional skills, the general trend is to refer to skills used by craftsmen to fix or deal
with material. These skills are being considered useful by the conservation professionals in their work. The
purpose of this paper is to offer a broader definition to traditional skills, which may encompass knowledge. I
propose to discuss the traditional knowledge systems linked to brick and stone monuments as a useful tool
for better understanding, and for the conservation of brick and stone monuments.
For this purpose, I plan to ‘tap’ the knowledge systems surrounding the brick and stone monuments. My
conviction (or thesis if you wish) is that these monuments are broader than simply sources of traditional
skills in their definition mentioned above. What I mean by traditional skills is not just the building
techniques practiced by craftsmen but the compendium of knowledge systems including a variety of people
involved in different functions from the time of their establishment. This compendium often include all
elements of continuity (continuity of use, traditional systems etc.) that I will elaborate later. Understanding,application and transmission of traditional skills or the knowledge systems defined in this manner, in the end,
become the responsibility of all those engaged in heritage conservation, which is also something I wish tohighlight at the end of my presentation.

Heritage of Brick and Stone
Asia is undoubtedly one of the richest regions in heritage buildings made of stone and brick. Buddhist stupas
built of brick in Sri Lanka to epic proportions (height going up to 400 feet) from the 2nd century BC are thelargest brick structures built in the ancient world in terms of their scale and so are the gigantic monastic
complexes surrounding them, now in ruins. According to the visiting Chinese Buddhist monk Fa Hishen, onesuch complex had 5,000 Buddhist monks in the 5th century AD and all of them were sheltered in edifices
built mainly of brick. Further, an approximate assessment shows that Jetavana stupa constructed in the 3rd
AD used 62 million ancient size bricks and Abhayagiri stupa built in the 1st BC has used 54 million bricks.
Monastic complexes of Ayutthaya, in Thailand and Bagan in Myanmar or Polonnaruwa in Sri Lanka aresome of the added testimonies to this grand tradition of building monastic buildings utilizing brick as thebasic unit of construction.

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GaminiWIJESURIYA

Tapping Stone and Brick: In Search of Traditional Skills

Gamini
WIJESURIYA

Jetavana Stupa In Sri Lanka: 3rd century AD

Hindu temples in India, Buddhist/Hindu monuments in Cambodia and Buddhist monuments in Indonesia on
the other hand were built mainly of stone, and have no parallels elsewhere in the world.

Angor Vat, Cambodia

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our ancestors have elaborately carved natural rocks to create massive monastic complexes. Gigantic rock cut
Buddha figures from Afghanistan to Sri Lanka to China are among the most magnificent sculptures evercreated by mankind. So are the numerous sculptures and carvings associated with Hindu temples.

Buddha Statue from Sri Lanka: 6th century AD

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Female Deity from Patna Museum, India

GaminiWIJESURIYA

Rock cut caves in Ajanta in India to those numerous grottos in China are unparallel manifestations of how

Gamini
WIJESURIYA

The questions we need to ask are: Are they only grand?; Beautiful?; Strong?; Old? Are they heaps of brickand stone only? Or are they manifestations of many facets of our cultures? This is what I wish to deliberate
further.

Cultural Meaning
Classical written work of Stella Kramrisch intended to ‘depict the Hindu temple as not merely a heap ofbrick, stone or wood but a visible symbol of aspirations of pious men and women, the throbbing of theirhearts in religious fervor and their endeavors for the attainment of salvation’. The volumes highlight that the‘Hindu temple- its structure is rooted in vedic tradition, and primeval modes of building have contributed
their shapes. The principles are given in the sacred books of India and structural rules in the treatise onarchitecture. . . . The purpose of the Hindu temple is shown by its form. It is the concrete symbol of
Reintegration and coheres with the rhythm of the thought imaged in its carvings and laid out in its
proportions. Their perfection is a celebration of all the rites enacted during the building of the temple, fromthe ground to its pinnacle. Nothing that is seen on the temple is left unsaid in the verbal tradition nor is anyof the detail arbitrary or superfluous. Each has a definite place and is part of the whole’.
This indeed is a dazzling introduction to heritage under deliberation, in this seminar. Like the Hindu temples,
gigantic stupas mentioned above are not mere heaps of bricks stacked one over the other, in millions. From
whatever the origin, they have been developed to epic proportions representing the lord Buddha himself but
more importantly depicting and symbolizing the Buddhist world view for the followers of Buddhism to be
used and inspired.
Sculptures of Buddhist and Hindu traditions associated with these edifices numerously and in diverse scales
out of stone (or built in brick in lesser numbers) are meant to symbolize and satisfy the spirituality of thefollowers. Coomaraswamy was right when he stressed: Buddha statues were made not because there was ademand for art but as an icon of worship.
Samadhi Buddha statue in Sri Lanka, created in the 6th century AD, is one of the finest sculptures where
Buddhist iconography is concerned. Sri Javerhar Lal Nehru, when visited the sculpture not only had tears in
his eyes but also considered it to be an eternal inspiration for him, which reflected the qualities of the
Buddha. In his autobiography, he mentions that while in the Dehradun prison, whenever he was troubled or
stressed, it was the reminder of this sculpture that brought him salvation.
Deeply rooted meanings of the creations of brick and stone are reflected in every aspect of these edifices.
The moonstone is the stepping stone to any religion edifice in Buddhist monastic complexes in Sri Lanka.
Some of them are functional and are hardly with any decorations, while others are highly decorated. One
would argue that the decorative elements are for mere aesthetic purposes, but others think that they
symbolizes the cycle of life one has to pass through, to attain final salvation or nibbana.

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picture would have a deeper meaning than mere decoration.
The purpose of this quick overview was to show that these edifices are not just brick and stone as we theconservators often try to embrace, but manifestations of ingenuity of the people in skilful exploitation of thenature to depict their social or religious aspirations. Let me elaborate this further.

Knowledge
There were large knowledge systems that contributed to the creation of these edifices which I would like tohighlight and bring to this discussion. They existed in diverse forms and were transmitted in oral traditions
through generations. Later on, numerous silpa texts of Vastu sastra known as the science of architecture
emerged. I would need a separate presentation of this nature to talk about numerous text books that areavailable in the region which guided the construction of not only monuments but also the villages, towns andeven sculptures. To name a few, Visnudharamottara, Manasara, Mayamatha and Manjusri vastu vidya sastra.

Ancient text on architecture

These texts suggest the level of knowledge that should exist amongst those who were responsible forbuilding these edifices and it is worth quoting here. “The architect of the temple was not only a master of the‘ocean of the science of architecture’. Balanced himself in body and mind, he had to be versed in the

7−−5GaminiWIJESURIYA

Even the urinal stone from a meditation monastery of the 10th century in Sri Lanka that you see in theGamini
WIJESURIYA

traditional science (sastra) in its various branches, and as much in the knowledge of rhythms, mathematics,
and astronomy as in the conditions of different places, etc…The various arts and sciences had to be known
for one and the same purpose, so that he could apply them in his work which was to be an image anreconstitution of the universe”.
Indeed, the texts are very clear and harsh on unqualified persons. One text says ‘he who begins to work as anarchitect without knowing the science of architecture and proud with false knowledge must be put to deathby the King …’. It continues to say that ‘he who is expert only in his workmanship, but unable to understandthe meaning of the traditional science, will like a blind man be misled by anyone’.
The texts go further and say ‘for immediate intuition, a readiness of judgment in contingencies, and ability tofuse them into the requirements of the whole, are the distinctions of a true architect… It is then, that thebuilder himself, once his work is completed, is struck with wonder and exclaims: ‘Oh how was it that I built
it’. Isn’t it the same feeling that we have today when we see these creations?
These texts also provide numerous technical details and even minute details such as making quality bricks.
Mayamatha for instance, describes of methods to make quality bricks.
‘instructs that soil free from gravel, stones, roots, bones and clods should be selected, having finesand, of uniform colour and pleasant to touch. First one should throw a lump of earth into knee-deepwater, and then stir and knead it repeatedly forty times with one’s feet. One should wet it with watersof Ksira ( pine), Kadamba, Amra (Mango) and Abhayaksa tree bark and the water of the 3 fruits(Amalaka= emblic myrobalan, Bahela and Haritaka) and go on kneading it for a month.
………………………..
The bricks must be freshly made and all other building materials too must be hewn or quarried in
due time, and used exclusively for the building for which they are destined’.
Such is the level of sophisticated knowledge and experience that have gone into the creations of theseedifices and associated elements. The existence of edifices under discussion in this seminar which are in
perfect condition even after thousands of years, is witness to this.
We have many examples to prove the existence of such deep rooted and detailed knowledge. Let me give
you several examples.
Vinayapitaka, Buddhist text on discipline, provides a fascinating prescription of the cankamanaghara or the
meditation hall. Archaeological remains prove beyond doubt as to why such prescriptions are necessary forthe building and functioning of them properly and also to sustain against conditions of the surroundings andweather.

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WIJESURIYA

Mahathupa, Sri Lanka: origin 1st BC

When the King of Sri Lanka in the first century BC had the desire to build a stupa, he consulted a priest who
himself was the architect, according to the Mahavamsa, the great chronicle of Sri Lanka. He provided theform and shape of the stupa and much more advice. Mahavamsa provides a beautiful description of how theKing selected a contractor for making bricks for the stupa through public announcement. The contract wasawarded to the one who described the way to achieve the best quality product. It required at least 40 million
bricks at that time and the importance attached to the quality of bricks receiving the royal attention istherefore not surprising. In order to hold such a huge mass of bricks, the King and the builders understoodthe importance of the foundations and it is in this context that we can still read how they prepared thefoundation. The King ‘had the place for the stupa dug out to a depth of seven cubits (16 feet) to make it firmin every way. Round stones that he commanded his soldiers to bring hither did he caused to be broken withhammers, … command that the crushed stone, to make the ground firmer, he stamped down by greatelephants whose feet were bound with leather’.
I have no better example than the details of the excavated foundation of the largest stupa in Sri Lanka whichis Jetavana, projecting up to 400 feet. Excavations revealed (see the picture below) that even the bottom mostlayers of brick carrying 62 million for over 2,000 years is in perfect conditions. Builders knew the strength
required on the bottom most layers of brick in order not to be crushed under self load carrying millions of
them.

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Gamini
WIJESURIYA

Foundation of Jetavana stupa

I believe, our colleagues from Angkor will provide fascinating examples of knowledge on stone work as
depicted in carvings.

Sculpture from Angkor depicting stone work

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Books dedicated to science of building contain chapters on principles of continuous care of heritage. In
addition, chronicles and inscriptions provide numerous references on attempts to care and maintain heritage.
Whether this is the same conservation we talk about today can be a doubt for some, but I will not open that
discussion now. A closer look at some of the principles reveals that they in fact are quite comparable to what
we have been advocating today, if not advanced, in some cases.
Literary sources reveal all types of terminology to suit different interventions and some of them are as
follows from Pali and Sanskrit literature:–‘patisankharam’ – Restortaion–‘puna karayi’- ‘renovation’ of a section to its original form–

‘navakamma’- ‘replaced anew’–‘pinnasankari’ and ‘navamkamankaryi’ as ‘replacing sections that have been decayed’–‘parkathika”- ‘replacement of unit as it was previously’

Mayamatha has devoted one chapter for renewal work. These are also to be guided by the wise men andthose who have specialized knowledge on care. What appears below is an excerpt from the chapter:Those (temples) whose characteristics are still
perceptible in their principal and secondary
elements (are to be renovated) with their own
materials.
If they are lacking in anything or have some similar
type of flaw, the sage wishing to restore them, (mustproceed in such a way that) they regain theirintegrity and that they are pleasantly arranged(anew);
this (is to be done) with the dimensions - height andwidth – which were theirs, with decorations
consisting of corner, elongated and other aedicule,without anything being added (to what originallyexisted)and always in conformity with the advice of theknowledgeable

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GaminiWIJESURIYA

Knowledge for Care

Gamini
WIJESURIYA

A 12th century inscription in Sri Lanka refers to an officer assigned by the royalty in charge of restoration:“Thereafter he (the King) placed in charge ‘Loke Arakmena’… he gave him unlimited wealth and.. andthus beautified the city as it was in former time, like the city of gods”.
The post of the officer ‘Loke Arakmena’ has been translated as ‘Chief Conservator of Monuments’ inpresent day context.
The high level of respect and regard shown to the skilled men are clearly explained in this 9th century
inscription from Sri Lanka. For the masons and carpenters in charge of temple renewal, there had been aseparate village set apart.
• [There shall be] clever stone-cutters and skilful carpenters in the village devoted to the work of[temple] renewal.
• They all… shall be experts in their [respective] work.
• ….shall be granted to the officer who superintends work.
• …his respective duties, shall be recorded in the register.
• …….they alone shall be answerable for its correctness.
• The limit [of time] for the completion of work is twomonths and five days.
• Blame [shall be attributed to] … who do not perform it
according to arrangement.
The stone column you see in the picture (which are in large
numbers) is the evidence of grants given to monasteries at thetime of their establishment for their continuous maintenance.
Grants are mainly land which generates income and were
exempted from taxes etc.
With such a vast knowledge about construction and also
continuous care of heritage, the next natural question is who infact were these builders who indeed were geniuses?

Skilled People
The knowledge and skills described above are inextricably linked to a group of people who were responsible
for creating these edifices and indeed are an integral part of the heritage. According to ancient texts in Hindu
traditions, the work of these edifices is a collective effort guided by priests. Here we need to recognize thesignificant role played by religious leaders in shaping this knowledge and providing the metaphysicalfoundation to build these edifices. The priest would be supported by the architect (sthapati) whose

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the religious knowledge but also the science of building. Disciple or son of Sthapati, competent in their work
is known as Sutragrahin. Also mentioned is taksaka who is an expert in cuttings and carvings. There may
also be a Vardhakin who gives the final touches to the work of the above. Of course there are many
variations and no conformity between the texts, but the important thing to note is the fact that the building
and long-term care of these edifices were a collective effort. All their knowledge and skills were gained
through contemporary scientific understanding or through trial and error. It is this group who were finallyresponsible for guiding the creation of these magnificent edifices.
The varieties of people involved are depicted in numerous texts, one such reference is as follows: ‘The kingordered the building of the city of Yapahu Nuvara was begun on the rock called Sundaragiriparvata, after
which the city was named. That king commanded that it should be constructed of stone only, and thefollowing workman should be engaged: 120 lacs of masons, 100 chief blacksmiths, 250 hangidi (foremen),
3,000 painters 400 carvers….’
These were people well versed in knowledge, required skills and dedication to their work. One Indian text
enjoins meditation upon the sculpture ‘In order that form of an image may be brought fully and clearly
before the mind, the imager should meditate; and his success will be proportionate to his meditation. No
other way- not indeed seeing the object itself- will achieve his purpose’. This explains the level of spiritualitythat they are engaged in while working in addition to possessing the required competencies. The reference inthe above quoted inscription that ‘they shall be experts in their respective work’ further proves this.
This particular reference, I have quoted from Coomaraswamy, suggests the level of respect and appreciation
placed on the craftsmen who were engaged in making statues. ‘The sound of the tools that are raising theimage of Buddha, let it reverberate in Heaven’ by Empress Komyo of Japan.
It was also out of respect for the workman, that the King who commissioned the Mahathupa of Sri Lanka inthe 1st century ordered that the ‘Work shall not be done without wages...’In the recent past, when the temple of the Tooth Relic of the Buddha in Sri Lanka (a World Heritage site)
was bombed by terrorists which led to the destruction of a large number of decorative elements made out ofstone, finding skilled men for making replicas was one of the major challenges. Importing skilled men from
India was considered as an option but vehemently opposed by the monk community, who considered, skills
and the people with knowledge were a part of the heritage. I had the task of searching for families who stillretained the skills to make necessary replicas of the damaged sculptures. A thorough countrywide search
made us realise that skilled people have almost disappeared but fortunately were able to trace a smaller
number of families who could help. After testing their skills through making samples, we were able to revive
the tradition and make replicas of the destroyed stone elements.
There is another aspect to this heritage which is ‘continuity’, relevant to my discussion.

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GaminiWIJESURIYA

qualifications I have mentioned above. . Architects followed this guidance and were not only familiar with

Gamini
WIJESURIYA

Continuity
Above all, much of this heritage still continues to perform original functions for which they were established,
and also plays a major role in the lives of the contemporary society. This is why we identify them as living
heritage. While some of this heritage is being used for the religious purposes, others are being celebrated.
Associated traditions, festivals, rituals are being continued to this day. Some places continue to maintainskills and mange them in their own traditional way. We also have to recognize that this type of heritage isstill being created utilizing the traditional knowledge systems.

New Sculptures being made in Sri Lanka

When the continuity of the original function occurs in a heritage place, there are three other interrelated
aspects of continuity: continuity of the connected community, continuity of the traditions and continuity oftangible and intangible expressions. We cannot separate these from most of our heritage, although there isalways a tendency among the conservation community to disassociate from this important point and focus
only on the material aspects. While this may also largely depend on the local and national socio-politicalcontext, it is important for us to engage in studying these aspects if we are to understand these places better.
For instance, continuity of traditions and traditional management systems will be an important aspect weneed to recognize in our effort to better conserve and manage heritage.
Concern for continuity was one of the key elements missing in the conventional conservation approach.
Indeed, it believes that the traditional continuity between the past and the present is always broken, and that

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is considered as liner in the western world though it is not universal. Indeed, even strong advocates of theconventional conservation approach, such as Paul Philippot agreed that continuity is an important factor insome instances and such heritage needs new definitions. This was a subject of a long inquiry of ICCROM
and there is ongoing debate for a new definition for heritage in which continuity is a dominant character.

Human resources development
In terms of developing human resources on traditional skills, thinking of craftsmen would not be sufficient.
This is where we now talk about capacity development which focuses on: strengthening the ability of larger
and changing audiences and considering ‘knowledge acquisition’ instead of ‘knowledge transfer’ while
taking into account new learning environments for more effective conservation of heritage. In this context,
we need to understand where the capacity resides and the respective audiences, as given below;

Where capacities reside

Associated audiences

Practitioners

Those with direct responsibilities for heritage

Institutions

Decision-and-policy-makers

Communities & networks

All those who have a legitimate interest in heritage

We have to identify tasks related to different audiences in propagating the importance, recognition andimplementing issues related to traditional skills. Linking with communities could be a very useful approachin this process.

Conclusions
In conclusion, I would like to stress that traditional skills should not be looked at or considered in isolationfrom all the aspects mentioned above. Traditional skills should be considered as the sum of all knowledge,
skills and people that have contributed to the final results that we see as heritage today, reflected in bothtangible and intangible forms. It also includes all elements related to continuity mentioned above. This would
mean that traditional skills as defined above should form an integral part of the entire conservation disclosure
at appropriate levels. For this, new research, changes of attitudes, new procedures will be required. Ideally, itis through this that we have to address the issues of human resource development.

15 −
−13

GaminiWIJESURIYA

heritage can be frozen in space and time. This is based on many assumptions and also on the basis that time

Gamini
WIJESURIYA

Let’s reflect what we have done so far as a profession?
-

We ignored the traditional approaches as not part of the modern discourse.

-

We develop principles, ethics and education for professionals, ignoring other players and theknowledge systems.

-

How many charters make reference to traditional skills?

Is it now the right time to rethink?
While recognizing that we have a challenging task, if we are to develop human resources to promotetransmission of traditional skills, I am optimistic. Many countries particularly in this region as we would hearfrom presentations, will bring to light many examples that would strengthen our effort to develop Human
Resources for the Transmission of Traditional Skills.

16 −
−14

Gamini
WIJESURIYA

Seminar on “Human Resources Development for the Transmission of
Traditional Skills: National Approaches and their
Application to Stone and Brick
Shanghai Dec. 2011

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480 ft.
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300 ft.

Pyramid No. 1

Jetavana Stupa

Abhayagiri Stupa

Ruvanveli Stupa

The Three Major Stupas at Anuradhapura in relation to
the largest of the Three Pyramids of Egypt− 17 −

Gamini
WIJESURIYA− 18 −

Gamini
WIJESURIYA

Symbols

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imposts of cooked and raw rice,and periodical gifts of milk and oilshould not be taken........... having
forbidden the entry of theaforesaid persons, we, two of us(the two officers who planted thepillar), have given to these villages
the immunities (sanctioned by) theCouncil. (Ez Vol.3, 105).

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Temple of the Tooth Relic

January 1998

Restoration in progress
Stone sculptures

beforeafter− 22 −

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Where capacities
reside:Practitioners

Institutions
Communities &networks− 24 −

Associated Audiences
Those with direct
responsibilities forheritage
Decision-and policymakers
All those who have alegitimate interest in
heritage

Introduction to Ancient Brick and Stone Buildings

HOU Weidong
Vice-Director / Chief Engineer
Chinese Academy of Cultural Heritage

OutlinePART ONE
Remains and Categories of Ancient Stone and Brick Buildings in China
1.1 History and Categories of Ancient Stone and Brick Buildings in China.
1. History of Brick Structures
Brick and tile are one of the earliest artificial building materials, which had been used as floor covering since
the Western Zhou Dynasty. Stone and brick buildings are significant components of ancient buildings in
China, and the Development and decline of them were connected closely. Stone and brick buildings, being
discussed here, are buildings and constructions built with certain structures, not including grotto temples andcarvings with natural stone by Chinese ancients. Although many Chinese Grotto Temples did imitate woodenarchitecture form, their spatial principles (excavating space in rocks) are opposite to artificial construction
space (constructing boundary and outline for existing space), so grotto temples are creating spaces whilebuildings are constructing entities. As we are talking about the physical buildings, the limits of discussion are
defined in stone and brick buildings with structures and constructions. Stone and brick have a long history in
China and the Chinese word QINZHUAN HANWA, which means the bricks in Qin Dynasty and tiles in Han
Dynasty is one type of the adjectives to describe historic buildings.
The predecessor to brick is pottery which is calcined with clay and has a history of over 6000 years. The
history of clay bricks and tiles (about 3000 years) is shorter than containers, so there is plenty of pottery in
the field of architecture in the Spring and Autumn Period and the Warring States Period, such as clay
channels, hollow bricks decorating the ground and wall, tile roof used in significant buildings. During thattime, pottery products are rare and precious.
Using tiles on the roof can be seen in the sectional tile types, at the sites of the Epang Palace in Qin Dynasty
and the entire roofs of residential sites at Sanyang village (Anyang City, Henan Province) in Han Dynasty.
The earliest example of brick wall dates back to the Warring States period, the face of the smelting
ventilated well in Xinzheng Town, Henan province.

− 25 −

HOU
Weidong

and its Conservation Restoration in China

The function of standard clay narrow brick broadened in Han Dynasty, such as at the bottom of buildings,
Lining walls of well, channel and graves. The Graves remaining until now are mostly built with brick, withHOU
Weidong

Corbelled Arches and Arches had being used adroitly.
There had been plenty of brick buildings and constructions during Wei, Jin and the Southern and Northern
Dynasties, including brick stupas and graves such as the Songyue Pagoda and the Yongling Mausoleum.
Brick buildings have increased significantly since Tang and Song Dynasties. Besides the original wooden
pagodas which were converted to brick pagodas, the key position of main circumvallation for urban defense
was built using bricks as well. As a result, the production and use of bricks in Ming Dynasty were moregeneral, not only in palaces and mansions, but also in common residences, whereas the most general use
should be the circumvallation as seen in the Great Wall or enceinte.
2. Categories of ancient brick structure buildings
The ancient brick buildings in China can be divided into brick graves, brick pagodas, brick circumvallation,brick arch bridges, brick caves, brick palaces without beams, etc, according to functions.
They can also been divided into beam slab structures, arch structures, fornix structures, narrow brickstructures, etc., according to structural forms.
Applying hollow brick as beam columns and decorated with carving or paintings, the beam slab structure
was usually used at the gates of graves, such as a large number of graves with painted bricks in Northern
Shaanxi.
The arch structure was usually applied at the tops of graves and used as a circular arch. There were also
corbelled arches which were built with layers of narrow bricks overhanging and it could be changed to fornix
top.
Narrow brick structures were applied widely in walls of buildings, bodies of pagodas and circumvallation.
Several of them are brick cylindrical structures, such as the brick walls of wells. The brick pagoda is the key
symbol for the technical development of Chinese historical architecture.
Reviewing the development of brick structures, there are two peaks.
Han dynasty: Different building methods of brick walls came into being, the certain scales of bricks appeared
and the top structures had been made as well.
Ming dynasty: Brick making technology developed, brick building skill advanced and mortar was usedwidely.

− 26 −

1.2 History and Categories of Stone Buildings.

buildings.
Categories
Stone graves: A great amount of stone graves were built in Tang Dynasty with stone walls and roofs and evendecorations. The materials and structures of these stone graves were solid and resistant.
Stone constructions: There are few structures in China built with stone exclusively. Except for several stone
pagodas, most stone buildings are palaces with limited rooms or structures like stone Jing Chuang,
monumental archways, Screen walls and Ornamental Pillars, which were built with certain structures and canbe counted as one category of Chinese stone buildings.
Large-scale stone constructions:
Bridges: there are a variety of stone bridges in China, including stone arch bridges and large stone girder
bridges.
The Stone Sea wall, which is a great project stretching hundreds of kilometers in China for the sake of thepeople's well-being, was built with a regular boulder strip in Ming and Qing Dynasties to protect farmland
from back-flow tide.
The histories of stone and brick buildings are roughly the same and their developments are almost
synchronous.

PART TWOThe Conservation and Restoration of Historic Buildings in China
2.1 The Damage Types of Stone and brick Buildings.
Environmental damage: earthquake, geohydrologic environment
Structural damage: stone buildings
Material damage
1. Damaging factors of the environment.
Every construction is exposed to its environment and has suffered from certain geological hazards such as
earthquakes, long-term immersion, Landslides, cracks, subsidence, etc. In recent years, not only had thefrequent earthquakes brought about huge damage to human life and economy, but it had lead to thedestruction of cultural heritage. During the Wenchuan earthquake, the stone pagoda was a type of− 27 −

HOU
Weidong

Stone building, which refers to certain structures built with stone, is a component of ancient Chineseconstruction receiving serious damage. The vulnerability of stone and brick buildings is much greatercompared to wooden buildings during earthquakes. (collapse, cracking, frangibility, etc.)
HOU
Weidong

Surface floods and groundwater are also major factors influencing stone buildings. Long-term and short-term
immersion affects stone and brick building themselves and their foundations. For underground constructions
like stone and brick graves, flow on their bodies caused by long-term leaching water will damage thestructures of stone materials.
Geological hazards (landslides, large scale ground subsidence, ground fissure, etc.) can also damage carriersof stone and brick buildings, resulting in their destruction. Take the historic buildings on seismic belt in
Xi'an for example: their walls and foundations had suffered varying degrees of cracking. Some subsidence
even threatens the survival of the stone and brick buildings directly. For instance, several historic buildings
in China had to be moved as a result of landslides caused by precipitation recently.
2. Damaging factors of stone and brick structure.
When stone and brick buildings work as the structure, it also faces other problems: It needs to handle
pressure, bending moment and shear force as a supporting object, and when this structure has a certain height,
it faces stability problems.
Stone and brick structures have two kinds of stresses: One is the vertical stress such as columns, piers, tables,
walls, etc; the other is transverse stress by arch, corbel, beam, etc. The object under vertical stresses may
disintegrate and collapse once overloaded or bent, and the object with transverse stress may disintegrate aswell.
3. Damaging factors of stone and brick materials
The material is prone to deterioration and air slaking in the air. The geometric brick which is a result of theshaping and calcining of clay is also an oxidation process of raw soil under high temperatures. Chinese brickhas experienced another step--- quenching, so it is called black brick. The producing process of early
Chinese brick is quite meticulous, including the choice of soil, watering, shapingˈairing, calcining andquenching, so the brick is smooth and endurable. It can be seen from the bricks excavated from the graves ofthe Han Dynasty which still have a good appearance and texture. For brick materials, the deterioratingprocess is inevitable and its strength will decline as well.
In addition to natural deterioration, the damage of brick materials is due to the following reasons:
Load: Long-term load will damage the structure of the brick itself. For instance, a brick pagoda withthousands of years of history can exist for a long time without interference, but once it is touched, it may
break easily.

− 28 −

Moisture movement: Moisture can dissolve minerals and salt in different extents and carry them out as
moving in the brick, which can damage the components of molecules in brick.

and inflate. This process will damage the structures of soil molecules and the brick will become fragile.
As the stone is a completely natural material, its strength and compactness are higher than the artificial
materials, so the deterioration process turns out to be slow. At the same time, there is a great deal ofdifference among the stone materials, so their damage factors are not exactly same. Usually, stonecomponents have two kinds of patterns, dressed stone (being manually crafted) and cobblestone or schist(keeping the natural form). These two both can be used as buildings and structures: The dressed stone areused to build exterior walls and the cobblestone or schist can be used to construct slope protection and otherstructures. Of course, there are also stone components like columns, Girders, the foundation stones,
doors ,windows and roofing, most of which become artwork in buildings and have to be preserved properly.
Damage of stone components is similar to clay brick, just differing in extents.
2.2 Preserving and Restoring Methods of Stone and Brick Structures.
1. The Treatment of Environmental Damage
The first thing that should be taken into account is the potential natural disaster such as the earthquake or themountain torrent which cannot be controlled by humans and have to be prevented and prepared toconceivable extent.
The geological disaster can be reinforced using anchoring methods to prevent and treat landslides. The
impact to groundwater can be adjusted as well.
2. Reinforcement and restoration of masonry
Crack: For cracked masonry, the first thing should be confirmed is whether the crack is still continuing. And
if it is continuing, we have to find out the reason and deal with it. Generally speaking, if the crack is small(less than 10 mm), it can be treated with partial grouting. And if it is too large, reinforcing bricks are needed.
Hollowing: Hollow parts of the masonry should been reinforced by grouting and removing according to its
causes.
Incline: For inclined stone and brick structure, the foundation should be surveyed firstly and then treated if
there is sedimentation. After the stabilizing measure of foundation, the stability and basic impression of
structure should be checked. If it is mostly stable and has little impact on the architectural form visually, it
can maintain status-quo, and if it is not, some rectification measures can be taken.

− 29 −

HOU
WeidongFreezing and thawing process: When entering the brick material, water molecules are converted to crystal

Fragility: It is caused mainly by strong external forces or long-term over-loading. The bond between the
bricks and stones is weak and the overall strength is declining, leading to insufficiency of bearing capacity.
HOU
Weidong

In this case the overall structure should be reinforced by grouting.
Partial damage: The damaged parts of stone and brick bodies should been restored depending on
circumstances with raw materials and crafts in principle and the location of patches should be labeled.
Besides the reinforcement of stone and brick buildings, new structures can be added as well throughstructural strengthening methods, buttress strengthening methods, unbounded steel-encasing strengthening
methods, carboform strengthening methods and strengthening methods with pre-stressed bracing bars.
The other key element of masonry is the mortar material.
Stone and brick buildings have different practices in different periods. Mortar was not used to build
masonries until the Tang and Song Dynasties (Yellow slurry was used widely at that time), and lime mortar
had been used since the Ming Dynasty. There were several kinds of mortar developed from lime mortar, suchas sticky rice mortar, brown sugar mortar and putty mortar, which are components of historic buildings. The
conservation of these mortars has two meanings, including the mortar itself and its cohesive function. The
study of mortar of traditional stone and brick buildings is presently underway. In principle, the use oforiginal mortar is advocated, but modest reform can be accepted as well and it may fit the stone and brickbuildings better in some cases.
4. External Weathering of Stone and Brick Materials
The chemical strengthening method is usually used to treat the External weathering of stone and brickmaterials.
PART THREE
Case Study of Conservation and Restoration
3.1 Environmental Improvement
1. Post-quake foundation stabilization for buildings in Wenchuan of Sichuan Province
Hillside stabilization for Mt Erwang in Doujiang Weir
2. Ground and foundation sinking caused by changes in the surrounding environment
Wenchang Pavilion, which was built in Bianliang in Northern Song Dynasty, has been 2.5 meters below its
surroundings on account of the rise of the surrounding ground. To solve this, the foundation was raised 3
meters and the whole building was raised as well. The same method was used in Kunming Pagodas in
Yunnan Province.

− 30 −

3. Isolation of detrimental water in surrounding environment

Former Shu Dynasty and was treated with waterproofing work to prevent the permeation of moisture. Thiswas done because the masonry grave was covered with rammed earth and has suffered the permeation of
surface water for a long time, which may change the temperature in the brick structures and damage thebuildings.
4. Foundation stabilization for declining stone and brick buildings.
If the foundation of buildings suffered external forces or immergence, they will subside asymmetrically andthe top-out will decline. A number of stone and brick pagodas have been leaning in certain degrees. Take thebrick pagoda in Mei County of Shaanxi Province for example. It once inclined at an angle of 6 degrees andwas in danger of destruction. Through the improvements, the foundation was restored to balance and theincline was eased.
5. Foundation replacement without moving the building
In front of the Great Buddhist Temple of the Tang Dynasty in Bin County of Shaanxi Province, there is aplatform tower with a wooden pavilion. Due to long-term humidity on the buried part, the bricks wereheavily weathered and in danger. To solve this security problem, the foundation was replaced without
moving the building.
3.2 Conservation, Reinforcement and Restoration of Stone and Brick Structures
In Reinforcement of masonry, overall grouting methods should be taken to respond to the frangibility caused
by a long history of overload. Some assisting constructions can also be used such as adding concrete spar
frames or draw knots with external metallic structures.
The brick pagoda in Famen Temple of Shaanxi province, which was built in the Tang Dynasty and rebuilt in
the Ming Dynasty has used the reinforced concrete tube structure in the middle of the pagoda in restoration,and the exterior was built following the original masonry method.
Longhu Dagoba in Sichuan Province suffered serious damages during the Wenchuan earthquake (fragility,
cracking, partial collapse, etc). After supporting with draw knots to external metallic structures and timber
frames, it can now resist strong aftershocks successfully.
Masonry crack receives a new grouting method.
Hollowing stone and brick partially dismantled with a laying method and grouting method.

− 31 −

HOU
WeidongWang Jian Tomb in Chengdu of Sichuan Province is the site of a masonry grave which was built during3.3 Structural components strengthening
HOU
Weidong

Stone memorial arch reinforced with Carboform bolt.
Stone memorial arch in Xiyue Temple
Seal and protection for the surfaces of seriously weathered brick
3.4 Conservation of stone bridges
3.5 Conservation of stone memorial arch and watchtower of the Han dynasty
3.6 Dam engineering− 32 −

2011Ϟ⍋ⷪ⷇ᓎㄥֱᡸ೑䰙ⷨ䅼Ӯ

Summary ofChineseancient
masonry
andrepairconservation˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗᄫेփिϰ

Hou Weidong
Chinese academy ofcultural heritage

content̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎѫౡʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒᄉॕֽ
ᆑᆂतኒᒬᢵፆౝյဗᄉʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻǋ ᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก
ဖܑჀࠎ෴ူ
ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉγએҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገ‫و‬வ҅ऀࣻ੿й؏‫ؘ࣒ޅ‬ङ߄䰶஋۰‫؝‬ӹ㼷଴֭ङܰ‫߽ࣻ݌‬չ࡜ԧ‫؍‬ஆІߜ‫ࡎٻ‬ї‫ل‬ѻ଴֭ङ؏‫وޅ‬வ澞԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

۩ћ଑ୌ઎ખङީ࣒ૅङ‫ڏ‬উͫ֜࠴ͫ۩ћߎࠩ઎ખङउ
ஒउؔ֨Ӏ߄ৈߣչߣଭङृी‫ڏ‬উ澞‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገ۩ћ۱પङृी‫ڏ‬উީܶӯऀृीߕ‫މ‬љ▲ؔङৈߣ‫ڔڥ‬䩿উङ‫ڏ‬উ࣒۪ߣউ࣒澞ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽृࣻީ߂‫ޝ‬ङыٗ‫ڏ‬উߕ‫މ‬澞୤֪ृչࣻ֨੼յ‫ߊޞ‬ٝ৆ӟ࣫澞ृी‫ڏ‬উީИ֢Վї‫ڏ‬উङ୍੽ুۨୂӣͫѕङԷ՗ЊИ֢‫ڏ‬উङԷ՗ҽੰ‫إ‬ӤबҼ澞̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽृीङԷ՗‫ڮ‬㖃Сͫ▲ਢ‫ؠڥ‬䰶ृ澝ࡎࣻͫ‫▲ީؼ‬य़‫ڏث‬উՎ৯ङ‫ؠڥ‬ટ澞ृङӹ૯ީ஗ͫ▲य़ড֦䐐ࢻեङ࣒ѽͫ஗֘ङࢻӲ֨И֢߄૝ଋԞ‫ٶ‬ङԷ՗澞৲஗ृࣻङԷ՗੽ࡁ‫֘ؠ‬िͫ‫߄ࠢם‬Ԟ‫٘ٶ‬՘ͫަफ़չ֢۫‫ߊޞ‬ٝ‫֨୏ם‬‫ڏ‬উ௅ֿ҅ऀ஗֘ͫ‫ײ‬஗Ӳࡊଳ澝ऀй੸௔֪வչ‫׌‬வङॱ‫ृڶ‬澝୍֨੽ङ‫ڏ‬উЇ҅ऀࣻ‫و‬வͫ଑‫ޞ‬Ҙ஗Ӳսंй२‫ص‬৲࣮૊澞⾺䰓᠓ᅿࠡ↓䘫ഔⱘᣐᥦ⪺ḋᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 33 −⊇फᅝ䰇ϝᴼᑘ∝ҷሙԣ䘫ഔⱘᅠᭈሟ䴶И֢Վїृ‫ڏ‬উܷ҅ऀঝֺՕӣО͹

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WeidongЁ೑᭛࣪䘫ѻⷨお䰶ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ᳍ ᪡ 催 䱉ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬

HOU
Weidong̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩࡔଵ᛬ࣻᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ੁ‫ڞ‬ெՑ੸᛽ࣻ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬И֢Վїृ‫ڏ‬উܷৈߣ‫ڔڥ‬ՕӣО͹ࠍߡ‫⹼֨ऀךםڔ‬嗔ङ୹‫ୂף‬ѹͫंࢻӲֺۨङॱ‫ऀͫृڶ‬ҁߴչࠍͫЌ‫߄ךם‬曣Ӷ۪৊इͫ‫ײ‬晷Ԙ‫ךڮ‬इҦृ⹼ୃީ଑य़ҟࡣ澞֣ͧ࣌澝晷ԘࡎइҦीͨ˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

‫ܮ‬Ӵ‫ڔ‬ৈߣ‫ऀךם‬й⹼‫؜‬ङ஽ୂͫ‫ךם‬О֤‫ͫܮ‬Э߄Ռ䃗ृ‫ܸككृߚީͫܮ‬ӟङҟࡣ澞଑य़Ռ䃗۪‫ܮ‬ЭՕљҟۨ䲽䳻஽澞̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩ㬕曓୹㜊ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ࡎїृ⹼ङ⹼஽ৈߣ֣
˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ߚृ‫ڏײ׌୍܈‬উ࣒ङ‫׌‬ѽ澝ृ‫׈‬ङ‫׈‬૯澝ֽ‫׌‬ङ‫׌‬૯ঈͫЗӰЭ߄ृঊ‫ڔ‬ৈߣͫ‫ृײ‬н‫א‬ঈ澞ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገҿИृ‫ީ׈‬И֢Վї‫ڏ‬উ‫ߐ܉‬Շ‫ي‬ङ▲З୍
੽߶‫ں‬澞

ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 34 −

嚁ࡆՎࡇ‫ڏل‬উ৩ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗी䩿ֽ‫׌‬

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP঺઀ृৈߣ‫ߐ܉‬Շ‫߄ي‬ДЗ௤䉸͹ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP԰̼ᆑፆౝतኒዜ‫ۋ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPी‫⹼؜‬澞И֢ࡎև‫ڏߊޞ‬ଭд‫ךڮ‬ीଭङ⹼‫ͫ؜‬଑п⹼‫؜‬љֺۨीֲ䩿উ‫׌‬ѽՃ‫و‬஽ͫࣾਙ੸௔ୂӣୃଣऀीߕ曣⣒৲ۨ澞଑пी‫މߕ⹼؜‬չৈߣ֮‫ֳ֡ڮ‬৳С澞֣ͧ࣌БࡎइҦी⹼ͨ

԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPीૅ‫ڏ‬উ࣒И֢؏Ҷܷࣁीߕғউङ‫ڏ‬উ࣒‫ͫصڮ‬ஔә‫ה‬ी‫ͫי׈‬ҿѕ‫ֺםޗٷ‬ीૅ‫ڏ‬উͫ‫▲ީךם‬п୿‫ރ‬Љ‫ך‬ङी㼷ͫѸी৆㎣ͫी
࣎ⵐͫीࣁ‫ͫא‬ीԢ੮ঈ‫ڏ‬উ‫ش‬սૻ‫ך‬澞଑п‫ڏ‬উ‫ش‬սЭୃं߮य़ৈߣ৲ۨͫЭՕљ঑ҁИ֢ीૅ‫ڏ‬উङ▲З୹ঝ澞ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎறी㼷ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ
ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β⥟̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ԰̼ᆑፆౝतኒዜ‫ۋ‬ҷᆑᆂፆౝतኒԦࡘኤᤗ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ᆑᆂፆౝतኒԦࡘኤᤗ

ᯢʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗीߣ‫ڏ‬উ

ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ᆑᆂፆౝतኒԦࡘኤᤗ

HOU
Weidong̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗևգҰ䯢٤‫׈‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

‫ڐ‬
ҫ
ㆃ
Յ
ी
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ဖܑჀࠎ෴ူ
ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬࢑Կࡎ晊˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 35 −

