The Role of Wall Paintings in the Ascent of Man
[美]詹姆斯Translated by Gu Xinyi
· 沃菲尔德 James Warfield顾心怡 译 中图分类号：TU115；TU-88；J43文献标志码：E
文章编号：2095-72(2019)01-0076-16DOI：10.19673/j.cnki.ha.2019.01.009
原始人类最早的建筑需求是寻求庇护，寻求一个远离严酷天气与捕食威胁，温暖又安全的所在。全世界的考古遗存，包括早期人类的遗骸与骨头碎片、动物骸骨、原始工具、火坑及同类遗迹等表明，天然洞穴提供了最初的庇护。如此，这些洞窟的岩壁成为人类最早的艺术表达的载体便自然而得体。
最早的岩洞壁画可能出自尼安德特人之手。西班牙马拉加附近内尔哈洞穴的岩壁上画有六幅精美的海豹图案。放射性碳同位素测年表明，这些壁画距今有42 000年。此前，被认为世界最早的是法国南部的肖维岩洞壁画，这些来自旧石器时代晚期或奥里尼雅克期（法国旧石器时代前期）丰富的艺术作品中含有距今35 000年的绘画。1994年发现的肖维岩洞，其丰富的岩壁画——13幅包含长毛猛犸象、熊、穴狮以及犀牛的冰河时期作品，与同样来自法国南部距今20 000年的拉斯科岩洞壁画相比，将壁画历史向前推了数千年。著名的拉斯科岩洞壁画展现了旧石器时代早期人类在记录狩猎经历时所表现出的天赋本能，并在相当长的时间里一直是这方面最为精美的案例。史前时期的艺术家们利用矿物颜料，在洞穴岩壁上绘满超过2 000个人类和动物的形象，其中有马、牲畜、猫、野牛、
犀牛，而最引人注意的莫过于对野牛群动态和透视形象的精准捕捉。海边的桑蒂利亚纳附近的阿尔塔米拉洞穴也有品质和艺术表达水准与拉斯科洞穴壁画相当的野牛和马的壁画，其年代距今17 000到12 000年，远在拉斯科岩洞壁画数千年之后。最
精美的洞穴壁画艺术当然不只在欧洲。在整个澳大利亚，尤其是卡卡杜国家公园，20 000年前的土著居民们在岩石掩蔽处的岩壁上记录下了人类和想象中的灵体形象，用鲜活的图像记录下他们个人与他们在精神上与大地的关联之间的关系。
人类随时间而不断发展，并建立不同的社群，同时形成各种文化。随着语言发展和社会进步，对艺术、建筑与宗教的态度也随之建立起来。随着艺术观念及艺术所扮演的社会角色的提升，雕塑、绘画、音乐、时尚，以及其他更加复杂的艺术表达形式成为了文化标志。在一些文化中，壁画始终是一种主要的艺术形式，并且由于其体量的关系，也是影响大众最为重要的手段之一。
5 000年前的克里特岛诞生了著名的“斗牛”壁画。这是一幅保存在克诺索斯宫殿三面粉刷墙上的巨幅壁画，为我们提供了关于米诺斯文化中宗教、运动、服饰以及艺术的信息。许多个世纪之后，古罗马庞贝城废墟的壁画又为我们提供了有关罗马帝国公民日常生活的资料。
世界上最著名的壁画之所以富有戏剧性的冲击力，不仅是因为它们的艺术成就，而且还由于它们巨大的体量和显著的位置。尤其是米开朗基罗在西斯廷教堂的画作是文艺复兴最高成就的代表之一。包括西斯
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廷教堂壁画在内的这些画作分别绘于教皇在梵蒂冈城官邸小教堂的天顶和祭坛之后，由教皇尤里乌斯二世和保罗三世出资，并在16世纪后期罗马天主教会的权力和影响之下得以成就。
精通壁画艺术的地域从不囿于一处。墨西哥恰帕斯州南部的热带雨林拥有美洲上最为精美的壁画作品。在一处神庙的墙面上，前哥伦布时期的壁画以一种已经失传的方式展示着玛雅人的艺术技巧。神庙所在遗迹有着一个恰当的名字——波南帕克，意即“画壁”。这里所有的墙面和天花板都以鲜艳的色彩和高超的设计绘制着统治家族最后的时光，也就是玛雅历1790—1702年。墙壁和天花展现了穿着彩色服装、羽毛头饰、盔甲并手执武器的王室成员与战士。绚丽的墙面与天花填满了王室事迹、残酷的战争以及人祭场面。
1933年，墨西哥最著名的艺术家迭戈 · 里维拉接到一项委托，在纽约的建筑杰作洛克菲勒中心绘制一幅壁画。里维拉决定在三幅壁面上通过代表社会主义与资本主义的主题绘画展现人类当代的社会文化与科学文化。他选择在劳动节的画面中加入争议人物——的弗拉基米尔 · 列宁。赞助者纳尔逊 · 洛克菲勒下令将壁画移除，后来里维拉又在墨西哥重新绘制了这组壁画，并取名“人，宇宙的主宰”。
从古至今，作为一种最早的建筑表现手段，壁画以艺术的方式为人类记录和保存了各种历史场景与丰功伟绩——狩猎、生计、日常、宗教、社会、战争、政治，还有各种世界观。
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The first architectural need of earliest pression became hallmarks. In some cultures, feller ordered the fresco removed, and Rivera man was that of shelter, a place of warmth and safety from the harshness of weather and the threat of predators. Around the world, as evidenced by archaeological remains—skeletons and bone fragments of early man, animal bones, elementary tools, fire pits and the like—natural caves afforded first shelters. How appropriate then, that the walls of these caves became surfaces for man's first artistic expressions.