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ࠉࠍȍȍИ֢ीૅࠉࠍѨ‫ܮ߄ͫך‬Ӵ‫ڔ‬ीࠉ澝Э߄‫ֺם‬ङीߣўࠍ‫ࠉڔ‬澞ीࢁ⹄ȍȍࢁ⹄ЭީИ֢ङٚ‫ٗࣿࡇם‬३ͫ‫ޢ‬ࢎљե֨࡟ࢁ▲٫‫ڏ‬ગࢁ⹄ͫஅ࠲ࢁ䉸֛ࡶͫґ‫ܔ‬ӌँ澞‫ઁऀךם‬өߚी䩿উͫ‫ڪڪ‬僖‫ڍ‬әघҸୌ澞ीৈߣ‫ڏ‬উԷ՗Њृ‫ڏ‬উ‫ם‬ਚबգͫҿՇ‫ي‬չۨࣅЭչृ‫ڏ‬উׂߎգ࠵澞䱉ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬

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Weidong̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ˖‫ڍ‬԰̼ᆑᆂतኒγએν‫ܬ‬ᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPѠѾ‫ڏ‬উ࣒ୃ‫ה‬йࣔؔङԚֿչࣔؔङ֪ૅ࣪‫ͫ׋‬ଶՉࡈ઻ߚ
ўङஒӲ澞ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

࣪‫֜׋‬পԕ‫ ܬ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬଎‫֪ߛٶ‬஭ைՇͫஔোыঝՃ৆ࡺଭ୍ۨ‫ކͫיע݃ם‬ԗ଴фङॄְЭީ஬੽‫ثځ‬ङП੽࣪‫ृ׋‬ी‫ڏ‬উ࣒ૻߋৈߣ޾‫ޣؠ‬ଭְۨ݃澞֨଎‫ٶ‬ङ㿕ٕ֪஭И澝ृी‫ૻְॄީ׈‬Е୍ङ▲ঝ澝‫ײ‬஭եҖઓ澝஭ե‫੷ڐ‬澝懒ߠঈ澞ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗृी‫ڏ‬উङओ‫؞‬ӣОәঝ˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP֪੮ࡊࢳչ֪ЈࡊЭީ‫ڧ‬րृी‫ڏ‬উङП੽֜পʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬֪஭եङࣥ߹‫׈‬৩֪ૅࢳ‫؞‬Эѫॄְृी‫ڏ‬উ۱‫ה‬ङૺѽ澝‫ֶ࢝ײ‬澝‫ם‬வ॥ङ֪வࡘ஘澝֪੷ড়ঈфࣿॄְђ৲‫ح‬ਚ‫ڏ‬উ࣒݃࠽澞‫ײ‬▲пѹй֪੷٫ЇङՎ‫ڏ‬উҿ‫׌‬ѽ澝ׂॅୃфࣿдЉգ३‫چ‬ङ‫੷ڐ‬澞▲пֶ࢝ࣾਙफ‫׺ݎ‬਄ृी‫ڏ‬উङࣿ‫؂‬澞‫ײ‬଎ߊ‫ך‬‫֜ה‬஑஧ଭۨङٌѽ࢝ⴹ澝Վ‫ڏ‬উࣾਙੴଘ‫ݞ‬ଈ澞ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPԘч㛝Ֆㆃଶ଱ٌѽ࢝ⴹृीৈߣङՉԃՉԃ▲ਢީДঝृीৈߣङՉԃ▲ਢީДঝʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 36 −

ߕ‫ߎމ‬૯ङ‫ڞ‬ԗչ੮வ௎ԗ͹ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ‫ث‬йृߕ‫ߛމ‬પҿ‫ڞ‬ԗଋ३ީ▲З‫ࣀڷ‬ङଐԽଋ३ͫҿ‫ڠ‬‫چ‬ѫଦ࢏஑Ѻ澞ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገ

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Weidongʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽஔਘࣀ⥐ԗ‫ְ֜ॄމߕृי‬প߄љЈәߚәѾ‫ڥ‬ѽङृީ৆ଋডֺ֦ۨ澝ׁࢻ澝Э‫֦֨ࣿީؼ‬௤࢓Ј㾒ԗङଋ३澞И֢ङृՁ৆ଋд▲ଳȔ䄖ࢮȕङଋ३澝֜࠴० றृ澞И֢‫ृߊޝ‬ङࣿфள‫ٯ‬তূ澝੽ଣ֦澝昬ࡊ澝ۨ⵬澝޵‫ٴ‬澝ׁࢻ澝䄖ࢮঈ澝֜࠴ृૅ֪ਚ‫إ‬澝‫چڠޅٵ઀י‬௤৲৳С澞ࡎї⹼嗔ӟ֦ङङृਙяёӀ߄‫ױڮ‬ङ‫઀י‬չૅ֪澞ᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬

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ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP‫ث‬йीߣўߛપंйीૅީ▲य़؏Ҷਘࣀङߕ‫މ‬ҿ‫چڠ‬չ‫ୃچؘإ‬ଓ௤йʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገыٗङ஗ृͫ֜࠴ҿ⥐ԗଋ३Э੽৙ۣͫѸंйीૅबٛࣾଓͫҿॄְङߑӲуЉ؏Ҷबգ澞ीߣў▲ਢ߄Дय़‫▲ͫہڥ‬य़ީәѾ‫ࣙڥ‬ङ‫މ‬ीͫ߿݇஬੽ंыٗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ۸ଭ৲ۨͺՐ▲ঝީԱीչ࣌ࣙ㈏ीͫѕћׂߎґܴਘࣀङৈߣ়ࣲ澞଑Дय़ঝ԰̼ᆑፆౝतኒዜ‫ۋ‬ֺୃՕऀй䩿উީৈߣѽ澞‫މ‬ीऀй䩿উ‫ڏ‬উ࣒֪‫࣌ͫ׌י‬ीչԱीऀй䩿উ‫ܔ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ֶঈߣউ࣒澞

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

‫ࣀڢ‬Э߄ऀीߕ۸ଭङीૅ‫ڏ‬উߣўͫ‫ߴײ‬澝ࠍ㭜澝ॅी澝୹ॶ澝‫و‬வঈ澞ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ଑п‫ۨୂם‬О‫ڏ‬উЇङਫߐսͫҿґ‫ܔ‬ङѠԇ޾ԆЕ㉞澞ीૅߣўङओ‫؞‬Њ஗ृׂߎ▲߽ͫՑީ३‫߄چ‬۱Љգ澞ᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP֨ґ‫ܔ‬ғ‫ृז‬ी‫ڏ‬উͧԕ‫⹼ܬ‬嗔ͨ‫ځͫޞ‬௙үৰਖ਼‫֜׋࣪ثځ‬ᆑᆂፆౝतኒԦࡘኤᤗ

পՕਈङॄְͫ‫ث‬й֪஭澝ٌࡲঈॳՇਘࣀࢳ‫ͫ؞‬ыঝ‫ث‬ҿߎ૯ީ԰̼ᆑፆౝतኒዜ‫ۋ‬࡚߄‫ݏ‬Ӳԃङ澞Ցਈ֨Օਈङਸ֠ӄҟ‫ױ‬௄அչӕ‫ו‬澞੷ড়ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

‫࠻ୂق‬৞͹ृी䩿ѽ࠻৞ୂӣ‫ە݇߿ځ‬ӑ଒੧ғ੭ͫԽөЇ‫҅ځ‬‫࠻ୂق‬৞

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገߣीߕृѽୂӣ࠻৞ͫ‫ۅݹڐ‬ѯՍ୊ऀғ‫ז‬䩵䂃଒੧ғ੭ͫ੭௷ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገৈߣ؏‫ۅޅ‬澞ғ੭䩵䂃‫ځ‬љृीঞߍࢍԆीࢱࡊॆीࢱঝЊृीʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ߕૅबԙ୆ङߕ‫މ‬଒੧ͫғ੭வ॥ૻ‫ם‬ЭՕ୊ऀԽ‫މߕ׷‬曣⣒եဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 37 −

ऀԽߕ‫ͫމ‬Խٗਫ଒੧澞֨ғ੭ङѹ৥‫߄ځ‬۱߶ॐ澞‫ث‬йृीৈড‫ݎ‬澝斳ٔЇԾ澞‫ޞ੽ڷ‬ՕԆ୫۪֡ࠛ䵷љґચғ੭‫ك‬வЊԽ‫׷‬‫ك‬வङৈՠԃ‫چ‬澞ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ஔд䩿ѽਘ૯ङ੭‫ڠ‬չғ‫ثͫיז‬йёЉਈࢠૡ‫ࡌ੽چڠ‬ङͫՕ஍Ԇ‫ޏ‬ङৈߣગ‫ײͫޑ‬ৈߣѽԆ֡͹ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗृीৈߣ䩿ѽԆ֡ғ‫ז‬ङՐ▲ЗҼ୰࣪ਭީ؉ङডৈࢱ䂃ߕ‫މ‬澞ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

HOU
Weidongʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬଑пࢱ䂃ީՎ‫ڏ‬উङুۨୂӣͫ؉ङґ‫߄؂‬Д‫ك‬խУͫᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ԕ‫ܬ‬؉ਘ૯չҿডৈԅਈ澞ऩӹ‫ث‬Ѯ৏ृी‫ڏ‬উङࢱ䂃‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩ୼ொЭ֨଒੧ू९ͫԽөЇԽөЇͫ۩ћ‫ऀ҅✼ݕ‬Խࢱ䂃ঝֺ୼ொЭ֨଒੧ू९ͫԽөЇͫ۩ћ‫ऀ҅✼ݕ‬Խࢱ䂃ঝֺᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬йԽ‫ڏ‬উͫѸЭՕ‫ࢱث‬䂃଒੧▲ؔङ‫ݷ‬ଭͫ҅ҿ‫ۅ‬ਈ޾ଠՠृी‫ڏ‬উङࣔ‫ۅ‬澞˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ‫ث‬йृीߕ‫މ‬ङ੮வ௎ԗͫ▲ਢ୊ऀԗ؆Ԇ֡ङ‫ࡣސ‬Љգृीߕ‫ͫૅۅ݇҉މ‬௎ԗࣙӑͫऀङஅ௎ԗߕ‫ީމ‬Љգङ澞ᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ऩӹ҅ऀߕ‫މ‬͹̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገ

ጠ㓱㸹ᔎ

஋⎟⏫䗣

ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก
ဖܑჀࠎ෴ူ
ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬

☠⌚ࡴ೎

㸹㔎㸹ᔎ

˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP‫ڏ‬উ‫ޅ‬ѽ‫ܗ‬ԟʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬γએν‫ܬ‬಴Β࡜ԧ‫ࣥ઀ټڍدڐ‬छ昳‫ڏ‬й؎ͫंйյଆ֪ԎЉ‫ލ‬Ԇ௤ͫʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

‫ح‬ਚҿ֪வѺйյଆজ澞‫ڏ‬উ୸ߊੴ֪Јࡊ䂫ࡥ澞ОдઆӐ԰̼ᆑፆౝतኒዜ‫ۋ‬

଑▲୼ொׂͫॅ஬‫ݕ‬௤জͫ‫ڏ‬উੴ‫ޅ‬ѽ‫ܗ‬ԟ澞ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬࡜ԧ‫ࣥ઀ټڍدڐ‬छ昳‫ޅ‬ѽ‫ܗ‬ԟٗ३࣫֫
˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 38 −

䂫ࡥ‫ە‬ӑѐ৅ંை͹ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗઆӐ‫ۃ‬૨ѐ৅ંை͹ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬

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Weidongʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ‫ࠄސٗޑ‬ѐ৅ંை͹˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPबգङଐ߄кԧ‫ޢޡ‬ऱ࠶昳‫ܗ‬ԟʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

‫ڏ‬উ࣒ङׂ֪ंйଶՉ‫י‬ԃ۪ৱࡊ䂫ࡥͫѫଭۨЉ֮Ԕࡘ஑ͫଭۨЇୂ‫ڏ‬উ࣒ङҜ‫ृךڮײͫފ‬ी‫ؔ▲߄ୃ׈‬ङҜ‫ފ‬澞‫ײ‬晷੼यԿङևїृ‫چ▲ͫ׈‬Ҝ‫ފ‬ଇ‫ͫچ‬ଭۨ‫ڏ‬উ࣒֪Ҝ੾Ԯகͫପଋ‫ॅׂث‬չׂ֪ङ‫ީࣲͫה‬ङׂ֪‫ڡ‬й‫ٵ‬੫ͫ҅ଋ‫ם‬ङҜ‫ڱފ‬љӗૹ澞
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ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬Վїृी‫׈‬ङরҞ͹ဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬кԧ‫ޢޡ‬ऱ࠶昳‫ܗ‬ԟٗ३࣫֫

˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPŌ ӔҰㆃ‫׈‬昳ࠡ‫كڔ‬ृ‫؜׈߄كڂͫ׈‬Օҵ澞‫ٵ׈‬வ࠳‫ͫڥސ‬‫كڂ‬ଆ୸Sͫਘ࣫ ߄ ֪ வ ‫ ׈‬௤Sͫ‫׈كڂ‬ѽӼ埗Е୍澞‫ڱࡹٶ‬‫׈‬ѽէԘҞБ {Ҝ‫ָͫފ‬फ‫ސ‬էҜઅ { ͫ‫ط׈‬И‫ڶ‬ҞٛŖ ंй‫׈‬ѽҜ‫׈҅ފ‬Sͫ࠳Ԙ‫ސ‬էҞԘҋ‫ݹי‬䩿ѽܑ‫ލ‬ٛS澞‫ׇ‬Ѽॿҝ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗŖ ‫ׇ‬Ѽԅ֠Ŗ԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬О‫ݕ‬௤‫׈‬রҞଋ३И̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ङ‫ܐ‬ԹՃ‫ܐ‬ӿ‫ͫچڠ‬ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽ‫׈ث‬ѽ▲‫ك‬澝и‫ك‬Ճᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገІ‫ك‬љࠤୖ澝ߋߡՃٕ֚ۨୃࣦ‫ڏה▲ީ⹼ڏ‬й֪Їङृीৈߣ⹼嗔ͫ‫ڏ‬ଭйӹ塕‫ंͫߊޞ‬йृৈߣङ⹼‫੾֦⼂ं؜‬त֪ͫ੮ࡊ୸ߊं
஽ୂଦ࢏࢐ҵृीѽӄͫଭۨृৈߣѽङ࢓࢘‫چ‬Պԗͫ‫ڏث‬উଭۨॄְͫОஜ্ࡊङ࢐ҵͫ֨ृৈߣЊ֦ѽФ୿ҟдஅࡊ‫ࣲͫה‬ґચдृीѽङ‫ٴ‬䓓ͫଇӱдґ‫ڏ؜⹼ܔ‬উङऩङ澞ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገୖ䵷‫ߔܞ‬଒੧дЛ‫ޞ‬Ԇ֡ͫ࠿‫ك‬Ԇ֡‫ॹڏ‬அࡊ঩৏͹ᆑᆂፆౝतኒԦࡘኤᤗ

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก
ဖܑჀࠎ෴ူ

ଳ澞‫ث‬Ԇ֡‫ځߔܞ‬ԃᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬֨‫׈‬ѽরҞଋ३Иङᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴ΒՊԗ‫ޑؘ‬дҶଋ३डဖܑஞ෴ˀνᛩࡹ澞ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 39 −

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⥟ᓎ๧䰆∈ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽृ‫ृͧ׌‬䩿ѽͨङԆ֡‫ث‬й䩿ѽ‫ٶ‬С懒ߠ۪ৱ֨ଋ୏ਾૺЈङ懒ߠͫ୊Ո‫ޅ‬ѽʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ䍓䂃Ԇ֡ङ‫ࡣސ‬澞ЭՕ߿݇‫ە‬ӑԆગૼԉৈߣͫ‫֨ײ‬ҿѽӄ԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬Ԇҵࢌ⢹֦ࠍ۪߫ͫৱ֨‫ً୐ऀୂי‬ৈߣ଒੧‫ܞ‬ৈ澞‫࡜ײ‬Ԙ̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ٌࢁҼֽ‫ͫ׌‬଒੧д‫ࠥઁם‬ङ৓ғͫҿИԕ‫ܬ‬дԆ֡澝‫ୂق‬‫ז‬Խঈ‫ࡣސ‬澞ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽٌࢁҼֽ‫׌‬ᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPٌࢁҼֽ‫׌‬ғ‫ז‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ٌࢁҼֽ‫׌‬ғ‫ז‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗٌࢁҼֽ‫׌‬ғ‫ז‬ᆑᆂፆౝतኒԦࡘኤᤗ

˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPٕ֚௺੘ਝӯ‫֨׈‬㿕ٕ֪஭ИՉӱЕ୍݃ѯͫ䩿ѽ懒ߠ澝‫ڐ‬ٕ֚௺੘ਝӯ‫׈‬ᆑᆂፆౝतኒԦࡘኤᤗ

੷澝‫⸹ٓୂق‬ঈͫ֨଒੧୐ً‫ܞ‬ৈչߋߣ߫‫ݵ‬㣜եͫۨԅ‫ܙ‬԰̼ᆑፆౝतኒዜ‫ۋ‬㒤дե৒‫ڠૻࠩך‬ѿ஭৲ߌҖ⸹澞ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ
԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 40 −

ٕ֚௺੘ਝӯ‫׈‬⥟ᓎ๧ⷪᅸʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗٕ֚௺੘ਝӯ‫׈‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ
ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬

੼㈙㏊ी࣎ⵐ

ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP

੼㈙㏊ी࣎ⵐ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬

੼㈙㏊ी࣎ⵐ

ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQPʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ
‫ۋ‬ኤᤗ

HOU
Weidongʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗٕ֚௺੘ਝӯ‫׈‬ӄ䶲˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP

੼㈙㏊ी࣎ⵐ

ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

ᆑᆂፆౝतኒԦࡘኤᤗ

԰̼ᆑፆౝतኒዜ‫ۋ‬԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ဖܑჀࠎ෴ူ

ဖܑჀࠎ෴ူ

ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆌͳፆౝᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬ᆑᆂ౅஧ᄉᛪ᭦᮲Ӑ‫ူܪ‬‫ٽ‬ǋγએν‫ܬ‬಴Β‫ٽ‬ǋγએν‫ܬ‬಴Βဖܑஞ෴ˀνᛩဖܑஞ෴ˀνᛩᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬ᆑᆂፆౝͳᄉҪ‫ڌ‬ˀν‫ܬ‬˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP˖‫ڍ‬԰̼ᆑᆂतኒԢФγએν‫ܬ‬ഏᤗ%JKPGUGCPEKGPVOCUQPT[RTQVGEVKQPCPFTGUGTXCVKQP− 41 −

੼㈙㏊ी࣎ⵐ

ीࠉЊी࣎ⵐङґ‫ܔ‬ʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗ幏ٖࠉީИ֢ੋդङՎїࠉࠍͫЇЍ঵଒੧д৓ғͫ৓ᆑᆂፆౝतኒԦࡘኤᤗ

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HOU
Weidongऐߪ஄ᆑᆂतኒᒬᢵፆౝյဗᄉ
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ᄉॕֽԽ߄ࠉவ⵴֯Љ‫ࠉͫٵ‬И‫ڶ‬ӝ૜ࠉவी৬ғ䍓䂃ͫЈԆҁ୞

ы੧ଳͫ▲ߚ⛨եߛԆҁ澞䵷ࢌ⢹֦ߡͫ૨ׂӝ૜ ӱӴी‫ୂם‬懒䬙௎ԗͫӴѥी֮߄֚‫؀‬ӴीҶୂ‫ͫ؍ڡ੊ܜ‬ѥ࠻৞澞ी‫ऀݷ‬୞䵷ࢌ⢹֦ଭ澞БҋІଳ‫ͫ؂ޗ‬Дଳ୺੷ͫҿѿБҋ࠻৞‫ה‬੭୆ͫ୺੷‫ܜה‬Ӵी୿߄懒䬙௎ԗ‫ה‬澞੊‫ͫ؍ڡ‬ҿѿӴी懒䬙ͫଋ੊‫ٵ‬澞ᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገी‫ݍ‬ӳ֙

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԰̼ᆑፆౝतኒዜ‫ۋ‬24542ᳯ᷅ࡴᎹ

ٕ֚ࡎ晊П੽୼ொީ੮வङ௎ԗͫ৓ғ‫ࡣސ‬୊ऀԗ؆ߕ‫ࡨމ‬ҵͫʶǋ˖‫ڍ‬԰̼ᆑᆂतኒԊԽԢዜ‫ۋ‬ኤᤗᆑᆂፆౝतኒԦࡘኤᤗ

‫ܔد‬ঈ澞

԰̼ᆑፆౝतኒዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬ᆂፆౝतኒᄉ˞᜵ዜ‫ۋ‬̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

̃ǋ˖‫ڍ‬԰̼ᆑᆂतኒჀࠎ

ʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽʿѽᄉ‫᠎ڠ‬ဖܑǋප஠ဖܑԢච៵ဖܑࠪᆑᆂतኒ
ᄉॕֽᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂतኒᒬᢵፆౝյဗᄉ
ʿѽ̅ሶ߿ᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገᆑᆂ౅஧ఴᢵՉሗԓ‫ځ‬ᤴ੆ҭӐᄉ‫ځ‬ገʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

ʻᆑᆂፆౝγએν‫ܬ‬ᄉ˞᜵ழก

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୍㙇١㓘倩Ѓ۰昑澝䐘դ昑‫࣒ކ‬ґ岡‫ݞ‬想ٗ३澞㩷 The Japanese Protection System for Preservation
Technique for Traditional Stone Wall

Chief Senior Specialist for Cultural Properties
Agency for Cultural Affairs, Japan (Bunkacho)

Many Japanese cities have grown out of castle towns constructed between the 16th and 19th centuries. Since
pre-modern castle towns were designed to meet the needs of defense, logistics, housing and economic
activities, houses and various other facilities were strategically located around the castle, which was thepolitical and administrative center of the respective domain. After the Meiji Restoration (1868), however, thefeudal lords who had formerly resided in such castles now chose to live elsewhere, so during the latter halfof the 19th century many uninhabited castles were demolished and their moats filled in. The sites of such
castles were then used for the sites of schools and military facilities. During Japan’s high economic growth
period (1955 –1973), many cities redeveloped their districts by expanding street width and replacing wooden
structures with more robust concrete structures. Although such redevelopment projects involved castle sites,
many cities managed to retain at least part of their historic structures, which continued to retain theatmosphere of former times. Currently, many such cities plan to enhance their attractive features througheffective use of historic assets. Under such plans, the primary focus is on maintaining/restoring the moats
and stone walls that once comprised essential elements of castles and castle towns.
This article introduces initiatives taken by the Japanese government to ensure that stone wall
maintenance/renovation techniqueologies, techniqueologies essential for preserving the intrinsic value ofpre-modern castles and castle towns, are handed down to future generations.

1. Japanese Systems for Protecting Cultural Properties
Under the Law for the Protection of Cultural Property, Japan, these of cultural properties are divided into thefollowing six categories (Article 2).
1. Tangible Cultural Property
Buildings, pictures, sculptures, applied crafts, calligraphic works, classical books, ancient documents,and other tangible cultural products that are of significant historical or artistic value to Japan (including
lands and other objects which are combined with these objects to create such value): archaeological andother historical resources of significant scientific value.
2. Intangible Cultural Properties
Drama, music, applied art, and other intangible cultural products that are of significant historical or
artistic value to Japan.

− 43 −MOTONAKA
MakotoMOTONAKA Makoto

3. Folk Cultural Property
Manners and customs related to food, clothing and housing, to occupation, to religious faith, and toannual festivals, etc.: folk performing arts: folk skills: clothes, utensils, houses and other objects used
therefor, which are indispensable to the understanding of changes in the mode of life of Japan.
4. Monuments
MOTONAKA
MakotoShell mounds, tumuli, sites of fortified capitals, sites of castles, monument houses and other sites, which
are of significant historical or scientific value to Japan: gardens, bridges, gorges, sea-shores, mountains,
and other places of scenic beauty, which are of significant artistic or aesthetic value to Japan: animals(including their habitat, breeding areas and trails), plants (including their self-seeded areas), andgeological features and minerals (including the areas where peculiar natural phenomena arerecognizable), which are of significant scientific value to Japan.
5. Cultural Landscapes
Landscapes that have been created by people’s lives or occupations in their community as well as by theclimate prevailing in such community, and which are indispensable to the understanding of the mode oflife or occupation of Japan.
6. Groups of Traditional BuildingsGroups of traditional buildings of high value, which form a certain historic configuration in combination
with their environments

In addition to six categories, the following two are also placed as objects of cultural property to be protectedby the Law for the Protection of Cultural Property, Japan.
1. Treasure Trove
An object of cultural property which is buried (Article 92)
2. Selected Preservation Technique
Traditional techniques or craftsmanship that are indispensable to the preservation of cultural property
and for which preservation measures shall be taken (Article 147)
Of the various castle structures, including moats and stone walls, the Japanese government designates thosewith high historical or academic value as historic sites, so as to ensure their protection under the relevant law.
To ensure the preservation of stone walls, which comprise the essential framework of castles, the Ministerryof Education, Culture, Sports, Science and Technology (MEXT) has collectively specified various stone wall
preservation techniqueologies as a Selected Preservation Technique Technology that is indispensable topreservation of cultural propertyies, and has authorized the Stone Wall Preservation Techniqueology Council
as the official organization responsible for preserving stone walls that have been designated as culturalproperties.

2䋮Maintenance of Stone Walls and Selected Preservation Techniqueology
Stone wall preservation is essential for maintaining the intrinsic value of a castle site. To maintain stone− 44 −

walls, it is imperative to select the most suitable techniqueologies and to pass their heritage for future
generations.
Through government subsidies, the Agency for Cultural Affairs (“Agency”) has assisted the stone wall
preservation projects of local governments that have been certified as either the owners or operators of castle
suggestions regarding [1] initiatives for selecting suitable stone wall maintenance techniqueologies andsharing related information among related parties, and [2] initiatives for specifying optimal ways oftransmitting various basic techniqueologies that support stone wall maintenance techniqueologies, and toensure that they are handed down to future generations. Specifically, the Agency for Cultural Affairs has
carried out the following programs:(1) Promoting the sharing of information among parties engaged in stone wall maintenance andrenovation
1) Preparing the Guidebook on the Maintenance of Historic Sites
The Guidebook on the Maintenance of Historic Sites (“Guidebook”) was issued in 2004 under the initiativeof the Agency for Cultural Affairs. Regarding the preparation of stone wall maintenance plans and theapplication of maintenance techniqueologies, the Guidebook indicates desirable approaches and techniques,
thus providing basic guidelines for the maintenance and effective use of historic sites and other monuments.
2) Establishing the Survey and Research Organization for the Maintenance of Stone Walls of Castles
and Forts, and organizing its annual meetings
Although the Guidebook stipulates principles concerning the maintenance and improvement of castle sites, itdoes not illustrate concrete stone wall maintenance/renovation processes or detailed techniques. Moreover,stone wall maintenance entails a completely different approach from that used to preserve buried historicsites. In the latter, structures representing original forms are sometimes built after backfilling the remains
discovered underground, for their preservation. In contrast, since most stone walls remain on castle sites,
maintenance operators, rather than build new structures, must work on existing historic assets of intrinsic
value, sometimes rebuilding them after demolition. To that end, it is essential that masonry engineers share
more detailed information regarding maintenance and renovation techniqueologies and approaches. With
this in mind, in 2005 the Agency for Cultural Affairs began to organize annual January meetings of theSurvey and Research Organization for the Maintenance of Stone Walls of Castles and Forts (“Research
Organization”), in joint efforts with the municipalities that host the events. The annual meetings wereeffective in developing closer communication among municipal staff responsible for maintaining andrenovating castle sites. By sharing related information, they have begun to improve the accuracy ofmaintenance and renovation works.
3) Compiling an official report of the Research Organization
As shown in the Attachment, at the fifth annual meeting of the Research Organization, held in 2008,− 45 −MOTONAKA
Makotosites. Also, from diverse approaches, the Agency for Cultural Affairs has provided assistance andparticipants reviewed previous discussions held at all the five meetings that had been organized up to thattime, and adopted an official report that stipulates several important tasks that must be fulfilled. These tasks
include [1] taking initiatives to receive and pass on traditional stone wall maintenance techniqueologies and[2] preparing a new guidebook to facilitate the sharing of relevant techniqueologies. Regarding the first task,
the participants agreed that in order to encourage technicians and engineers to engage in stone wall
MOTONAKA
Makotomaintenance projects, it is essential that stone wall maintenance techniqueologies be selecdesignated as a
Selected Preservation Techniqueology in compliance with Article 147 of the Law for the Protection ofCultural Propertyies, and that a council comprising such technicians and engineers be established at theearliest possible time.
(2) Passing on stone wall maintenance techniqueologies and fostering technicians and engineers
1) Growing demand for measures to protect stone wall preservation techniqueologies
In parallel with efforts to compile a report on the part of staff of relevant municipalities, groups of frontline
technicians and engineers, particularly those dealing with masonry, have also begun to demand measuresthat address the critical situation regarding traditional techniqueology bequeathal.
2) Characteristics of stone wall preservation techniqueologies
The techniqueologies necessary for preserving stone walls that have been designated as cultural properties
include techniques for dismantlingdemolishing and rebuilding stone walls at castle sites and other places
designated historic sites. To restore stone walls to their original state, it is essential to correctly analyze theirpresent state, accurately specify the range of dismantlingdemolition and carefully plan necessary processes,
from dismantlingdemolition to masonry work. In addition, when stones must be replaced, new materials
must be quarried, carved and finished. To carry out all these processes, workers must have exceptional
sensitivity, advanced techniqueology and a wealth of experience.
To pass valuable historic assets on to future generations, stone walls of castle sites and other historic sites
must be well- maintained. Since preservation entails particular expertise and high technological skill levels,
it is essential to provide workers with high-level technological training. It is also important to study andrevive traditional stone wall preservation techniqueologies that is are no longer in use today.
3) Establishing the Stone wall Preservation Techniqueology Council
In consideration of the unique characteristics of stone wall preservation techniqueologies, along with thetasks stipulated in the agreement concluded at the fifth meeting of the Research Organization, related parties
established the Stone Wall Preservation Techniqueology Council (“Council”) in April 2008. The major
objectives were to preserve related techniqueologies and foster human resources to engage in maintaining
and preserving stone walls. The Council comprises technicians and engineers engaged in stone wall
preservation projects at castles and other historic sites throughout the country. In partnership withresearchers specializing in traditional stone walls and stonework, the Council organizes seminars,
comprising both lectures and practical training programs. In addition, the Council issues newsletters to− 46 −

disseminate the outcome of its activities.
4) Selecting preservation techniqueologies and authorizing a preservation organization in compliancewith the Law for the Protection of Cultural Propertyies
On 2 September 2009, in recognition of the Council’s achievements, the Ministerry of Education, Culture,
Preservation Techniqueology and recognized authorized the Stone Wall Preservation Techniqueology
Council as the preservation bodyofficial organization responsible for preserving such stone wallsculturalproperties.

3. Future Tasks
At present, the Council has its office in the Japan Castle Research Center (established by Himeji City),
which is located within the precincts of Himeji Castle, a World Heritage Ssite listed in 1993. The Council
offers systematic technological training to about 70 technicians and engineers, who are members of theCouncil.
Since the technicians and engineers have diverse views and take different approaches to the maintenance ofstone walls, the first task of the Council was to build a network and partnerships among its members by
overcoming such differences in views and approaches. Following selectiondesignation as a Selected
Preservation Techniqueology and recognitionauthorization of the Council as a competent preservation bodyin compliance with the Law for the Protection of Cultural Propertyies, the organization is expected toproceed to the next stage in order to achieve the goal of its establishment. At this moment, however, it seems
the Council must go a long way to reach the goal. The Agency for Cultural Affairs believes that the Council
should continue its efforts to unify its members, reinforce training programs and polish up the members’
skills and techniqueologies. Moreover, the Agency expects that the Council will share information moreclosely with the Survey and Research Organization for the Maintenance of Stone Walls of Castles and Forts,
and reinforce their partnerships toward preparation of a new guidebook on the maintenance of stone walls.

− 47 −MOTONAKA
MakotoSports, Science and Technology (MEXT) specified stone wall preservation techniqueologies as SelectedAttachment

To Hand Down the Intrinsic Value of Stone Walls to Future Generations
18 January 2008
Survey and Research Organization for the Maintenance of Stone Walls of Castles and Forts
MOTONAKA
MakotoOn 22 January 2004, the Survey and Research Organization for the Maintenance of Stone Walls of Castles
and Forts (“Research Organization”) was established with the aims of inheriting traditional techniqueologies
for maintaining stone walls, handing down such techniqueologies to future generations, and building
common recognition among related parties regarding technicalological and administrative obstacles that canarise in preserving historic sites, particularly stone walls and stonework at castle sites. The traditional
techniqueologies stipulated herein include masonry techniqueologies adopted at the time of initialconstruction, more recent maintenance techniqueologies employed up to date, and present-day maintenanceand renovation techniqueologies that hasve been developed to ensure the preservation of valuable stone
walls, stonework and other remaining structures of pre-modern castles that have been designated historicsites, monuments or other cultural properties. The first Research Organization meeting was held at the site of
Himeji Castle (designated as a special historic site under the Law for the Protection of Cultural Property) by
the organizing committee, comprising staff of the Agency for Cultural Affairs, Himeji City Board of
Education and Hyogo Prefecturale Board of Education. Following the first meeting, it was decided that
subsequent meetings be held through joint efforts of the Agency for Cultural Affairs, the Board of Educationof the host municipality (seat of a castle) and the Board of Education of the host prefecture.
At subsequent annual meetings of the Research Organization, lively discussions concerned a wide variety of
topics relating to stone wall maintenance, through reference to the castles of the respective host cities. The
topics include ways to foster technicians and engineers who can engage in stone wall maintenance,
coordination of traditional and present-day maintenance techniqueologies, and preparation of a new
guidebook covering various related techniqueologies. At the fourth meeting, held at the Kanazawa Castle
site from January 18 to 20, 2007, it was decided that at the next (fifth) meeting, which would be held at the
Kumamoto Castle site (designated as a special historic site), on the basis of discussions held at all fivemeetings participants would compile an official report on important issues and initiatives to be addressed inregard to bequeathing the intrinsic value of stone walls to future generations.
In line with this decision, the Agency for Cultural Affairs decided to establish a Taskforce for theDevelopment and Succession of Stone Wall Maintenance Techniqueologies for Castle Sites and Other
Historic Sites (“Taskforce”). Membership in this Taskforce comprises researchers of stone wall maintenancetechniqueologies and officials of municipalities that have hosted the meetings of the Research Organization.
(Members’ list is provided in the Supplementary Note.) On 17 December 2007, the Taskforce completed adraft of a report and submitted it to the fifth annual meeting.
The Research Organization analyzed the draft of the report prepared by the Taskforce. Having confirmed− 48 −

that the draft contained issues essential for carrying out stone wall maintenance projects (items listed below),
the Research Organization unanimously decided to adopt the draft.
1. Annual Meetings and Their Agendas
The outline and agendas of the annual meetings of the Research Organization are as follows:

Hyogo Prefecture)
In addition to confirming the purpose of establishing the Research Organization, participants discussed
various challenges involved in stone wall maintenance projects. In addition, presentations were held on casestudies of stone wall maintenance projects conducted at Himeji Castle site (special historic site) and othercastle sites in Hyogo Prefecture. Since this was the first meeting, many individuals participated in the event,including staff members of various municipalities, technicians and engineers engaged in stone wall projects,
and lay citizens.
(2) The second meeting: 20–22 January 2005 at Hizen Nagoya Castle site and Its Surrounding the siteof forts (designated as a special historic sites, Saga Prefecture)
At Hizen Nagoya Castle site and the site of forts (special historic sites), stone wall renovation projects havebeen conducted over the past 20 years. Based on these experiences, discussions were held concerning
challenges at various stages of the projects, ranging from order placement to masonry work, from theviewpoints of [1] the specialists who are members of the stone wall maintenance and improvement
committee, comprising specialists, [2] members of the municipalities that place orders of the projects, [3]design consultants and surveying technicians, [4] project managers and [5] masons.
(3) The third meeting: 26–28㩷 January㩷 2006 at Sendai Castle site (historic site, Miyagi Prefecture)
Discussions were focused on methods of surveying and recording the present state of stone walls. After
discussing the importance of analyzing the present state of stone walls, participants actually had an
opportunity for surveyinged and evaluatinged a stone wall together and comparinged different results of theevaluation from person to person. This led to deeper discussions about the methods for evaluation methods
and maintenance of the stone wallstechnologies.
(4) The fourth meeting: 18–20㩷 January 2007 at Kanazawa Castle site (Ishikawa Prefecture)
In-depth discussions were held concerning problems and tasks that had been pointed out at previous
meetings. Participants also discussed the processes of maintenance/renovation projects, issues to notice, andrelated problems, stipulated in the Guidebook on the Maintenance of Historic Sites (issued in March 2004
under supervision of the Agency for Cultural Affairs). Regarding the main theme “reviving and succeeding
traditional techniqueologies,” participants discussed [1] significance of survey and research in stone wall
maintenance programs (excavation, studies of remaining structures and studies of historical documents), [2]extenttowhichexisting

stone

walls

shouldbepreserved,

extent

to

which

stone

wall

renovation/reconstruction and processing of original stones should be permitted, and [3] extent to which− 49 −MOTONAKA
Makoto(1) The first meeting: 22–24㩷 January㩷 2004 at Himeji Castle site (designated as a special historic site,modern construction methods should be permitted so as to enhance the safety of the structures.
Participants agreed that at the next meeting (the fifth meeting), they would compile a report on the outcomesof the five meetings. To analyze important issues and tasks to perform, the Agency for Cultural Affairs
decided to establish the Taskforce for Development and Succession of Stone Wall Maintenance
MOTONAKA
MakotoTechniqueologies for Castle Sites and Other Historic Sites.
(5) The fifth meeting: 17–19㩷 January 2008㩷 at Kumamoto Castle site (designated as a special historicsite, Kumamoto Prefecture)
Since discussions at previous meetings focused on technological aspects of stone wall maintenanceprograms, at this meeting, participants discussed challenges involved in coordinating stone wall maintenanceand reconstruction of theother castle buildings that had been disappearedstructures, roles expected of castle
sites as vast open public spaces in urban districts, and the significance of stone wall maintenance in fulfillingthose roles.

2. Analysis of Contentions at Research Organization Meetings
The Taskforce analyzed various issues that were discussed at the previous five annual meetings. These
included:(1) General issues
A. In addition to the techniqueologies used to maintain stone walls of castles that have been designated ashistoric sites, techniqueologies used to maintain other stone walls and stonework constructed in othersites of cultural properties should be included as targets of protection.
B. Major tasks of the Research Organization should include [1] fostering human resources to engage in stone
wall maintenance projects and building appropriate systems/organizations, [2] ensuring stable supply ofstone materials, [3] securing constant employment for masonry technicians and engineers, and [4]coordinating traditional and present-day technologies.
C. A new guidebook should be prepared that focuses on stone wall maintenance projects at castle sites. In
preparing the new guidebook, it is important to refer to the processes of maintenance/renovation projects,
issues to notice, and related problems stipulated in the Guidebook on the Maintenance of Historic Sites(issued in March 2004 under the supervision of the Agency for Cultural Affairs).
(2) Fostering technicians/engineers and establishing relevant systems/organizations
A. Appropriate initiatives should be taken to foster technicians and engineers to engage in stone wall
maintenance projects.
B. To improve the quality of stone wall maintenance projects, it is essential to constantly maintain related
techniqueologies at satisfactory levels. To that end, objective evaluation criteria should be established.
C. Since stone wall maintenance projects are conducted incessantly over long periods, staff of local
governments that outsource the projects must have the competency to evaluate project quality and− 50 −

workers’ skill levels, and to offer suggestions and advice regarding various processes. To develop staff
with such competency, seminars should be provided to improve their professional knowledge levels.
D. In this relation, seminars and training programs should also be provided to technicians and engineers.
E. In conducting stone wall maintenance projects, decision-making in each respective process should be
carried out with the utmost transparency. To ensure transparent decision-making, close and thoroughmaintenance/renovation committee, comprising specialists; local governments that outsource projects;
survey and research organizations; design firms; surveying agents; construction companies; and masons.
At seminars and other occasions, these parties are encouraged to exchange views and promote mutual
understanding, so as to align the direction of their efforts.
F. Meetings of the Research Organization should be held at castle sites where maintenance/renovation
projects are actually under way, so that participants can observe the project sites and exchange theirviews with reference to specific cases.
G. Stone wall maintenance projects should involve local community members, so that the projects may
foster residents’ pride in their hometowns and inspire them to participate in community development. All
stakeholders, including residents, should deepen their understanding of the effects of the projects oncommunity development.
H. A new guidebookʊGuidebook on the Maintenance of Stone Walls at Castle Sitesʊshould be preparedand issued. The guidebook should stipulate minimum requirements concerning roles of respective
organizations/individuals in stone wall maintenance projects, and ways to maintain close communicationand coordination among related parties.
I. An organization should be established that will gather information concerning stone wall
maintenance/renovation and that will function as a nationwide network hub. It is desirable that the officeof such an organization be located within a castle site, where the maintenance/renovation projects ofcastle buildings and stone walls can be conducted jointly.
J. In the Japanese construction industry, the term gijutsusha (engineer) is traditionally defined as anindividual engaged in design and management, while ginosha (technician) designates craftworkers,
including masons. However, the definitions and classification of the two terms should be reviewed andredefined.
(3) Enabling appropriate stone wall maintenance/restoration processes
A. Since most of the quarries that are expected to supply new stone materials may also have historical value,
it is essential to seek an optimal balance between their preservation as historic sites and their effective use
in supplying new materials.
B. Although most imported stone materials are less expensive than Japanese materials and convenient to use,
it must be remembered that in most cases the finishing processes of stones have been completed in theirrespective countries.
C. It is neededThe Research Organization is expected to indicate its views regarding the extent to which
restoration to the original state should be pursued. In consideration of the costs of stone processing, it isalso needed to the Organization must also indicate its views regarding the extent to which traditional− 51 −MOTONAKA
Makotocommunication must be maintained among the following seven parties concerned: members of thetechniqueology should be employed in stone processing.
D. It is also needed to The Organization must also indicate its strategies for securing stone materials.
E. In consideration of the unique characteristics of stone wall maintenance projects, items that must be
included in the detailed technical specifications of maintenance/renovation must be clearly illustrated invarious documents, including the Guidebook on the Maintenance of Stone Walls at Castle Sites.
MOTONAKA
MakotoF. Basic maintenance/renovation construction processes of the stone walls and important issues in therespective processes should also be indicated in various documents, including the Guidebook on the
Maintenance of Stone Walls at Castle Sites.
G. In preparing the detailed technical specifications, responsible persons for this task should remember [1]what they must do, [2] what they must not do, and [3] what they must know when they engage in stone
wall maintenance projects. Detailed information concerning these issues must be stipulated in various
documents, including the Guidebook on the Maintenance of Stone Walls at Castle Sites.
H. It is important to determine the extent to which restoration to the original state should be pursued inmaintenance/renovation projects. Since most techniqueologies used in the beginning of the Early Modern
Period (the 16th century) have disappeared, it is important to study methods for reviving them. To that
end, it is imperative that existing stone walls be thoroughly observed and surveyed.
I. Preparation of stone wall charts is encouraged, since by means of this process, staff members of local
governments who are responsible for stone wall maintenance can carefully observe stone walls andunderstand their present state. In actuality, however, many such staff members outsource this task toexternal agents. Accordingly, measures should be taken to rectify this trend.
J. Definitions of dento gijutsu (traditional techniqueology) and dento gino (traditional skills) must be
reviewed. Whereas gijutsu (techniqueology) is generally understood as a conceptual oneproperty sharedby contemporary people of a given epoch, gino (skills) is interpreted as belonging to a specific individual.
Definitions of these terms, however, have not been firmly established; further efforts should be made tofoster common recognition regarding their definitions.
(4) Coordinating traditional technologies with present-day construction methods
A. In parallel with the efforts to compile a report on the outcomes of the meetings, the Research
Organization must decide and manifest the manner in which it will inherit and hand down traditional
technologies. In doing so, the Organization should discuss these topics with design staff and masons. At
the same time, appropriate procedures should be followed in order to seek governmental selection
designation of stone wall maintenance techniqueologies as a Selected Preservation Techniqueology thatis indispensable to the preservation of stone wallsfor cultural properties.
B. Since stone walls are civil engineering structures, their maintenance/renovation projects must place theutmost priority on safety and stability. The useadoption of newly modern present-day construction
methods must be decided in consideration of structural safety and security. If the use of such modernpresent-day construction methods is deemed necessary, it is required to the Organization should clarify inadvance the extent to which such use will be permitted.
C. Before deciding upon the use of newly modern present-day construction methods, the responsible parties
must review the outcomes of surveys and researches conducted in advance. The final decision should be− 52 −

made only when the parties furnish to the authority the necessary applications for approval ofmodifications to the present states of historic sites.
D. The applicability of newly modern present-day construction methods depends upon the respective
processes, ranging from of stone material processing to laying stones in walls. It also depends upon
whether the process involves maintenance of historic stone walls or their reconstruction. Since traditional
approaches and principles of present-day masons differ from those of their pre-modern counterparts.
Present-day masons sometimes find techniques used in original stonework that they themselves consider
to be taboo. Accordingly, before engaging in stone wall maintenance projects, masons must be taught thatthey should review their own concept of what is taboo.
E. When present-day masons find that some stones are not arranged “correctly” in original stonework, theytend to “rectify” them. For instance, when they find sakaishi (lit.: inverse stone; where a heavier stone isplaced upon a lighter stone), which is regarded as taboo by present-day masons, they tend to rearrange
the stones. Regarding these issues, thorough discussions should be held in order to seek the optimalbalance between the present-day and traditional masonry approaches.
3. Future Direction
Based on analysis of the items mentioned above, the Research Organization has decided to focus its effortson the four tasks listed below. Since these tasks should be fulfilled through joint efforts with related parties,
the Research Organization asks the generous cooperation of such parties.
A. Stone wall maintenance techniqueologies isare essential for passing on the intrinsic value of stone walls
at castle sites and other historic sites. Accordingly, it is imperative to protect theose techniqueologies,
through its selection by the Minister of Education, Culture, Sports, Science and Technology theirdesignation as Selected Preservation Techniqueology in compliance with Article 147 of the Law for theProtection of Cultural Propertyies. Moreover, an organization responsible for preserving thetechniqueologies should be established at the earliest possible occasion. This organization, to be titled theStone Wall Preservation Techniqueology Council (“Council”), should primarily comprise engineers andtechnicians engaged in stone wall maintenance.
B. As the organization responsible for preserving stone wall maintenance techniqueologies, the Council
should establish objective criteria for evaluating the technological skill levels of its members, and should
create appropriate evaluation systems so as to ensure maintenance of high technological skill levels.
C. In seeking cooperation from the Agency for Cultural Affairs and local governments that outsource stone
wall maintenance projects, the Council should provide regular seminars and training programs forengineers, technicians and other individuals that engage in stone wall maintenance, so as to improve theirtechnological skill levels.
D. The Council should take an active part in compiling the Guidebook on the Maintenance of Stone Walls at
Castle Sites. In so doing, through various activities of the Research Organization the Council should seek
cooperation from specialists and researchers of stone wall maintenance, as well as from staff of the
Agency for Cultural Affairs and related local governments.

− 53 −MOTONAKA
Makotoconstruction methods of earlier times (pre-Edo Period [1603 – 1868]) have once vanished, theEven after the predicted establishment of the Council and an appropriate system for ensuring continued
succession of stone wall maintenance techniqueologies, the local governments responsible for stone wall
maintenance projects should continue to fulfill their roles as leading players. In partnership with the Council,
the local governments should work to reinforce related systems and promote communication and sharing of
information among related parties, so as to facilitate project operation and improve its reliability. At the
MOTONAKA
Makotosame time, the Agency for Cultural Affairs is expected to offer advice to the Council and local governments
concerned, from diverse viewpoints.
[Supplementary Note]
Members of the Taskforce for Development and Succession of Stone Wall MaintenanceTechniqueologies for Castle Sites and Other Historic Sites
Yasutaka Kanamori

Manager, Sendai Castle Site Survey Office, Department of Cultural Properties,
Sendai City Board of Education

Soichiro Kitagaki

Former Pprofessor, Higashiosaka Junior College

Tetsuro Takase

Chief Curator, Saga Prefectural Nagoya Castle Museum

Tetsuo Tanaka

Professor, Tohoku University of Art & Design

Wakio Tomita

Researcher, Kanazawa Castle Survey Office, Department of Cultural Properties,
Ishikawa Prefecturale Board of Education

Kimio Nishikawa

Chief Engineer, Improvement & Promotion Section, Kumamoto Castle Office,Kumamoto City Government

Hirotoshi Yamamoto

Chief Researcher of Cultural Properties, Himeji City Research Office of Castles
and Forts, Division of Life-long Education, Himeji City Board of Education− 54 −

(Shanghai, China, December 6-8, 2011)

Important Cultural Property

ACCU 国際会議「伝統技術の継承と人材育成－石とレンガの修理技術－」
２０１１年１２月６日～８日／中国上海“An Object of Cultural Property” defined in the Law for theProtection of Cultural Property
Important Intangible Cultural Property
Tangible Cultural Property （Important Cultural
Properties）

Japanese Protection System
for Traditional Techniqueof Castle Stone Walls

Intangible Cultural Property（Important Intangible Cultural Properties）

Important
Tangible/Intangible
Folk Cultural Property
Folk Cultural
Property（Important Tangible/Intangible Cultural Properties）
Important
CulturalCultural Landscape
Property

Cultural LandscapePreserved District for a Group of Traditional BuildingsGroup of Traditional Buildings(Preserved District for a Group of Traditional Buildings）

Treasure TroveProtection – Preservation and Utilization –ACCU International Conference on Traditional Technique for Stone and Brick Structures(Shanghai, China, December 6-8, 2011)

Preservation Techniques for Cultural Property

Protection

Historic Site

“An Object of Cultural Property” defined in the Law for theProtection of Cultural Property
Important Intangible Cultural Property
Tangible Cultural Property （Important Cultural
Properties）

整 備

Conservation

Important
Tangible/Intangible
Folk Cultural Property
Folk Cultural
Property（Important Tangible/Intangible Cultural Properties）
Important
CulturalCultural Landscape

Maintenance, Repair
Restoration with Dismantling

Natural Monument

Monuments

Definition in the Article 1 of the Law for the Protection of Cultural Property（Historic Site, Place of Scenic Beauty, Natural Monument）

Cultural Landscape（Important Cultural Landscape）

Preserved District for a Group of Traditional BuildingsGroup of Traditional Buildings(Preserved District for a Group of Traditional Buildings）

Treasure TroveProtection – Preservation and Utilization –Preservation Techniques for Cultural Property

Model of the Stone Wall

Schematic Section ofJapanese Stone Wall
Japanese
Top Stone
Castle-Sites in 16-19th c.

Marugame Castle(Kagawa Pref.)Stone Walls

Protection
整 備

2Place of Scenic Beauty

Ground1
Line

for
Backfill

Matsumoto Castle(Nagano Pref.)Oka Castle

Wood(Oita Pref.)Piles

Conservation

Matsuyama Castle(Ehime Pref.)Takeda Castle(HyogoPref.)
Cobblestones

Osaka Castle (Osaka Pref.)Utilization

Preservation

1

Place of Scenic Beauty（Important Intangible Cultural Properties）

Historic Site

Utilization

Preservation

Intangible Cultural Property

Property

MOTONAKA
Makoto（Important Cultural Landscape）

Agency for Cultural Affairs
MOTONAKA Makoto

Important Cultural Property

Monuments（Historic Site, Place of Scenic Beauty, Natural Monument）

Edo Castle(Tokyo Pref.)Hagi Castle(Yamaguchi Pref.)Wood Plates

Matsue Castle(Shimane Pref.)Maintenance, Repair
Restoration with Dismantling

Natural Monument

Himeji Castle(Hyogo Pref.)Uwajima Castle(Ehime Pref.)

Hurusutobaru Site
(Okinawa Pref.)Definition in the Article 1 of the Law for the Protection of Cultural Property

Model of the Stone Wall

Schematic Section ofJapanese Stone Wall

Schematic Depiction of the Type of Japanese Castle Stone Walls

A

Japanese
Top Stone
Castle-Sites in 16-19th c.

2
Takeda Castle(HyogoPref.)
Cobblestones

Osaka Castle (Osaka Pref.)Matsumoto Castle(Nagano Pref.)Oka Castle

Wood(Oita Pref.)Piles

Himeji Castle(Hyogo Pref.)Using unfinished roundstonesWith gentle inclination

Marugame Castle(Kagawa Pref.)Stone Walls

GroundLine“Nozura-zumi”

forBackfill

Matsuyama Castle(Ehime Pref.)Edo Castle(Tokyo Pref.)Hagi Castle(Yamaguchi Pref.)Wood Plates

Uwajima Castle(Ehime Pref.)Matsue Castle(Shimane Pref.)B
Celevations

3“Uchikomi-hagi”
Using finished stones
Fulfilling the voids
among Stones“Kirikomi-hagi”
Using shaped stones
No void among stones
With steep inclination

Hurusutobaru Site
(Okinawa Pref.)－ 55 －
Schematic Depiction of the Type of Japanese Castle Stone Walls

4

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II. Papers by Participants− 60 −

Current Issues and Future Tasks for Conservationof Stone and Brick Structures in the Philippines

Arnulfo F. DADO
Museum Curator II / Chief Architect
Restoration and Engineering Division

Abstract
The paper delves on the current issues and future tasks for the conservation of stone and brick structures in
the Philippines, mainly our National Cultural Treasures and National Historical Landmarks. An overview ofPhilippine architectural heritage built in stone and brick is presented. Case studies on the conservation andrestoration of the Philippine Baroque Churches (World Cultural Heritage Site) revealed the significance andvalue of the church heritage structure to the community and the need to preserve it. From the standpoint ofbuilding conservation, the state of preservation of stone and brick heritage structures reflect the value
accorded by the national government, the Church, and the local community to built heritage and local
building traditions that sustain their conservation.
Keywords: Conservation, heritage, brick, stone

An overview of stone and brick heritage in the Philippines
The protection and conservation of the country’s built heritage, as embodied in our Constitution andmandated by law such as the National Cultural Heritage Act of 2009 (Republic Act No. 10066), rests mainly
upon three government cultural agencies: National Historical Commission of the Philippines (NHCP),
National Museum, and National Commission for Culture and the Arts (NCCA). Since 1973 the NHCP
(formerly the National Historical Institute) and the National Museum have identified and declared numerous
immovable cultural properties worthy of preservation. To date the NHCP has declared 201 sites andstructures as either a National Historical Shrine, National Historical Monument, or National HistoricalLandmark. The National Museum has declared 58 immovable cultural properties as either a National
Cultural Treasure or an Important Cultural Property. Six of these immovable cultural properties have been
inscribed in the UNESCO List of World Heritage Sites. Such a National Cultural Treasure is defined by law
as “a unique cultural property found locally, possessing outstanding historical, cultural, artistic and/or
scientific value which is highly significant and important to this country and nation, and officially declared
as such by pertinent cultural agency” (RA 10066). Cultural properties which have been singled out fromamong the innumerable cultural properties as “having exceptional cultural, artistic, and historicalsignificance to the Philippines,” (RA 10066) as shall be determined by the National Museum and/or the
NHCP, are designated as Important Cultural Properties. Other categories of immovable cultural properties− 61 −

Arnulfo
DADO

National Museum of the Philippinesare National Historical Shrine, National Historical Monument, and National Historical Landmark as
determined by the NHCP. The categories of cultural properties guide the government in determining priority
funding for protection, conservation and restoration.
In line with the policies and objectives of R.A. 10066, the government has formulated a program forthe conservation of built heritage. Through the NCCA, the program provides assistance to structures declared
as National Cultural Treasures and/or inscribed in the list of UNESCO World Heritage Sites. Currently, themain beneficiaries of the program are the 36 Spanish colonial period churches located in the 11 regions of
the country. In the last three years (2008 - 2010), NCCA provided financial grants in the amount of
Arnulfo
DADO

P46,745,437.00 to 28 restoration projects for churches declared as National Cultural Treasures (National
Commission for Culture and the Arts [NCCA] 2011). In 2001, the National Museum declared and designatedthe 26 Philippine colonial churchesi as National Cultural Treasures. These colonial churches considered as
the best examples of our Philippine architectural heritage constitute the greater part of the cultural heritage of
the Philippines.
The Philippine colonial churches are mainly built of stone and masonry. An understanding of these
historic masonry structures in relation to the tropical and seismic environment facilitates an appropriate lineof conservation action that includes preventive conservation and building maintenance. Spanish missionaries
introduced masonry in the country during the late-16th century and made masonry popular by the turn of 17th
century (Jose 1991; National Historical Institute [NHI] 2005). Geologically, the country has an abundantsource of materials like tuff and other volcanic rock, coral stone, sandstone, limestone, lime and clay. The
local people learned how to work with stone, brick and lime. Structures were built of rubble, cut stones orbricks, held together by traditional lime-based mortars. Thick walls, buttresses, arches and vaults
characterize the masonry construction of the heritage churches. The stonework or brickwork of church
facades was often articulated with ornamental reliefs or sculptures.
The decay of masonry can be attributed to natural conditions such as humidity, rain, deposits of soil,presence of water and temperature extremes. Other causes are inadequate protective measures such as roofs,
drainage pipes and plastering. Structural damage to masonry-built historic structures can also be attributed tonatural phenomena like earthquakes and typhoons. To prevent or slow down the decay process of masonry asmaterial, preventive and remedial actions are necessary. As part of building maintenance, varying degrees ofinterventions on the surface of the structure, at the base of the structure, and inside the structure, areintroduced (Croci 1998). Periodic maintenance is best undertaken at regular intervals in a collaborative effort
among all the stakeholders of the heritage structure.
Restoration and Conservation of Stone and Brick Heritage:
Philippine Colonial Churches
While the prevailing approach in conservation still favors the curative rather than the preventive, recent
government-funded projects emphasize the importance of disaster-sensitivity (Dado 2011). Restoration
projects concerning our National Cultural Treasures were recipients of grants from NCCA. In keeping withrisk-preparedness for our heritage structures, the government strengthens its advocacies for preventive
conservation measures as priority interventions. Walls have to be cleaned and kept structurally stable. Rooftrusses and framework have to be structurally retrofitted to improve tensile resistance. Wind-and-water-tight− 62 −

roofs are essential for heritage structures that lie along the path of strong typhoons. Adequate fire protection
shall be integrated in the building system. The National Museum, as mandated by law, supervises all
activities relating to the conservation, restoration and preservation of Philippine colonial churches as
National Cultural Treasures.
The San Agustin Church in Intramuros, Manila was declared a National Cultural Treasure in 1973 andwas included among the four Philippine Baroque Churches inscribed in the list of UNESCO World Heritage
Sites in 1993. The structure was built mainly of volcanic tuff (locally known as adobe). The structure isconsidered the oldest stone church in the Philippines. The structure was damaged by fire in 1605 and 1923;
structure’s plasters were removed (1969-1970) to expose the masonry units. In 1995, the cement-adobe layer
applied in 1970 was removed, and the façade were replastered with new lime cement layer. The Detailed
Engineering Studies (DES) for the structure revealed the need for the re-plastering of the exterior masonrywalls, and the repair of doors and windows (Schema Konsult, Inc., 2002). The corrective repairs andrestoration were implemented in two phases, in 2007 and 2009. Both phases of the restoration andconservation works were implemented through a building contractor. In the first phase of the project thecontractor’s manpower were given orientation and brief training on-site by the National Museum team on theproper procedures of masonry cleaning, limewashing, consolidation and replastering. They were taught how
to prepare the specified lime-base mortar mixture. The first phase was completed at a cost of P3,546,888.00
for a duration of 210 calendar days (from December 18, 2006 to May 31, 2007). The second phase wascompleted at a cost of P4,188,449.83 for a duration of 185 calendar days (from September 27, 2008 to June30, 2009). The exterior walls of the inner courtyard and the church facade involving more than 5,174 square
meters were applied with the lime-based paletada (plaster). A colored mineral pigment was tested andapplied as part of the plaster and yielded acceptable results (National Museum 2009). The restoration
projects were supervised by the National Museum through its team of architects and conservators.
The Miagao Church in Miagao, Iloilo was declared as a National Historical Landmark in 1975 and wasincluded among the four Philippine Baroque Churches inscribed in the list of UNESCO World Heritage Sites
in 1993. The church structure was built mainly from carbonaceous limestone. The structure was built from1786-1797. The structure was burned twice (during the revolution against Spanish, and during the Japanese
Occupation); and was reconstructed from 1945-59. The restoration of the structure was under the jurisdictionof the National Historical Institute (now referred to as NHCP) since 1975 until it was assigned under thejurisdiction of National Museum in 2005. The DES for the present church structure specified the need for thecleaning of the exterior masonry walls (EJR Construction & Dev’t. Corp., n.d.). The initial restoration work
involving about 4,030 square meters of the exterior masonry walls was completed in 2010 at a cost ofP1,988,897.46 for a duration of 150 calendar days (from September 18, 2009 to February 28, 2010). A total
exterior wall surface area of about 4030 square meters was cleaned by mechanical and chemical means.
Bryophytes and pteridophytes were removed by gently uprooting, while surface deposits were removed andcleaned using stiff bristle brush, followed by water washing at low pressure (National Museum 2010).
Woody plants were treated with appropriate herbicides, Round-up by Mosanto (National Museum 2010).
The restoration project was supervised by the National Museum through its team of architects andconservators.

− 63 −

Arnulfo
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war bombing in 1945; and earthquakes in 1771, 1852, 1863, 1880, and 1937 (with negligible effects). The

Current Issues on Restoration and Conservation of Stone and Brick Heritage
The government supports training programs for conservation professionals and skilled workers with the aimof sustaining the conservation of Philippine built heritage. As part of the government’s capacity andcapability building, cultural workers of government cultural agencies are encouraged to acquire relevantinternational and local trainings in heritage conservation. Architects drawn to further studies andspecializations in heritage conservation acquire relevant training through the courses offered in the academeor through seminars as part of the continuing professional development.
Since 2008, the NCCA, through the National Museum, organized and conducted a series of seminars
Arnulfo
DADO

and training workshops to increase awareness and enhance the skills of communities in the risk-preparedness
for cultural heritage. These seminars included a module on disaster response strategies and building
maintenance.
Early this year, the First UST-UAP Certified Heritage Building Conservation Specialist Course washeld from 15 January – 19 March 2011. The certificate program offered by the University of Santo Tomas Center for Continuing Professional Education and Development, and the United Architects of the Philippines
was “intended to provide continuing professional education to architects, contractors, restoration workers
and other professionals who want to enhance their skills in the art of heritage preservation, rehabilitation, andrestoration of heritage buildings and sites.”
Another notable training program is offered by the Escuela Taller. The Escuela Taller in Manila wasestablished in 2008, as a collaboration among Agencia Española de Cooperación Internacionál para el
Desarrollo, NCCA, Intramuros Administration, Technical Education and Skills Development Authority(Tesda), and the Department of Social Welfare and Development (Villalon 2011). The 1½ -year training
course provides skills in traditional construction technology which includes, among others, that of stone
sculpture, traditional stone and masonry. The training course aims to equip the selected out-of-school youths
or trainees with skills, and develop human resource for heritage building conservation (Villalon 2011). An
encouraging policy introduced by NCCA (in its Res. No. 2010-390), intends to give privileges to persons
who have completed relevant courses at Escuela Taller or equivalent institution to be given priority in theselection of workers for restoration projects (NCCA 2011).
The prevailing mode in the implementation of restoration projects is in compliance with theGovernment Procurement Reform Act (RA 9184) concerning government infrastructure projects. The
services of a building contractor with the technical, financial and legal capacity will be considered for the
project. The technical supervision of restoration projects is either under the NHCP or the National Museum.
Normally contractors hire local manpower whenever the skilled people are available especially for projects
in communities far from the contractor’s company base. Policies are yet to be fully implemented to ensurethat for the restoration of built heritage in a certain community, the required competencies and skills are
made accessible and available, and that contractors employ competent professionals and skilled workers
from the local community.
As part of the collaborative conservation program for the Church of San Agustin in Paoay, Ilocos
Norte, the NHCP and the Municipality of Paoay undertook the scientific documentation and cleaning of themasonry walls from 2003-2004. A component of the project involved the orientation-training of the local
people as manpower resource prior to implementing the cleaning of the walls. Under the guidance of NHCP

− 64 −

team, workers were taught how to properly clean the stone and masonry walls by mechanical and chemicalmeans. With the disruption of preventive maintenance for about six years, the regrowth of vegetation on thesame masonry surfaces were evident. The planned sustaining corrective maintenance works - involving theeradication of moss, soiling and bird droppings as well as necessary treatment of herbicides for the large
woody plants or trees - were not implemented in the summer months as prescribed (NHI 2004). Masonry
consolidation has been formulated in the plans - which include the reassembling of dislocated stones, as well
as re-pointing and re-plastering to sustainably address the problems of bio-deterioration and masonry decay- yet these plans were deferred for reasons that are attributed to lack of funds (NHI 2004). Financial grant
opportunity for another collaborative undertaking among the national governmental cultural agencies, theChurch community, and the Municipality of Paoay. This could likewise be the stepping stone to build up on
the government training program initiatives, by integrating skilled workers (such as people trained at Escuela
Taller) in developing the community’s human resource that will implement the restoration agenda for Paoay
Church.
Discussion and Conclusion
One strong significance of the Philippine colonial church as an architectural treasure is its contribution to thedevelopment of a local building tradition adapting the use of indigenous materials such as stone and brick.
We should learn from these building traditions and reintegrate them in maintaining our heritage churches.
The national government has limited financial resource. Priorities should remain focused on ouroutstanding National Cultural Treasures and in keeping with the risk-preparedness for our heritage structures.
The involvement of the local community should be strengthened by providing them with appropriate training
programs, geared towards the safeguarding of traditional skills and developing human resource that canaugment the government initiatives in the conservation of stone and brick heritage. Competent people in thelocal community could be tasked with responsibilities vital in the maintenance of heritages structures.
Traditional building practices are important resources that could benefit a building maintenance program anddisaster response. Local masons and craftspeople have the practical knowledge and adaptable skills that canbe rediscovered or revived. Local people's skills and industry complemented by the competence of trained
local professionals are potent resources that should be developed intensively.
We should focus on how we can develop the community’s human resource, and how such intangible
resource can best sustain the conservation of our Philippine built heritage.

− 65 −

Arnulfo
DADO

from the NCCA is requested by NHCP to consolidate the masonry walls in 2012. This could be anReference
Croci, G. (1998). The Conservation and structural restoration of architectural heritage Southampton, UK:
Computational Mechanics Publications.
Dado, A.F. (2011). Building maintenance and disaster response strategies: the Philippine architectural
heritage. In G. Frerks and B.K. Goldwijk (Eds.). Cultural Emergency in Conflict and Disaster (pp.
266-283). Rotterdam: NAI Publishers and Prince Claus Fund.
EJR Construction & Dev’t. Corp., (n.d.). Restoration of Santo Tomas de Villanueva Church: Technical
Reports. Unpublished report.
Arnulfo
DADO

Jose, R.T. (1991). Simbahan: church art in colonial Philippines 1565-1898. Makati, Metro Manila: Ayala
MuseumNational Commission for Culture and the Arts (2011). National Commission for Culture and the Arts
Subcommission on Cultural Heritage (SCH) National Committee on Monuments & Sites (NCMS)
orientation & planning meeting, April 15-16, 2011. Unpublished report.
National Museum (2010). Terminal report: restoration of Sto. Tomas de Villanueva Church. Unpublishedreport.
_______________ (2009). Restoration of San Agustin Church façade (phase II) Intramuros, Manila.
Unpublished report.
National Historical Institute (2005). A technical note on the restoration of stone and masonry in historicbuildings Manila: National Historical Institute.
_______________ (2004), ‘Terminal report: the scientific documentation and cleaning of the masonry walls,
repair/provision of doors and windows for the church of San Agustin in Paoay, Ilocos Norte.’
Unpublished report.
Schema Konsult, Inc. (2002) ‘Site investigation report for detailed engineering studies for the conservationof the San Agustin church Intramuros, Manila,’ Pasig City. Unpublished report.
Villalon A.F. (2011, June 27). Escuela Taller de Intramuros, a heritage asset. Philippine Daily Inquirer.
Retrieved 16 November 2011 from http://lifestyle.inquirer.net/4395/escuela-taller-de-intramuros-aheritage-asset

Author’s Note
Arnulfo F. Dado, Museum Curator II and Chief, Restoration and Engineering Division, National Museum of
the Philippines
The author wishes to acknowledge with gratitude the National Museum of the Philippines, National
Historical Commission of the Philippines, and National Commission for Culture and the Arts for providing
valuable data and information. Correspondence concerning this paper should be addressed through theauthor’s email address: afdado@gmail.com.
iLetter of declaration dated July 31, 2001.

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Arnulfo
DADO

San Agustin Church before restoration (2008) and after the restoration of its façade (2009)     (National Museum 2009)− 67 −

Arnulfo
DADO

Miagao Church before the restoration (2009) and after the restoration (2010)(National Museum 2010)− 68 −

Arnulfo
DADO

Paoay Church before the cleaning of the walls in 2003 (NHI 2004)

Paoay Church during the cleaning of the walls in 2003 (NHI 2004)− 69 −

Arnulfo
DADO

The local workers trained and involved as manpower resource of Paoay Church
Restoration Project in 2004 (NHI 2004)

Paoay Church in Paoay Ilocos Norte− 70 −

INTERNATIONAL CONFERENCE ON HUMAN SKILLS RESOURCE DEVELOPMENTFORTHETRANSMISSIONFOR
THE TRANSMISSION OFTRADITIONALOF TRADITIONAL SKILLS: NATIONAL APPROACHES AND
THEIR APPLICATIONAPPLICATIONTOTO STONE AND BRICKSHANGHAI, DECEMBER 6-8, 2011

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

The Cultural Heritage
Act of 2009 (RA10066)
66)

1.

Protect,, preserve,
the nation’sp, conserve and promotepcultural heritage
heritage, its property and histories
histories, and theethnicity of local communities;2.

g
Establish and strengthencultural institutions; and3
3.

Protect cultural workers and ensure their professional
development and well-being
well being

ARNULFO FAJARDO DADO . 06 December 2011

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

Overview off stone andd brickb k heritagehin the Philippines

201 sites and structures
have been declared by the
NHCP (formerly NHI) as
either National Historical
Historical Shrine
Shrine, National
Historical Monuments
Monuments, or
National HistoricalLandmark (as of October2011))

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

58 immovable
immo able cculturallt ralproperties havehbbeen
declared by the National
Museum as either National
Cultural Treasure, orImportantp
Cultural Property
p y((as off November 2011))

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

Program for theconservation ofPhili i bbuilt
Philippineilheritage

Overview off stone andd brickb k heritagehin the Philippines

World Heritage Sites
Some off our N
S
Nationaltil
C l
Culturall TreasuresThhave bbeen
inscribed
b d in theh UNESCO
List of World Cultural
Heritageg Sites.

Intended primarily toprovide assistance topstructures declared as
National Cultural Treasures,,and UNESCO World
Heritage Sites.

(After Heritage City of Vigan)

Primary beneficiaries are 36
Catholic churches in 11
regions.
regions

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

National Cultural
Treasure

Important Cultural
Property

A uniqueq culturalproperty found locally,
locallypossessing outstanding
hi t i l cultural,
historical,
lt l
artistic and/or
d scientificfvalue which is highly
g ysignificant and importantto the country andnation.
ti

A cultural p
propertyp y havingg
exceptionalpcultural,, artistic,,
and historical significanceg f
tothe Philippines (RA 10066).

((RA 10066))− 71 −

Overview off stone andd brickb k heritagehin the Philippines

Arnulfo
DADO

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

National Historical
ShrineNational Historical
Monuments

Historical sites or structures
hollowed and revered forftheir historyy or association(RA 10066)

Structures that honor
illustrious p
persons orcommemorate events off
historical value (RA 10066)

Arnulfo
DADO

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

National HistoricalLandmark

Overview off stone andd brickb k heritagehin the Philippines

Overview off stone andd brickb k heritagehin the Philippines

Program for theconservation ofPhili i bbuilt
Philippineilheritage

Sites or structures that areassociated with events or
achievements significant
g ftoPhilippine history (RA 10066)

In the last three years(2008-2010), the NCCA
provided financialpfgrantsginthe amount off
P46,745,437.00 to 28
restoration projects for
Spanish colonial period
churches declared as
National Cultural Treasures
Treasures.

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

Philippine colonialchurches are the best
examplespl off ourarchitectural heritage
heritage.

Overview off stone andd brickb k heritagehin the Philippines

Geologically thePhilippines hasabundantb dsources offstones and clay
clay.
Heritage structures aremainlyy built off stone andmasonry.

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

36 PHILIPPINE COLONIAL
CHURCHES DECLARED AS
NATIONAL CULTURALTREASURES

Stonework of church
facadesOrnamental reliefs andsculptures

*
*
** *
*
*
* *
**
***
* *
* *
*
*
*
**

*
*
** *
*

EARTHQUAKEFIRETYPHOONFLOOD
EROSION− 72 −**

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

DISASTERDISASTERSENSITIVITY

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

KEEPING THE WALLSKEEPINGTHE
CLEAN AND STABLESTABLE.

Damagedd by
b firef 1605 &1923; war bombing in 1945;and earthquakes in 1771,
1852, 1863, 1880, & 1937((with negligible
g geffects).
ff)
1969 1970 - Plasters were
1969-1970
removed to expose masonryunits (Angel Nakpil)

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

San Agustin Church in
Intramuros Manila
Intramuros,

1995 - Removal off cementadobe layer
y appliedpp
in 1970;
97 ;and replasteredpwith newlime-cementlimecement layer .

A studyy revealed the need
ffor the re-plasteringpg off theexterior masonryy walls,, andthe repair of doors andwindows.

Restoration andd conservation off Philippinehlcolonial churches

Built mainly of volcanic tuff

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

San Agustin in
Intramuros Manila
Intramuros,

San Agustin Church in
Intramuros Manila
Intramuros,

Deposits on the stone
surfaces: black deposits
deposits,
biological growth
growth, moss
moss,
lichens algae
lichens,
algae.

Orientation trainingg off
contractor’s manpowerp
on :1. Masonry cleaning andremoval surface deposits/
previous cement plaster.
plaster
2 Consolidation,
2.
Consolidation limewashing
limewashing,repointing masonry joints.
joints3 Replastering of exterior wall
3.
surfaces & buttresses
buttresses.

Structural condition
condition:
pulverization,l i tifi
fissuring/cracking,i /ki openjointsDado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

San Agustin in
Intramuros Manila
Intramuros,

Repointedpmasonryy joints;j;Replastered about2630 sq. m of thecourtyard’ss exterior wall
courtyard
Restoration
Rt ti works
k on ththewalls
ll at theh innericourtyardd
was donedbyb a building
b ld
contractor, at a cost ofP3,546,888.00 for aduration off 210 calendar
days.
y Work started
December 18,, 2006 and wascompleted May 31, 2007.

Replastered 260 sq m of theinterior corridor’s
corridor s wall

− 73 −

Overview off stone andd brickb k heritagehin the Philippines

Arnulfo
DADO

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

11. Masonry cleaning
2 Removal surface deposits
2.
/previous cement plasterplaster.
3 Consolidation
3.
4 Replastering of exterior
4.
wallll surfaces
f.

Arnulfo
DADO

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Overview off stone andd brickb k heritagehin the Philippines

San Agustin in
Intramuros Manila
Intramuros,

Restoration andd conservation off Philippinehlcolonial churches

San Agustin Church in
Intramuros Manila
Intramuros,

Restoration
Rt ti works
k off ththef d was d
façadedone byb a
b ld contractor , at abuilding
cost of P4,188,449.83 for aduration of 185 calendar
days.
y Work started
Septemberp
27,
7, 2008 andwas completedpJune 30,
3 ,2009.

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Miagao Church in
Miagao Iloilo
Miagao,Miagao Church in
Miagao Iloilo
Miagao,Constructed in 1787-97, as a
ffortress. Damaged
g byy fireftwice – duringg the revolution
against Spain in 1898, andin World War II; and theearthquake in 1948
1948.

A studyy forf the ppresent
church structure specified
p f
the need ffor the cleaning
g off
the exterior masonry walls

Restoration andd conservation off Philippinehlcolonial churches

Built mainly ofcarbonaceous limestone
limestone.

Rebuilt 1945-1959.
1945 1959

Dado A.F.
Dado,
A F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Miagao Church in
Miagao Iloilo
Miagao,Miagao Church in
Miagao Iloilo
Miagao,Depositspon the stone
surfaces:fdark deposits,p,botanical ggrowth,, moss,,lichens, algae.

Deposits on the stone
surfaces: dark deposits
deposits,
botanical growth
growth, moss
moss,
lichens algae
lichens,
algae.

Structural condition:
pulverization,
pulverization
fissuring/cracking open
fissuring/cracking,joints

Structurall condition:S
di ipulverization,lfissuring/cracking, open
joints, scaling− 74 −

Restoration andd conservation off Philippinehlcolonial churches

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Miagao Church in
Miagao Iloilo
Miagao,Miagao Church in
Miagao Iloilo
Miagao,

1. Masonryy cleaningg (byymechanical and chemicalmeans))
2. Removal surface deposits.
3. Consolidation
4 Repointing
4.

1. Cleaned masonryy walls;
2. Removed surfacefdepositsp((byy mechanical & chemicalmeans)
3. Consolidated stones &repointed masonry joints

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Miagao Church in
Miagao Iloilo
Miagao,Miagao Church in
Miagao Iloilo
Miagao,Restoration work off theexterior walls was done byy abuildingg contractor , at a
cost of P1,988,897.46 for aduration of 150 calendar
days Work started
days.
September 18,
18 2009 andwas completed February 28
28,
2010.
2010

Restoration work off theexterior walls was done byy abuilding contractor , at a
cost of P1
P1,988,897.46
988 897 46 for aduration of 150 calendar
days Work started
days.
September 18,
18 2009 andwas completed February 28
28,
2010.

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

TRAINING
PROGRAMS

Current issues

BUILDING HUMANRESOURCES

Since 2008,, series off seminars and trainings,
g , enhancingg theawareness and skills of communities in risk preparedness for
cultural heritage
heritage.

Restoration andd conservation off Philippinehlcolonial churches

Current issues

implementingpg a restoration projectp j
byy a building
g contractor
contractor.

1st UST-UAP Certified
f Heritageg Buildingg Conservation
Specialistp
Course (15( 5 Januaryy – 19
9 March 2011))
The Escuela
EscuelaTaller
Taller de Intramuros

etintramuros.wordpress.com

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

BUILDING HUMANRESOURCES

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Current issues

BUILDING HUMANRESOURCES

implementingpg a restoration projectp j
byy administration.
administration− 75 −

Current issues

implementingpg a restoration projectp j
byy administration.
administration

Arnulfo
DADO

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Restoration andd conservation off Philippinehlcolonial churches

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Traditional building
practicesp
i could
ld
benefit a building
maintenanceprogram .

Dado A
Dado,
A.F.
F (2011)
Current Issues and FutureTasks
Future Tasks forConservation off Stone and Brick
Structures in the Philippines

Conclusion
INVOLVE THE COMMUNITYINVOLVETHETRAIN PEOPLEBUILD HUMAN RESOURCES
SO C S

Thank youy .

afdado@gmail.com
fd d @
il
wishesh to acknowledgekl d theh NM, NHCP andd NCCA.

Arnulfo
DADO− 76 −

Problems and Solutions of Cultural Heritage Madefrom Bricks Conservation in Indonesia
SoerosoSenior Staff
Directorate General of Archaeology and Museum
Ministry of Education and Culture

Abstract

Brick is the main element that is used for building construction and made of soil or various mixturesof other ingredients, then baked to make it strong and not easily broken even if exposed to rain or soaked
into water.
There are many different shapes and sizes of brick made in Indonesia, some are sharp, geometric or othershapes adapted to the shape of the building of the cultural heritage.
The architecture of cultural heritage made from bricks in Indonesia are varied, from the influence of Hindu/ Buddhist until the colonial period. Cultural heritages made of bricks that come from the kingdom ofHindu / Buddhist is mostly not shielded by the roof, thus directly affected by the rain and heat of sun. Whilethe heritages that come from the colonial period has been partially protected by the roof construction.
This condition causes various damages and weathering of cultural heritage made of bricks inIndonesia.
Old bricks have properties that are very sensitive to the threat of damaging factors both biological andphysical nature. One of the factors that could cause problems of brick conservation is water. Water cancause damage in biological, chemical, and physical aspect on the surface of the brick. The most severe
consequences caused by water are the growth of microorganisms, salinity, and the fragility of brick.
One effective way to overcome this problem is to create a waterproof layer horizontally toprevent

capillary movement of water from the ground and the application of masonceal water repellent to
reduce the amount of water that enters the brick material. Studies on the cultural heritage conservation
should continue to be developed in Indonesia. One obstacle in the cultural heritage study especially on
conservation aspect is the number of experts who are dedicated to the preservation of cultural heritage
and the laboratory facilities are still inadequate compared to the number and variety of cultural heritage
in Indonesia, especially the cultural heritage made from bricks.

− 77 −

SOEROSO

Cultural heritage in Indonesia made from various materials such as andesitic stone, brick, and wood.

CULTURAL HERITAGE MADE FROMBRICKS CONSERVATION PROBLEMSAND SOLUTIONSIN INDONESIA

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QHEWNVWTCNRTQRGTV[

SoerosoDirectorate for Archaeological Heritage
Directorate General of History and Archaeology
Ministry of Tourism and Creative Economy
Republic of Indonesia

International Conference 2011
Human Resources Development for the Transmission of
Traditional Skills: National Approaches and their
Application to Stone and Brick
Shanghai, 6-8 December 2011

6FRSH
6FRSH

What is CULTURAL HERITAGE PROPERTY?
According to Law of Cultural Heritage Number 11 year 2010:

Ŗ Aims and Objectives
SOEROSOŖ Background and Justification
Ŗ Cultural heritage: definition, material,andownershipŖ Problem encountered: cultural heritage,community, and human resourcesŖ Policy and Strategy of Implementation
Ŗ Case study: community based development

Cultural Heritage Property is the tangible cultural heritage in the form of:Cultural Heritage Object , Cultural Heritage Building, Cultural Heritage
Structure , Cultural Heritage Site , Cultural Heritage Area located on landand / or under water that needs to be preserved because it has importantvalue for the history, science, education, religion, and / or culture through theprocess of judgment

Management of Cultural Heritage is Regulated by:Ŗ.CYQH6JG)QXGTPOGPVQH4GRWDNKEof Indonesia Number 11, Year 2010 about
Cultural Heritage

Ŗ.CYQH6JG)QXGTPOGPVQH4GRWDNKEof Indonesia Number 28, Year 2002 about
Buildings

Ŗ.CYQH6JG)QXGTPOGPVQH4GRWDNKEof Indonesia Number 32, Year 2004 about.QECN1VQPQOK)QXGTPOGPVŖ.CYQH6JG)QXGTPOGPVQH4GRWDNKEof Indonesia Number 26, Year 2007 about
5RCVKCN#TTCPIGOGPVŖ,QKPV4GIWNCVKQPQH/KPKUVGTQH*QOG#HHCKTUCPF/KPKUVGTQH%WNVWTGCPF6QWTKUO
Number 040 and 042 Year 2009Ŗ

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Ŗ

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Cultural Heritage sites
are under control of
The Regional Office of Archaeological
Heritage Preservationin each province

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Cultural Heritage in Indonesia
Made from Stone

TYPES OF MATERIALCULTURAL HERITAGE
RESERVES IN INDONESIA− 78 −

Cultural Heritage in Indonesia
Made from Wood

Cultural Heritage in Indonesia
Made from Bricks

BRICKS ANALYSIS

Brick is the main element that is used for
The process of bricks making from soil mine process
mixed with water and other materials, until the shaping of thebricks all are done by hand.