The first cave walls paintings ever painted may have been by Neanderthals. Six exqui-site images of seals are painted on rock walls in the Nerja Caves near Malaga, Spain. They have been radiocarbon dated 42 000 years old. Chauvet Cave, richly decorated with Upper Paleolithic or Aurignacian Period artwork in southern France, was previously believed to contain the world's oldest cave paintings, dating from 35 000 years ago. This 1994 discovery placed the rich collection of Chauvet paint-ings—13 ice age species that included wooly mammoths, bears, cave lions and rhinos—thou-sands of years before the 20 000-year-old cave wall paintings of Lascaux in southern France.The famous cave paintings of Lascaux have long served as most exquisite examples of early man's innate ability to record hunting experiences in the Paleolithic era. Utilising mineral pigments, the prehistoric artists filled the caves with over 2 000 large animals and human figures—equines, cattle, felines, bison, rhinoceroses, and most remarkably, bulls captured accurately in motion and per-spective. Of equal quality and artistic expres-sion, the bison and horses of the Altamira Caves located near Santillana del Mar date thousands of years later, between 17 000 and 12 000 years ago. The most exquisite of cave wall art was in no way limited to the Euro-pean continent. Throughout Australia, most notably and most notably in Kakadu National Park, the aborigines recorded 20 000 years ago, both human and spirit figures on the walls of the rock shelters, documenting in dynamic form their personal relationship with their spiritual relationship with the land.
As time passed and communities formed, humankind developed and cultures were shaped. Languages developed, societies advanced, and cultural attitudes towards art, architecture and religions were established. As outlooks towards art and its role in society grew, sculpture, painting, music, fashion and other more sophisticated forms of artistic ex-78
建筑遗产HERITAGE ARCHITECTURE2019/1wall paintings remained a major art form, and, because of their size, a most significant method of reaching the public.
5 000 years ago, the famous ‘leaping bull’ fresco was painted on the island of Crete. This single image, preserved on three stucco panels on the walls of the Palace of Knossos, provides us today with information regarding the Minoan religion, sport, dress and art. Centuries later, wall paintings discovered in the Roman ruins of Pompeii provided information on the daily life of citizens of the Roman Empire.
The most famous of the world's murals achieve dramatic impact because of not only their artistic achievement, but also resulting from their immense dimensions and prominent public location. Most notably, Michelangelo’s masterworks in the Sistine Chapel are among the greatest achievements of the Renaissance. Located in the official residence of the Pope in Vatican City, his frescoes on the chapel ceiling and behind the altar were accomplished under the patronage of Popes Julius II and Paul III and the power and reach of the Roman Catholic Church in the late 16th century.