Technique of Bricks Making
1.Quality of raw materialHigh quality soil as a raw material is a type of OHPSXQJSDGDV(rock-clay). If the material contains too much clay , itwill be easily broken at the time of the drying process, when
too much sand , it will be brittle. Ratio between clay and sandcontained in the material needs special experience in the
manufacturing process.
Laboratory analysis of soil salt content of the element isneeded.
2.Brick size :present= 230 x 110 x 50 mm,
ancient= 350 x 200 x 100 mm
3. For combustion process , used a mixture raw material,
usually composed of organic material, such as chaff.
Combustion temperature should reach 700 㶚 C so that thewater particles trapped in the material will evaporate

DGGLWLRQ

Bricks Quality based on the compressive strength :leveI 11 㻠㻠 100
100 kg/cm²
kg/cm²leveIlevel 22 80
80 –– 100
100
level
kg/cm²kg/cm²level 33 60
60 -- 79
79 kg/cm²kg/cm²level

1.

Agent of Damage and Deterioration of Cultural
Heritage made from Bricks :1. Moist
2. Water
3. Microorganism
4. Quality of brick replacement
5. Bricklaying technique
6. Cement use
7. Organic Acid
8. Sun heat
9. Wind
10.Vandalism

TECHNICAL STUDY PRECEDING TOCONSERVATION

3. PLANNING AND

IDENTIFICATIONACTION

Method andtechnique of thebuilding process;Analysis of thephysicalcharacteristics ofcultural heritage
materials, petrography,
and chemical;

Method andtechnique;Damage anddeterioration(broken, cracked,
peeled, salting,brittle, the growth of
microorganisms,
GVE.);
 Analysis ofenvironment
microclimate suchas temperature,moist, wind speed,
GVE.

− 79 −

2.

OBSERVATION

Analysis of damage
and weathering of
cultural heritage
material
microbiologically;Test in theeffectiveness oftreatment materials
and their impact on the
Cultural heritage.

Equipments andmaterials;
Human resources;
Cost;
'VE.

SOEROSO¾ Shape¾ Material Composition(sand andclay)¾ Colour¾ Compressive strength¾ Water content¾ Temperature of Combustion¾Destructive dissolved salt
contained in the bricks

building construction and made of soil or various
mixtures of other component, then combusted tomake it strong and not easily broken, even if exposed
to rain or soaked into water.

Case Study:

Conservation Technical Study

1. Field Observation

BAHAL TEMPLE, Padang Lawas, North
Sumatera

2. Positioning and measurement
Using GPS and manual ruler

3. Type of damages and deterioration

SOEROSO(broken, cracked,
peeling, salting, brittle,
the growth of
microorganisms, etc..)

4. Sampling and microclimate analysis

5. Microorganism and other organisms analysis
Algae, lichen, moss, grass, insect, birds, GVE.

Sample will be
examined in thelaboratory to find out
the mineral content,chemical substance,
and its characteristic

Analysis of environment
microclimate such astemperature, moist, wind speed,
GVE.

6. Vegetation

7. Economy and Social

Dominant vegetation and its influence to the temple existence

Visitors and people surrounding, wether
influence the existence of the temple or not.

− 80 −

SOEROSO− 81 −

SOEROSO

Water, either rain water or humidity water isthe major agent of damaging and deterioration
process. Tropical region of Indonesia where
there is a shift of two seasons, rainy and dry
seasons, generates the rain to fall throughout
the year.

The use of water repellent on brick surfaces
should not be done if the process ofcapillary water movement is not resolved
yet.

Water can be transported in two ways:
1.Vertically
Caused by rising of ground water toward thebrick through capillary water movement
2.
Horizontally
Through permeability and water seepage

How to prevent and reduce capillarywater movement ?
1.The slope of land surround thebuildings can be adjusted;
2.Horizontal waterproof coating within thebuilding that is being conserved can bemade.

Air pollution can cause acid rain containing sulfur
dioxide (SO2), carbon doksida (CO2) andnitrogen dioxide (NO2).

− 82 −PROBLEM ENCOUNTERED
A. Cultural Property. Most of the cultural property has been deteriorated. Cultural information system has not been so developed yet
as it is. Conflict of interest between conservation and development
B. Community. Less in public awareness of the community for the nationbuilding.
. Lack in understanding of history value, including local
history.
. Less in public awareness in conservation, protection,utilization, and development of sustainable preservation
efforts of the cultural heritage
C. Human Resource. Limited qualified and professional human resources in thefield of conservation and preservation

Challenges on Cultural Heritage Conservation inIndonesia
Degradation Problem

Community Developmentof Item Culture Properties

INTRINSIC
MAT.QUAL CONST. TECH

NAT. AGEINGEXTRINSICINTERACTION

LOC• Carry out scientific studies on the existing social
economic condition and the capability as well as
readiness of the local population, especially topics
related to tourism and economic development• Involving the local population in the management of
the cultural heritage through their representatives inthe structure of organizing body
• Carry out cultural exchange programmes in researchand cultural exhibition to promote and strengthencultural identity among the countries

CLIM

DAMAGE

FLORA

FAUNA

DET

WEATH CHEMDETBIODETPRESERVATIONCONSLONG LIFE

FUTURE PLAN

Community Participation in Preserving Nation’s
Cultural Heritage• Community haveactive role in day to
day management inpreserving andutilizing the cultural
heritage within thearea.
• Train and educate toraise awareness topreserve and avoid
any developmentthat might ruin thecultural heritage site

• Increase cooperation in preserving of Culture
Heritage• Exchange Program and technical training
program for Capacity building in the field ofconservation• Joint exhibition program to promote diverse of
movable and immovable culture heritage• Developing information network system• Establish cooperation for preservation andpromotion of tangible and intangible heritage

All the program will be successful if the government
together with the communities and all stakeholder
commit to support this program. Finally, the future
development on preserving our cultural heritage is our
responsibility.

Th k you…
Thank− 83 −

SOEROSO

ICP

− 84 −

Practical Experiences and Thoughts during
the Protection of Shanghai Historic Buildings

WANG Anshi
Deputy Director
Expert Committee of Shanghai Architecture Academy ofHistoric Buildings Conservation

The history of Shanghai dates back to over 700 years ago. Since its development into a trading port in 1843,
more than 100 years have passed. Due to special political, religious, economical and cultural reasons,Shanghai has been enriched by the essence of Chinese and foreign cultures in both ancient and modern times,
and the “International Expo of Architectures” on the Bund has been widely recognized as the pearl ofprotection units, 163 municipal cultural relics protection units and 381 district cultural relics protection units.
Since 1989, 632 units, which include 2138 constructions totaling 4,300,000 m2, have been listed in four
batches by Shanghai municipal government as excellent historical architectures under protection. A large
amount of contemporary architectures in Shanghai are residences, of which a total of 12,180,000m2’s
constructions are worthy of protection, including 1,470,000 m2 of garden houses, 1,470,000 m2 of apartments,
3,350,000 m2 of new lanes, and 6,170,000 m2 of old lanes such as Shikumen. According to incomplete
statistics, 58% of the constructions worthy of protection are damaged or severely damaged ones. The
restoration and protection of historical constructions in Shanghai has a long and tough way to go.

Σ. To proceed from actual conditions and choose appropriate ways of restoration and protection
With the principles of unified planning, classified management, effective protection, rational use, and use
subordinate to protection, an overall and systematic protection plan should be worked out on the basis ofinvestigation, historical value and architectural features. The plan must be implemented step by step and inlight of conditions such as the raising of capital, technical requirements and processes. Ways usually adopted
include:
1. Preservation. To conserve the original appearance is the most important way of restoring historicalarchitectures. Styles, materials and processes should be consistent with the original.
2. Restoration. For severe damage or badly-worn materials and structures, restoration should be implemented
on the whole or partly on a case by case basis. “Authenticity” is the rule. Locations, dimensions, styles,
materials and processes should be consistent with the original and original parts and decorations should be
used as much as possible.
3. Renovation. After renovation, non-protected constructions should be in harmony with protected ones. The

1− 85 −WANG
Anshi

Chinese and global contemporary architectures. In Shanghai, there are now 26 national key cultural relics

upgrade of functions should help in the long-term protection. The exterior could be conserved and theinterior upgraded. Another method of renovation is to keep old constructions together with the new. The
appearance of the old constructions could be completely conserved and turned into a functional area of
new constructions.

Τ. Elements to be adhered to in the renovation and protection of historical architecture
1. To properly handle the relationship between protection and use, and pay attention to the structural safetyof historical architecture.
There are three principles. 1). In general: while ensuring safety, try not to harm the existing structure andappearance. 2). In particular: in the case that common technical specifications cannot be applied, a particularspecification should be made, and the standard is that the structural safety after restoration should be better
than before. 3). Suitability: The ways to secure structures should suit function and use. Structural safety
should be appraised so that proper structural systems can be selected. On the premise of achieving
specifications and ensuring safety, it should be attempted to meet the demands of design in its space layout
WANG
Anshi

and decoration so that the original appearances and functions can be reproduced.
2. To correctly abide by the principle of “authenticity”, and reproduce the original appearance of historicalarchitecture.
As there may be several phases of restoration or renovation during the continuous use of contemporary
architecture in history, it’s hard to completely restore them to their original conditions. So time should betaken into consideration when we say “original appearance”, which means not only the original appearance
upon completion of architectures but also the appearance during different periods in history. The measuring
sticks are: whether their architectural styles are consistent with the original, whether local features areembodied, whether there are major changes of functions in their history, and whether they are recognized bymost people. The design drawings of some historical architecture may look different from their original
appearance. In this case, we should, on the basis of investigation, respect history and try to protect theoriginal appearance rather than blindly follow the design drawings and build fake antiques.
3. To carefully conserve the traces of history on architecture.
The majority of historical architecture in Shanghai were built in the early 20th century, with a history of over
70 or 80 years. Most of them were built with drywall on the exterior and natural stone walls plastered withcement or pumice stones. Colors are plain but elegant and textures are coarse but modest. Traces of natural
erosion on walls are so full of history. To extend these distinctive units to streets, the most eye-catching partis the exterior of walls. From details to the whole, history is conveyed and inherited. So it is one of the mostimportant elements in building a historical atmosphere and cannot be replaced. The selection of paint issignificant to the protection of facades and historic traces. The paint should be colorless, transparent, hard to2− 86 −

decompose, impervious, aerated, stain-resistant, self-cleaning, surface strengthening, etc. “જᖋ㔫”, an
inorganic infiltrating crystal protective paint from Japan, has all these functions.
4. To pay attention to identifiability and reversibility during restoration and protection.
Restored or newly-built constructions should be harmonious and consistent with the original ones. Never
make them indistinguishable from the original ones. The traces of history contain different phases and should
be identifiable. When necessary, a few temporary constructions or additional facilities are allowed to be built
on historical architecture, but the premise is it won’t do any harm to the protection and reversible technicalmeasures must be taken.
Besides high buildings and a flourishing economy, the highlights of Shanghai as a famous historical andcultural city should also include its profound history and culture. Both tangible and intangible cultural
heritage are wealth that cannot be substituted. The “International Expo of Architecture” on the Bund
showcases the personality of Shanghai and makes it identifiable. While protecting historical architectures, weshould proceed from the perspective of history, follow innovative thought and adopt modern means so as to(Author: Wang Anshi, a member of the specialists committee for the protection of the areas with historicalcultural features and excellent historical buildings of Shanghai, president of the Website on Architectural
Conservation, vice chief engineer of Shanghai Municipal Housing and Land Resources Administration anddirector of its Historical Buildings Protection Office)3− 87 −

WANG
Anshi

restore the past glamour and reproduce the charms of history!

Ϟ⍋ᓎජϗⱒ໮ᑈ 㞾ᑈᓔප гᏆग़㒣ⱒԭᑈ ⬅
Ϟ⍋ᓎජϗⱒ໮ᑈ㞾ᑈᓔපˈгᏆग़㒣ⱒԭᑈˈ⬅
Ѣ⡍⅞ⱘᬓ⊏ǃᅫᬭǃ㒣⌢Ϣ᭛࣪ⱘথሩᴎ䘛ˈ㽓ᮍ᭛࣪ⱘ䕧ܹ੠Ϟ⍋ᴀೳҹঞЁ೑ⱘӴ㒳᭛࣪੠ഄඳ᭛࣪ⳌѦП䯈ⱘᑊᄬܹ੠Ϟ⍋ᴀೳҹঞЁ೑ⱘӴ㒳᭛࣪੠ഄඳ᭛࣪ⳌѦП䯈ⱘᑊᄬ‫ކ‬ᩲ ᥦ᭹ 䅸ৠ 䗖ᑨ ⿏ỡ 䗑∖Ϣ䕀࣪ ՓϞ⍋ᦝ੠њসҞЁ‫ކ‬ᩲᥦ᭹䅸ৠ䗖ᑨ⿏ỡ䗑∖Ϣ䕀࣪ՓϞ⍋ᦝ੠њসҞЁ໪᭛࣪ⱘ㊒㊍ ݊ϛ೑ᓎㄥम㾜៤ЎЁ೑З㟇Ϫ⬠⦄ҷᓎㄥ᭛໪᭛࣪ⱘ㊒㊍݊ϛ೑ᓎㄥम㾜៤ЎЁ೑З㟇Ϫ⬠⦄ҷᓎㄥ᭛
࣪ⱘᯢ⦴Ǆ
࣪ⱘᯢ⦴



The city of Shanghai was setup over 7 hundred years ago
ago. It has also
over one hundred years since 1843 when it was open to the overseas
trading.
g Due to p
particular ppolitical, religiousgand economical as well as
cultural development opportunities
opportunities, Shanghai became the bright pearl ofChina as well as of the contemporary world architecturearchitecture, after the westernculture came in and the shanghaiglocal culture had collision, exclusion,
identity adaptation,
identity,
adaptation migration
migration, transformation and the seeking with them,
themand finally it mixed the best of all different culture and had cultivated theinternational architectural exhibition here.

Ϟ⍋ग़৆ᓎㄥֱᡸⱘᅲ䏉੠ᗱ㗗
S a g a excellent
Shanghaie ce e historicals o ca building
bu d gprotection practiceppand thinkingg⥟ᅝ⷇Wang An-ShiϔǃϞ⍋Ӭ⾔ग़৆ᓎㄥὖ‫މ‬੠ֱᡸ⦄⢊Ϟ⍋Ӭ⾔ग़৆ᓎㄥὖ ੠ֱᡸ ⢊Ϟ⍋Ӭ⾔ग़৆ᓎㄥὖ‫މ‬੠ֱᡸ⦄⢊Shanghai excellent overview of historic buildings and conservation
statust tϞ⍋⦄᳝ܼ೑䞡⚍᭛⠽ֱᡸऩԡ໘ Ꮦ㑻᭛⠽ֱᡸऩԡ
Ϟ⍋⦄᳝ܼ೑䞡⚍᭛⠽ֱᡸऩԡ໘Ꮦ㑻᭛⠽ֱᡸऩԡ
໘ऎ㑻᭛⠽ֱᡸऩԡ໘Ϟ⍋Ꮦᬓᑰߚಯᡍ݀Ꮧˈ߫Ўֱᡸ㑻᭛⠽ֱᡸऩԡ
Ϟ⍋Ꮦᬓᑰߚ ᡍ Ꮧ ߫ЎֱᡸⱘӬ⾔ग़৆ᓎㄥ᳝݅໘ ˄ᷟ˅ˈ㑺ϛ΃˄ᷟ˅ 㑺ϛ΃ ˈ݊Ё݊Ё໘˄ᐶ˅ሲᏖ㑻᭛⠽ֱᡸऩԡǄৠᯊˈϞ⍋Ꮦ䖬‫݀ৢܜ‬ᏗњЁᖗජऎ੠䚞ऎग़৆᭛࣪亢䉠ऎ݅⠛ЁЁᖗජऎ੠䚞ऎग़৆᭛࣪亢䉠ऎ݅⠛ˈᘏ䴶⿃Ўᑇᮍ݀䞠Ǆජ䚞৆䉠 ݅ ⠛ ᘏ䴶⿃Ўᑇᮍ݀䞠
⿃
ᑇ ݀
WANG
Anshi

Shanghaig
now has 26 units of national cultural heritage,g 163 units ofShanghai city level cultural heritage and 381 units of district level of cultural
heritage Shanghai government has listed four batches of preserved historic
heritage.
buildings,
g which are totallyy 632 p
places with 2138 buildings
g and 4.3 million
΃ ,including
including 61 places with 140 buildings in the level of municipal relicspreserved units
units. Meanwhile
Meanwhile, 44 historic culture landscape areas in urban
and suburb districts have been listed with total area of 41 k΃ .

Ͼग़৆᭛࣪亢䉠ऎ˄Ёᖗජऎ˅ˈᘏ䴶⿃䖒ࠄᑇᮍ݀䞠Ǆ䚞ऎ⠛䚞ऎग़৆᭛࣪亢䉠ऎ ᘏ䴶⿃㑺Ўᑇᮍ݀䞠䚞ऎ⠛䚞ऎग़৆᭛࣪亢䉠ऎˈᘏ䴶⿃㑺Ўᑇᮍ݀䞠Ǆ

12 historical cultural preserved areas (in urban districts) , with total sites
coverageg off 27 KM2 .














32 hi
historicalt i l cultural
lt l preservedd areas iin suburb
b b , with
ith ttotalt l site
it coverage off 14
KM2.

‫݋‬ԧৡऩЎ˖WKHQDPHOLVW‫݋‬ԧৡऩЎ˖WKH
QDPH OLVW
໪Ⓗ %XQG% GҎ⇥ᑓഎ 3HRSOH’V6TXDUH
3
O ’ 6
㗕ජॶ
ජॶ 2OG6KDQJKDL7RZQJफҀ㽓䏃 1DQMLQJ5RDG:HVW
1DQMLQJ 5RDG :HVW㸵ቅ䏃໡݈䏃㸵ቅ䏃໡݈䏃 +HQJVKDQ5G+HQJVKDQ 5G)X[LQJ)X[LQJ5G
5G
ᛮು䏃 <X\XDQ5RDG<
5 G
㱍ḹ䏃 +RQJTLDR5RDG
ቅ䰈䏃
䰈䏃 6KDQ\LQJ5RDG\ J
ᦤ㪱ḹ 7LODQ4LDR
7LODQ 4LDR
啭ढ /RQJKXDᮄढ䏃 ;LQKXD5RDG;L K
5 G∳⑒ -LDQJZDQफ∛ᮄഎস䬛
XinChang Old Townᴅᆊ㾦স䬛Zhu Jia Jiao Old Town Ңᓎㄥࡳ㛑ߚ㉏ⳟ᳝ᅬᮍᓎㄥǃଚϮᓎㄥҢᓎㄥࡳ㛑ߚ㉏ⳟ᳝ᅬᮍᓎㄥ ଚϮᓎㄥ ǃစФᓎㄥǃ݀݅ᓎㄥǃစФᓎㄥ ݀݅ᓎㄥ

ďĐ‫ߙֺڒ‬ᅝሙԣᓎㄥ ᎹϮᓎㄥㄝ݁㉏ሙԣᓎㄥǃᎹϮᓎㄥㄝ݁㉏˗

Official Buildings

Concerning building function
function, historic buildings are classified into 6 categories:
office building,building commercial buildingbuilding, recreation buildingbuilding, public buildingbuilding,
residential building
g and industrial building.
g䰜⇣ԣᅙ⬇ᒋᆒ佚Chen’sChen
s Residence – Shen Kang Hostel˄䭓⍋ए䰶˅亲ᴎὐЁ೑㟾ぎणӮ(Chang Hai Hospital) Airplane Building of China
Aviation Association∳⍋݇ 
Customs House− 88 −

㣅೑乚џ佚 British Consulate˄ ˅ଚϮᓎㄥ˄˅ଚϮᓎㄥଚ ᓎㄥ˄˅စФᓎㄥ
စФᓎㄥCommercial Buildings

Recreation Buildings݄ᖗ࠻䰶 
Lyceum Theatre໻䰚ଚഎ 
The Continental Emporium Building໻ᮄ໻ᮄ݀ৌ1936 Sun Co.

໻Ϫ⬠␌Фഎ 1924 Great World˄˅ሙԣᓎㄥ
Residential Buildings˄˅݀݅ᓎㄥ
Public BuildingsgᎺջ೒Ў⏂⍋䏃ᇣᄺdA
Ꮊջ೒Ў⏂⍋䏃ᇣᄺdih l on Huaihai
H ih iprimaryschoolR d 1920
Road,1920েջϞ೒Ў໻⬄䏃ᬭූ‫ݙ‬᱃েջϟ೒ЎᮄФ䏃ॳϰℷᬭූ
(1932-1934(1932
1934 )ēRussian Orthodox
Mission Church 1932
1932-1934
1934

WANG
Anshi

㢅ುԣᅙᄨ⼹❭ԣᅙ Residence of H.H.Kungg

Catholic Church of St. Teresa of
the Child Jesus, Lisieux݀ᆧ䇎᳐ᑩ໻ὐ Normandie Apartmentsᮄᓣ䞠ᓘᅝҁ䏃ᮄ䞠ԣᅙᮄᓣ䞠ᓘᅝҁ䏃ᮄ䞠ԣᅙ New style Lilong house on Anting Road˄˅ᎹϮᓎㄥ
Industrial BuildingsgҢᓎㄥ亢ḐᓣḋϞⳟ ᳝હ⡍ᓣ ᭛㡎໡݈ Ꮘ⋯‫ ܟ‬ᮄস‫݌‬ЏНҢᓎㄥ亢ḐᓣḋϞⳟˈ᳝હ⡍ᓣǃ᭛㡎໡݈ǃᏈ⋯‫ܟ‬ǃᮄস‫݌‬ЏНㄝ㽓ᮍস‫݌‬ᓎㄥ亢Ḑˈг᳝㽓⧁⠭ǃӞᮃ݄ǃ֘㔫ᮃㄝഄඳᓎㄥᓣḋˈ䖬᳝ᮽᳳ⦄ҷ੠Ё㽓ড়⩻ᓣ 㺙佄㡎ᴃ⌒ᓎㄥ೼Ϟ⍋ⱘֱᡸᓎㄥЁ᳝䖬᳝ᮽᳳ⦄ҷ੠Ё㽓ড়⩻ᓣˈ㺙佄㡎ᴃ⌒ᓎㄥ೼Ϟ⍋ⱘֱᡸᓎㄥЁ᳝ᐶǄᐶThe historical buildings
g in Shanghaighave various architectural stylesynot onlyy
western classical such as Gothic, Renaissance, Baroque and new classical, but also
regional styles like Spanish
Spanish, Islamic and Russian
Russian, as well as the modern time andcombinationbi ti off Chi
Chinese andd westerntstyles,t lespecially
i ll 167 A
Artt D
Deco bbuildings
ildi
iin ththepreserved list in Shanghai.
pgᴼᷥ⌺∈ 
ᴼᷥ⌺∈ॖShanghai Water Works໾ॳ߿๙ēભ
Ti
TaiyuanVillVillaॳЁ༂䗴Ꮥॖ Shanghai Central Mintॳ㤷⇣㢅ುԣᅙē’ residenceiFormer Mr.Rong’s㺙佄㡎ᴃ⌒ᓎㄥ
Art Deco Architectureफᯠ໻ὐ໪䉠ǃᇪศ 1933䞥䮼佁ᑫˈ
Golden Gate Hotelॳϰℷᬭූē
St.Nicholas Russian
Orthodox
O
odo C
Churchu cAppearanceppof Nanchangg Mansion,,
Spare Tower⬉࡯໻ὐ໪䉠
࡯໻ὐ໪䉠

1929

Appearance of Electricity
Power BuildingॳᏖ೒к佚ē
F
FormerSh
Shanghaih iLibruaryॳ⍋݇ࡃᘏ⿢ࡵৌԣᅙē Former Custom
Former
Official’ss residence
Official− 89 −

Ϟ⍋೼ᓎ೑ҹࠡᓎ៤ⱘሙԣ㉏ᓎㄥЁ㑺᳝ϛᑇᮍ㉇‫݋‬ֱ᳝ᡸֱ⬭ӋؐǄ Approximately⬭Ӌؐpp o ate y 12.18
8 milliono ΃oof residential
es de t a bu
buildings
d gs in S
Shanghaia g a bu
builttᇍ㄀Ѡᡍ ㄀ϝᡍ໘Ӭ⾔ग़৆ᓎㄥ᱂ᶹ᡹ਞ ᳝໘
ᇍ㄀Ѡᡍǃ㄀ϝᡍ໘Ӭ⾔ग़৆ᓎㄥ᱂ᶹ᡹ਞˈ᳝໘
˄ϛ˄ϛ ΃˅Ў
΃˅Ўϔ㠀ᤳണ
㠀ᤳണˈ໘˄ϛ໘˄ ϛ ΃˅ЎϹ䞡ᤳണˈ΃˅ЎϹ䞡ᤳണ ϔ㠀㠀ᤳണ੠Ϲ䞡ᤳണऴᘏ᭄ⱘǄᤳണ੠Ϲ䞡ᤳണऴᘏ᭄ⱘ

before 1949
1949, are worth of preserving
preserving.

The survey reported that the 2nd and 3rd batch lists of 337 historic buildingswhichhi h hhave 170 places
l
with
ith 1
1.249
249 million
illi ΃of΃ f generall damage,d
23 places
l
with
ith
0.151 million ΃of serious damage, both of them possess 58% of total.
݀ᆧ໻ὐϛᑇᮍ㉇
A
Apartment
1.19
1 19 million
illi ΃

㢅ುԣᅙϛᑇᮍ㉇
villa 1.47 million ΃ᮄᓣ䞠ᓘϛᑇᮍ㉇
NNew
tterraceddhhousing3.35
i 3 35
millionilli ΃
⷇ᑧ䮼ㄝ㗕ᓣ䞠ᓘϛᑇᮍ㉇ㄝOld terracedt
d housinghi 6.17
6 17 million
illi ΃Ѡ Ңᅲ䰙ߎথ䗝ᢽདׂ㔂ֱᡸⱘᮍᓣ
ѠǃҢᅲ䰙ߎথ䗝ᢽདׂ㔂ֱᡸⱘᮍᓣ
ᅲֱᡸᓎㄥѻᴗᚙ‫ߚމ‬ᵤ 㑺ˁሲ᳝݀ᓎㄥ ݊Ё೑᳝Ⳉㅵⱘ
ֱᡸᓎㄥѻᴗᚙ‫ߚމ‬ᵤˈ㑺ˁሲ᳝݀ᓎㄥˈ݊Ё೑᳝Ⳉㅵⱘ
᠓ѻ䍙䖛ˁ
᠓ѻ䍙䖛ˁǄIn ppractice,, it selected sound measures to repair
p and pprotectϞ⍋ग़৆ᓎㄥᓎ៤㟇ҞҙⱒԭᑈˈϨ᱂䘡໘ѢՓ⫼ПЁǄϞ⍋ᡞֱᡸ㉏߿ߦߚЎಯ㉏ ݊Ё㑺ϝߚПѠҹϞֱᡸᓎㄥЎϝ㉏៪ಯ㉏ֱᡸ㽕∖㉏߿ߦߚЎಯ㉏ˈ݊Ё㑺ϝߚПѠҹϞֱᡸᓎㄥЎϝ㉏៪ಯ㉏ֱᡸ㽕∖ˈֱᡸⱘ䞡⚍೼໪䉠 ‫ݙ‬䚼ぎ䯈‫݋‬᳝䕗໻᳈ᮄ ߽⫼ⱘৃ㛑ᗻֱᡸⱘ䞡⚍೼໪䉠ˈ‫ݙ‬䚼ぎ䯈‫݋‬᳝䕗໻᳈ᮄǃ߽⫼ⱘৃ㛑ᗻǄ

Byy analysisyof ppreserved building’s
g ownership,
p 90% are state-owned, in whichmore than 70% are directly managed by the government
government.

Historic b
buildings
ildings were
ere b
built
ilt in Shanghai more than 100 years,
ears which
hich are still on use.
se
The preservationThti iis classified
l ifi d iinto
t 4 grades,dmore ththan 2/3 preserveddbbuildings
ildi
are iingrade
d 3 or graded 4,
4 whichhi h mainly
i l protects
t t ththe ffaçade,d interiori t i space has
h theth possibility
ibilitto upgrade
pg d andd reuse.
⾕᳝ѻᴗ


WANG
Anshi




᳝݀ѻᴗЁⱘ
Ⳉㅵ݀᠓

෎ᴀᅠད
ϔ㠀ᤳണ
Ϲ䞡ᤳണ

᳝݀ѻᴗ
⾕᳝ѻᴗ

݊Ҫ᳝݀ѻᴗ

ᅸ‫ݙ‬᳝⡍㡆ⱘ᷅ᐑֵᠬ໻ὐ˄࣫Ҁϰ䏃 ো˅ֱᡸ㉏߿ ㉏ 䞡⚍ֱᡸ໪ֵᠬ໻ὐ˄࣫Ҁϰ䏃ো˅ֱᡸ㉏߿ϝ㉏䞡⚍ֱᡸ໪ゟ䴶䴶
Credit Mansion ((190 Beijing
j g road E)) Grade 3, the key
yp
preserved p
part is facadefeatured column cap
inside of building1ǃֱᄬׂ㔂 Remain and repairग़৆ᓎㄥ᳔䞡㽕ⱘׂ㔂ᮍ⊩ᰃֱᄬॳ䉠ॳ⢊ ೼ׂ㔂ᯊ⹂ֱᓣḋग़৆ᓎㄥ᳔䞡㽕ⱘׂ㔂ᮍ⊩ᰃֱᄬॳ䉠ॳ⢊Ǆ೼ׂ㔂ᯊ⹂ֱᓣḋǃᴤ᭭ Ꮉ㡎ㄝⱘϔ㟈ᴤ᭭ǃᎹ㡎ㄝⱘ
㟈ǄThe predominate repair method of historic building is to
kkeep
p the
h originaligi l state. E
Ensuring
i g theh consistentiiin ppattern, material
i l andd technique
h iqwhen repairing
repairing.

⍋݇໻ὐᎼ໻ⱘᑩᑻ⷇ഫStone baseศὐⱘफゟ䴶
ศὐⱘफ䴶 south elevation⍋݇໻ὐܹষゟ᷅G t columns⍋݇໻ὐܹষゟ᷅Gatelศὐⱘϰゟ䴶ሔ䚼 ppart of east elevation⷇ᴤ໪๭বᮻˈᰒ⼎ⱘᰃग़৆≻ḥˈ∛Є䫊㸠⷇ᴤศὐֱᡸⱘ䗝ᢽᴤ໪๭বᰒ⼎ⱘᰃग़৆≻ḥ ∛Є䫊㸠 ᴤศὐֱᡸⱘ䗝ᢽњֱᄬᮍᓣd Due
D tto timeti
running,itheth stonet
façadefd becomingbi deterioration,d t i ti⍋݇໻ὐCustom⍋݇໻ὐCustoHouse

the dome of HK - ShanghaigBank pprotection adoptedprestoring
gp
preservation.

䖭ѯ㒚䚼ϡོ⹡Փ⫼ⱘĀবᮻāׂ㔂ᯊϡϔᅮׂ㔂ᯊϡᅮ Āߎᮄāˈֱᡸߎᮄ ˈֱᡸ
ⱘᮍᓣᑨ䗝ᢽֱᄬ
ⱘᮍᓣᑨ䗝ᢽֱᄬǄ೒ЎᎹӮ໻
ᓣ
೒ЎᎹӮ໻
Ӯ
ὐ䮼ख़ὐẃᡊ᠟Ǆὐ䮼ख़ὐẃᡊ᠟
The protection method for details canb preserved
bed th
the ““old”
ld” iimpression.
i
Picture shows the coppery handle ofstair in Trade Union Building
Building.

श⑒ऎᗱफ䏃៤⠛ֱᡸᭈ⊏䆩⚍乍Ⳃˈ㾘ߦऴഄ䴶⿃݀之ˈഄϞᘏ乍Ⳃ㾘ߦऴഄ䴶⿃݀之 ഄϞᘏᓎㄥ䴶⿃Ў ϛᑇᮍ㉇ ݊Ёֱ⬭ᓎㄥ䴶⿃Ўϛᑇᮍ㉇ˈ݊Ёֱ⬭ֱᡸ㗕ᓎㄥᐶ 䖥ϛᑇᮍ㉇ ҹֱᡸ㗕ᓎㄥᐶˈ䖥ϛᑇᮍ㉇ˈҹֱᡸഄऎᭈԧग़৆亢䉠Ўߎথ⚍ ᓊֱᡸഄऎᭈԧग़৆亢䉠Ўߎথ⚍ˈᓊ㓁ජᏖ㙠⧚ ᇞ䞡㸫Ꮛሎᑺ ᅠ୘ぎ㓁ජᏖ㙠⧚ˈᇞ䞡㸫Ꮛሎᑺˈᅠ୘ぎ䯈ᔶᗕ 㸹‫ܙ‬ᮄ剰ࡳ㛑 ๲ᔎ⼒ऎ⌏䯈ᔶᗕˈ㸹‫ܙ‬ᮄ剰ࡳ㛑ˈ๲ᔎ⼒ऎ⌏࡯ ᦤ催ᓔᬒક䋼࡯ˈᦤ催ᓔᬒક䋼Ǆ
Si Nan Road preserved area in
Luwan district has the site spacep
off 5 ha,h 57 thousandthd ΃building
΃b ildispace including 49 preserved
space,

ᎹӮ໻ὐ໻ख़∈⺼⷇೒ḜഄാˈӮ໻ὐ໻ख़∈⺼ ೒Ḝഄാ
ќҹֱᄬǄ
ќҹֱᄬ

buildings with 30 thousand ΃.
΃The project aimed to preserve
integrateg
historic scene of the area,,

Floor fifinishingFli hi off th
the llobby
bb iin T
TradedUnion Building
g was ppreserved.

continuetiitits urban
b structure,t trespecttstreet dimension
dimension, add new function
and vigor
vigor, promote its opening quality
quality.

− 90 − ᘶ໡䞡ᓎǃᘶ໡䞡ᓎ

ᗱफ䏃᳝ ᷟ㢅ುԣᅙᰃ᳔໻ⱘ⡍㡆ᗱफ䏃᳝ᷟ㢅ುԣᅙᰃ᳔໻ⱘ⡍㡆ˈ䞡⚍ᰃֱᡸ໪๭䖭ᓴᷟ㢅ುԣᅙᰃ᳔໻ⱘ⡍㡆 䞡⚍ᰃֱᡸ໪๭
䞡⚍ᰃֱᡸ໪๭䖭ᓴᓴRestoration and redevelopmentϔѯग़৆ᓎㄥ಴໪࡯԰⫼䗴៤ᤳണϹ䞡ˈ៪ᴤ᭭ǃ㒧ᵘՓ⫼ᇓੑᏆѯग़৆ᓎㄥ಴໪࡯԰⫼䗴៤ᤳണϹ䞡 ៪ᴤ᭭ 㒧ᵘՓ⫼ᇓੑᏆࠄ ৃᣝֱᡸ‫ݙ‬ᆍ䚼ߚ៪ܼ䚼໡ᓎ 㽓㮣䏃ⱘ≤ᘽූѨकᑈҷ᳒䙁䘛໻ࠄˈৃᣝֱᡸ‫ݙ‬ᆍ䚼ߚ៪ܼ䚼໡ᓎǄ㽓㮣䏃ⱘ≤ᘽූѨकᑈҷ᳒䙁䘛໻☿ ⚻↕ⱘ䚼ߚᓎㄥ੠㺙佄ህᰃᣝग़৆ⱘॳḋ☿ˈ⚻↕ⱘ䚼ߚᓎㄥ੠㺙佄ህᰃᣝग़৆ⱘॳḋ䞡ᓎⱘǄ⚻↕ⱘ䚼ߚᓎㄥ੠㺙佄ህᰃᣝग़৆ⱘॳḋ䞡ᓎⱘᓎⱘĀ㜌䴶ā㜌䴶 ˈׂ㔂ᘶ໡݊ग़৆Ϟⱘॉ⷇佄䴶Ǆׂ㔂ᘶ໡݊ग़৆Ϟⱘॉ⷇佄䴶
41 detached houses alongg Si Nan road become major
j feature in the area,, tokeep the façade is a key
key, so that it restored pebble façade as its original
original.

Some historical buildings’
g ppreserved can be p
partlyy or whollyy rebuilt due to serious
damage caused by force
force, or material and structure ’ss life span are finishedfinished. Memorial
Ch rch was
Churchas bburnedrned in 1950s
1950s, the bburnedrned part str
structures
ct res and decorations were
ere
restored according
g to original.
gׂᮻབᬙ repaired
i d as its
it originali i l≤ᘽූˈᑈᓎ䗴ˈᣝॳḋׂ໡Ǆ᳒ᤳണϹ䞡ⱘᅸ‫ݙ‬㺙佄ˈ⦄Ꮖᘶ໡Ǆ
Memorial Church built in 1931
1931,waswasrepaired in 1958
1958,thethe decoration
damaged seriously has been restored
now.

਼݀佚໪๭
Façade of Premier Zhou Enlai
Enlai’ s residence䴭ᅝऎĀ⍠⊝ഞā䞠ᓘ⦃๗Ӭ䲙䴭ᅝऎ䴭ᅝऎĀ⍠⊝ഞā䞠ᓘ⦃๗Ӭ䲙ǃᏗሔড়⧚ǃ䆒䅵䆆おˈ݊໪๭Ϟ⍠⊝ഞ 䞠ᓘ⦃๗Ӭ䲙 Ꮧሔড়Ꮧሔড়⧚ 䆒䅵䆆お ݊໪๭݊໪๭Ϟ䭊ጠⱘᐙᇣᄽ਍োⱘゟԧ䲩ล๭ⷪˈ䞛⫼Ӵ㒳Ꮉ㡎ˈᣝᅲ⠽㗏ḋࠊ῵䭊ጠⱘᐙᇣᄽ਍োⱘゟԧ䲩ล๭ⷪ䞛⫼Ӵ㒳Ꮉ㡎 ᣝᅲ⠽㗏ḋࠊ῵ׂ໡Ǆᕤ∛ऎ⷇ᑧ䮼䞠ᓘ ᓎϮ䞠 ֱᡸᬍ䗴ᮍḜЁህᰃᅠᭈֱ⬭㽓ᓘˈᕤ∛ऎ⷇ᑧ䮼䞠ᓘĀᓎϮ䞠āֱᡸᬍ䗴ᮍḜЁህᰃᅠᭈֱ⬭㽓ᓘᡞ݊ᬍব៤⷇ᑧ䮼ᆒ佚ˈᢚ䰸ϰᓘǃЁᓘˈ೼ᅠ៤ഄϟ䜡༫䆒ᮑৢᣝ
ॳḋ໡ᓎǄ
ॳḋ໡ᓎ

Yong Quan Neighborhood in Jingan district has elegant lane environment
environment, goodlayout and design daintily
daintily. 12 sculpture tiles with little trumping boys studded on
façade,çwhich were restored byy using
g traditional technique.
qĀJian Ye Li” stone g
gate lane in Xuhui district in preservingp
gp
proposal,p
is topreserve West Lane completely and alternate it into a hotel; demolish East andMiddle Lanes
Lanes, rebuild them as original shape after finishing underground facilities
facilities.

WANG
Anshi

⍠⊝ഞ
Yong Quan Neighborhoodׂ໡ࠡⱘ䲩ล
StoredSt
d sculpturel tׂ໡ৢⱘ䲩ล
Restored sculptureᓎϮ䞠㽓ᓘ ᑈ West Lane of Jian Ye Liǃᬍᓎ᳈ᮄ
ᬍᓎ᳈ᮄ RenovationRti andd upgradedᬍᓎϢֱᡸ‫ݙ‬ᆍण䇗ˈࡳ㛑᳈ᮄ߽Ѣ䭓Йֱᡸ

“ᮄ໽ഄā
ᮄ໽ഄ
໪䉠ֱ⬭њϞ⍋Ӵ㒳⇥ሙĀ⷇ᑧ䮼āⱘ໪䉠ֱ⬭њϞ⍋Ӵ㒳⇥ሙ⷇ᑧ䮼 ⱘ Ā䞠ᓘāぎ䞠ᓘ ぎ䯈⡍ᕕˈ㗠‫ݙ‬䚼᳈ᮄᬍ䗴Ў䗖ড়ᮙ␌ӥ䯆ⱘぎ䯈ࡳ㛑Ǆ䯈⡍ᕕ⡍ᕕ 㗠‫ݙ‬䚼᳈ᮄᬍ䗴Ў䗖ড়ᮙ␌ӥ䯆ⱘぎ䯈ࡳ㛑‫ݙ‬䚼᳈ᮄᬍ Ў␌ӥࡳ㛑

Renovation mixed with preservation
preservation, upgrading its function
function, which benefit the longterm preservation.
preservationॳᎹ䚼ሔᆄ⡆എЎ㣅೑ᓎㄥ䆒䅵໻ᏜᏈᇨᓫᮃ䆒䅵ˈ⦄Ϫ⬠Ϟҙᄬ䖭ॳᎹ䚼ሔᆄ⡆എЎ㣅೑ᓎㄥ䆒䅵໻ᏜᏈᇨᓫᮃ䆒䅵⦄Ϫ⬠Ϟҙᄬ䖭ϔᷟᷟˈׂ㔂ᬍᓎЁ䆹ᓎㄥϸϾḌᖗㄦП䯈䖲᥹ⴔग࿓ⱒᗕⱘὐẃ㹿ᅠᭈׂ㔂ᬍᓎЁ䆹ᓎㄥϸϾḌᖗㄦП䯈䖲᥹ⴔग࿓ⱒᗕⱘὐẃ㹿ᅠᭈ
ഄֱ⬭њǄ
ഄֱ⬭њ

The appearance of “Xin
Xin Tiandi”
Tiandi remained space feature of “shishi Ku Men”
Men
Shanghai traditional housing
housing, interior upgrading to fit the space function of
tourism leisureleisure.

Former Shanghai Sanitary Butchery Co
Co. Building was designed by English masterarchitect
hit t M
Mr. B
Balvers,lwhich
hi h iis only
l one bbuilding
ildi existed
i t d iin th
the world.
ld AftAfter repairing,ii
divers stairs connected two cores of the building
g were ppreserved completely.
pyᬍᓎ᳈ᮄⱘ঺ ⾡ᮍᓣᰃᮄ㗕ᓎㄥⱘ݅ᄬ݅㤷ˈᅠᭈֱ⬭㗕ᓎㄥᬍᓎ᳈ᮄⱘ঺ϔ⾡ᮍᓣᰃᮄ㗕ᓎㄥⱘ݅ᄬ݅㤷ˈᅠᭈֱ⬭㗕ᓎㄥⱘ໪㾖ˈՓ݊៤ЎᮄᓎㄥⱘϔϾࡳ㛑ऎǄⱘ໪㾖Փ݊៤Ўᮄᓎㄥⱘ Ͼࡳ㛑ऎ
Another way of renovation is to mix new and old construction
construction, wholly preserving
the appearance of old buildingbuilding, let it become a function part of new buildingbuilding.

ॳ⊩݀㨷ሔˈᑈᓎ䗴ˈ⦄ᬍᓎ᳈ᮄЎЁ⦃ᑓഎ䌁⠽ぎ䯈Ǆॳ⊩݀㨷ሔ ᑈᓎ䗴 ⦄ᬍᓎ᳈ᮄЎЁ⦃ᑓഎ䌁⠽ぎ䯈ᑈᓎ៤ⱘѨ᯳㑻㢅ು佁ᑫˈ݊㺭᠓໻ූ݀݅䚼ߚ⬅ॳ⊩೑ᘏӮ˄ ᑈᓎ䗴˅ᬍᓎ㗠៤Ǆ

Garden Hotel,, a 5-stars hotel built in 1989,, the front building
g as lobby
y was Cercle
Sportif Francais built in 1926

Former Council Building of French Concession built in 1909
1909,now
now it is shopping
area off C
Centralt l PlPlaza.

− 91 −

࣫Ҁϰ䏃োⲞЄ⋟㸠 ᢳ੠೑䰙໻݀ৌড়԰ ᬍᓎ៤Ϫ⬠乊㑻࣫Ҁϰ䏃োⲞЄ⋟㸠ˈᢳ੠೑䰙໻݀ৌড়԰ˈᬍᓎ៤Ϫ⬠乊㑻
ⱒ䋻ଚഎ
䋻ଚ Ǆ
No. 81 Beijing East Road
No
Road, Yick Fung Matheson
Matheson, would consider to be planned toconvertt it intoi t theth world's
ld' topt classlddepartmenttt storet
with
ith ththe co-operationti off thethcountry’ss large companies,
countryⲞЄ⋟㸠⦄⢊
T d ’ Yick
Today’sYi k Fung
F
Matheson,M thϝ 䍄ߎׂ㔂ֱᡸЁⱘ䇃ऎ ߛᅲֱᄬདᓎㄥⱘग़৆⮩䗍ϝǃ䍄ߎׂ㔂ֱᡸЁⱘ䇃ऎˈߛᅲֱᄬདᓎㄥⱘग़৆⮩䗍
Get rid of fault of repairing and preserving,
preserving really keeping the historical path ofbuildingsg ໘⧚དĀֱᡸ߽⫼āⱘ݇㋏ ⊼䞡ग़৆ᓎㄥⱘ㒧ᵘᅝܼ໘⧚དĀֱᡸ߽⫼āⱘ݇㋏ˈ⊼䞡ग़৆ᓎㄥⱘ㒧ᵘᅝܼ
To balance with the "protection
protection and use"
use relationship,
relationship focusing on the structuralsafety of historical buildings໘⧚ॳ߭˖ Principles of handling the structural safety risks˄˅‫ݐ‬乒ⱘॳ߭˖ֱ䆕෎ᴀ ᅝܼ ⱘࠡᦤϟˈሑৃ㛑ϡ⸈ണ㒧ᵘ˄˅‫ݐ‬乒ⱘॳ߭˖ֱ䆕෎ᴀĀᅝܼāⱘࠡᦤϟሑৃ㛑ϡ⸈ണ㒧ᵘ੠໪㾖Ǆ੠໪㾖The principle of balance: to ensure a basic "safety"
safety of the premise and avoid
damaging the structure and appearance by all means˄˅⡍⅞ⱘॳ߭˖ϡ㛑ᅠܼ䗖⫼ 㠀ⱘᮄᓎ៪ׂ㔂ᡔᴃ㾘㣗ˈᑨ᳝˄˅⡍⅞ⱘॳ߭˖ϡ㛑ᅠܼ䗖⫼ϔ㠀ⱘᮄᓎ៪ׂ㔂ᡔᴃ㾘㣗ᑨ᳝⡍⅞㾘ᅮ ᷛ‫ޚ‬Ў ׂ㔂ৢᅝܼᗻ㛑↨ॳᴹ᳝᠔ᬍ୘੠ᦤ催⡍⅞㾘ᅮˈᷛ‫ޚ‬Ў˖ׂ㔂ৢᅝܼᗻ㛑↨ॳᴹ᳝᠔ᬍ୘੠ᦤ催Ǆ
WANG
Anshi

Special rule: cancan’tt be fully applicable to the general technical specifications of
new or repaired
repaired, there should be special provisions and criteria: safety is to beenhancedhd andd it isi tto bbe bbettertt ththan ththe original
i i l afterft restorationt ti hashbeen completed.
p˄˅䗖⫼ⱘॳ߭ ࡴ೎ᮍ⊩໮⾡ ݇䬂ᰃ䗖ড়ࡳ㛑Փ⫼˄˅䗖⫼ⱘॳ߭˖ࡴ೎ᮍ⊩໮⾡ˈ݇䬂ᰃ䗖ড়ࡳ㛑Փ⫼ǄThe applicable principle: when there are available of a variety ofreinforcement methods,
methods the key is to be suitable for functional use.
use㒧ᵘᅝܼ䱤ᙷ
structural safety risks໘⧚⿟ᑣ˖ Procedure of handling:˄˅㒧ᵘᅝܼᗻ䡈ᅮ 䖭ᰃ䖯㸠ֱᡸׂ㔂ᮍḜ䆒䅵ⱘձ᥂˄˅㒧ᵘᅝܼᗻ䡈ᅮ˖䖭ᰃ䖯㸠ֱᡸׂ㔂ᮍḜ䆒䅵ⱘձ᥂Ǆ
Id tifi ti off structural
Identificationt t l safety:
f t ThisThi isi a program designedd id tot protectt t ththe repair
i basisb i㤷ᆊ㗕ᅙ˄ᑈ˅Old house of Rong
Rong’ss Family
Family.

˄˅䗝ᢽড়⧚㒧ᵘফ࡯ԧ㋏˖choose the structure of the force system:D˖ᅠܼ߽⫼ॳ㒧ᵘফ࡯ᡓˈ䖯㸠䗖ᔧⱘࡴ೎˗
ᅠܼ߽⫼ॳ㒧ᵘফ࡯ᡓᅠ߽⫼ॳ㒧ᵘফ࡯ᡓ 䖯㸠䗖ᔧⱘࡴ೎㸠 ᔧⱘࡴ೎˗
Full use of the original structure of the force commitmentcommitment, and add appropriate reinforcement;E˖ॳ㒧ᵘࡴ೎ˈ๲ࡴᮄⱘ㒧ᵘᡓˈᮄ㗕㒧ᵘ݅ৠᡓ䕑˗
Reinforcement of the original structure
structure, adding new structures bearing,
bearing to let the
new and old structure share equally the load;

F˖ᅠܼ㜅⾏ॳ㒧ᵘˈ⬅ᮄ㒧ᵘফ࡯ᡓ䕑ᅠܼ ⾏CCompletelyl t l stayt outt off theth original
i i l structuret t
andd llett new structuret t
tot taket k theth load.
l d˄˅䆒䅵ᮍḜⱘӬ࣪˖೼⒵䎇䆒䅵㾘㣗੠ᓎㄥᅝܼⱘࠡᦤϟˈሑ䞣⒵䎇
㺙佄䆒䅵᠔䳔㽕ⱘぎ䯈Ꮧሔ੠㺙佄ᬜᵰ Փ݊䞡⦄亢䉠 䞡ลࡳ㛑㺙佄䆒䅵᠔䳔㽕ⱘぎ䯈Ꮧሔ੠㺙佄ᬜᵰˈՓ݊䞡⦄亢䉠ˈ䞡ลࡳ㛑Ǆ
Design optimization: to meet the design specifications and construction under thepremise of safety,
safety try to meet the space required for the decorative layout of thedesign and decorative effect,effect so as to reproduce the style remodeling function.
function㒧ᵘࡴ೎Џ㽕ᡔᴃᮍ⊩˖㒧ᵘࡴ೎Џ㽕ᡔᴃᮍ⊩
໪໪໪ⒽⒽकककܿܿোোো嗻呺呺呺ࡴࡴ߽߽䫊䫊㸠㸠嗼嗼St t l reinforcement
Structurali f
t off theth maini technologicalt h l gi l approaches:pph˄˅䩶㒧ᵘࡴ೎˖ ໪ࣙ䩶ࡴ೎⊩ǃ㉬䩶ࡴ೎⊩ǃ༫ㅡࡴ೎⊩Ǆ⊩ǄSt l reinforcement
Steel
i f
t : externaltl steelt l reinforcementi ft method,th dbonding steel reinforcement method
method, hoop reinforcement method
method.

˄˅⏋‫ޱ‬ೳࡴ೎˖‫ࡴ ޱ‬๲໻៾ ࡴ ⊩ ỡㄟ䫮 ࡴ ⊩๲໻៾䴶ࡴ೎⊩ǃỡㄟ䫮೎ࡴ೎⊩Concrete reinforcement: increasingg cross-section reinforcement
method, anchorage reinforcement method
method˄˅⺇㑸㓈ࡴ೎˖ ফᢝফ࠾๲ᔎ⊩Ǆফᢝফ࠾๲ᔎ⊩Carbon fiber reinforcement: tensile shear enhancement method
method.

1922ᑈ
ᑈ

Wai tan No. 18 ((MacquarieqBank))− 92 −

˄˅஋ᇘ⸐ࡴ೎˖ ஋ᇘ⏋‫ޱ‬ೳࡴ೎⊩ǃ஋ᇘ⦃⇻ⷖ⌚ࡴ೎⊩Ǆ஋ᇘ⏋‫ޱ‬ೳࡴ೎⊩ ஋ᇘ⦃⇻ⷖ⌚ࡴ೎⊩ǃമᣕ ॳⳳᗻ ˈׂᮻབᮻˈׂᮻབᬙˈⳳᅲഄሩ⦄ᓎㄥⱘग़
ǃമᣕĀॳⳳᗻāˈׂᮻབᮻˈׂᮻབᬙˈⳳᅲഄሩ⦄ᓎㄥⱘग़
৆ॳ䉠

Reinforcement of sprayp y concrete: reinforced shotcrete method,, Reinforced
shotcrete method,
method spray eoxy mortar reinforcement method

Adhere to the "authenticity"authenticity , repairing the old as oldold, and repair as before
before, show
the truetr e history
histor of the original appearance of the bbuilding
ilding˄˅乘ᑨ࡯ࡴ೎˖ ሔ䚼乘ᑨ࡯ৢᓴࡴ೎⊩ǄPre-stressedPtd reinforcement:i ft partial
ti l pre-stressedtd post-tensionedtt
id
reinforcement method.

˄˅ᡫ䳛ࡴ೎˖ᡫ䳛ᨽ᪺䰏ሐ఼ࡴ೎⊩੠ࡴ䆒ᡫ䳛᷅੠࠾࡯๭ࡴ೎
˄˅ᡫ䳛ࡴ೎ ᡫ䳛ᨽ᪺䰏ሐ఼ࡴ೎⊩੠ࡴ䆒ᡫ䳛᷅੠࠾࡯๭ࡴ೎
˅ᡫ䳛ࡴ೎˖ᡫ䳛ᨽ᪺䰏ሐ఼ࡴ೎⊩੠ࡴ䆒ᡫ䳛᷅੠࠾࡯๭ࡴ೎
⊩Ǆ
Seismic retrofit: seismic reinforcement method and processing friction
damper set up columns and shear seismic reinforcement method.
method˄˅࣪ᄺࡴ೎˖䞛⫼Э෎⸙䝌Ⲥ೎㒧⊩ࡴ೎⷇᭭ᬷሥǃ࣪ᄺ☠⌚ࡴ೎⊩Ǆ೎⊩Chemical reinforcement: Reinforcement of the use of ethyl silicate
consolidation of stone scattered debris,, chemical ggrouting
g method.

⬇ᒋ݀ᆧ Shen Kang apartmentᘶ໡ࠄᶤϔग़৆䰊↉ⱘ䴶䉠 ߸ᮁⱘᷛ‫ޚ‬ᰃ ᓎㄥ亢Ḑ⡍㡆ᰃᘶ໡ࠄᶤϔग़৆䰊↉ⱘ䴶䉠Ǆ߸ᮁⱘᷛ‫ޚ‬ᰃˈᓎㄥ亢Ḑ⡍㡆ᰃ৺ϔ㟈ˈᰃ৺ড᯴њഄඳⱘ⡍⚍ˈग़৆Ϟᰃ৺಴Փ⫼ࡳ㛑䇗ᭈ᳝䖛৺㟈ˈᰃ৺ড᯴њഄඳⱘ⡍⚍ˈग़৆Ϟᰃ৺಴Փ⫼ࡳ㛑䇗ᭈ᳝䖛䞡໻ব࣪ ᰃ৺Ў໻໮᭄Ҏ᠔䅸ৃ䞡໻ব࣪ˈᰃ৺Ў໻໮᭄Ҏ᠔䅸ৃǄ
R t i g appearance off certain
Restoringt i hihistorict i period.
i d ThThe jjudge
dg criteria
it i : whether
h ththe building style and character are consistent, whether it features regional
character whether the function has been major changed in history
character,history, whether it isacceptedt db
byy majority.
j ity

WANG
Anshi

ᅸ‫ݙ‬ຕ⬏
Indoor wall paintingॳϰℷᬭූFormer Orthodox Churchᅸ‫ݙ‬ຕ⬏
Indoor wall p
paintinggЎᑈᔶᗕ
St t iin 1936
State

໪Ⓗো
໪Ⓗ
ো ᑈྟᓎ
ᑈྟᓎ
W i tanWaitNO.
NO 6 1893 bbulidinglidiᇞ䞡ग़৆ⱘⳳᅲ
ᇞᇞ䞡ग़৆ⱘⳳᅲˈֱᡸདग़
ग़৆ⱘⳳᅲ ֱᡸདग़৆ⱘॳᓎˈ㗠ϡᑨ䆹ⳆⳂഄᣝ೒
৆ⱘॳᓎ㗠ϡᑨ䆹ⳆⳂഄᣝ೒
㒌‫ݡ‬এᮄᓎˈ䗴៤‫؛‬স㨷ǄRespect for real history,
history protect original
building,
g which should not rebuild false
antique by copying the drawings.
drawingsग़৆೒㒌फҀ㽓䏃ゟ䴶
Old drawing elevation of Nanjing Road (w)ॳᴼᓋᅱ䆒䅵ᮍḜ फҀ㽓䏃ゟ䴶
Yang Tingbao
Tingbao’ss design proposal
elevation of Nanjing Road (w)ǃֱᡸདग़৆ᓎㄥⱘ㸼Ⲃֱᡸདग़৆ᓎㄥⱘ㸼Ⲃ preserving historical building’sbuilding s appearanceϞ⍋ⱘग़৆ᓎㄥЏԧ໮Ў⏙∈໪๭ ໽✊⷇ᴤ๭䴶 ∈⊹៪≄⷇ᄤ㉝
Ϟ⍋ⱘग़৆ᓎㄥЏԧ໮Ў⏙∈໪๭ˈ໽✊⷇ᴤ๭䴶ˈ∈⊹៪≄⷇ᄤ㉝ࠋ 㡆ᔽ⎵䲙㗠ⳳᅲ 䋼ᛳ㉫㊭㗠ᴈ㋴ ⬅ѢᑈҷᙴЙ ๭䴶⬭ϟ৘⾡ࠋˈ㡆ᔽ⎵䲙㗠ⳳᅲˈ䋼ᛳ㉫㊭㗠ᴈ㋴Ǆ⬅ѢᑈҷᙴЙˈ๭䴶⬭ϟ৘⾡㹿㞾✊⦃๗։㱔ⱘ⮩䗍ˈ᳝ ⾡ᬙᮻ≻ḥᛳǄ㹿㞾✊⦃๗։㱔ⱘ⮩䗍ˈ᳝ϔ⾡ᬙᮻ≻ḥᛳǄThe historical buildings in Shanghai are mainly exposed brick
brick, natural stone
stone, cement
or washedashed carpolite façades
façades, which
hich hahavee light color and real
real, roroughness
ghness and simplicit
simplicity
features. It remains all kinds of mark byy natural environment corrodes,, making
g thesense of old and profoundprofound.

⦄⢊फҀ㽓䏃ゟ䴶
E i tiExistingth
the elevationlti offNanjing road (w)ׂ໡ᮍḜफҀ㽓䏃ゟ䴶
R t i proposall th
Restoringtheelevation of Nanjing road (w)ቅ䰈 ᓘԣᅙׂ㔂Ģቅ䰈ᓘԣᅙׂ㔂Ģ
repairing the house in Lane 69 Shanyin Road

− 93 −

䳡ቅ䏃ԣᅙׂ㔂 repairing the house in Huoshan Road
Road.

ֱᡸग़৆ᓎㄥⱘ㸼Ⲃ ݊Ёᕜ䞡㽕ⱘ Ͼ⦃㡖ᰃ㽕⫼ད䰆∈ֱᡸֱࠖᡸग़৆ᓎㄥⱘ㸼Ⲃˈ݊Ёᕜ䞡㽕ⱘϔϾ⦃㡖ᰃ㽕⫼ད䰆∈ֱᡸࠖǄ䗝ᢽⱘॳ߭ᰃ˖
䗝ᢽⱘॳ߭ᰃ
External protection of historic building: one of the most important aspect is touse a good waterproof protection agent.
agent Selection principle is:1 㛑ֱᣕॳᓎㄥゟ䴶ⱘᔶᗕ㡆ᔽ ≵᳝໡Ⲫ԰⫼1ǃ㛑ֱᣕॳᓎㄥゟ䴶ⱘᔶᗕ㡆ᔽˈ≵᳝໡Ⲫ԰⫼˗Can maintain the original color of the shape of building facades
facades, no cover role;2ǃ㸼䴶䰆∈ˈԚজ‫݋‬䗣⇨ࡳ㛑˗
S f
Surfacewatert proof,f but
b t with
ith ventilation;
til ti3 ⍖ࠋⱘ㸼䴶ϡᯧ⊒ᶧ♄ᇬঞ∵⠽ ‫݋‬㞾‫ࡳޔ‬㛑
3ǃ⍖ࠋⱘ㸼䴶ϡᯧ⊒ᶧ♄ᇬঞ∵⠽ˈ‫݋‬㞾‫ࡳޔ‬㛑˗Brushed surface is not easyy to catch the dust and dirt,, with self-cleaning
g function

4 㛑ᇍᓎㄥ㸼䴶ⱘᔎ࣪䍋ࠄ ᅮ԰⫼
4ǃ㛑ᇍᓎㄥ㸼䴶ⱘᔎ࣪䍋ࠄϔᅮ԰⫼ǄॳᎹ䚼ሔᆄ⡆എএ䰸ᱫ㑶㡆⍖᭭ৢᘶ໡⏙∈⏋‫ޱ‬ೳ໪๭੠㢅佄Can play a role to strengthen the building's
building s surface
surface.

Former ShanghaigSanitaryy Butcheryy Co. Building,g after cleaning
g up
p red colored wall
painting, restored its exposed concrete wall and decoration .

he mainlyy used waterproofpcoatingg in Srhanghaignow 䖯ষⱘ᳝䖯 ⱘ᳝ ˖

᮹ᴀજᖋ㔫 㕢೑∌‫˄⎆ޱ‬DPS˅㕢೑∌‫⎆ޱ‬˅ᖋ೑ᖋ䌯෵ ⹻ᵫᖋ೑ᖋ䌯෵˄⹻ᵫ˅
ᖋ೑䳋偀຿˗
ᖋ೑䳋偀຿˗ᖋ೑䳋偀 ೑‫ⱘݙ‬᳝ ˖ TFϝ⨲ ㄝǄㄝImported are: Japan HadeLuo ˈUnited
United States Wing condensate (DPS),(DPS)
Germanyy Fort Desai(Tahitian)() ˈGermanyy Lei Mashi;
The China made has: TF
TF, ϝ⨲℺ᒋ໻ὐׂ㔂ৢAfter renovation of the Wu Kang Building℺ᒋ໻ὐׂ㔂ࠡ
Before renovation of the Wu Kang Building

WANG
Anshi

જᖋ㔫ᰃ᮴ᴎ䋼⏫䗣㒧᱊ൟ䰆∈˄ֱᡸ˅ࠖˈᰃҢ᮴ᴎ䋼⒊⎆੠催જᖋ㔫ᰃ᮴ᴎ䋼⏫䗣㒧᱊ൟ䰆∈˄ֱᡸ˅ࠖ
᮴ᴎ䋼⏫ 㒧ֱᡸ ࠖ ᰃҢ᮴ᴎ䋼⒊⎆੠催Ң᮴ᴎ䋼⒊⎆ 催ডᑨ‫ࠖ࣪ڀ‬Ёᦤপⱘ ⾡ᔎ⺅䞥ሲⲤ⸙䝌࣪ড়⠽ⱘ䰆∈˄ֱᡸ˅ডᑨ‫ࠖ࣪ڀ‬Ёᦤপⱘϔ⾡ᔎ⺅䞥ሲⲤ⸙䝌࣪ড়⠽ⱘ䰆∈˄ֱᡸ˅ࠖ ˈᅗᅠܼ㛑໳䖒ࠄϞ䗄䗝ᢽⱘಯϾ㽕∖Ǆᅗᅠܼ㛑໳䖒ࠄϞ䗄䗝ᢽⱘ Ͼ ∖Hade Luo is inorganic capillary crystalline waterproofing (Protection)
agents,t fromfiinorganici catalystt l t solution
l ti andd extractt t high-alkali
hi h lk li metalt l salts
lt offa compound of the water + silica (Protection) agent, it is fully able to meet theabove selection of the four requirementsજજજᖋᖋ㔫㔫೼೼೼໪໪๭Ϟⱘⱘⱘᑨᑨᑨ⫼⫼Ϟ⍋ⳂࠡЏ㽕Փ⫼ⱘ䰆∈⍖᭭

Hade
Luo
uo ou
outsides dewallapplicati
onsफᯠ໻ὐׂ㔂ৢAfter renovation of the Nan Chang Buildingϰ亢佁ᑫׂ㔂ৢAfter renovation of the Dond Feng HotelᓎㄥϞⱘ䮼に 䰇ৄⱘೈᷣ ๭䴶ⱘ㢅佄䛑ᰃሩ⼎໪ゟ䴶ᔶ䈵ᓎㄥϞⱘ䮼にǃ䰇ৄⱘೈᷣǃ๭䴶ⱘ㢅佄䛑ᰃሩ⼎໪ゟ䴶ᔶ䈵ⱘ䞡㽕‫ܗ‬㋴ˈׂ㔂Ёᑨሑৃ㛑ֱ⬭៪ᘶ໡ॳḋǄⱘ䞡㽕‫ܗ‬㋴
ׂ㔂Ёᑨሑৃ㛑ֱ⬭៪ᘶ໡ॳḋ ᖙ乏⊼ᛣׂ㔂ֱᡸЁⱘৃ䆚߿ᗻ੠ৃ䗚ᗻǃᖙ乏⊼ᛣׂ㔂ֱᡸЁⱘৃ䆚߿ᗻ੠ৃ䗚ᗻ

WindowsWidanddd
doors, bbalconyly railil andd wallll ddecoration
ti are th
the kkeyy components
t tto
show façade image
image, so it is possible to remain or restore its original in repairing
repairing.

໡ᓎ៪ᮄᓎⱘᓎㄥᑨ੠ॳᓎㄥֱᣕण䇗 㒳໡ᓎ៪ᮄᓎⱘᓎㄥᑨ੠ॳᓎㄥֱᣕण䇗ǃ㒳ϔˈԧ⦄ᭈԧ亢ԧ⦄ᭈԧ亢䉠ˈԚ‫އ‬ϡ㽕ӓࠊᕫҹ‫؛‬хⳳǄग़৆⮩䗍г‫݋‬᳝䰊↉ᗻˈ㽕䅽Ҏ䉠Ԛ‫އ‬ϡ㽕ӓࠊᕫҹ‫؛‬хⳳ ग़৆⮩䗍г‫݋‬᳝䰊↉ᗻ 㽕䅽Ҏ
㛑໳䆚߿Ǆ
㛑໳䆚߿

It should care about identification and recoverable in repairing and preserving

Building restoration or reconstruction should be matched with old buildingsi tintegrated,t d theth imitation
i it ti never beb maded likelik theth original.
i i l LetL t peoplel identify
id tifperiodic history.

ׂ㔂ֱᡸᮍḜЁ݁ሖֱ⬭ˈԚϢॳᓎㄥ᳝ᯢᯢᰒᏂ߿߿The repair
p drawingg
is obviously
different from theorignialϰᑇ䏃োᣝॳḋᘶ໡ⱘ䮼にѨ䞥ӊǃ♃‫݋‬ঞὐẃ䕀㾦⦏⩗に9 Dong Ping road restored
windows and doors
doors’ hardware,gand windows of turningglightsstaircases.
ᖋ䚏݀ᆧ⦄⢊೒
Existing situation of De Lin apartment೼ᡒϡࠄग़৆ձ᥂ⱘᚙ‫މ‬ϟ 䖬ᰃֱᣕॳ䉠Ўད೼ᡒϡࠄग़৆ձ᥂ⱘᚙ‫މ‬ϟˈ䖬ᰃֱᣕॳ䉠ЎདǄᰃֱᣕॳ䉠Ўད
If cancan’tt find historical clue
clue, it should keep the original appearance
appearance.

ग़৆ᓎㄥ⬅ѢՓ⫼ࡳ㛑䇗ᭈⱘ䳔㽕 Ӯߎ⦄ϔѯЈᯊᨁᓎ៪ࡴᓎ
ग़৆ᓎㄥ⬅ѢՓ⫼ࡳ㛑䇗ᭈⱘ䳔㽕ˈӮߎ⦄ѯЈᯊᨁᓎ៪ࡴᓎ
䆒ᮑ䆒໛ˈ೼ϡϹ䞡ᕅડᓎㄥֱᡸⱘࠡᦤϟˈৃ‫ܕ‬䆌ᓎ䆒ˈԚᖙ乏ֱ䆕ϡᤳᆇᓎㄥֱᡸ ᑊ䞛⫼ৃ䗚ⱘᡔᴃ᥾ᮑ
䆕ϡᤳᆇᓎㄥֱᡸˈᑊ䞛⫼ৃ䗚ⱘᡔᴃ᥾ᮑǄDue to functional readjust for historic buildings, it occurs some temporary extension
or added facilities
facilities, it is permitted under the condition of un
un-affecting
affecting building
preservation,tibbutt it mustn't
t 't ddamage th
the bbuilding
ildi preservation,ti
it should
h ld adopt
d t
recoverable technical measures.

ᨽ㽓Ӯූϔሖ偀䌯‫ܟ‬ഄാׂ໡ৢ⦄⢊ᨽ㽓Ӯූሖ偀䌯‫ܟ‬ഄാׂ໡ৢ⦄⢊Theeggroundou d mosaic
osa c floor
oo a
after
te
repair,p , Morse hallᨽ㽓Ӯූ Morse hall

Ѡሖफ໪ᒞ
ሖफ໪ᒞ
South corridor of second floor咘⌺࠻എ Huang Pu Theater− 94 −

ⱒФ䮼 Parliament Dancing Hall䇶䇶䇶䇶㒧䆎˖ Conclusion㒧Cl iϞ⍋԰Ўग़৆᭛࣪ৡජ ݊䮾‫⚍ܝ‬㒱ϡሔ䰤Ѣ催ὐ໻ॺ থ䖒㒣Ϟ⍋԰Ўग़৆᭛࣪ৡජˈ݊䮾‫⚍ܝ‬㒱ϡሔ䰤Ѣ催ὐ໻ॺǃথ䖒㒣⌢ 㗠ᰃ⏅८ⱘग़৆᭛࣪⿃⎔ ⠽䋼ⱘ੠䴲⠽䋼᭛࣪䘫ѻᰃϡৃ᳓ҷ⌢ˈ㗠ᰃ⏅८ⱘग़৆᭛࣪⿃⎔Ǆ⠽䋼ⱘ੠䴲⠽䋼᭛࣪䘫ѻᰃϡৃ᳓ҷ៥Ӏᖙ乏⫼ग़৆ⱘ㾖ᗉ ߯ᮄⱘᗱ䏃 ⦄ҷⱘ᠟↉এֱᡸད䘫ᄬⱘ‫ܝ‬៥Ӏᖙ乏⫼ग़৆ⱘ㾖ᗉǃ߯ᮄⱘᗱ䏃ǃ⦄ҷⱘ᠟↉এֱᡸད䘫ᄬⱘ‫ܝ‬䕝 ༥㗠ϡ㟡ׂᮻབᬙ 䅽ग़৆亢䉠‫⦄ݡ‬ʽ䕝ˈ༥㗠ϡ㟡ׂᮻབᬙˈ䅽ग़৆亢䉠‫⦄ݡ‬ʽ
Shanghai as a historic cultural city
city, the highlighted attractions are not limited to䇶䇶䇶䇶 嗢嗢嗢

ⱘᅱ䌉䋶ᆠ ϛ೑ᓎㄥम㾜ᕄᰒϞ⍋ජᏖⱘϾᗻ Փཌྷ‫݋‬᳝ৃ䆚߿ᗻⱘᅱ䌉䋶ᆠˈϛ೑ᓎㄥम㾜ᕄᰒϞ⍋ජᏖⱘϾᗻˈՓཌྷ‫݋‬᳝ৃ䆚߿ᗻǄ

towers and developed economy
economy, but profound historic cultural accumulation
accumulation.
Physicalyand non-physicalp ycultural heritages
g are un-replaceableptreasure. The
reputationt ti off world
ld architecture
hit t
museum showshtheth charactersht
off ShShanghai,h imaking it recognizedrecognized. We must preserve heritages well by using historical concept
concept,
creative ideas and modern means
means, insisting on repairing as its original state
state,
recurringg historic landscape.
p

THANK YOU!

WANG
Anshi

− 95 −

− 96 −

Conservation of World Heritage Site of
Humayun’s Tomb, New Delhi

Sangeeta BAIS
Programme Officer, Conservation WorksAga Khan Trust for Culture

The presented case study is a part of the larger “project Humayun’s Tomb – Sundar Nursery – Nizamuddin
Basti Urban Renewal project” initiated AKTC and which includes the conservation of over 40 monuments.

The Aga Khan Trust for Culture, following a MoU signed on 11 July 2007 with several governments of India
agencies in undertaking a major urban renewal project spread over 200 acres area of Humayun’s tomb
complex, Sunder Nursery and Nizamuddin Basti. The vision of the project is to conserve and develop thethree presently segregated albeit historically connected sites of Humayun’s Tomb, Nizamuddin Basti andconservation of monuments using traditional tools and building techniques, renewal of the surrounding
spaces and environment, and sustainable socio-economic development to improve the quality of life of theresident community. Upon completion, the complex will offer a vast area of green space housing the restored
monuments, supplemented by excellent visitor facilities and improved quality of life for local communities. It
is working to preserve Delhi’s glorious built and cultural heritage in a setting worthy of its rich, historical
past.
Since its considered auspicious to be buried near a Saints grave, the project area has seen over seven centuries
of tomb building and with over a 100 monuments standing within or adjoining the project zone, it could wellbe the densest ensemble of medieval Islamic buildings in India. This area was chosen for a potential project
by AKTC on account of the possibility of building on the successfully completed Garden restoration at
Humayun’s Tomb, high number of significant buildings in the area, potential of the conservation initiative to
be coupled with a socio-economic development programme that would benefit a resident population, theimportance of a ‘living culture’ showcasing exemplary religious tolerance within a prominent location in thecapital.
The presented case study will describe the major conservation works were carried on the World heritage siteof Humayun’s tomb complex. The tomb of the second Mughal Emperor, Humayun, is a red sandstone andwhite marble structure of monumental proportions standing in a garden landscaped in the classic chahar bagh
(four part paradise garden) pattern. The earliest existing example of the Mughal garden tomb in India,
Humayun’s Tomb, a UNESCO World Heritage Site, was the first of the grand imperial mausoleums that− 97 −

Sangeeta
BAIS

Sunder Nursery into one cohesive and integrated complex. The urban renewal initiative includes thebecame the hallmark of the Mughal dynasty. Humayun’s tomb inspired and is a precursor of the Taj Mahal.
The imposing mausoleum of Emperor Humayun’s took nearly a decade to complete, from the time it wascommissioned in 1565 AD. Influenced by Persian architecture, the 47m high structure stands on a 120 sq m
platform. The emperor's final resting place is at the centre of the elevated plinth in a chamber under the dome.
The central chamber is surrounded by ancillary rooms housing other royal graves. Entirely paved in blocks of
Delhi quartzite, the plinth’s façade is embellished with a series of arched recesses on all four sides. Built of
rubble masonry, the mausoleum is amongst the first to use red sandstone and white marble in such quantities.
Conservation work on the restoration of the mausoleum, the gateways, pavilions and tomb structures began in
April 2008. Preparatory work prior to conservation included exhaustive archival research, documentation
using state-of-art laser scanning technology, condition assessment and structural analysis. Major works
carried out during the project period includes:
Conservation of lower plinth- The lower plinth of the mausoleum is an important interface between thegarden and main building. It is a central platform paved with large blocks of Delhi quartzite stone standing
1m above garden level. The entire 12,000 sqm area was covered with concrete in 1956, possibly tocompensate for unequal settling of the paving. Following the removal of the recent concrete layer, a rigorous
exercise was carried out to lift and reset the stone paving below, requiring almost 80% of the stone blocks,
some weighing over 2000 kilos to be manually lifted and reset.
Sangeeta
BAIS

Conservation of upper plinth- Due to replacement and partial repairs carried out in the 20th century
portions of the plinth were facing water logging thus causing serious structural cracks in the ceilings of thecells below. In order to ensure easy rainwater disposal from the pacing to stop the further deterioration,conservation works were carried out on the plinth to provide appropriate slopes and to restore the original
pattern.
Terrace repair works- Conservation work on the terrace of the mausoleums roof entailed the removal of 1
million kilos of concrete laid in several layers through 20th century, followed by re- terracing of the floor toits original level. Removal of approximately 40cm thick layer of concrete exposed hidden architecturalelements eased the extra load on the structure and now ensures swift disposal of rainwater ñ the seepage of
which has caused severe deterioration to the stonework over the years. Concrete on the roof was manually
removed by meticulous chiselling. Concrete was also removed from the roof of the four roof pavilions withthe underlying sandstone slabs then replaced or repaired depending on the state of the stones. Finally, thefloor of the main terrace and of the pavilions were laid with a 10 cm thick layer of lime concrete as per
original slopes identified by meticulous research and documentation.
Conservation of the chamber at the lower and the upper cells
Chambers of 68 lower cells was severely decayed due to water seepage from the upper plinth which is now
repaired and re-plastered as per original details. Chambers of the upper plinth were cement plastered in 1960s
which are also restored using lime mortar finished with punning.

− 98 −Dome repair works
With the prime objective to ensure no water seeped into the dome through the joints the entire surface of thedome was cleansed of dust and grime and 20th century additions of white cement. Marble joints were
painstakingly raked with precision tools by skilled craftsmen to rid them of all accumulation. Clean cavities
and joints were grouted and filled with lime slurry mixed with traditional additives to consolidate the innermasonry layer. Masonry joints were finally re- pointed with lime mortar mixed with white marble dust. Inner
layer of brick masonry cleaned
and lime plastered.
Stone repair works
Facade stone were decayed due to various reasons which now repaired which include partial and complete
replacement of decayed stones, inappropriately repaired stones, cleaning and refixing of loose stones.
Glazed tile works
The tradition of using glazed tiles is a long standing one in Islamic architecture with roots in Persian crafts
and aesthetics. The colour palette and style of tile work at Humayunís Tomb reflects the very distinctive
Timurid Persian influence similar to those found in contemporary buildings in Central Asia.
The eight small canopies on the roof of Humayunís Tomb were originally decoratively clad in glazed ceramic
Timurid Persian buildings. The brilliant tile work added a clever design component to a stately mausoleum,
one that stood in sharp contrast to the pristine white dome. On the basis of a study of existing tile work theoriginal patterns were determined. A detailed microscopic documentation of the tile work was carried out toanalyse the tiles prior to determining appropriate conservation strategy to restore the tile work. It was
followed by condition assessment based on condition mapping, photographic documentation, digitization andscientific investigations. On site studies were coupled with archival research and scientific analysis of thephysical and chemical properties of Mughal period tiles at ASI labs and in universities in Roorkee (India),
Oxford (UK) and Barcelona (Spain). A team of three craftsmen from Uzbekistan were worked with theIndian team for six months to establish the process of glazed tile production. Now Indian team is working to
produce the final tiles for the monuments.
Training programs
As an integral part of the ongoing conservation initiative, several training programmes and workshops havebeen jointly organised by ASI and AKTC. Over 170 officers of the ASI, from all parts of India, haveattended training in the preparation and use of lime mortar and high definition survey of historic buildings
using 3-D Laser scanning technology. These workshops also give an opportunity to participants to understandmutual problems and concerns and learn from solutions used in varying context. The project has also beenused as a platform for training of conservation professionals and craftsmen.

− 99 −

Sangeeta
BAIS

tiles in lapis lazuli blue, turquoise blue, green, white and yellow, the preferred colour montage seen in many

The project ensures that conservation standards and process are established through the works being
undertaken on the monuments in Humayun’s Tomb- Nizamuddin Basti-Sunder Nursery by adhering toestablished Indian and international conservation philosophy and principles. It stringently maintains
authenticity of the original design in both form and material substance by employing hundreds of mastercraftsmen working with traditional building materials. All conservation work is supervised by the multidisciplinary ASI-AKTC team and preceded by archival research, high definition surveys, and structuralassessments and peer review. The Conservation Plan for the project includes a Statement of Significance andconservation philosophy, stakeholder discussion with local residents and independent experts from agencies
such as UNESCO, ICOMOS and INTACH. Based on onsite requirements and conservation work in specificareas, the project has revived and re-developed expertise on application and treatment of near-extinct crafts,
materials and techniques through training modules, seminars and workshops.