The mastery of mural art has never been limited to one part of the world. On the American continent, the finest example of wall paintings can be found in the tropical jungles of southern Chiapas, Mexico. In a rarely preserved expression of Pre-Columbian murals, the artistry of the Maya people is re-vealed on temple walls at a site appropriately called Bonampak, translated literally ‘painted walls’. In vivid colours and masterful designs, all walls and ceilings tell the story of the last days of the ruling family, replete with Maya calendar dates 1790–1702. The walls and ceilings reveal royalty and warriors attired in colourful clothing, feathered headdresses, armor, and weapons. Scenes of royal deeds, of brutal battles, and acts of human sacrifice fill the flamboyant walls and ceilings.
In 1933, Mexico's most famous artist was commissioned to paint a mural in New York City's architectural masterpiece Rockefeller Centre. In a three-panel effort, Diego Rivera chose to express human aspects of contemporary and social scientific culture in themes that represented socialism and capitalism. He chose to include the controver-sial Russian Vladimir Lenin has a participant in the May Day parade. Patron Nelson Rocke-
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later repainted the composition in Mexico under the title ‘Man, Controller of the Uni-verse’.
Throughout time, as an earliest architec-tural expression, wall paintings have served mankind as an artistic expression to record and preserve scenes of history and accom-plishment—hunting, livelihood, daily life, religion, society, warfare, politics, and views of the universe.
作者简介：詹姆斯 · 沃菲尔德，伊利诺伊大学建筑学院
（伊利诺伊 61802）荣休教授
收稿日期：Biography: 2018-12-17
James Warfield, Professor Emeritus at the School
of Architecture, University of Illinois at Urbana-Received date: Champaign (Illinois 61802)
17 December, 2018
风土建筑中的壁画主题常常出自表达日常生活意义的朴实心愿。一位摩洛哥农夫将墙体的泥土抹面与白石灰涂料作为画布与调色盘，把原本普通的立面变成了一件艺术作品。大胆的玉米图样反映着艺术家对赖以生存的农作物的自豪。与之类似，一位埃及的教师用出自文学作品的艺术图像装点当地一所小学的墙面，将一座普通的风土建筑变成了教育的象征。校门成了一张容色高尚优雅的面庞，欢迎着八方来客。
The subject matter of wall paintings in vernacular architecture are often the result of the unpretentious desire to express meaning in one's daily life. Lime whitewash on a mud-plastered wall become the palette and canvas to turn a simple façade of a Moroccan farmer's home into a work of art. The bold painting of crop images reflect the artist's pride in the agricultural product that drives his life and livelihood. Similarly, an Egyptian schoolteacher has turned to art to adorn the walls of a local elementary school with images from literature to transform a simple ver-nacular structure into a symbol of education. A noble countenance graces the schoolhouse door and invites all comers to this place of education and learning.