Sangeeta
BAIS− 100 −

Humayun’s Tomb – Sunder Nursery – Hazrat Nizamuddin Basti
PROJECT AREA

Human Resources Development for the Transmission of Traditional Skills: National
Approaches and their Application to Stone and Brick
6-8 December 2011, shanghai, china

6XQGHU1XUVHU\

Bharat Scouts Complex(10 Acres)%DWDVKHZDOD&RPSOH[+XPD\XQ¶V7RPE&RPSOH[
Presentation by:

National Committee
Sangeeta Bais Meeting
11 November,
2008
Programme
Officer, Conservation
works

Humayun’s Tomb
Nizamuddin Basti
SunderNurseryXUEDQUHQHZDOLQLWLDWLYH
1L]DPXGGLQ%DVWL

A Public-Private Partnership initiative of Archaeological Survey of India
Municipal Corporation of Delhi – Central Public Works Department
Aga Khan Foundation-Aga Khan Trust for Culture

Archaeological Survey of India
Chaunsath
KhambaNizamuddin
Baoli

Atgah Khan
Tomb

Lakkarwalla
Burj

SunderNursery

Sunderwala
Burj

Sunderwala
Mahal

Humayun’s
Tomb

Neela
GumbadMunicipal Corporation of Delhi

Public Works Department

Aga Khan Trust for Culture

Aga Khan Foundation

Nizamuddin Physical
Rehabilitation

Humayun Tomb Complex
World Heritage Site

Neela Gumbad
Linear Park

Sangeeta
BAIS

Conservation and restoration works on
the monuments in the project area
Nizamuddin SocioEconomic ProgrammeSundar Nursery
Redevelopment Initiative

Archaeological Survey of India

Archaeological Survey of India

Municipal Corporation of Delhi

Municipal Corporation of Delhi

Public Works Department

Public Works Department

Aga Khan Trust for Culture

Aga Khan Trust for Culture

Aga Khan Foundation

Aga Khan Foundation

Health, education and urban development
initiatives in Nizamuddin Basti

Environmental development in Sundar Nursery+LVWRULFDOEXLOGLQJVLQWKHSURMHFWDUHD:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE

60 monuments are in the project area of SunderNursery and World Heritage Site of Humayun’s tomb

UNESCO world heritage site

Garden Tombs complexes
Tombs
MosqueEnclosure walls
Gateways
Water bodies- step well andwells
Garden features

Constructed in 1565 AD
Mausoleum of Mughal emperor of Humayun'sComplex comprised of Mughal garden,
gateways, pavilion and water structures
Isa Khan’s tomb complex, Bu Halima Tomb
Complex, Afasarwala Tomb complex and Arabki Sarari
The project area is one of the densest ensembleof medieval Islamic buildingsin India− 101 −

:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE
Walls- inner core with rough stone masonry
Red sand stone cladding
Red sand Flooring
Marble used in flooring for decorative purpose
Arches with red sand stones
Slate ( black) for borders
Dholpur sand stones for panels

Materials used in theconstruction
Delhi Quartzite
Red sand stone
White marble
Slate for the flowers and borders
Dholpur sand stone:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE

Dome and vaults

Decorative forms instonesInner core constructed with Stone
masonry and brick masonry

Brackets
Star patterns
Columns
Lattice screens

Externally cladded with white marble,
internally lime plastered

Lime plasterworks

External half dome are cladded with red
sand stone

Plain plaster with lime
punning
Decorative patterns

SangeetaBAIS:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE
Nila Gumbad( blue dome)

Lattice screens
Various geometrical forms
Various thickness, intricate andRed sand stones and marble
Used in arch openings
Provide light and ventilation in the
inner chambers
Also decorative purpose

16th Century monument
Constructed with Quartzite
stone rough Ashlar
masonry
Lime plasteredNorth façade and dome
external surface arecovered with Mughal
glazed tiles:RUOGKHULWDJHVLWHRI+XPD\XQ·VWRPE&RQVHUYDWLRQZRUNVWater features
for the garden
Red sand stone used
for the water channel,tanks , chadars
fountains and street
funriniture

Water bodies in
the project area
Wells
Step wells
Constructed with Delhi
Quartzite stone whichis resistant to water
related problems− 102 −

Humayun’s Tomb Complex&RQVHUYDWLRQZRUNVMethodology for the conservation works

Documentation using 3D laser scanning ofindividual stones

Petro logical studies to find out quarries for thematching stones

Detailed condition mapping of individual stones

Procuring matching stones for the conservation
works

Identifying matching materials such asstones, lime etc for the repairs andreplacement and marking them on site

Evacuating on site details such as surface finishes,
tools rerquired
Preparing 1: 1 drawings for the details
Preparing sample pieces or repair works

Discussion with the core committee of the
project to finalize the materials as well as theprocess for the conservation works
Preparing 1: 1 drawings for the details
Preparing sample pieces or repair works for theapproval before execution
Identification of the craftsman to executethe work
LOWER
PLINTHUPPER
PLATFORM

DECORATIVESTONE WORKS

CLADDDING

MASONRY
WORKS

Humayun’s Tomb Complex
HIGH DEFINITION SURVEY+XPD\XQ¶V7RPE&RPSOH[+,*+'(),1,7,216859(<

Each surface measured, each stone documented using high definition
survey ,QWULFDWHSDWWHUQVVXFKDVODWWLFHVFUHHQFDUYLQJGHWDLOVIORZHUGHWDLOVVFDQQHG
DQGGUDIWHGRQDFDG
 6FDOHGUDZLQJVZHUHSUHSDUHGIRU
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GHWDLOVWRSURFXUHNHHSLQJLQPLQGWKH
VHFWLRQWREHFKLVHOHGDQGZDVWDJH

AutoCAD drawing generated out of the Point cloud data

Humayun’s Tomb Complex
Procuring matching stones for the conservation works
 &RQGLWLRQRIHDFKVWRQHZDVPDUNHGRQ
WKHGUDZLQJVDQGLPDJHV 6WRQHVZHUHLGHQWLILHGIRUFRQVHUYDWLRQZRUNV
 6WRQHUHSODFHPHQW SDUWLDODQG
FRPSOHWH

 5HSODFLQJUXVWHGLURQGRZHOPeterological analysis of sandstone
used at Humayun’s tomb
Stone samples were collected fromover 50 quarries in bansi paharpur,
karoli, Dhaulpur region etc for thedetailed study
A team of engineers and craftsmen
visited to various quarries to find out
suitable stones

 &OHDQLQJRIWKHVXUIDFH

Humayun’s Tomb Complex
Procuring matching stones for the conservation works

Humayun’s Tomb Complex
Procuring matching stones for the conservation works

1. 23 samples were shortlisted based on thevisual characteristics for the detailed
peterologocal studies
2. After the studies, ten samples identified forthe conservation works
3. The study was carried out by the geologist

To establish the correlation between the sand stone samples
collected from different quarry and the monument sandstone on
the basis of colour and texture, which will direct the ensure useof matching sandstone for the conservation work.







− 103 −

Stones of various sizes as per required procured
from the finalized quarries
Each stone numbered as per the size and location
to be used
Craftsmen starts the getting required tools readyon siteBasic chiseling and cutting starts on site using
had tools
Works carried out under supervision of mastercraftsman and site architect

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BAIS+XPD\XQ¶V7RPE&RPSOH[&21',7,210$33,1*

Humayun’s Tomb Complex
Procuring matching stones for the conservation works

Humayun’s Tomb Complex
Conservation of Lower plinth

1. Delhi quartzite not available due toclosing of the quarries due toenvironmental reasons
2. Old quartzite stones were procured fromother resources such as roads
3. Stones were cleaned to remove dust andcolor deposits before using

Archival images showing the original paving pattern, laying concrete over that in 1956 and revealing the paving during conservation works in 2008.

 7KHUHPRYDORI WKHSUHVHQWFRQFUHWHIORRULQJILUVWODLGLQWKH·V/LIWLQJRI XQGHUO\LQJ
TXDUW]LWHVWRQHEORFNVDQGUHSODFLQJPLVVLQJSRUWLRQVZLWKPDWFKLQJVWRQH '4IORRULQJRI DOOWKHIRXUVLGHVRI WKHORZHUSOLQWKKDYHEHHQUHVWRUHGWRWKHRULJLQDO
SDWWHUQ +HDY\'4VWRQHVZHLJKWLQJXSWRNJVZHUHOLIWHGXSPDQXDOO\XVLQJEHOWVDQGKDQGWRROV7KHVHVWRQHVZHUHFKLVHOHGDQGGUHVVHGDVUHTXLUHGIRUWKHDSSURSULDWHILQLVKDQG
OHYHOV 5DLVHGUHGVDQGVWRQHHGJLQJZDVUHPRYHGDQGUHIL[HGDVSHUWKHRULJLQDOOHYHOV

Humayun’s Tomb Complex
Conservation of Lower plinthConcrete layers form
the dq floor of theplinth have been
removed

Stones were reset inposition as per theoriginal pattern using
lime mortar.



Flooring of all the foursides of the lower plinth
have been restored tothe original pattern.

Humayun’s Tomb Complex
Conservation of Lower plinth

Stones were chiseled using hand tools
Final pointing was carried out with lime mortar

Sangeeta
BAIS

Stone pieces were chiseled to give appropriate profile

Humayun’s Tomb Complex
Conservation of Lower plinth

Humayun’s Tomb Complex
Conservation of Lower plinth
AD 1956

December 2008

Restoration of decayed red
sand stone edging stone of theplinth1.All the stones were lifted up
due to change of levels inprevious repair works
2.Decayed stones were
replaced partially orcompletely as per site
condition
3.Lime mortar used forpointing

February 2009

Restoration of the original character of this plinth
which is a significant interface between themausoleum and the garden.

Humayun’s Tomb Complex
Conservation of Lower plinth

Humayun’s Tomb Complex
UPPLER PLATFORM: RESETTING OF SANDTONE
Before Conservati

Final dressing of the stone was carried out on site as per size requirement before fixing in position

After Conservation− 104 −

Inappropriate slopes

Water logging and deterioration of materials
in the lower chambers



Lost original architectural pattern due toinappropriate repair works

Humayun’s Tomb Complex
UPPLER PLATFORM: RESETTING OF SANDTONE

Humayun’s Tomb Complex
UPPLER PLATFORM: RESETTING OF SANDTONE

Humayun’s Tomb Complex
TERRACE REAPIR WORKS
During Conservation

Humayun’s Tomb Complex
TERRACE REAPIR WORKS

After Conservation

August 2007

NOW

December
2008
Traditional materials

Humayun’s Tomb Complex
CHMABER REPAIR WORKS
Before Conservation

Humayun’s Tomb Complex
CHAMBER REPAIR WORKS
During Conservation

After Conservation

During Conservation

During Conservation

1. Lime plaster was decayed and disintegrated due to sever water seepage
from the terrace
2. Decayed plaster replaced with new lime plastering with a finish of lime
punning
3. Lime concrete flooring was provided

Humayun’s Tomb Complex
DECORATIVE PLASTER WORKS IN LOWER ALCOVES

Humayun’s Tomb Complex
DECORATIVE PLASTER WORKS IN LOWER ALCOVES%HIRUH&RQVHUYDWLRQ%HIRUH− 105 −

Sangeeta
BAIS

In 2008 and early 2009 over a million kilos of concrete were
removed from the terrace
A 10 cm thick layer of Lime concrete laid on the terrace
with appropriate slopes
Existing water spouts were cleaned and repaired.

Humayun’s Tomb Complex
DECORATIVE PLASTER WORKS IN LOWER ALCOVES'XULQJ

Humayun’s Tomb Complex
DECORATIVE PLASTER WORKS IN LOWER ALCOVES'XULQJ

Humayun’s Tomb Complex
DECORATIVE PLASTER WORKS IN LOWER ALCOVES

Humayun’s Tomb
DOME –REPAIR WORKS
DuringConservation

After Conservation

 7KHPDUEOHVMRLQWVZHUHFDUHIXOO\FOHDQHG
 &DYLWLHVZHUHJURXWHGZLWKOLPHVOXUU\
 6WRQHMRLQWVDUHUHSRLQWHGZLWK
OLPHPRUWDU
PL[HGZLWKPDUEOHGXVW

3URFHVVRI SRLQWLQJZRUNVSangeeta
BAIS

Humayun’s Tomb
DOME –REPAIR WORKS

Humayun’s Tomb
EXTERNAL FAÇADE REPAIR WORKS

January 2009

October
2008

Condition of the stones:
De-lamination
ErosionBursting
Splitting of the columns
Inappropriate previous repair works
stones of different geological characteristics
Replacement with multiple stones
Wrong sectional details
Filled with mortars

Humayun’s Tomb
EXTERNAL FAÇADE REPAIR WORKS

Humayun’s Tomb
STONE PILASTERS

Major works on façade includes:






Stone columns:

partial and complete replacementstone were prepared individually by thecraftsmen
All the stone replacement is done by using
matching stones with same geological
specification, sectional details as per originalstones after applying hand chiselled finish.
It took long time and efforts due to intricate
constructional details

 Stone columns WERE identified
which have lost their integrity due
to loss of architectural features Details of the existing originalcolumns were studied andanalyzed New stones columns are preparedby the master craftsmen as per
original design
 Prepared columns are kept in open
air since last one year for natural
weathering to match with theoriginal columns

KNOWLEDGE OF THE ARCHITECT
AND THE STONE CRAFTSMANCREATED THE LOSTARCHIETCTURAL DETAILS− 106 −

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Humayun’s Tomb
ENCLSOURE WALLTOOLSIt Includes:
Restoration of the missing arches of theenclosure wall
Consolidation of the inner masonry which
is weak and fragileRepairing and completing the missing
passage of the wall running along theMughal garden

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Traditional tools used for all types ofworks
Tools are prepared on site by thecraftsman
All tools shape and sizes are madeaccording to use

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Original lattice screens studied and drafted
Pattern was transferred from paper to stone by making frame.
-DOLHV were crafted on red sand stone using traditional stone
carving tools.
Over a 100 stone craftsmen are presently employed by the
project.

Use of traditional tools andtechniques for stone works

Lime mortar have been used in all thehistoric buildings of the project areas forvarious purpose:
1.Stone masonry
2.Terracing and flooring
3.Plastering
4.Decorative plaster works

Conservation works
1.Lime mortar used using traditional
chakki2.matching proportions used for the lime
mortar
3.Sand, sunkhi ( brick dust) and quick
lime is the main composition of the lime
mortarHumayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION
Traditional craftsmen identified
for the various types of works to
execute the conservation works:

Lime mortars comprised of:Lime putty- Non Hydraulic lime
Sand
Pozollana
Organic additives such as Bel fruit,
Jaggery, Jute fibers, Pulses, Egg white

Stone and brick masonrymasons
Stone dressing after quarrying
Stone chiseling- finishingStone carving-decorative
patterns
Stone lattice screen works
lime plastering works- plain
works, decorative works

These additives used as per the
lime mortar specification andfunction− 107 −

Sangeeta
BAIS

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Humayun’s Tomb
USE OF TRADITIONAL KNOWLEDGE IN CONSERVATION

Humayun’s Tomb
GLAZED TILE WORKS

Humayun’s Tomb
GLAZED TILE WORKS

Humayun’s Tomb
GLAZED TILE WORKS

Humayun’s Tomb
GLAZED TILE WORKS

Sangeeta
BAIS

1. Electrical kilns
constructed on site fortiles
2. Chemical and raw
materials procured fromthe India and tested forrequired results
3. More than 20 types of
local clay and quartz wasused for experimentation
to matching tile bodies
4. Craftsman fromUzbekistan worked
closely with Indiancraftsmen , extensive
training was carried out
5. After training , they
worked under strict
supervision of the mastercraftsmen
6. Several types of tile
bodies were prepared and1. Original proportions
were worked out
using scientific testing
2. Copper, iron, cobalt
and antimony oxides
are the main colorant
3. Proportions varied
milligram by
mailgram to reach thefinal results
4. More than 1500
experiments carriedout to prepare the fiveoriginal glazed colors

Humayun’s Tomb Complex
Lime training program

Humayun’s Tomb Complex
Lime training program
Till now 16 lime
workshops have been
completed
More than 170 ASI
officials andconservation
professional haveattended and trained

16 workshops with ASI officers have been held in 2009-10-11

Humayun’s Tomb Complex
HIGH DEFINITION SURVEY

Humayun’s Tomb Complex
STONE CRAFTSMEN TRAINNING

 ,QWURGXFHWKHDGYDQFH'ODVHUVFDQQLQJWHFKQRORJ\LQ,1',$
IRUWKHILUVWWLPHMRLQWO\ZLWK$6,DQG/(,&$ 'RFXPHQWWKHPDLQPDXVROHXPZLWKWKHKHOSRIDGYDQFH'ODVHUVFDQQLQJWHFKQRORJLHV 7ZRZHHNWUDLQLQJIRU$6,RIILFHUVDQG$.7&¶VRIILFHUVZDVFRQGXFWHGLQ'HFHPEHU

− 108 −



Set up a training programme for youth todevelop craftsman skills and ensure
traditional building skills are continued to bepracticed.

To ensure availability of high quality
craftsmanship and generate employment
opportunities.

Current Issues of and Future Tasks for Conservation of
Brick and Stone Structures in Sri Lanka
Jude Nilan COORAY
Architect / Assistant Secretary General,
National Trust, Sri Lanka

Introduction
As in many other countries and territories with a long standing history, Sri Lanka also inherent a rich heritage in bothbrick and stone construction. The indigenous technology using sun-dried bricks to construct the village dwellings wasin practice from a very early date. It is still being continued in some parts of Sri Lanka, where a timber framework
which supports the roof is held by sun-dried brickwork. The brickwork in this instance is not load bearing and serves
only as a screen wall. The earliest reference to the use of sun-dried bricks for the construction of substantial structures
was however, during the 3rd century BC, where chronicle Mahawamsa records that ‘lumps of dry clay’ has been used
for the construction of Thuparama stupa at Anuradhapura, the first Buddhist stupa to be built after the formal
introduction of Buddhism to Sri Lanka from the mainland India during the 3rd century BC. As evident from thecolossal stupas at Anuradhapura dating from the 2nd century BC, burnt clay bricks, which is the next phase of maturity
in the evolution brick technology, were also widely in used in the Island by the 2nd century BC. With regard to stone
construction, the oldest surviving examples are the rubble masonry associated with monastic cave dwellings of the
Buddhist monks ranging from the 3rd / 2nd century BC up to 1st century AC.

Sri Lanka’s historic brick structures could be broadly categorized into several types based on the technique of
construction.

(a) Framed construction
This is, no doubt, a continuation of the technique associated with the sun-dried bricks, where a wooden framework isembedded into the walls to reinforce the brick masonry to support the roof or the structural timber work of the upper
floors. The post-holes of the gate houses on the eastern entrance to the ancient royal city of Anuradhapura (Ca. 8th
century AC) are among the oldest surviving evidence of this technique of construction (Silva 1991). The stone posts
embedded in to the brick masonry walls of the later historic structures show that wooden reinforcements were
subsequently replaced with granite, which is a durable material against dampness, termite attacks etc. However the 12th
century AC royal palaces and structures at Polonnaruva and Panduvasnuvara display the continuity of the wooden
reinforcements within brick masonry walls. The positioning of the wooden or stone posts in a single row at the middleof each brick masonry wall was the usual practice. But the brick masonry walls associated with the central area of the
Parakkramabahu Palace at Polonnaruva displays that wooden posts are positioned as a double row with the wide space1− 109 −

Jude Nilan
COORAY

Types and scale of brick and stone constructions
Brick structures

in between filled up with brick masonry to form immensely thick walls. The vertical crevices of the thick brickmasonry walls and stone spur stones at the base of such crevices indicate where these timber posts once stood. The
outer surfaces of the wooden posts in this instance are flushed with the brick work to be covered by the lime plaster ofthe brick wall. The cavities left in the brickwork due to the decay of timber posts indicates that dressed wooden posts
had been used and their lower and upper parts were square and octagonal respectively in cross section. This was amulti-storey structure and according to the chronicle Culavamsa, it was originally seven storeys high.

Parakkramabahu Palace, Polonnaruva (12th century AC). Note the vertical crevices and the holes of theJude Nilan
COORAYbrickwork indicates the vertical wooden reinforcements and the horizontal floor beams respectively.

(b) Solid construction
The city walls of massive thickness and extending several kilometres and the colossal stupas at the ancient capitals ofAnuradhapura and Polonnaruva are the best representations of this construction technique. There are two variants inthis technique, viz., the bricks laid course upon course as solid brickwork and, the brickwork only as a skin with earthand brick bats in the core. The stupas at Anuradhapura are the examples of the first variant, while the city walls andsome stupas at Polonnaruva are the examples of the second.
Ruvanvaliseya (2nd century BC; original height 96 meters approx.), Abhayagiri Stupa (1st century BC and enlarged 1st
century AC; original height 106 meters approx.) and Jetavana Stupa (3rd – 4th century AC; original height 120 meters
approx.) at Anuradhapura are not only the largest brick monuments in the entire Buddhist tradition, but still thetallest brick structures in the entire world, even rivaling the stone-built great pyramids of Egypt in height andvolume. The profile of the dome of these colossal stupas conforms to the traditional paddy heap shape (ellipsoidfor Jetavana and paraboloid for Abhayagiriya) suggesting that the dome has been designed to a very sophisticatedmathematical formula (Nanayakkara 1982, Dampegama 2001, Silva 1990). Such a profile having a gradient equal
to the angle of repose is the most stable form from a structural point of view, as it gives no tension in the dome

2
− 110 −

under self weight (Ranaweera 1998). The foundation of these stupas rest on the bed rock and that of Jetavana
stupa is about 8 meters deep. The burnt clay bricks used for the construction of these stupas are of high quality
with a compressive strength of more than 4 N/m2 and their dimensions being 450x225x5 mm. It is estimated that
Jetavana and Abhayagiri stupas contain approximately 62 and 54 million bricks respectively (Silva 1991). In orderto keep the solid built masonry of brickwork intact, slurry type butter clay had been used as the mortar mixture,
which is perfectly pliable and compatible with the clay bricks. Therefore this binding medium had made the whole
structure a homogeneous mass which is flexible as a three dimensional plain, in order to provide for internal
movement of these immense masses due to settlement, expansion and other physical forces. The mortar joints aredeliberately made absolutely thinner; almost the bricks on the upper course sit on those of the lower course totransfer the vertical gravitational weight from one layer of bricks to the other, instead of it being made to traverse
through the medium of clay mortar, which is weak in compression. Another interesting aspect of these stupas is
the verticality of the free standing solid brickwork of the spire of slender proportions (for instance, the height ofthe spire of Jetavana stupa is about 48 meters) which rose above the square structure of these stupas that withstood
the high wind pressure at high elevations.

Jude Nilan
COORAY

Jetavana Stupa at
Anuradhapura, the world’s
tallest brick structure (4thcentury AC)

3− 111 −

Rankotvehera at Polonnaruva (12th century AC; height 48meters) suggests that the superstructure of this stupa
rests on a brick tower and the space between this tower and the brick skin of the dome is filled with compacted
earth and brick bats (Prematilleke and Karunaratne 1993:102).
Other notable solid brick constructions are the tall and slender 12th century AC Buddha images of Lankatillake(original height 15.1meters) and Tivanka image houses at Polonnaruva. However, these images have been
constructed not as free standing structures, but are buttressed with brick masonry work at the back. Othersignificant structures of this type are the massive brick built retaining walls at the royal palace complex on therock summit of Sigiriya (5th century AC), reaching a height of about 12 meters,.

Jude Nilan
COORAY

Brick-built colossal Buddha images of Lankatillake and Tivanka at Polonnaruva (12th century AC)(c) Hollow construction
Called ‘gedige’ in Sri Lanka, the foundation, walls and the roof of these structures are constructed out of masonrywork with hollow space inside. One of the earliest surviving structures of this type was probably the‘Lion-Staircase-House’ constructed against the vertical rock face of Sigiriya in the form of a fore part of a colossal
lion. Although the massive fore paws and the central passage with flight of steps leading to its possible mouth
have survived, the remnants of the brick masonry and the crevices for the timber posts to reinforce the brickwork
suggests that it could be a hollow construction of grand scale datable to the 5th century AC.
The best structures representing this technique are the brick built image houses at Anuradhapura and Polonnaruva.
As seen at Thuparama, Lankatillake and Tivanka image houses at Polonnaruva (12th century AC), they utilize the4− 112 −

arch for the openings (for access and ventilation) while vault and dome to form the interior spaces. These
structures eloquently display that the builders have used both the corbel and circular technique to form the arch,vault and the dome (Silva 1991). In some instances a combination of corbel and circular techniques are also used,
where the arch, vault and the dome commence with the corbel technique up to a certain height to give way to thecircular technique to complete the upper circular part. Another notable feature of the circular form of the arch,vault and the dome is that the ancient Sri Lankan builders have opted the Sassanian technique of construction to
construct the circular arch, vault and the dome, where the headers of the bricks are laid in the same direction of
the circular profile, which is markedly different to the Roman technique of construction, where the headers arelaid perpendicular to the circular profile. The Lankatillake image house at Polonnaruva, which has a ground floorarea of about 890 square meters and an original height of about 27 meters, is the largest of this type, while
Thuparama image house, also at Polonnaruva, is the well preserved example of this type.


Jude Nilan
COORAY

Sectional Elevation AA

Plan
Lankatillake image house at Polonnaruva (12th century AC)5− 113 −

Thuparama image house at Polonnaruva (12th century AC): general view and longitudinal cross-section

Stone structures
Sri Lanka’s historic stone structures could be basically divided into two types, viz., monolithic and assembled
structures.

(a) Monolithic structures
The cultural properties ranging from sculpture and decorative elements to artificial caves (such as the one at
Galvihara, Polonnaruva) fall in to this type. Buduruvagala (15.4 meters high), carved in relief, Avukana (11.8
meters), carved all round but connected to the mother rock, Maligavila (12.7 meters), which is carved as a freestanding sculpture are the tallest Buddha images of this type.
Jude Nilan
COORAY(b) Assembled structures
The structures constructed using several blocks or slabs of stone fall in to this type. Except the rubble work, whereclay or lime mortar is used, here, the dry wall construction is mainly used in this type. The stone blocks made todifferent shapes to interlock with each other, the tenon and mortise joints together with their self weight are used
to keep the stone blocks in position. These could be either solid constructions or even a stone facing to a core ofearth and brick bats. Corbelling technique has been used to reduce the spans of the domical roofs. The Buddha
image house (Gedige) at Nalanda (8th -10th century AC), Hindu shrines at Polonnaruva (12th century AC), theBuddha image houses at Ridi Vihara (14th century AC) and Gadaladeniya (14th century AC) are significant
examples in this regard. Compared to the scale of brick monuments in Sri Lanka, the stone monuments are,however, less significant.

6− 114 −

Nalanda Gedige (8 – 10th centuries AC)

Jude Nilan
COORAYSiva Devales No. 1and 2 at Polonnaruva (12th century AC)

Image Houses at Ridivihara and Gadaladeniya near Kandy (14th century AC)

7− 115 −

Conservation
What is attempted below is not to provide an account of the conservation work carried out with regard tonumerous brick and stone structures in Sri Lanka, but to present some of the current issues of and future tasks forconservation of brick and stone structures through selected examples.

Conservation of brick-built Jetavana and Abhayagiriya stupas at Anuradhapura
Due to the neglect and disrepair for about four centuries, both these colossal stupas were deteriorated almost
identically, at the time the Central Cultural Fund (CCF) under took the conservation work in 1980’s. The dome ofeach monument was totally overgrown with thick vegetation; except at the very bottom and the top of the dome,
the lime plaster covering the brickwork has disappeared; brickwork of the dome has eroded considerably allowing
infiltration of rain water to the body of the stupa; walls of the square structure sitting upon the dome have either
collapsed or developed severe cracks; and the upper portion of the spire has broken. The detail investigation ofthese monuments suggested that the deterioration process had taken place in the following sequence after the
stupas were neglected for about four centuries.

¾ Cracking of the plaster and the brick surface due to thermal stresses and to minor structuraladjustments¾ Rain water infiltration to the body of the stupa and the washing and, or detaching of the lime plasterfrom the brick work.
¾ Vegetation growth in cracks and joints on the exposed brick surfaces¾ Formation of local failures and creation of gullies on the brick surfaces as a result of erosion due torain water runoff and to root pull-out from the falling trees
Jude Nilan
COORAY¾ Long term fabric deterioration, specially on the shoulder of the domes, resulting the cracking andcollapsing of the walls of the square structure

Jetavana and Abhayagiri stupas at Anuradhapura (before conservation)

8− 116 −

Significance assessment (overall importance determinedthrough an analysis of all of the values attributed) of

both these stupas are as follows:¾

Final evolution of a stupa design of specific type as reflected through its architectural design(ARCHITECTURAL & HISTORICAL VALUE)¾

Symbol of spiritual well being of a society in the 1st millennium AC

as reflected by theimmense scale and positioning in relation to its overall city plan and individual monastic plan
(SYMBOLIC &¾

PLANNING VALUE)

Exceptional organizational capabilities and technical knowledge of a civilization, which is
unparallel in the Buddhist world as reflected by the construction technology, brick masonrytechnique, shape of the dome’s profile, etc. (TECHNOLOGICAL VALUE)¾

Still being worshiped by the Buddhists as reflected by the continued use and function(FUNCTIONAL VALUE)

Conservation policy adapted for the conservation of these stupas is as follows:¾ to restore the monument¾ to preserve thefor its structural stability

architectural fabric¾ to facilitate the spiritual needs of the devotees¾ without losing historical/ archaeological character
Since the bricks used for the stupas are of special size (450x225x50 mm), which is very much larger than theapparent that the modern engineering bricks are not suitable for conservation due to following reasons:¾

since the thickness of the engineering brick do not match with that of the ancient bricks it does notallow to maintain a uniform thickness of the brick courses, which will in turn create issues
regarding the homogeneity of the overall brick mass¾

the length and the breadth of the engineering bricks that are very much less than that of the ancient
bricks is not harmonious with the existing character of the brickwork in bonding, width of mortar
joints, etc.

¾

compressive strength of the engineering brick is very much less and the rate of water absorption isvery much higher than those of the ancient bricks

Therefore one of the challenges faced in the conservation of these stupas was to manufacture the bricks that arecompatible with those of the ancient bricks. In order to derive specifications for the new bricks, laboratory tests
were carried out with regard to the ancient bricks (Siritunge 1982, Silva 1991), and the results are as follows:¾ average compressive strength is 600 psi (4 N/m2 ) and the average water absorption rate is 12%.
¾ average ratio of sand and clay composition is 1:1

9− 117 −

Jude Nilan
COORAYmodern engineering bricks (212x106x56 mm) that are commonly used in the present construction industry, it was¾ with regard to sand component, only the silt (below 1/16 mm) and very fine sand (between 1/16 –1/8 mm) to the ratio of 1:1 has been used
The specifications derived for the new bricks to be manufactured based on the above investigations are as
follows:¾ dimensions: 450x225x50 mm¾ compressive strength: 400 psi (2.65 N/m2 )¾ water absorption rate: 15% to 18%¾ clay and sand ratio to be roughly 1:1 with the sand component (below 1/16 mm and between
1/16 – 1/8 mm) to be approximately 1:1¾ Efflorescence: nil¾ Method of production: hand made
¾ Similar in color and texture to the ancient bricks¾ regular in shape with sharp and clean edges, uniform in color, free from cracks and flaws,
reasonably uniform texture in the cross-section and free from black core and any signs of being
imperfectly burnt, free from pebbles and expansive particles etc.
Although several attempts were made to produce the bricks to meet the above specifications, initiallythrough traditional brick makers who use traditional clamp kilns to produce engineering bricks, they all
failed due to the inadequate firing levels of these kilns. On the other hand, the amount of bricks needed forthe conservation of stupas were several millions, which needed a steady supply of burnt bricks and an
Jude Nilan
COORAYenormous quantity of fuel in the form of fire wood to meet this demand. The CCF, therefore had many
discussions with the National Building Research Organization (NBRO) regarding these issues and theiradvice, based on the research carried out by them was to establish a traditional brick kiln (commonly called
the Bull’s Trench Kiln), which is widely used in countries like India, Bangladesh, Pakistan, Myanmar etc. toproduce these bricks to overcome these issues. These type of kilns involve low cost of construction and is ofcomparatively low energy consumption (reduces the fuel consumption by more than 50% of the other types).
Moreover, they are continuous kilns where bricks could be burnt without interruption to meet the demand of
the conservation work. The temperature level of the kiln is 800o – 1000o C. As an experiment, a scaled
down sample kiln was initially established and the green bricks burnt were found to be most successful interms of quality. An officer was thereafter sent to India to study the firing process and other technicalities
involved in the process. On his return to the Island, he trained other officers and firemen. In the mean time
the NBRO investigated the suitable sites to obtain the best clay deposits close to the work sites atAnuradhapura to locate the new kiln. After selecting a suitable site which is about 12 km away from thework sites within the flood plains of Malvatu Oya (stream), a kiln was constructed as per the design of the
traditional kilns of this kind with a stacking capacity of 80,000 ancient sized bricks, with an output of 7000
bricks per day. The areas around the kiln, where the clay deposits are found were assigned to the traditional
brick makers of the locality to produce and supply the green bricks for firing. Through this system, the CCF
was successful in producing quality bricks required for the conservation of these two colossal stupas.

10− 118 −

Through this process it was possible to revive the traditional skills in producing large sized quality bricks,
which has been lost after the 12th century AC in Sri Lanka. This is considered one of the success stories and alandmark achievement in the annals of heritage conservation in Sri Lanka.

Traditional brick kiln (Bull’s Trench Kiln)

Jude Nilan
COORAY11− 119 −

Process of preparing green bricks

Jude Nilan
COORAYThe brick kiln established to produce the ancient

Stacking of green bricks for firing

sized bricks)

Stacked green bricks showing the gaps created

Fired bricks

for the movement of heat12
− 120 −

Since the conservation policy was not to cover the brickwork of the stupas with a new lime plaster, but tofinish as exposed brickwork, the use of clay mortar, which is the original mortar, would not guarantee thedurability of the exposed brickwork.

Therefore, the other issue with regard to the conservation of thesestupas was to find a mixture which is compatible with that of the clay mortar. The CCF together with the
NBRO carried out research on traditional ways of preparing non-cement based mortar mixtures, and was
successful in developing a special mortar (1 slaked lime: 1 paddy husk ash: 2 ant hill clay: 2 tile powder) thatis compatible with the original clay mortar and at the same time with an increased setting time to conserve
the Abhayagiriya stupa. This is the first time in the history of heritage conservation in Sri Lanka, where amortar mixture without Portland cement is being used for the conservation work of this magnitude.
When recruiting general masons for conservation activities, special training is always given to them on
traditional brick conservation techniques.

Jude Nilan
COORAY

13− 121 −

Conservation work in progress: Jatavana and Abhayagiri stupas

Conservation of stone structures
The general principals followed for the conservation of stone structures in Sri Lanka, specially with regard to
Jude Nilan
COORAYthe voids and missing stone works are as follows (Silva 1979: 305-309):¾ such areas to be filled with new stones

that are identicalto the geological type and similarinsize, color and texture to the ancient stones¾ character of the new stonework should harmonize with the old in bonding, width of joints, textureetc.
¾ if the use of new stones are not practical, such areas to be filled with brickwork bonded as stretcher
courses and pointed¾

if brick in-fills are numerous and if these contrast conspicuously with the original work suchin-fills to be plastered with a mixture to imitate the stonework

Due to the lack of skilled craftsmen and the high cost of stone carving work, the use of new stone for conservation
is extremely rare in Sri Lanka. The reproduction of stone carvings of the Temple of the sacred Tooth Relic at theWorld Heritage Site of Kandy using traditional craftsmen, after the terrorist bomb attack, is an exception.
With regard to the missing decorative stone works, such as those of the frontispieces (ayake) of the stupas, due tothe lack of skilled craftsmen to reproduce these decorative works to match the old, the usual practice is to fill such
missing voids with brickwork, as it is also difficult to imitate the original decorative work with plaster work. But
the brick filling in such voids gives a contrasting effect with the original work.

14− 122 −

Stone frontispieces of Jetavana stupa showing the filling of voids and missing
stone work with brick work

But on the other hand, there is also a tendency to use machine-cut stone for conservation of stone work. Use ofmachine-cut stone slabs to fill the voids of the stone paved terrace of Mirisaveti stupa at Anuradhapura shows
harmonize the ancient stone work in bonding, width of joints etc.

15
− 123 −

Jude Nilan
COORAY

that new stone slabs do not at all match with the size, color, texture, etc. of the ancient stone work and notStone paved terrace ofMirisaveti stupa showing
the filling of voids andmissing stone work withmachine-cut stones
At the same time there are also attempts (such as the conservation work at the precinct of the sacred Bodhi-tree ofAnuradhapura) to get the services of the companies involved in granite work

using mechanized systems to

reproduce stone work to match the characteristics of the old stone work. However the lack of artistic sensitivity ofthe machine operators and the limitations offered by the mechanized systems in reproducing ancient decorative
works are evident through their products.
On the other hand the CCF has also initiated a training program for the youth in reproducing stone carvings to
Jude Nilan
COORAYencourage the young artists to keep up with this rare and valuable field of arts as a profession and income
generation avenue, and thereby to safeguard the traditional skills in stone carving. A combination of traditional
methods (manual systems based on artistic sensitivity) and mechanized tools are employed during the training
program. The reproductions through this system show promising results and offers better scope for stone
conservation in Sri Lanka.
The above examples show that the approach to materials, mixtures, workmanship etc. related to stone and brickconservation in Sri Lanka is basically a combination of traditional skills / knowledge and modern technology, andit has shown positive results. It also points out that the traditional skills /knowledge exists with the traditional
craftsmen and at the same time is stored within the monuments themselves. It therefore underlines the importanceof conducting scientific research on monuments to unearth such skills /knowledge with regard to:¾ techniques of construction¾ techniques of brick making / stone finishing and carving¾ techniques of brick laying (including mixtures, bonding systems, laying techniques etc.)¾ techniques of stone fixing (joinery etc.)16− 124 −

Conservation of the stone retaining walls of
the terraces of the sacred Bodhi-tree atAnuradhapura. The upper section of theretaining wall is restored using stone work

Reproduced stone work using mechanized systems

17− 125 −

Jude Nilan
COORAYreproduced with mechanized-systems.

Reproduced stone work using a combination of traditional methods and mechanized tools

Jude Nilan
COORAY

Young craftsmen at work using a combination of traditional methods and mechanized tools

18− 126 −

References
Dampegama, S.D.J.P. 2001. Final Report of the Abhayagiriya Stupa Survey (Unpublished report of the Institute ofSurveying and Mapping, Diyatalawa). Colombo: Central Cultural Fund
Nanayakkara, S.D.F.C. et. al. 1982. Surveys and Computation for the Conservation of the Jetavana Dagoba at
Anuradhapura (Unpublished report). Colombo: Central Cultural Fund
Prematilleke, L. and Karunaratne, L. K. 1993. “Polonnaruva: The Medieval Capital”. In A. W. P. Guruge et. al.
(eds.) The Cultural Triangle of Sri Lanka. Colombo: UNESCO and Central Cultural Fund: 86-111.
Ranaweera, M.P. 1998. “Stresses in Stupas of Different Shapes”. In Proceedings of the Annual Research Sessions.
Kandy: University of Peradeniya
Silva, R. 1979. “Conservation of Ancient Monuments under Tropical Conditions with Special Reference to
Ceylon”. In Ancient Ceylon, No. 3. Colombo: Dept. of Archaeology: 297-314.
Silva, R. 1990. “The Engineering Principles behind the Largest Brick Monuments of the Ancient World: The
Colossal Stupas of Sri Lanka” In S. Senaviratne, Moira Tampoe et. al. (eds.) Leelananda Prematilleke Festschrift,
Kandy: University of Peradeniya: 111-119.
Silva, R. 1991. Bricks: Their origin and the Arch, Vault and Dome in ancient Sri Lankan Construction
Eleventh International Conference) Berlin.
Siritunge, H.W.S. 1982. Mineralogical and Textural Report of the Weuda modern bricks and Jetavanarama oldbricks (Unpublished Research Paper No. GH/2,) Colombo: Central Cultural Fund19
− 127 −

Jude Nilan
COORAY(Unpublished lecture delivered to the Association of South Asian Archaeologists in Western Europe at the

Types and scale of constructions : Brick Structures,QWHUQDWLRQDO &RQIHUHQFH

Human Resources Development for the Transmission of Traditional Skills:(a)National Approaches and their Application to Stone and Brick

Framed Constructions
Timber framed brickwork(continuation of the wattle-and-daub construction)

Current Issues of and Future Tasks for&RQVHUYDWLRQ RI %ULFN DQG 6WRQH 6WUXFWXUHV LQ 6UL /DQND

Archt. Nilan Cooray,
Assistant Secretary General, National Trust - Sri Lanka

Royal Palace, Polonnaruva (12th century AC)

Stone framed brickwork

Jude Nilan
COORAY
Buddha Image House, Manik Vehera, Polonnaruva (12th century AC)(b)

Solid Constructions

Ruwanveli and Jetavana Stupas, Anuradhapura, 2nd century BC and 4thcentury AC− 128 −

Characteristics of Mega Stupas
at Anuradhapura

Technical Characteristics ofMega Stupas at Anuradhapura

Jetavana Stupa Solid Brickwork in clay mortar(Bricks laid course upon course)± P

¾ Deep foundation resting on the bed-rock Utilization of millions of large sized bricks: 450x225x50 mm(more than 90 million bricks for Jetavana and more than 54 million bricks for Abhayagiriya)

Technical Characteristics ofMega Stupas at Anuradhapura¾Profile of the dome
Conforms to the traditional paddy heap shape: a sophisticated mathematical formula=

5
Ellipsoid for Jetavana Stupa

Paraboloid for Abhayagiri Stupa
Z = -0.019566R² – 0.001548R + 50.77112

Gradient equal to the angle of repose, most stable form from a structural point of view,(no tension in the dome under self weight)
Lankatillake Buddha image 15.1 m

Tivanka Buddha image(c) Hollow Constructions

Jude Nilan
COORAY

Thuparama
Buddha Image House,
Polonnaruva
12th century AC

Lankatillake Buddha Image House
Polonnaruva, 12th century AC

Tivanka Buddha Image House, Polonnaruva, 12th century AC

Techniques of Construction:(c)

Hollow Constructions

c. 1. ARCH
Corbelled Arch− 129 −

Circular Arch

Corbelled and Circular Arch

Pidurangala

Satmahal Prasada

Techniques of Construction:(c)

Hollow Constructions
c. 2.

VAULT

Corbelled Vault

Techniques of Construction:

Jude Nilan
COORAY(c)

Hollow Constructions
c. 2.

VAULT

Corbelled and Circular Vault

Techniques of Construction:(c)

Hollow Constructions

c. 3.

DOME

Corbelled Dome

Lion-Staircase-House, Sigiriya,5th century AC− 130 −

Stone Structures (ranging from 8th -12th century AC)

Nalanda Gedige

Siva Devale No. 1at Polonnaruva(8 – 10th centuries AC)(12th century AC)

Yapahuva (13th century AC)

Buddha Image Houses at Ridivihara and Gadaladeniya (14th century AC)

Architectural elements
Ayaka, Ruvanveli

Ayaka, Mihintale

Stone Railing, Jetavana

Production of ancient sized bricks for conservation

Brick Conservation

Conservation of mega stupas

Comparison of ancient brick (450x225x50 mm) with modern brick (212x106x56 mm)− 131 −

Jude Nilan
COORAY

Architectural decorations

Properties of ancient bricks used for the mega stupas
Specifications for the new bricks to be manufactured:(a) Mineralogy ratio
Quarts (Sand)
Clay
Voids

50 - 60%
35 – 45%
3 – 8%¾ dimensions: 450x225x50 mm¾ compressive strength: 400 psi (2.65 N/m2 )(b) Sand size analysis and the ratio used
Silt (below 1/16 mm.)Very fine sand (1/16 – 1/8 mm.)Fine sand (1/8 – ¼ mm.)
Medium sand (1/4 – ½ mm.)Common Sand (1/2 – 1 mm.)Very common sand (1 – 2 mm.)