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在整个大洋洲，仪式性住房作为神圣的居所，是受过开示的人及祖先灵魂聚会的场所。巴布亚新几内亚塞皮克河中游一带的灵魂居所是装饰最为精美的例子之一。这些被称作坦巴兰屋的竹构建筑高度可达60英尺，草编坡屋顶下垂至地充作侧边墙。在马布里克地区，华美的三角形入口立面上的彩色树皮绘画表现着阿贝拉姆人与南阿拉佩苏人的传统崇拜对象。这些精心建造的坦巴兰屋只用来作为容纳绘制得华光四溢的珍贵木质崇拜物的高雅容器。Throughout Oceania, the ceremonial men's house is a sacred dwelling, a meeting place for the initiated and the ancestral spirits. The spirit houses of the Middle Sepik River region of Papua New Guinea are among the most elaborately decorated. Called haus tambaran, these bamboo structures soar to heights of 60 feet and feature grass sidewall roofs that reach the ground. In the Maprik region, an ornate triangular entry façade features multicoloured bark paintings reflecting cult figures of the traditional worship of the Abelam and southern Arapesh peoples. As elabo-rate as this architecture is, the haus tambaran is but an elegant container for the precious wooden, radiantly painted cult figures housed within.80建筑遗产HERITAGE ARCHITECTURE2019/1遗产图说在阿贝拉姆文化中，颜料被看作是赋予坦巴兰屋内精美雕塑以生命的神妙之物。从幼年起，每位阿贝拉姆男性都必须通过一系列启蒙仪式才能成为一位完全得到开示的人。这一过程最后的仪式是让被开示者观看最大也是最神圣的崇拜物——异常精美的造像及其他图像，上面描绘着称作恩格瓦尔杜的强大部族灵魂。这些造像通过上面涂绘的鲜亮彩色颜料获得力量。与灵魂居所立面上的树皮绘画一样，颜料是一种神妙的物质，赋予造像超自然力量与美。它已经成为了一种生活喻示，同时也是用以沟通人与灵魂的通灵材料。Throughout the Abelam culture, paint is seen as the magical substance that gives life to the elaborately carved sculpture stored within the haus tambaran. Beginning in childhood, each Abelam male must pass through a series of initiation rites before he is a fully initiated man. This process continues until the final rites in which the initiated is shown the largest and most sacred of all displays—the brilliantly painted figures and other images portraying the powerful clan spirits called nggwalndu, figures which gain their power by way of the bright polychrome paints applied to their services. Not unlike the bark painted façades of the spirit house, paint is a magical substance that allows the figures their super-natural power and beauty. Paint has become a metaphor for life and a magical ingredient that is used to connect man to the spirits.遗产图说
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十一世纪时，一个名为特勒姆的狩猎-采集族群在西非的邦贾加拉陡崖沿线定居。邦贾加拉陡崖是撒哈拉沙漠南缘附近约200 km长的砂岩高崖，处于北面的干旱土地与南面稍远的热带丛林之间的过渡地带。塔勒姆人建起成群的村庄，有的紧贴崖壁，有的就建在崖下的台地上。他们的建筑反映着他们的信仰，那就是神明与祖先所在的精神世界与动植物和人所生活的现实世界协同共存。他们在崖体岩石的凹进处建造粮仓和坟墓。可能由于与多贡人之间的冲突，他们在19世纪放弃了陡崖的定居点。
During the 11th century, a hunter gatherer group known as Tellem settled along the West Africa's Bandiagara Escarpment, a towering sand-stone cliff some 200 km long near the Sahara deserts southern limit within the transition of arid lands to the North from tropical forest further South. The Tellem built clusters of villages, some clinging to the cliffside, others on the plateau below. Their architecture reflected their belief in a synergy between the spiritual world of gods and ancestors, and the living world of plants, people and animals. Into the cliffs, they built grana-ries and tombs in shallow recesses of rocks. Possibly, because of conflict with the Dogon they abandoned the escarpment sometime in the 1800s.
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多贡人在14世纪时便带着自己的习俗与传统来到了陡崖。如今，约250 000名多贡人居住在非洲这处偏远的地方。多贡人吸纳并调整了多种宗教信仰，今天他们的艺术、建筑与宗教仪式也是建立在早先居民们的基础之上。现代多贡人的信仰包含了万物有灵论、教和教的符号，他们同时也依然尊敬崖体内古人留下的建筑。他们承继了古代艺术，在坟墓的墙壁上绘以祖先们曾经描画过的象形文字和大地色系的几何图案。他们的彩绘舞蹈面具与织物图案也采用了同样的设计。
The Dogon had arrived in the 14th century. They brought their own customs and traditions to the escarpment. Today approximately 250 000 Dogon live in this remote part of Africa. The Dogon adopted and modified many religious beliefs and today their art, architecture and spiritual ceremonies are built upon those of the earlier inhabitants. Containing symbols of animism, Islam and Christianity, the modern Dogon continue to respect the architecture built into the escarpment by the ancients. They continue ancient artwork by painting the walls of the tombs with hieroglyphics and the earth tone geometric patterns of the ancestors. They employ the same designs in their painted dance masks and fabric patterns.