¾ water absorption rate: 15% to 18%
48.5%
48.5%
--1.9%
1.1%---(c) Average Compressive strength

621 psi(4.28 N/m2)(d) Average water absorption rate12%

¾ clay and sand ratio to be 1:1 with the sand component (below 1/16 mm
and between 1/16 – 1/8 mm) to be 1:1¾ efflorescence: nil¾ method of production: hand made
¾ Similar in color and texture to the ancient bricks

Traditional brick kiln(commonly called the
Bull’s Trench Kiln),
widely used in countries like
India, Bangladesh, Pakistan,
Myanmar etc

Traditional Clamp Kiln
¾ involve low cost of construction¾ Used to manufacture small sized bricks (212x106x56 mm)¾ temperature level of the kiln is 800 0 – 10000C.

¾Inadequacy of firing level¾ comparatively low energy consumption (reduces the fuel consumption by more than 50% of the other type).

¾ No steady supply of burnt bricks¾ a continuous kiln (bricks could be burnt without interruption to meet the demand of the conservation work)¾ Requires enormous quantity of firewood

Jude Nilan
COORAY

Process of producing
green bricks¾ located in the best clay deposits close to the work sites¾ stacking capacity: 80,000 bks.
¾ out put: 7000 bks. per day¾ clay deposits around the kiln were assigned to traditional brick makers to produce green bricks¾ training of staff and other support staff (firemen)− 132 −

 Revival of traditional skills in producing large sized quality bricks
 A landmark achievement in the annals of heritage conservation in Sri Lanka

MixtureResearch on a mixture compatible
for the bricks and clay mortar1 slaked lime:
1 paddy husk ash:
2 ant hill clay:
2 tile powder(first time in the history ofconservation in Sri Lanka that amortar mixture without Portland
cement is used for a conservation
work of this magnitude)

Training programs for generalmasons on brick conservation
techniquesJude Nilan
COORAY− 133 −

Stone Conservation¾ if the use of new stones are notpractical / economical, the voids
and other missing areas:
 be filled with brickwork and pointed
 such in-fills to be plastered with amixture to imitate the stonework

Use of machine-cut stone slabs:

Jude Nilan
COORAYUse of mechanized systems to
reproduce stone work

Stone paved terrace,
Mirisaveti Stupa,
Anuradhapura
Stone retaining walls of the terraces of thesacred Bodhi-tree at Anuradhapura.

…… do not match with the size, color, texture, character etc. of the ancient stone
work and not harmonize the ancient stone work in bonding, width of joints etc.

− 134 −

CCF’s training program for the youth in reproducing stone carvings:¾ to safeguard the traditionalstone carving.

skills in¾ to encourage the young artists to keep up
with this rare and valuable field of arts as aprofession and income generation avenue¾ A combination of traditional methods(manual systems based on artistic sensitivity)and mechanized tools

Reproduced stone work using a
combination of traditional methods
and mechanized tools

Underlines the importance of :Approach to materials, mixtures, workmanship etc. related tostone and brick conservation in Sri Lanka:

 documenting the skills / knowledge of traditional craftsmen
 conducting scientific research on monumentswith regards to:¾ basically a combination of traditional skills / knowledge and modern technology
 techniques of construction¾ traditional skills / knowledge exists with the traditional craftsmen and at thesame time is stored within the monuments themselves (therefore underlines
the importance of conducting scientific research on monuments)

 techniques of brick making / stone finishing and carving
 techniques of brick laying (mixtures, bonding, laying techniques, etc.)
 techniques of stone fixing (joints etc.)
 preventive conservation

Jude Nilan
COORAY− 135 −

− 136 −Current Issues of and Future Tasks for Conservation ofStone and Brick Cultural Heritages and Traditional
Techniques in Korea
JO Sangsun
Research Associate         Preservation Technology Division, Cultural Heritage Administration (CHA)        Historical and Technical Researcher, Sungnyemun-gate restoration project

1. Cultural overview of stone and brick
There are various kinds of cultural heritage in Korea. Those made of stone were produced from prehistorictime to present. They are dispersed nationally and most of them were made of granite. Manufacture ofstone heritages has deep relationship with notion of life and death. Ancestors of Korean has made housefor living of wood which have life and death like people. But stone and brick, as its invariant characteristic,
has been used in construction of pagoda, stupa, grotto, and foundation of structure.
2. Heritage classification of Korea and intangible heritages
Categories of designated heritage are as bellows;ƒ State-designated heritage1: national treasures2, treasures, historic sites, scenic sites, natural monuments,
important intangible cultural heritages, important folklore materials
ƒ City/province-designated heritage3: tangible cultural heritage, intangible cultural heritage, monuments,
folklore materials, cultural heritage materials
ƒ Undesignated cultural heritage5
At present in Korea, 553 stone structures are designated as state-designated cultural heritages which
designated as national treasure, treasure and historic sites. The Mireuksaji seoktap (stone pagoda of Mireuksa
temple site) designated as national treasure no. 11 was built in early A.D. 7th century. Most cases of stone
structures were made before Joseon dynasty (A.D. 1392~1910), and brick was used after mid Joseon

1 Designated by the administrator of Cultural Heritage Administration pursuant to the Cultural Heritage Protection Act after
deliberation by the Cultural Heritage Committee
2 Heritage of a rare and significant value in terms of human culture and with an equivalent value to treasures
3 Among the non-state designated heritages, those in need of preservation are designated as City- or Province-designated
Heritage by the mayor and the governor respectively, based on the municipal or provincial regulations.
4 The Registered Cultural Heritage refers to architectural structures or monumental facilities of early modern or modern times
that have significant values and thus need to be preserved.
5 The Undesignated Cultural Heritage refers to the cultural heritage that needs to be preserved even though it is not designatedas State-, City- or Province-designated Heritage.

− 137 −

JO
Sangsunƒ Registered cultural heritage4: cultural heritage of early modern times

dynasty when started to affect by western culture. The representative type of stone cultural heritage isstone pagoda. Techniques of quarrying and sculpture have been established since prehistoric age. Dolmens
which represent Bronze Age have capstones and their weight varies from 4or 5 to dozens tons.

Though capstone comes from natural stone but in many cases, they were cut from rock bed. And it means
there were already techniques of quarrying and sculpture since Bronze Age. Also, most of mountainfortress walls which constructed during A.D. 4–7th century were made of stone. Mountain fortress walls arealso a kind of structure needs various techniques such as quarrying, carving, building, etc.
Constructions of these kinds of stone structures have been done by Seok-jang (a stone artisan).6
According to related law, CHA designate important intangible heritages among intangible
heritages which has outstanding value. After designation of important intangible heritage, CHA should
certify a holder or holding group which can actualize those techniques or arts. At present there are 178
holders and 58 holding group of important intangible heritages. Seok-jang was designated as an important
intangible heritage in Sep. 2007. A reason of designation as below;“As time goes by, because of such reason like introduction of machinery, traditional skills of stone
structure faced a serious crisis of disappearance. So, to conserve and hand down traditional skills andtechniques of stone structure, now we designate the Seok-jang as an important intangible heritage.”
JO
SangsunGenerally, a designation of important intangible heritage has a various procedures, such as on-site
inspection by specialist, consideration by heritage committee. Most important principle is technical power,
will and circumstance of inheritance of holder (or holding group). Inheritance steps are consisted ashonorary holder – holder - assistant of inheritance teaching - trainee. Through these steps we try to
guide inheritance between generations smoothly, and national government subsidizes basic expenses tomaintain these steps. If one holder could not carry out education because of one’s ripe age or disease, we
certify current holder as honorary holder and fill up the vacancy.
Two stone artisans had learned stone techniques from the age of 15 by inducement of kindred and had
spent 3 to 10 years as an apprentice. Now, their sons are learning stone techniques from their father as ascholarship student of inheritance.

6 One of an old historical record about stone artisan was found in record of sarira in stone stupa which was built in 8th century.
There was a name of stone artisan ‘Shin-no’ on that record.

− 138 −

3. Various type of stone and brick structure
The Mireuksaji Seoktap (a stone pagoda of Mireuksa temple site) is a representative stone structure andit was made of granite which quarried in local quarry. Because this stone pagoda was built in transition
period of material from wood to stone, it has a characteristic of wooden pagoda. Gameunsaji Seoktap (astone pagoda of Gameunsa temple site) which was made of tuff of andesite descent is relatively smaller than
Mireuksaji Seoktap. But its formative beauty and construction method are very impressive. Over 200
mountain fortress wall dispersed nationwide, and they are conserved and restored by local government.
Seoul municipal authority also has established total restoration plan of its fortress wall.

Hwaseong (Hwaseong fortress), built in late 18th century, is the representative structure using brick andstone. Of course, there are so many structures using brick or brick-like stone, and Bunhwangsa Seoktap (astone brick pagoda of Bunhwangsa temple) which is built in A.D 634 is representative. But it did notuse real brick but brick-like stone. After this, lots of brick pagodas were constructed along rivers becauseriverside have a good condition for brick making. A brick structure has been constructed generally after
17th century because people understood its merits. Finally, technical powers of brick structure in late
18th century concentrated on construction of Hwaseong fortress.
JO
Sangsun

Especially called Gongsimdon which means empty and functions as a guard post succeed to create
quite different space compare to that of Korean architecture. After construction of Hwaseong fortress, brickstructure has broadened its usage as a living building. Anyway, with cultural spreading of Christianity andCatholicism, religious building such as cathedral started to be constructed. Myeongdong seongdang(Myeongdong seongdang cathedral) which is designated as historic site and other cathedrals were built inlate 19th century or early 20 th century. But planning of these brick structure was done by Christian
missionary or priest and Chinese artisan took a part in making brick and construction. On this article, I haveconcentrated on stone structure.

− 139 −

4. Phase of conservation/preservation project implementation
Conservation/preservation or restoration project of cultural heritage is carried by local government and its
workflow is as below;

JO
SangsunIn case of general conservation/preservation project on state-designated cultural heritage, national and local
government arrange budge plan at the ratio of 3 to 7. On the other side, in case of project on city (orprovince) designated cultural heritage, its ratio is 5 to 5. In some cases, holder share expenses but its ratio is
irregular. In each case of budget subsidy, inspection of current state, records of processes, andpublication of report on total process are mandatory. But quality and quantity of report is different
according to scale of project, supervisor, career of writer, scale of budget, etc.
Recently, CHA set intra network system. Through this system, a person in charge of cultural heritage
in local government can input data and information by online such as photos, drawings, manuscripts, etc. In
planning of each project, local government took total progress of project, and CHA took part in decision
making and establishment of conservational method. Also, opinion of specialist such as cultural heritage
committee member is very important criterion of decision. In all conservation/preservation or restoration ofdesignated cultural heritage, person in charge of local government and CHA supervise total process, but notreside always.

− 140 −

5. Education of specialist and inheritance of technique
All projects are carried by 2 different specialist, repair technician 7 who control the whole process andrepair craftsman 8 who operate each conservation processes. At present, the number of technician is 1382,
and craftsman 5854. Its qualification examination is carried out by HRD Korea (Human Resources
Development service of Korea) and their licenses are managed by CHA. Recently, CHA arranged
mandatory regulation about education, and everyone have license should take part in educational program of
CHA once in a 5 year.
A standard salary of technician is not fixed, but daily pay of craftsman is written in standard repair
specification of cultural heritage as CHA’s regulation. For example, those of craftsman related withstone structure are as below;

Index
Daily pay

Traditional mason
Carving

Construction

144,386 won(approx. $120)

Deujabi

Stone sculptor

151,579(approx. $126)

156,098(approx. $130)

Both repair technician and craftsman should belong to a company and the company can take a chance totake part in conservation/preservation projects ordered from local or national government. Occasionally,
technician is a kind of project specialist and makes delicate decision and controls craftsman. There are 371
companies that can carry out conservation or preservation project of cultural heritage and they are
obliged to register to their local government. Also, they can be divided as two type of businesses, one isoverall repair business that can take part in all kind of project and the other is special repair business thatcan charge project of each specialized repair. In case of former, one can acquire its registration in
condition of employment more than 4 technicians (including 2 technicians of general repair and 1 of
1 of tile roofing and more than 3 of Deujabi or traditional painter or traditional mason or Somok). Also ifone’ representative is a corporate body, it need a capital more than 2 hundred million won (approx. 0.16
million dollar) and in case of personal registration, one need its double of corporate body. Office room is
mandatory, too.

7 There are 7 different qualifications; General repair, Survey and planning, Traditional landscape architecture, Conservation
science, Vegetation protection, Supervision, Traditional painting.
8 There are 22 different qualifications; Carving mason, Daemok (a master carpenter), Plater,
Deujabi (a craftsman can rectify a wrong part of stone and wooden structure without dismantling), Wood sculptor, Mounting andmaking specimen, Tile roofing, Conservational treatment, Stone sculptor, Cleansing, Somok (a carpenter making wood furnituresuch as window, door, chest, etc), Vegetation protection, Survey and planning support, Construction mason, Roof tile maker,
Traditional landscape architecture, Ironware, Painting (lacquering, varnishing), Papering, Traditional surface finishing, Traditional
painter, Fumigation.

− 141 −

JO
Sangsuntraditional painting) and 6 craftsmen (including 1 craftsman of Daemok, 1 of traditional surface finishing,6. Traditional technique and tool of stone structure1) Material
Techniques of stone in Korea have been developed through mass construction such as Royal palaces,
fortresses and Buddhist temples. Among quarried stone materials, 90% of these are granite. Representative
quarry is Pocheon area which locates near Seoul, and granite from Pocheon has a gray color. The granite of
Hwangdong area which Mireuksaji located, have a gray-white color. The granite has characteristics of goodstrength and durability, low absorption force. But this is weak at heat of high temperature and can not be
used in delicate sculpture. The marble can be used in detailed sculpture but can not endure acid rain. The
sandstone is still quarried and it is mainly used as material of an ink slab or a tombstone.

2) Traditional techniqueAncient document which have a record about technique of stone structure is not exist. But in ‘Hwaseong

JO
Sangsunseongyeok Uigwe’ 9 which have a record about construction process of Hwaseong in late 18th century,
there are six hundreds names of stone artisans and their tasks. Also there are records about tools usedin transportation, pounding, split, etc. For example, Geojunggi (a crane that handled by 30 men. It canlift 7.2 ton), Nokro(a crane which raise and move stone), Gupan (a tool used in moving stone inshort distance), Jeong (a big chisel or burin used in shaping stone) are depicted. Also, in some genre
painting drawn in 18 ~ 19th centuries, we can see an image of hammering to split stone.

9 Uigwe is record of Royal Protocols in the court of Joseon dynasty. Generally it refers to the collection of documents thatrecord and prescribe in prose and illustration all the procedures, protocols, formalities and requirements needed to conduct
important ceremonies, events, rites and rituals performed by and for the royal family of Joseon dynasty.

－ 142 －

Traditional stone split start from Seok-jang, a stone artisan. First, he inspects exposed bedrock in naturalstate, and then splits severely weathered or cracked part. Secondly, he chooses being quarried part and makes
small holes along grain of rock. And then he drives a wedge in those holes and hammers them repeatedly.
Finally a stone material is being split.

Finishing of trimming is divided in six steps; Me-dadeum (trimming using a hammer), Jeong-dadeum(trimming using a small hammer), Jul-dadeum (trimming in slight pattern of line), Dodeurak-dadeum(trimming using a multi-pointed hammer) and Jan-dadeum (trimming surface almost in flat).
In Stacking/construction of stone embankment or fortress wall, it inclines to inner way as it goes up.
A put-off degree between stones of upper and lower is about 5 to 10 millimeters. In case of vertical moveof stone, we use a Gin-pole, which is consisted by two long wooden timbers and a pulley. According to thelength of wood, its range and distances are changed.

JO
SangsunIn case of construction of stone structure, balance of each member is so important. Geuraengyi, a
representative traditional technique, is making out with a gauge for chiseling according to the shape or lineof former-settled member. For example, in case of wooden structure, a master carpenter would carve bottomof column according to the shape of base stone. And in case of stone structure, a stone artisan would chisel
upper stone according to the shape of lower stone. If he wants to correct a slight unbalance, he generally
uses clay, mud, wood chip, or a piece of lead/iron.
3) Traditional tools
When a stone artisan makes a stone structure, he uses tools like a ruler, a wedge, an inking liner, an inking
spatula, a brush, a me (a sledgehammer or hammer), a teolyigae, a dodeurak-mangchi (a hammer or mallet),− 143 −

a Jeong(a chisel).
Materials of a ruler are an iron or wood and basic unit of it is 1 cheok (approx. 30.3cm). Its shape isbasically a line shape, and its size varies from 2.3meters to 0.3meters according to its purpose. Also there
is a Gokja (a ‘Ŀ’ shaped ruler) and Yeongwija (a ‘с’ shaped ruler which used in miter joint or acuteangle joint).
There are two types of a wedge, wood and iron. Before the Iron Age, ancient Korean stone artisan usedwood wedge, but it was not suitable to split stone precisely and it needed long time in split. In case of splitof big stone material, a stone artisan uses size of 16cm, 10cm, 7cm, 4cm wedges. When he makes a delicate
stone sculpture, he uses size of 9cm, 7cm, 4.5cm wedge.
An ink liner is a tool of making line on stone. It is consisted of a small ink barrel, a thread and asmall nail, and when a thread with a nail comes out of liner, it wears ink. An inking spatula which is madeof bamboo has a cracked and sharpened edge. When use it, one would soak its edge and ink would soak in
between cracks, and then draw or mark on surface of stone material. Its general length and width is 1
cheok (approx. 30.3cm) by 4 puns (approx. 1.2cm). And its length is differs from 37.5 to 20cm. A brush isused in case of delicate depiction such as a Buddhist statue.

JO
SangsunA me is a kind of sledgehammer and its head is made of iron or wood. In case of wood, its species of trees
have a characteristic of rigid nature such as an oak or a birch. According to its size, there is big, middle andsmall me. In case of big one, length of its head is about 30cm, and is used in quarry. That of middle one
is about 17cm, and is used in split. That of small one is about 6 ~ 9 cm. In case of big one which astone artisan uses, its length of grip is 73cm. Also that of head it is 26cm, and width of edge is 5cm.
A teolyigae has a similar look with a me, but its shape of head is edged only in one end. It is used in
split an unnecessary part. In case of big one, its length of grip is 19cm, and that of head is 6cm. And incase of small one, its length of grip is 14cm, and that of head is 3cm. A dodeurak-mangchi (a hammer ormallet) is used to make surfaces looks fair or almost flat. In one end of head, there are lots of peaks.
According to the number of peaks, this hammer is divided as 25 peaks, 64 peaks and 100 peaks. The
length of its grip is around 10cm. A jeong (a chisel) has various types. In case of a chisel used in split,
its length is about 20 ~ 40cm, and for sculpture, its length is 25 ~ 28cm, and its thickness is 1.5 ~ 2.5cm.

− 144 −

4) Case study about usage of traditional technique and tool: Repair of Sungnyemun gate and restoration of
fortress wall Sungnyemun gate, designated as national treasure no. 1 in 1962, was damaged by arson in Feb.
2008, and is now under restoring by CHA.10 At this time, two stone artisans designated as an important
intangible heritage work for this project and one is specialized in sculpture and the other is specialized inconstruction. As this site is located in the heart of city, site area is relatively small, so they could not use
traditional tools like Nokro or Gin pole. But for safety of worker, they use cranes and a hoist in moving ofstone materials.

Once carried in that site area, all stone material should pass through traditional handwork in every
process. Generally, the size of stone from quarry has 2 meter in width, 1.5 meter in height and 1.2m in
depth. As split process repeated, every stone material gets a larger volume than that of final process. Its
degree differs in case by case but generally is around 30%. In every process, masons use traditional tools
small. In case of large one, its size is 1.2 ~ 1.5m in width, 0.48~0.65m in height. And in case of
middle one, its size is 0.9 ~ 1.2m in width, 0.3 ~ 0.45m in height. In case of small one, its size is 0.5 ~
0.9m in width, 0.13 ~ 0.28m in height. The depth of each stone differs from 0.6m in minimum to 1.8m in
maximum. Therefore the size of stone for fortress wall differs case by case. Inner part of fortress wall isfilled with rough broken stone or rubble. On the other side, that of foundation of pavilion is filled with stone
and rubble mixed by limestone. Especially in case of part where footstone will be set, we reinforce that areaby big rough stones and stacking it orderly.

10 Fortunately, CHA carried out a delicate survey in 2005, and documents of dismantle and repair in 1963 were remained in areport and drawings. Also, two years ago, CHA found on-site records about dismantle written in 1962. On the basis of theserecords, CHA carry out conservation project now. As Sungnyemun gate is a representative of cultural heritage, the wholeprocess of project is supervised by CHA.

− 145 −

JO
Sangsunand techniques such as a chisel for split. The size of stone for fortress wall is divided as large, middle, andIn this case, one of foot stone has been weathered and replace by new one. Supporting stones of footstone
are engaged with facial stone. And their lower part is consisted of rough rectangular stones, which arestacked orderly like ‘#’ shape. A base stone of column shaped stone located at the lower end of stair’s side
also changed.

Tool such as chisel, as it keep going to use, its end goes dull. So CHA made a small blacksmith beside ofmason’s rest place, and they fix their chisel’s end sharpen. These kinds of usage of traditional techniques
JO
Sangsunand tools are only adjusted in this project.

5) Case study of repair of stone structure with new material
Recently, the repair of cultural heritage has been affected by high-tech material and progress of science.
To obtain a perfect balance of stone structure, stone artisans have used wood chip or iron, but today, theyuse plastic, copper, lead, titanium plate. Especially in case of copper, as one of the Korean coins was madeof compound metal with copper, some of them used coin to obtain balance.

− 146 −

In repair project for Gameunsaji-seoktap which has been done in 2007 by NRICH11, a special structure
made of titanium was used. As I have already mentioned, this pagoda was made of tuff of andesite descent,and this kind of stone is capable at carving, but its organization is relatively weak. At that times, eachcorner of upper part of the body stone of 3rd story were weathered, and it was impossible to reassemble
upper stones. So NRICH decided to use support structure made of titanium and then succeed inreassembling.

A Buddha statue in Gwancheoksa temple has a large plate-shaped stone on its cap. A few years ago, aserious crack occurred in that stone and there was no alternative idea except reinforcement of it. So CHA
also decided to use support structure made of titanium, and it stands in safety still today.
7. Current status and issues on stone and brick heritage
Changes of techniques and tools related with cultural heritage caused by modernization andindustrialization would be a worldwide problem. The stone itself does not change, but the brick is indifferent situation, because its production method has been changed. For example, Myeongdongseongdang
cathedral constructed in 1898, and it has been designed by Father Coste and constructed by Chinese brickuse same brick in preservation process, but it was not so easy. In Korea, the history of brick structure
is relatively short, so we did not have systemic repair process or apprentice institution. Fortunately, artisans
or initiators still know or use same techniques or tools of one hundred years ago. But we are now facedsome problems as bellows;
The first problem is a systemic one. We already have a support system of initiation of important
intangible heritage, but its financial subsidy is insignificant. Though he or she is designated as an important
intangible heritage, he or she cannot live on its financial subsidy and he or she needs additional means ofliving. Presently, CHA subsidize expenses that required in demonstration (twice per one year) and training
course to all important intangible heritages. Also assistant of inheritance teaching and trainee get a regularexpense from CHA. In Korea, there are so many artisans and intangible heritages designated by local
11 NRICH is National Research Institute of Cultural Heritage of KOREA, a sub body of CHA.

− 147 −

JO
Sangsunartisans and their technique. A few years ago, this building has been repaired and the owner has wanted togovernment. They earn money by participation in constructions, repair projects ordered from company,
temple or local government. Also they live with incomes from selling sculptures or handicrafts. To produce
high qualified handicrafts, artisans need enough time and manpower. But in consideration of economic
profit, they have no choice but to increase proportion of machine and use electric power. And this is a big
obstacle in inheritance of traditional culture. So, the scale of economic subsidy should be broadened. To
achieve this purpose, CHA tries institutional supplementation such as enactment of related laws,
establishment of center for intangible heritages, reinforcement of subsidy system, etc. Additionally, it isneeded to revitalize and expand intangible heritage’s scope for movement. An expansion of systemic
method and promotion of participation could be one solution for this. And this would be the best way toachieve high qualified result of conservation or repair projects and also to help intangible heritages.
Secondly, we need a various education system. In CHA, there is a national university specialized withdepartments of traditional cultures and annexed training institute for training of specialists. They havegood condition in inheritance of technique, but as located in same place, there is a possibility ofdisappearance of regional characteristics. Accordingly, we need to increase the number of training institute.
And in case of items that has low social demand and are unfamiliar to public, its inheritance could
be obtained only through family initiation12. To improve this situation, we should transfer these kinds offamily initiations to department of university or institutional system, and national government or CHA
should confirm financial support. Once this kind of system is settled, we can protect a craft or skill on crisis
of vanishing. Furthermore, going side by side with education of design, brand and patent, it will make agood effect to intangible heritages.
A research on traditional material and tool is important, too. As you know, cultural heritage
generally uses materials from its located area. When we consider a climate change, we can easily think
about a change of materials. So we need research about producing area, supply and demand systemand security of alternative material, etc. Also systemic record about traditional tool and intangible
JO
Sangsunheritage is necessary. In Korea, there are designated items has no holder or holding body and they are facing
serious crisis of disappearance. So, we should record everything about traditional technique and tools ofholder or holding body through making movie or drawings, images, interviews, etc.
But most important thing is a change of recognition and attitudes about cultural heritage.13 Especially incase of stone structure, as most of them are located outside, their owner or management group must
understand their characteristics and should take appropriate conservational treatment. Lots of stone structures

12 At present, an age group of workers or apprentices of stone structure is attached weight to fifties, and an age group of twenties
or thirties is relatively rare. Most of them started learning as apprentice not by one’s own will but by a kinship or relationship.
13 An arson, which set fire to Sungnyemun gate, was 70 years old. He had dissatisfied at his compensation for expropriatedland, and on the purpose of telling to the public about his situation, he had set fire. During inspection on motive of arson, he had said
‘There is no problem, because a cultural heritage though it may be destroyed, it can be restored easily’. Anyway, a fire ofSungnyemun gate has changed recognition of the public on conservation and protection of cultural heritage.

− 148 −

designated as state- designated heritage are owned by a state. A continuous management and arrangementof budget to conserve or manage are duties of local government. But when the owner of city/provincedesignated heritage or registered cultural heritage is a person or a group, it is not easy to obtain management
expense from state or local government. So, until now, to take a preventable treatment through continuous
concern is a reasonable action. In the long term, a state should establish enough storage facilities of national
dimension. An environmental change such as air pollution or acid rain affect to conservation of stone
structure on the outside, so we should build shelter or move it inside of building. Wongaksaji-seoktap (tenstoried stone pagoda of Wongaksa temple site) is a case of shelter installed on the outside. Beopcheonsajigwangguksa-hyeonmyo-tap (stupa of national preceptor Jiwang in Beopcheonsa temple) has detailed
images on surface of body stone, and through those images we can get lots of information about traditional
wooden building style of 700 years ago. For this reason, this stupa is a very important state-designatedcultural heritage. But it still stands on the outside in corner of Gyeongbokgung palace and sooner or later itshould be moved to exhibition hall of museum.

JO
Sangsun− 149 −

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Dec. 6 – 8, 2011

Sangsun JO
Research Associate,
Preservation Technology Division, Cultural Heritage Administration (CHA),
Historical and technical researcher, Sungnyemun-gate restoration project

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Sangsun− 153 −

− 154 −Outline of a Project to Repair a Brick Building in Japan:
The Challenges of Reproducing Traditional
Engineering and Structural Reinforcement
KIMURA Kazuo
Senior Conservation Architect / HeadManagement Division      The Japanese Association for Conservation of Architectural Monuments (JACAM)

1. Introduction
Brick building engineering was first introduced in Japanese architecture, in which buildings weretraditionally made mainly of wood, in the 1850s before modernization. As modernization progressed,
structural reinforcement measures were progressively introduced to adapt brick buildings toearthquake-prone Japan. Various reinforcement methods were attempted, and records of that time andexisting brick buildings reveal the hard work of the architects in those days. However, modern structural
diagnoses have confirmed that all of these structures would probably suffer serious damage or collapse in a
major earthquake.
This paper outlines a project to repair Yamaguchi Prefecture’s Old Prefectural Assembly Building,which is designated as an important cultural property. The large-scale repair project received a subsidy fromthe Agency for Cultural Affairs, and cost 1.24 billion yen and 75 months to complete, from 1998 to 2004.
Restoring the brick structure, part of which had been dismantled or modified by later repairs, to its
original state constructed in 1916 required not only reproduction of the original design but also a safe design
to withstand a major earthquake and construction in compliance with the design standard. The successful
resolution of two conflicting factors, reproducing traditional engineering and providing structural

2. Overview of the Building
Name: Yamaguchi Prefecture’s Old Prefectural Assembly Building designated as an important culturalproperty Location: 1-1, Taki-machi, Yamaguchi, Yamaguchi Prefecture Type of building: Assembly reference libraryYear of construction: 1916
Structural type: Brick construction, two-story, slate roofing Plane area: 776.252 m2
 Total floor area: 1,279.214 m2− 155 −KIMURA
Kazuo

reinforcement by modern engineering, is described below.

Photo 1: Appearance of completed front (south side)

KIMURA
Kazuo

Photo 2: Inside view of completed Assembly− 156 −

Photo 3: Appearance of northeast side before repair work

KIMURA
Kazuo

Photo 4: Appearance of completed northeast side

− 157 −

Fig. 1: Plan of first floor before repair work
Restored back brattice

KIMURA
Kazuo

Fig. 2: Plan of completed first floor− 158 −

3. Flow of the Repair Work for Preservation
Investigation of current conditions
General survey on damage, specifications, and history, structural diagnosis, preparation of current
condition drawings

Basic design (overall)
Review by the Repair Experts Committee, formulation of a plan for utilization, application to the
Agency for Cultural Affairs

Design for execution (first-half work)
Preparation of design documents for temporary work and dismantlement work

Launch of temporary work and dismantlement work
Supervision of temporary work and dismantlement work, detailed survey on damage, specifications,and history, structural reinforcement design

Review of repair policy
Review by the Repair Experts Committee, reassessment of the budget and work period, application formodification to the Agency for Cultural Affairs

Design of execution (second-half work)
Preparation of design documents for repair work and assembly work

Supervision of repair work and assembly work, preparation of a repair work reportCompletion, opening to the public− 159 −KIMURA
Kazuo

Launch of repair work and assembly work

4. Project Organization
Agency for Cultural Affairs

Application
for approval

Approving and subsidizing the
project, and providing guidance
and advice on details of the work
Approval

Project operator:
Yamaguchi Pref.
Communicating its intent to exploit
and maintain the building as
proprietor to relevant organizations
and departments and coordinating
the entire project

Commission

Japanese Association for Conservation ofArchitectural Monuments
࡮Resident chief engineer approved by the Agency
for Cultural Affairs
Office assisting with the structure
Office assisting with the equipment

Advancement ofrecommendations

Discussing and finalizing therepair plan
Committee members: 3
Advisers: 2

Completion ofwork

Report and result

Survey, design, supervision,and preparation of records

Repair Experts Committee

Consultation

Order
Execution of work

Consultation

Shop drawing

JV between Obayashi Corporation and Bocho
Kensetsu Kogyo
࡮JV with the aim of developing local companies
࡮Temporary work and dismantlement work࡮Repair work and assembly work
Subcontracting companies

5. Determination of Surveys and Repair Policy

This building was designed in 1911 by the same design team that was set up to construct the existing Diet
Building in Tokyo, which was designed and constructed later. Twenty-three design drawings and somephotos of the completed Assembly Building are still available as records of that time.
The building was used as the Assembly Building until 1974, with various repairs and modifications

made to it over the years. Then, in 1978, it was opened to the public as an assembly reference library because
the new Assembly Building was being constructed behind it.
 As rain leakage, deterioration of exterior walls, and damage to the interior worsened, various surveys
began to examine the condition of the building in 1996. The Repair Experts Committee repeatedly discussed
the survey results and finally decided to restore the building to its former glory of 1916. The reason the
KIMURA
Kazuo

Committee decided to restore the building to the original appearance was that some materials and finishes
used at the time of its construction were still available and various surveys also confirmed that the lost
techniques applied to modified portions could be reproduced.
Based on this repair policy, a decision was made to restore the back brattice that had been lost in latermodifications. Although the portions above ground had been lost, excavation surveys revealed that most of
the brick foundation remained in its original state underground. In the excavation surveys, chipping marks on
the bricks to which the brattice had been attached appeared upon carefully removing portions of exterior wallmortar that had been applied in later years. Those marks showed the shape and cross section of the plane, andthe clarification of techniques through detailed surveys on the existing brick structure made it possible toreproduce the brick-laying technique used to construct the building in 1916.

− 160 −

Fig. 3: Plan of first floor in 1916, when the Assembly Building was constructed

KIMURA
Kazuo

Fig. 4: Elevation of north side in 1916, when the Assembly Building was constructed (back side)− 161 −

Fig. 6: Cross section of east approach in 1916,

Fig. 5: Elevation of east side in 1916, when the Assembly Building waswhen the Assembly Building was constructed

constructed (side)

KIMURA
Kazuo

Photo 5: Brick foundation of back brattice found in excavation survey

6. Structural Diagnosis and Determination of Reinforcement Method
The main part of the building was made of brick. Varied physical tests were conducted on the bricks andjoints of the building while confirming the techniques through surveys of the brick structure. In addition,
estimations were conducted by mixing joint mortar and measuring the compressive strength and tensile
strength of bricks, the compressive strength of joints and bricks, the adhesive strength of joints, and the shear
strength of joints.
A structural diagnosis of the brick structure carried out based on these test results disclosed that thestructure would suffer serious damage in case of a major earthquake (approx. 400 gal). Therefore, it was− 162 −

decided that structural reinforcement was necessary to maintain the building, and several reinforcement
methods were studied.
Of the reinforcement methods considered, all of which had been adopted for other buildings

designated as important cultural properties, the method of incorporating reinforcing bars and steel frames
into the brick structure was selected as the main scheme, as well as reinforcement of the foundation surface
with stainless panels and reinforced concrete. The reinforcement work was carried out carefully so as to
avoid damaging the interior and exterior of the building with reinforcing materials and to minimize damage
to the existing materials.
An order was placed for custom-made bricks with equivalent strength to that identified by the test
results. Brick-layered samples were prepared and combined with joints of different mix proportions as brickwall models, which were subjected to bending tests to check the strength of the reinforcing materials.

Mortar filling

Mortar filling

Recessed corner

61 mm

Projected corner

119 mm

227 mmInitially planned dimensions of brickFig. 7: Pattern diagram of identified bricklaying method− 163 −KIMURA
Kazuo

Three-quarter length bricks

Top end of wall
Lower end of eaves gutter cornice

Upper end of eaves gutter cornice
Lower end of eaves gutter cornice

3 layers of brick
5 layers of brick
4 layers of brick
5 layers of brickArch laying

Cornice brick

3 layers of brick
7 layers of brick
5 layers of brick

Wall thicknessof 2nd floor:
463.6 mmStep half of wall thickness
Wall thicknessof 1st floor:
581.8 mmArch laying

5 layers of brick

7 layers of brick
Upper end of window sill and cornice

KIMURA
Kazuo

Lower end of window sill and cornice

3 layers of brick
5 layers of brick

Upper end of plinth stone

7 layers of brick + vapor-barrier layer
Lower end of plinth stone

9 layers of brick
Upper end of footing

Base course

8 layers of brick
Upper end of foundation

Foundation concreteFig. 8: Cross section plan drawing of brick laying− 164 −

48-mm-thick stone sandwiched7. Reproduction of Traditional Techniques and Structural Reinforcement
To restore the lost back brattice, the bricks remaining as chipping marks on the existing back brick wall surface
were carefully removed by hand. Efforts were made to retain as much of the remaining brick foundation as
possible, and cracked and partly remaining bricks were removed by hand. This approach was required in order toreproduce the building as faithfully as possible using the techniques of 1916 and also to effectively preserve thematerials used at that time.
With regard to bricks and joints, on the other hand, the original shapes and dimensions in 1916 were exactly

reproduced by the techniques applied at the time of construction. However, the strength of the bricks and the mix
proportion of joint mortar complied with present-day standards. This approach was intended to ensure that thebrick structure of the brattice to be made by laying bricks in layers would have sufficient strength and safety.
However, the structural safety standards could not be met even by using bricks and joints complying withcurrent standards, so it was necessary to reinforce the structure by incorporating reinforcing bars at the stage oflaying the brick structure and placing circumferential girders on the tops of the walls of the brick structure.
Planning and design were conducted so that these conflicting factors would be resolved, the plans werecorrectly communicated to engineering personnel responsible for brick laying, and the work was executed under
careful supervision.

Main reinforcement ofcircumferential girder 6-D19
Circumferential girder ST D13 @200

D10 @ approx. 350
A top end hook is provided.

Vapor-barrier layer (2 sheets of slate)

Plinth stone
Granite dabbed finish

Vertical reinforcement
inside the brickD10 @ approx. 350

All brick and stone to be laid above
this level are new.

Restoration bricks were laid withthe reused foundation bricks
remaining underground.

Plain concrete foundation work
Thickness: approx. 350 mm,
width: approx. 600 mm

Fig. 9: Plan of back brattice to be restored

Cobblestones of 150 to 200 mm
are laid on end.

Fig. 10: Detailed cross-sectional drawing of brickwall of back brattice to be restored− 165 −KIMURA
Kazuo

Anchor: D10
Anchorage length: 40D
Embedding length: 20D
Epoxy resin adhesive used

8. Conclusion
This repair work successfully repaired and restored a lost brick structure, which is of great significance andshows that brick-making and brick layer techniques still exist in Japan.
The custom-made bricks for the work were manufactured by a brick manufacturer operating inHiroshima Prefecture, adjacent to Yamaguchi Prefecture. Today, demand for bricks is decreasing, andmanufactured bricks do not provide the functional main structure of buildings. They are manufactured asmaterials chiefly for pavement, gardens, and interior and exterior materials for buildings.
The profession “brick-layer” is no longer used by brick-laying craftsmen. Brick-laying techniques are

inherited only through “concrete block masonry.”


The future demand for constructing large-scale brick structures is expected to be extremely low, andbricks are seldom used in repair work on important cultural properties like the Assembly Building. The
restored back brattice of Yamaguchi Prefecture’s Old Prefectural Assembly Building was smaller than 20 m2.
Nevertheless, the experience obtained from the difficult work of assimilating the techniques adopted in 1916
with modern structural reinforcement techniques will be useful for many years to come.

Photo 6: The inside of the restored back brattice is used as ananteroom and hot water service room.

KIMURA
Kazuo

Photo 7: The north part of the restored back brattice is used as adepository.

− 166 −

Outline of a Project to Repair a Brick Building in Japan

1. Introduction– The Challenges of Reproducing Traditional Engineering and Structural Reinforcement –This paper outlines a project to repair Yamaguchi Prefecture’s Old
Prefectural Assembly Building, which is designated as an important culturalproperty. The large-scale repair project received a subsidy from the Agency
for Cultural Affairs, and cost 1.24 billion yen and 75 months to complete,from 1998 to 2004.

Yamaguchi Prefecture’s
Old Prefectural Assembly Building,which is designated as an important
cultural property, on the premises of
Yamaguchi Prefectural Office

Restoring the brick structure, part of which had been dismantled or modified
by later repairs, to its original state constructed in 1916 required not only
reproduction of the original design but also a safe design to withstand amajor earthquake and construction in compliance with the design standard.
The successful resolution of two conflicting factors, reproducing traditional
engineering and providing structural reinforcement by modern engineering,is described below.

Yamaguchi
Prefecture

The lost back brattice
was restored.

2. Overview of the Building

Appearance of completed front side andinside of assembly hall

Back side before
repair work

Name: Yamaguchi Prefecture’s Old Prefectural Assembly
Building designated as an important culturalproperty
Location: 1-1, Taki-machi, Yamaguchi, Yamaguchi
Prefecture
Type of building: Assembly reference libraryYear of construction: 1916
Structural type: Brick construction, two-story, slate roofing
Plane area: 776.252 m2
Total floor area: 1,279.214 m 2Completed back side

3. Flow of the Repair Work for Preservation
Investigation of current conditions
General survey on damage, specifications, and history, structural diagnosis, preparationof current condition drawings

Basic design (overall)
Review by the Repair Experts Committee, formulation of a plan for utilization, application to
the Agency for Cultural Affairs

Restored back brattice

Design for execution (first-half work)
Preparation of design documents for temporary work and dismantlement work

Launch of temporary work and dismantlement work
Supervision of temporary work and dismantlement work, detailed survey on damage, specifications,and history, structural reinforcement design

Review of repair policyPlan of first floor before
repair work

Review by the Repair Experts Committee, reassessment of the budget and work period, application
for modification to the Agency for Cultural Affairs

Design of execution (second-half work)
Preparation of design documents for repair work and assembly work

Supervision of repair work and assembly work, preparation of a repair work reportCompletion, opening to the public

Plan of completed first floor

5. Determination of Surveys and Repair Policy

4. Project Organization
Agency for Cultural Affairs
Approving and subsidizing
the project, and providing
guidance and advice on
details of the work

Application
for approval

Approval

Project operator:
Yamaguchi Pref.
Communicating its intent to exploit
and maintain the building as
proprietor to relevant organizations
and departments and coordinating
the entire project

Survey, design, supervision,and preparation of records
Japanese Association for Conservation ofArchitectural Monuments
・Resident chief engineer approved by the Agency
for Cultural Affairs
Office assisting with the structure
Office assisting with the equipment

Repair Experts Committee

Advancement ofrecommendations

Discussing and finalizing therepair plan
Committee members: 3
Advisers: 2

Various surveys began to examine the condition of the building in 1996.
The Repair Experts Committee repeatedly discussed the survey results
and finally decided to restore the building to its former glory of 1916. The
reason the Committee decided to restore the building to the original
appearance was that some materials and finishes used at the time of its
construction were still available and various surveys also confirmed thatthe lost techniques applied to modified portions could be reproduced.
Based on this repair policy, a decision was made to restore the backbrattice that had been lost in later modifications. Although the portions
above ground had been lost, excavation surveys revealed that most of thebrick foundation remained in its original state underground. In the
excavation surveys, chipping marks on the bricks to which the brattice
had been attached appeared upon carefully removing portions of exteriorwall mortar that had been applied in later years. Those marks showed theshape and cross section of the plane, and the clarification of techniquesthrough detailed surveys on the existing brick structure made it possible
to reproduce the brick-laying technique used to construct the building in
1916.

Completion ofwork

Report and result

Commission

Consultation

Order

Consultation

Shop drawing

Execution of work
JV between Obayashi Corporation and Bocho
Kensetsu Kogyo
・JV with the aim of developing local companies
・Temporary work and dismantlement work
・Repair work and assembly work
Subcontracting companies− 167 −KIMURA
Kazuo

Launch of repair work and assembly work

Back side before
repair work
Entire brick foundation found in ground excavation

Part of brick foundation found inground excavation

Chipping marks on the brick, towhich the brattice was attached,appeared beneath carefully
removed portions where exteriorwall mortar had been applied inlater years.

Marks of building remaining on exterior wall

6. Structural Diagnosis and Determination of Reinforcement Method

An order was placed for custom-madebricks with equivalent strength to that
identified by the test results. Bricklayered samples were prepared andcombined with joints of different mix
proportions as brick wall models, whichwere subjected to bending tests tocheck the strength of the reinforcing
materials.

The main part of the building was made of brick. Varied physical tests wereconducted on the bricks and joints of the building while confirming the techniquesthrough surveys of the brick structure.
A structural diagnosis of the brick structure carried out based on these test results
disclosed that the structure would suffer serious damage in case of a major
earthquake (approx. 400 gal). Therefore, it was decided that structural
reinforcement was necessary to maintain the building, and several reinforcement
methods were studied.

KIMURA
Kazuo

Of the reinforcement methods considered, all of which had been adopted for otherbuildings designated as important cultural properties, the method of incorporating
reinforcing bars and steel frames into the brick structure was selected as the main
scheme, as well as reinforcement of the foundation surface with stainless panels
and reinforced concrete. The reinforcement work was carried out carefully so as to
avoid damaging the interior and exterior of the building with reinforcing materials
and to minimize damage to the existing materials.
An order was placed for custom-made bricks with equivalent strength to that
identified by the test results. Brick-layered samples were prepared and combinedwith joints of different mix proportions as brick wall models, which were
subjected to bending tests to check the strength of the reinforcing materials.

7. Reproduction of Traditional Techniques and Structural Reinforcement
To restore the lost back brattice, the bricks remaining as chipping marks on
the existing back brick wall surface were carefully removed by hand.
Efforts were made to retain as much of the remaining brick foundation as
possible, and cracked and partly remaining bricks were removed by hand.
This approach was required in order to reproduce the building as faithfully
as possible using the techniques of 1916 and also to effectively preserve thematerials used at that time.

With regard to bricks and joints, on the other hand, the original shapes anddimensions in 1916 were exactly reproduced by the techniques applied at
the time of construction. However, the strength of the bricks and the mix
proportion of joint mortar complied with present-day standards. Thisapproach was intended to ensure that the brick structure of the brattice tobe made by laying bricks in layers would have sufficient strength andsafety.
However, the structural safety standards could not be met even by using
bricks and joints complying with current standards, so it was necessary toreinforce the structure by incorporating reinforcing bars at the stage oflaying the brick structure and placing circumferential girders on the tops of
the walls of the brick structure.
Planning and design were conducted so that these conflicting factors would
be resolved, the plans were correctly communicated to engineering
personnel responsible for brick laying, and the work was executed under
careful supervision.

− 168 −

Detailed cross-sectional drawing of brick wall ofback brattice to be restored
New custom-made bricks werelaid in harmony with theremaining brick foundation andthe wall surfaces.

Main reinforcement ofcircumferential girder 6-D19
Circumferential girder
ST D13 @200
D10 @ approx. 350
A top end hook is provided.

Vapor-barrier layer(2 sheets of slate)

Plinth stone
Granite dabbed finish
Anchor: D10
Anchorage length: 40D
Embedding length: 20D
Epoxy resin adhesive used

Vertical reinforcement
inside the brickD10 @ approx. 350

All brick and stone to be laid
above this level are new.
Restoration bricks were laidwith the reused foundation
bricks remaining
underground.
Plain concrete foundation work
Thickness: approx. 350 mm,
width: approx. 600 mm

Cobblestones of 150 to
200 mm are laid on end.

On the arch over the entrance,
bricks were laid using the same
original technique as otherremaining portions of thisbuilding.

Brick structure of completedback brattice and subsequentroof frame work

8. Conclusion

The inside of the restored
back brattice is used as ananteroom and hot water
service room. The north partof the restored back brattice
is used as a depository.

This repair work successfully repaired and restored a lost brickstructure, which is of great significance and shows that brick-making
and brick layer techniques still exist in Japan.
The future demand for constructing large-scale brick structures is
expected to be extremely low, and bricks are seldom used in repair
work on important cultural properties like the Assembly Building.
The restored back brattice of Yamaguchi Prefecture’s Old Prefectural
Assembly Building was smaller than 20 m2. Nevertheless, theexperience obtained from the difficult work of assimilating thetechniques adopted in 1916 with modern structural reinforcement
techniques will be useful for many years to come.

KIMURA
Kazuo

Holes were drilled from the top of the brick exterior walls,
which are 57 cm and 46 cm in thickness on the first floor
and the second floor, respectively, then 10-meter-high, 25mm-diameter reinforcing bars were inserted, and shrinkagecompensating mortar was poured into the holes.

Structural reinforcement
performed at this time tomaintain the brick structure

The foundation was reinforcedby forming a 30-cm-thickconcrete slab.

− 169 −

The brick walls of the assembly
hall were reinforced by fastening
3-mm-thick stainless steel panelswith bolts.

The existing wooden parts
were removed intact from theinside of the brick walls, andthe horizontal surface wasreinforced by fastening steel
materials with bolts.

The corridor floor surface of thesecond floor was reinforced byembedding 3-mm-thick boxformed stainless steel frames.

This building is no longer used as the Assembly Building but is open to the
public as the assembly reference library after the repair work.
It is also used for lectures and various other purposes.

KIMURA
Kazuo− 170 −

Restoration of Historic Natural Stones in the Past
Decade in China – Case StudyDAI Shibing
Professor / Director
College of Architecture and Urban Planning, Tongji University
Conservation Centre of Architectural Heritage

1. Introduction
Natural stones are one of the most important construction materials worldwide, same as in China. They
include grottoes, monuments, commercial buildings as well as bridges etc. Some of monuments andhistoric architecture in China have been restored in the last decade with different technology and materials.
3 typical cases will be reported in this paper, they are Monument Zhang Peijue, Chongqing, West China.
Clock Tower of Custom House Bund No 13 in Shanghai and Golden Bridge Tiananmen Square in Beijing.
2. Case 1: Restoration of Monument Zhang Peijue, Chongqing, West China
2.1 Martyr Zhang Peijue
Zhang Peijue˄1876ˉ1915˅
ˈ borne in Rongchan Chongqing was revolutionist. In April 1915 he waskilled in Tianjin by Yuan Shikai. To commemorate his achievements to establish the Republic ofChina, the Kuomintang Central Executive Committee decided to build a "monument Zhang Pei
Jue" in Chongqing Battery Street (now Chongqing Chang Bai Road). In July 1944, the monument wascompleted.
2.2 Defects
The monument is made from sandstone and marble. It suffered severe damages after over 50 years exposure
to weathering.

DAI
Shibing

Fig. 1: Monument Zhang Peijue (from left to right: (1)before restoration in 1999, during
restoration in 2000, (3) 10 years after restoration; (4) new restoration in Summer 2011)1− 171 −

In 1999 the local cultural administration decided to restore the monument. Based on visual inspection,
following defects of sandstone have been found: crust formin, sanding, discoloration, algae growth, etc. But
only surface solving has been found on the marble.
2.3 Restoration implementation in 2000
Based on the restoration plan done by former China National Institute for Cultural Properties in Beijing,
following workflow was specified: remove delaminated stone; surface cleaning with water jet; consolidation
with ethyl silicate to the entire old stone surface; surface reprofile with restoration mortar (off-white) from
Germany; surface colour-matching with restoration mortar mixed with old sandstone particles. After curingof the restoration mortar, all surfaces (both old sand stone and new mortar) were consolidated with ethyl
silicate. As final coat the solvent-based clear siloxane was applied to make the entire surface water repelling.
The water absorption was tested after completion of the entire restoration.
2.4. Inspection after 10 years exposure
After 10 years, the restored monument was visually inspected and found, the surface of both old and newmaterials are intact. Especially no further weathering was identified in the contact area between new mortar
and old stone. However the color of the surface was turning into off-white (restoration mortar’s color).
Algae were found on top of the monuments. 


















Fig. 2: restoration details after 10 years exposure (taken in 2010, left) and new staining (taken in 2011)

2.5 Maintenance in 2011/11/18
To celebrate the Revolution of 1911 (the Chinese bourgeois democratic revolution led by Dr, Sun Yat-sen
which overthrew the Qing Dynasty), in summer 2011 the monument was desalinated, consolidated andstained into green color, similar to revolution’s colour 100years ago.
DAI
Shibing

3. Case 2: Restoration of the clock tower of Shanghai Customs House(Bund No. 13, Shanghai)
Shanghai Customs House (Bund No.13) was built in 1927, it is originally named Jianghai Custom House. It
is considered as one of the symbols of the Bund in Shanghai.

It is topped by a clock tower, which is 11

storeys or 90 meters tall, which represents Shanghai geographically. The façade of the clock tower issurfaced in granite and Shanghai plaster.

2− 172 −

In 2006 because of leakage, the clock tower was restored with following methods:(1) cleaning with high pressure water jet to remove dust;(2) cut and vacuum the open joint;(3) reprofile the delaminated granite with restoration mortar formulated with granite particle;
Craftsman surface treatment with historic technique to reach a similar texture as original;(4) the joints were prefilled with traditional mixture of lime, TUNG oil and hemp fibre;(5) as finishing, the joints were pointed with lime-based mortar;(6) solvent-based siloxane was applied to the entire façade especially the joint to improve the rainwater tightness.
After 6 years exposure, the lime-based mortar joints are still rain water-tight.

Fig. 3: craftsman surface treatment with historic technique (left) and details after restoration (right)

DAI
Shibing

Fig. 4: The clock tower of Custom House Bund No 13, Shanghai (Before 2006 and after restoration
2008)
3


− 173 −

4. Case 3: Restoration of the Golden Bridge, Tiananmen Square in Beijing
4.1 History
The Forbidden City was the Chinese imperial palace from the Ming Dynasty to the end of the Qing Dynasty.
It is located in the middle of Beijing, China, and now houses the Palace Museum. For almost 500 years, it
served as the home of emperors and their households, as well as the ceremonial and political center ofChinese government. The Forbidden City was declared a World Heritage Site in 1987, and is listed by
UNESCO as the largest collection of preserved ancient wooden structures in the world. Built in 1417, thegolden bridge was the pathway to the Forbidden City. Historically there were totally 7 bridges, but only 5 arepreserved. white-grey marble from were laid on top of clay brick sub ground, all open joints were
historically filled with lime milk.
4.2 Causes of Defects
Before restoration, the marble stone was damaged by many factors. Because of inhomogeneous properties of
expansion and shrinking of calcite mineral (main component of marble stone) the marble turns to become
fragile under changes of daily temperature.
However severest damages of marble were caused by wrong restoration done a few years ago. The huge
pieces of delaminated marble were replaced with concrete and all open joints were filled with cement mortar.
The high strength of concrete and water-soluble salts in cement accelerated the delamination.

Fig.5: Cement mortar damages historic marble stone

4.3 Specification
To prepare 70th anniversary celebration of the PR China, the bridges were decided to be restored.
DAI
ShibingFig.6: Methods to restoration (from left to right: replacement, piece-in and re-profile)4− 174 −

All old cement mortars and concrete were removed. Where the marble was heavily damaged, replaced by
new marble from the same mine as original. Piece-in technique was also used to preserve as much as
possible historic materials. For the re-profile, a new natural hydraulic lime-based mortar with marble
aggregate had been developed. All open joints were filled with lime mortar.

Fig. 7: Yulu Qiao (Emperor Bridge) before, during and after restoration

5. Comments and Prospects
The Monument of case 1 was restored with modernist materials of 20th century from Germany and applied
as a trial project to test if the modern technology can save guard stone monument. The preliminary
inspection after 10 years proves it’s success, however if the colour of the restoration mortar would have beenadjusted to original sandstone, it could have become a perfect restoration project.
The case 2 shows the combination of traditional skills, traditional materials and modern technology can
improve the durability of architectural heritage.

stones in China. Today lime is becoming one of the dominant materials for conservation and restoration of
our architectural heritage.
Today, more efforts have been given to investigate the real causes of defects and monitor of environments.
Nondestructive technology like desalination will be more applied in future.

5− 175 −DAI
Shibing

The case 3 is the first application case of natural hydraulic lime (NHL) as binder for restoration of natural

Fig. 8: Documentation, Monitoring, Diagnosis, Intervention Guia Chapel Macao

Fig. 9:Desalination before restoration in Shanghai

DAI
Shibing6− 176 −

޵ᇩᨀ㾱 Content -Newѣള়ਨ⸩ᶆ‫ؤ‬གྷॷᒪ Ṿׁ࠼᷆

1. Transmission of Traditional Skills: Tongji
Approaches-Research Projects,
Conference, Seminar, Workshops etc. ਼⍾ഒ䱏൘Ր㔏ᢰ㢪ᯩ䶒Ⲵᐕ֌
2. Architecture Conservation Laboratory ofTongji University਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᢰᵟѝᗳӻ㓽
3. Case Studies Ṹֻ࠶᷀

Restoration of historic naturalstones in the past decade in
China – case studyᡤԅ⛣ˈ ᗧഭ㠚❦、ᆖঊ༛ˈ ᮉᦸ
By Prof. Dr. rer.nat. DAI Shibing਼⍾བྷᆖᔪㆁ෾㿴ᆖ䲒 CAUP Tongji Univrsityশਢᔪㆁ‫؍‬ᣔѝᗳ ѫԫ㓴㓷Ⲵ䟽㾱ഭ䱵Պ䇞
Training Activities 2008-2011

Transmission of Traditional Skills: Tongji
Approaches-Conference, Seminar, Workshops਼⍾ഒ䱏൘Ր㔏ᢰ㢪ᯩ䶒Ⲵᐕ֌ Research Program、⹄˖ Āվᢰᵟ‫؍‬ᣔāLow Tech઼Ā、ᆖᙗ‫؍‬ᣔā 㔃ਸHigh-Teche. g. National R& D fund project: System of Low Techfor Heritage Architecture: Conservation and New
Construction
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Sustainable Building Restoration
And Building Physics in 2008Ā䘁⧠ԓশਢᔪㆁ‫؞‬㕞ᢰᵟ⹄䇘⨝ā 2009
1st Workshop on Building
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Architecture Conservation Laboratory/CAUP Tongji University਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᇎ傼ѝᗳӻ㓽

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Documentation

᮷ઈᾬ 2ᾬ 2nd Floor, Wenyuan BuildingArchitecture Conservation Laboratory/CAUP Tongji University਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᇎ傼ѝᗳӻ㓽

Architecture Conservation Laboratory/CAUP Tongji University਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᇎ傼ѝᗳӻ㓽ᶀᯉỰ⍻ǃ⯵ᇣ䇺ᯝо‫༽؞‬ᢰᵟ—ԕ⎧ਓ僁ᾬ㘱㺇⚠ກѪֻ,QYHVWLJDWLRQRI/LPH3ODVWHULQ+DLNRX ⢩㢢 ̢ ᔪㆁ⸣⚠ᢰᵟ
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Architecture Conservation Laboratory/CAUP Tongji University਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᇎ傼ѝᗳӻ㓽Case Study↖ཧኡц⭼᮷ॆ䚇ӗ᪙ፆ⸣࡫⧠⣦ᇎᖅᢰᵟ৺᧿ᆇᶀᯉᢰᵟ⹄ウ

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Case Ṹֻ3˖ेӜཙᆹ䰘䠁≤ẕ
Golden Bridge of
Forbidden City
Beijing
1417/2009

Case Ṹֻ1˖䟽ᒶᕐษ⡥⻁
Monument Zhang
Peijue Chongqing
1944, 2000

Case Ṹֻ2˖к⎧⎧‫ޣ‬䫏ᾬ-2006,
Tower of Custom House
Shanghai Bund
1920/2006⸲ዙ⯵ᇣDefects ofsandstone˖ 䎧༣crust ㊹ sanding ਈ㢢 discolouration 㤄㰃 algae ㅹㅹetcᕖฯ⡫διεθᆍࡍӊθ䠃ᒼ㦙᱂ӰȾ䗑ӛ䶟ળᇬȾᒪᴾθᇼ䉁䇞Ն㺷ьࠥθћিᤈ㔓㺷ьࠥⲺ࡟䈧θ㻡ᵶӄཟ⍛Ⱦᒪᴾθ⭧ള≇‫ސ‬ѣཤᢝညՐߩᇐ‫ؤ‬ᔰⲺćᕖ⛾༡ฯ⡫㓠ᘫ⻇Ĉ൞䠃ᒼ⛤ਦ㺍δԀ䠃ᒼᐸ⋝ⲳ䐥εㄙᐛ㩳ᡆθԛ㓠ᘫᕖฯ⡫Ѱᔰ㄁≇ള㄁сⲺࣕ㔟Ⱦ
%RUQHLQ5RQJFKDQ&KRQJTLQJUHYROXWLRQLVW,QApril⸲ዙ⯵ᇣ
Defects of marble˖
 VXUIDFHVROYLQJ⸲བྷዙ⨶
sandstone ⸣

1915 was killed in Tianjin by Yuan Shikai.
July 1944, the Kuomintang Central Executive Committee decided to build a"monument Zhang Pei Jue" in Chongqing Battery Street (now Chongqing
Chang Bai Road) were completed, to commemorate his Achievements toestablish the Republic of China Zhang Pei Jue.
1999 Before restoration

10ᒤਾ10years later-2010ᒤ‫༽؞‬ᐕ㢪restoration ࢄ䲔ᔰ㻲ˈ ㊹ॆ⸣ᶀremove
delaminated stone㺘䶒ᵰ㧼ˈ␵⌱surface cleaning ⹵䞨҉䞟໎ᕪconsolidation with ethyl
silicate 㕪ᦏ䜘࠶‫༽؞‬surface reprofile withrestoration mortar⸲⍶Ӿᗧഭ䘋ਓˈ ⚠ⲭ㢢(off-white) from
Germany 㺘䶒࣐⸲ዙ㊹֌㢢surface colourmatching with mortar +sandstone particle⹵䞨҉䞟໎ᕪconsolidation with ethyl
silicate ᴹᵪ⹵ើ≤༴⨶water repelling
impregnation with siloxane

2000 ‫⧠༽؞‬൪㓚ᘥ䗋ӕ䶙ભ100ઘᒤ
-2011ᒤᮤ‫ ؞‬Maintenance in 20112011ᒤ9 ᴸ− 179 −DAI
Shibing10ᒤਾⲴ㓶䜘
details between old and new after 10yearsṸֻ2˖к⎧⎧‫ޣ‬䫏ᾬ
- 2006ᒤᶀ䍘࠶᷀ – 䠁ኡ⸣Material testing: typical granite from SuzhouЬ к⎧⎧‫ޣ‬བྷᾬᱟᒤ᣶䲔ᰗቻˈҾᒤᔪᡀаᓗ㤡ഭᔪㆁᐸ䇮䇑ǃ⎖ьᐍ⋉ॐӪᶘᯟⴋѫᤱᔪ䙐Ⲵቲ⹆ᵘ㔃ᶴⲴ㤡ഭକ⢩ᔿᾬᡯǄᒤ৸᣶䲔ᰗቻ䟽ᔪˈҾᒤᓅ㩭ᡀˈণ⧠བྷᾬˈо䳽ᇩި䳵Ⲵ≷Ѡ䬦㹼བྷ喀㛙ᒦࡇˈ⴨ᗇ⳺ᖠˈ㻛〠Ѫ≷Ѡ䬦㹼ⲴĀက࿩ᾬāǄЬ䫏ᾬᰇᵶս㖞൘ൠ⨶඀ḷь㓿eĄąˈे㓜eĄąˈѪк⎧ൠ⨶ս㖞Ⲵḷᘇ⛩ˈ਼ᰦҏཆ┙ᔪㆁѝкᴰ≄⍮ᴰབྷ㘵Ǆ䫏ᾬࡉѪⅼ⢩ᔿˈᴹॱቲᾬ儈ˈᱟԯ㖾ഭഭՊབྷ৖Ⲵབྷ䫏ࡦ䙐ˈ൘㖾ഭ䙐ྭਾ䘀ࡠк⎧㓴㻵Ǆᦞ䈤㣡Ҷⲭ䬦ॳཊєˈᱟӊ⍢ㅜаབྷ䫏ˈҏᱟц⭼㪇਽བྷ䫏ѻаǄ⎧‫ޣ‬བྷᾬᏽ❦ኩ・൘⎖⊏ѻ┘ˈᆳ䛓䬯䭥ǃ◰ᰲⲴ䫏༠䊑ᖱ⵰ᒴѕˈ䊑ᖱ⵰֯ભǄ
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Traditional cross section profile of Joints,
Clock Tower Custom House, Shanghai

Restored granite stone‫Ⲵ༽؞‬㣡዇⸣Composition of Lime Filler:
Slaked Lime
+Tung Oil
+ Hemp Fiber

Graniteশਢᐕ㢪Traditional skill
To reach thehistoric surface

lime
filler

Old Lime Mortar

Stain of TUNG Oil
GraniteModernized cross section profile of Joints,
Clock Tower Custom House, Shanghai≤ࡧ⸣‫؞‬㕞᭸᷌
Restored Shanghai-plaster

GraniteSiloxane
Impregnation

Old Lime Mortar

New limefillerGranite৏࿻≤ࡧ⸣
Original Shanghai plaster

Lime
sand
mortarAdvantage:-New lime filler will curevery slow, work as rubber- clean surface- rain water tight evenunder Horiconᯠ‫⸣ࡧ≤༽؞‬New Shanghai plaster

DAI
ShibingCaseṾׁ3φк⎧⎧‫؞ޣ‬㕞‫؍‬ᣔࡽਾሩ∄Bell Tower before and after restorationཟᆿ䰞䠇≪ẛ≿ⲳ⦿‫ؤ‬གྷ
restoration of golden bridge of Tiananmen
Square, 2009䇴䇗ঋփφेӜਔᔪ⹄ウᡰArcht: Beijing Inst Anc. Architecture᯳ᐛঋփ˖ेӜᘰᔪ䳶ഒᶆᯏ⹊ਇφ਼⍾བྷᆖশਢᔪㆁ‫؍‬ᣔᢰᵟᇎ傼ᇔᶆᯏ‫ב‬ᓊφк⎧ᗧ䎋๑‫ޜ‬ਨ

− 180 −

ẕ䶒Ⲵ⹤ൿ〻ᓖDefects of thebridge surface before restoration

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˄ࣣࣘӪ≁᮷ॆᇛ˅઼⽮でඋ˄ѝኡ‫ޜ‬ഝ˅䰘ࡽⲴєᓗẕ∄૱㓗ẕ䘈ゴˈਛĀ‫⭏ޜ‬ẕāˈ‫׋‬ഋ૱ԕлᇈઈǃ‫ޥ‬ᔱǃཛᖩᶕᖰ֯⭘ⲴǄ⧠൘ӪԜⴻࡠⲴ䘉єᓗẕᐢнᱟ᱄ᰕⲴĀ‫⭏ޜ‬ẕāˈ䶒ᱟ䀓᭮ਾᢙᔪˈẕ䓛࣐ᇭѪ11.8㊣Ǆཙᆹ䰘սҾेӜᐲѝᗳˈ৏Ѫ᰾ǃ␵єᵍⲷ෾Ⲵ↓䰘Ǆ࿻ᔪҾ᰾≨Ҁॱӄᒤ˄1417ᒤ˅ˈ৏਽Ā᢯ཙ䰘āˈ␵亪⋫‫ޛ‬ᒤ˄1615ᒤ˅᭩ᔪਾ〠Āཙᆹ䰘āǄ≤⌕⸲⍶‫༽؞‬repaired with cement mortar

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− 181 −

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Thank you for your attention!
⅒䗾৲㿲ᤷሬʽ
᮷䘌ᾬRoom113˄⹆⸣⚠൏stone brick˅/᮷䘌ᾬRoom105˄ᵘᶀ‫؍༽؞‬ᣔwood˅⭥䈍˖021-65982265ˈ
www.tongji-acl.org
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GHVDOLQDWLRQ䠁≤ẕẕ䶒⌋⻡ˈ ⋑ᴹᰦ䰤䘋㹼ᧂⴀ− 182 −

III. Recommendation

− 184 −   Recommendations of International Conference 2011


“Human Resources Development for the Transmission of Traditional Skills:
National Approaches and their Application to Stone and Brick”

1. Nature of Cultural Heritage in Stone and Brick• Cultural heritage in stone and brick in Asia, although considered very durable because of thenature of the material, transmits rich knowledge on traditional skills that need to be considered fortheir conservation.
• Conservation approaches for cultural heritage can be classified on the basis of its scientificunderstanding and various values identified in local context. Moreover these should take into
consideration the hybrid/composite nature of these structures as they utilize various materials andtechniques besides stone or brick.
• Each of the two broad categories calls for special consideration of authenticity of material, design,
usage, workmanship and conservation interventions (including protection, repair, restoration andreconstruction).
• Cultural heritage in stone and brick is specific to its local context representing cultural diversity of thepeople. However it should be noted that exchange of ideas have added to the cultural diversity in Asia
especially in the case of 20th century/modern heritage.
• Cultural heritage in stone should be seen as a process consisting of selection of appropriate type ofstone from quarries, their cutting, laying, pointing and carving. In case of brick, it should be seen as aprocess that ranges from brick manufacturing including selection and mixture of appropriate types ofclay and sand in correct proportions, molding, and traditional facilities such as kilns fired at specifictemperature as well as brick laying and pointing. In many cases, each task is specialized bycraftspeople. This process needs to be properly understood for deciding appropriate interventions forconservation, repair and restoration
• There is a close link between tangible heritage values (product=building) and intangible values(process = skills and workmanship) in stone and brick cultural heritage.
• Therefore cultural heritage should be seen as a compendium of traditional knowledge systems on
construction as well as care and maintenance of buildings. This knowledge is orally transmitted among
generations and is sufficiently documented in historic texts and material evidences manifested in− 185 −

heritage itself. It is possessed by various kinds of people including craftspeople, architects andreligious leaders. Moreover it is characterized by continuity of use, community relationships, careand expressions.


2. Threats to Traditional Skills in Stone and Brick•

Traditional craftspeople are leaving their profession in search of other sources of livelihood since
there is not enough market for their skills. This is partly due to larger impact of globalization andeconomic development. This has especially resulted in gradual loss of traditional knowledge in(re)construction, maintenance and repair.

•

Loss of craftspeople is also attributed to their low social and economic status in various regions of
Asia.



•

Although in most parts of Asia, stone craftspeople are still available, there is greater emphasis onquantity at the cost of the quality of workmanship. On the other hand, master craftspeople are very few
and expensive to employ.

•In many cases, cultural heritage in stone and brick is also confronted with issues of safety
especially against natural disasters such as earthquakes. This may be due to their vulnerability
resulting from higher requirements in the contemporary society as well as inherent problems inconstruction and lack of maintenance.

•Vernacular constructions in brick and stone in rural and urban areas are generally not recognized ascultural heritage to be protected and thus are being gradually replaced with contemporary constructions
that are insensitive to local context.

•Lack of resources and policies in traditional building skills in stone and brick is one of criticalchallenges.


3. Principles of Conservation, Repair and Restoration
• Depending on the nature of heritage (archaeological/monumental or living heritage), appropriate
interventions should be considered; ranging from cleaning and consolidation to repair, restoration andrebuilding of heritage buildings with emphasis on material as well as structure by utilizing
traditional skills. The former would require research and practice in conservation science thatseeks to protect the original fabric while the latter seeks continuity of skills while incorporatingchanging needs of inhabitants.

− 186 −

• It is important to record and document the entire conservation/repair/restoration process rather thanmerely the final product (structure).
• It is important to consider viability of high quality of workmanship in restoration based on
appropriate evidence-based scientific research by analyzing the authenticity in terms of materials, tools
and skills. The extent of their application would be dependent on the nature of heritage.
• Various measures should be adopted to upgrade living heritage buildings to enable lower energy
consumption for ecological considerations.
• Upgrading vernacular housing to meet contemporary needs with minimal compromise of values
should be encouraged.
• Optimum safety requirements should not be compromised for the protection of values. Therefore risk
reduction measures should be integrated in conservation, repair and restoration of cultural heritage.

4. Recommendations for Regeneration and Transmission of Traditional Skills in Stone andBrick• Conservation of urban cultural heritage in stone and brick needs to be integrated with planningpolicies and guidelines to encourage its regeneration through adaptive reuse.
• To ensure the transmission of traditional techniques, intellectual property rights of craftspeople
should be considered through appropriate laws and regulations.
• Professional education in the fields of engineering and architecture should include construction,
repair, restoration and retrofitting techniques in traditional stone and brick buildings.
• Vocational training in traditional material and construction techniques in brick and stone should be
imparted to the younger generation.
• Research on traditional materials and tools should be promoted by recording living crafts/skills,
historic texts as well as through physical evidences in buildings. Applied research for development ofphysically, socially and economically appropriate materials and techniques for conservation, repair andrestoration of cultural heritage in brick and stone should be encouraged.
• Older craftspeople should be encouraged to transfer their skills to younger generation. To support
livelihoods of traditional craftspeople, subsidies should be provided by the government. Otherappropriate measures for increasing livelihood opportunities for craftspeople especially younger− 187 −

generation should be considered• It is important to build capacities of practitioners (those with direct responsibilities of heritage),institutions (decision and policy makers) as well as community networks. Administrators shouldespecially be made aware of the importance of conserving and restoring cultural heritage.
• Adaptation of traditional techniques in brick and stone should be encouraged for contemporary
constructions to ensure their sustainability and viability. Where possible and appropriate, combinationof traditional and contemporary materials and technology should be encouraged for new constructions.
• Considering the similarity of traditional materials and techniques and various regional influences,international cooperation especially among academic and research institutions for conservation, repair
and restoration of stone and brick heritage should be strengthened while respecting the diversity ofcultural heritage• An integrated team consisting not only professionals and experts but also craftspeople should beestablished for undertaking conservation works.
• Awareness about traditional materials and constructions and their appropriateness for local
environment should be raised among general public.

− 188 −

IV. Appendix

− 190 −1. General Information of the Conference

International Conference 2011

“Human Resources Development for the Transmission of Traditional Skills:
National Approaches and their Application to Stone and Brick”(6 – 8 December 2011, Shanghai, China)

1. OrganisersThis conference is jointly organised by Agency for Cultural Affairs, Japan (Bunkacho); the Asia-Pacific Cultural
Centre for UNESCO; the National Institutes for Cultural Heritage, National Research Institute for Cultural
Properties, Nara and Tokyo; WHITRAP Shanghai; Tongji University; and Shanghai Tongji Urban Planning &Design Institute in cooperation with the JAPAN ICOMOS National Committee, the Japanese Association forConservation of Architectural Monuments (JACAM).

2. Background and Objective
The International Conference 2011 is the second in a series, held once each fiscal year and expected to continue
for several years, under the general theme of “Human Resources Development for the Transmission of Traditional
Skills”.
The first conference aimed at a common understanding of the theme’s current status by presenting different
national approaches to the restoration of historic buildings. It also highlighted ways of posting experts on sites toguide and supervise the repair work, examples of different legislation and measures for training conservation
experts with traditional skills and for procuring traditional materials, and the actual operations at work sites. We
also deepened discussion on how to transmit traditional skills and materials for restoration, while taking acomprehensive view of both tangible and intangible cultural heritage. The subtheme of the first conference was
woodworking, and practical aspects of the repair work were discussed in detail.
Following up on the first conference, the subtheme of the second will be stone and brick, as seen in structures
such as stone monuments, stone walls, building foundations, bridges, retaining walls and brick buildings. Casestudies of repair work using traditional techniques and materials will be examined from each country in the
Asia-Pacific region, while aiming to share information on the latest scientific technology for use in making
judgments at the stage of preliminary investigation, and on methods for assessing the current condition of theproperties.

3. Dates and Venues
Dates: From Tuesday, 6 to Thursday, 8 December 2011
Venues: Tongji Urban Planning Conference Center, Tongji University (Shanghai), etc.

− 191 −

4. Provisional Schedule
Day 1(Tuesday, 6 December)
09:00 ~ Opening Session
09:30 ~ Keynote Speech I㨪III
13:50 ~ Case Study Report I – IV
Day 2 (Wednesday, 7 December)
10:00~15:00 Participants will visit to three restored historic buildings in Shanghai under the guidance of
Mr WANG Anshi.

Day 3

5.

(Thursday, 8 December)
09:30 ~ Presentation of Case Study Report
13:10 ~ General Discussion
16:00 ~ Closing Session

V-VIII

Working Language

The working language of the conference is English. Simultaneous interpretation between English and Chinese (orJapanese) will be provided when necessary.

6. Financial Arrangement
Organisers will provide each of the participants with:
1. Travel expenses: A round trip air ticket (economy class) designated by organisers between the international
airport nearest to the participant’s residence and Pudong (Shanghai) Airport.
2. Accommodation and meals during conference session.

7. Correspondence
All enquiries and correspondence concerning the Conference should be addressed to:

ACCU Nara
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
575 Horen-cho, Nara 630-8113 JAPAN
Tel: (+81) 742-20-5001 Fax: (+81) 742-20-5701
e-mail: nara@accu.or.jp



WHITR-AP (Shanghai)World Heritage Institute of Training and Research for the Asia andthe Pacific Region under the Auspices of UNESCO (Shanghai)
3F Wen Yuan Building, Tongji University
No. 1239 Siping Road, Shanghai 200092 P.R. CHINA
Tel & Fax: (+86) 21 6598 7687
e-mail: whapshanghai@gmail.com− 192 −

2. Schedule of the Conference
Day 1 (Tuesday, 6 December)
09:00- 09:30

Opening Session

Welcome addresses by organisers and guests: Mr ZHOU Jian, Director of WHITRAP (Shanghai); MrNISHIMURA Yasushi, Director of ACCU Nara; Mr WU Jiang, Vice-President of Tongji University; Mr
MOTONAKA Makoto, Chief Senior Specialist for Cultural Properties, Agency for Cultural Affairs, Japan; Mr
HOU Weidong, Vice-Director & Chief Engineer, Chinese Academy of Cultural Heritage.
09:30 -10:15 Keynote Speech I: Mr Gamini WIJESURIYA (ICCROM)“Tapping Stone and Brick: In Search of Traditional Skills and their Continuity”
11:00-11:45 Keynote Speech II: Mr HOU Weidong (China)“Introduction to Ancient Brick and Stone Buildings and its Conservation Restoration in China”
11:45-12:30 Keynote Speech III: Mr MOTONAKA Makoto (Japan)“The Japanese Protection System for Preservation Technique for Traditional Stone Wall”
13:50-14:25

Case Study Report I: Mr Arnulfo DADO (Philippines)“Current Issues and Future Tasks for Conservation of Stone and Brick Structures in Philippines”
14:25-15:00 Case Study Report II: Mr Soeroso (Indonesia)“Problems and Solutions of Cultural Heritage Made from Bricks Conservation in Indonesia”
15:20-15:55 Case Study Report III: Mr WANG Anshi (China)“Practical Experiences and Thoughts during the Protection of Shanghai Historic Buildings”
15:55-16:30 Case Study Report IV: Ms Sangeeta BAIS (India)“Conservation of World Heritage Site of Humayun’s Tomb, New Delhi”
18:00-20:00 Reception
Day 2 (Wednesday, 7 December)
Excursion: Participants visited four restored historic buildings in Shanghai under the guidance of Mr Anshi Wang,
Mr ZHANG Lai’en (Yifeng Bank), Mr HOU Jianshe (Bund 18), Mr LIU Shen (Sinan Mansion) and Mr BU
Jianmin (Yong Quan Fang).
Day 3 (Thursday, 8 December)
09:30-10:05
10:05-10:40

11:00-11:35

11:35-12:10
13:10-16:00
16:00-

Case Study Report V: Mr Jude Nilan COORAY (Sri Lanka)“Current Issues of and Future Tasks for Conservation of Stone and Brick Structures in Sri Lanka”
Case Study Report VI: Mr JO Sangsun (Rep. of Korea)“Current Issues of and Future Tasks for Conservation of Stone and Brick Cultural Heritages andTraditional Techniques in Korea”
Case Study Report VII: Mr KIMURA Kazuo (Japan)“Outline of a Project to Repair a Brick Building in Japan: The Challenges of Reproducing
Traditional Engineering and Structural Reinforcement”
Case Study Report VIII: Mr DAI Shibing (China)“Restoration of Historic Natural Stones in the Past Decade in China – Case Study”
General Discussion: All participants“Human Resources Development for the Transmission of Traditional Skills”
Closing Session1− 193 −

3. List of Participants
ICCROM
Gamini WIJESURIYA
Project Manager
ICCROM (International Centre for the Study of the
Preservation and Restoration of Cultural Property)
e-mail: gw@iccrom.org

YANG Hui
Deputy Director
Suzhou Gardening and Green Administration Bureau‫ޝ‬Site Visit‫ޞ‬
HOU Jianshe
Chief Engineer

CHINA
ZHOU Jian

Kangye Architecture and Decoration Engineering Co., Ltd

Director
World Heritage Training and Research Institute for
the Asia and the Pacific Region, under the auspices of
UNESCO (Shanghai)e-mail: whapshanghai@gmail.com

ZHANG Lai’en
Manager, Development and Design Department,
Shanghai Bund Investment GroupLIU ShenManaging Director, Sinan Mansion

HOU Weidong
Vice-Director / Chief Engineer
Chinese Academy of Cultural Heritagee-mail: houweidong@263.net

BU Jianmin
Deputy Manager
Shanghai JingAn Architecture and Decoration Co., Ltd.

WANG Anshi
Deputy Director
Expert Committee of Shanghai Architecture Academyof Historic Buildings Conservatione-mail: as_wang70@yahoo.com.cn

DAI Shibing
Professor
College of Architecture and Urban Planning
Tongji University
e-mail: ds_build@163.com

DU Xiaofan
Cultural Heritage Conservation Specialist
UNESCO Beijing Officee-mail: xf.du@unesco.org

ZHANG Song

INDIA
Rohit JIGYASU
Professor
Research Centre for Disaster Mitigation of
Urban Cultural Heritage, Ritsumeikan University
e-mail:rohit.jigyasu@gmail.com
URL:http://www.rits-dmuch.jp/en/

Sangeeta BAIS
Programme Officer, Conservation WorksAga Khan Trust for Culture
e-mail: sangeeta.s.bais@gmail.com

INDONESIA
Soeroso

Professor
College of Architecture and Urban Planning
Tongji University

Senior Staff
Directorate General of Archaeology and Museum
Ministry of Education and Culture
e-mail: soeroso@bit.net. id

HU Xiangcheng

Boedi Ariyanto Yoesoef

ArtistHead of Conservation Division
Directorate General of Archaeology and Museum
Ministry of Education and Culture
e-mail: byoesoef@yahoo.com‫ޝ‬Opening Ceremony‫ޞ‬
WU Jiang
Vice President, Tongji University− 194 −

PHILIPPINES
Arnulfo DADO
Architect / Museum Curator II
Philippines National Museum
e-mail: afdado@gmail.com

TANABE Ikuo
Professor
Nara Prefectural University
e-mail: iktan633@myv.ne.jp

WAKIYA Soichiro
REPUBLIC OF KOREAJO Sangsun
Research Associate
Cultural Heritage Administration, Rep. of Korea (CHA)e-mail: ssjo@korea.kr

Researcher
Conservation Science Laboratory, Nara National
Research Institute for Cultural Properties
e-mail: wackies@nabunken.go.jp

SRI LANKA
Jude Nilan COORAY
Assistant Secretary General
National Trust – Sri Lankae-mail: nilanco1@hotmail.com

JAPAN
HOKOI Shuichi
Professor
Kyoto University Graduate School of Engineering
e-mail: hokoi@archi.kyoto-u.ac.jp

INABA Nobuko
Professor, Graduate School of Comprehensive Human
Sciences, University of Tsukuba
e-mail: inaba@heritage.tsukuba.ac.jp

KIMURA Kazuo
Senior Conservation Architect / HeadManagement Division, The Japanese Association forConservation of Architectural Monuments (JACAM)
e-mail: k_kimura@bunkenkyo.or.jp

MASUDA Kanefusa
Secretary of ICORP (Risk Preparedness), ICOMOS ISC
Visiting Researcher, Ritsumeikan University
e-mail: pfe02120@nifty.ne.jp

MOTONAKA Makoto
Chief Senior Specialist for Cultural Properties
Agency for Cultural Affairs, Japan (Bunkacho)e-mail: motonaka@bunka.go.jp

NISHIMURA Yasushi
Director, ACCU Narae-mail: nishimura@accu.or.jp− 195 −