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西班牙人到达新时也带去了欧洲长期以来的宗教信仰与艺术和建筑传统。天主教传教士将欧洲艺术中的圣像和圣经教义输入墨西哥，并与当地信仰融合。西班牙人在偏远小镇阿托托尼尔科的温泉和17处清泉所在地建造了一座简单的堡垒式圣殿，并将其所有内墙与天花表面都绘满精美的巴洛克式耶稣受难与死亡图像。如今，在这个只有600人的小镇，这座圣殿被誉为“墨西哥的西斯廷教堂”。
When the Spanish arrived in the New World, they brought the long-standing religious beliefs with artistic and architectural traditions of Europe. Catholic missionaries transported the icons of high European art and biblical dogma to Mexico and blended them with indigenous be-liefs. In the small, rural community of Atotonilco and at the site of thermal waters and 17 freshwater springs, the Spanish built a simple, fortress like sanctuary and then proceeded to paint every wall and ceiling surface in its interior with elaborate Baroque depictions of Christ's passion and death. Today, in the small town of 600 people the sanctuary is renowned as the ‘Sistine Chapel of Mexico’.
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世界上没有哪个国家像墨西哥那样用图像解读自己的历史。20世纪，墨西哥成为了一个盛产壁画家、建筑师以及画壁大师的国家。1948年，建筑师胡安 · 奥戈尔曼设计了墨西哥大学的图书馆。石台基上是十个无窗楼层，这些楼层组成四面巨大的壁画墙，墙上描绘着墨西哥从前西班牙时期到西班牙殖民时期，再到现代的历史图像。图书馆追随墨西哥最伟大的壁画家迭戈 · 里维拉所树立的传统，后者的大型壁画不仅成为了艺术品质的标杆，而且具有历史意义。他在国家宫的公共壁画（1929—1935）提供了对西班牙征服史的另一种解读，并且颂扬了墨西哥人眼中的阿兹特克文明。
No other country in the world has interpreted its history more graphically than Mexico. In the 20th century, Mexico became a nation of muralists, architects and masters of the painted wall. In 1948, architect Juan O'Gorman designed the Central Library of the University of Mexico, 10 windowless floors atop a stone pedestal, each of the four mural walls depicting images from Mexico's pre-Hispanic past, its Spanish colonial era, and its modern age. The library follows in the tradition of Mexico's greatest muralist, Diego Rivera, whose grand wall murals set both the standard for artistic quality and historic significance. His public murals in the National Palace (1929–1935) provided an alternative history of the Spanish conquest and glorified the Aztec civilisation in the eyes of the Mexican people.
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在印度，大象是印度教中的一种神圣动物。象头神犍尼萨是印度教诸神中最受欢迎的神之一。象代表超群的聪明才智，同时也代表好运。大象还象征着荣誉、力量和稳定。作为壁画艺术的常见题材，象是一个强调尊贵出身的中心主题。在蓝色之城本迪的一条窄巷里，幼儿园入口处画着一只名为拉贾斯坦的大象，它载着小朋友们去上学。摆动着的象鼻展现出墙画明快而欢乐的氛围。在拉贾斯坦邦罗德特的一幅描绘皇室的传统壁画中，一头大象担负着载送皇室成员的光荣使命。In India, the elephant is considered a sacred animal in the Hindu religion. In the form of the deity Ganesh, one of the most popular gods in the Hindu religion's pantheon, the elephant represents wisdom and great intellect, as well as good luck. Symbolically, the elephant also deals primarily with honour, strength and stability. A frequent subject of painted wall art, the elephant is a central theme depicting nobility. On a narrow lane in the blue city of Bundi, Rajasthan, an elephant carrying children to school is painted at the entry of the kindergarten. The elephant's trunk flutters in ordrer to offer a lightness, playfulness to the wall painting. In the Rajasthan town of Rodet, and elephant plays the noble part of transporting royalty in a traditional painting depicting a royal parade.86建筑遗产HERITAGE ARCHITECTURE2019/1遗产图说新漆的可口可乐广告让人想起19世纪美国小镇主街道的墙面。那时候原创的经典广告装点着像照片里伊利诺伊州塔斯科拉那样的小镇里冰淇淋店的外墙。一座农场里立着一个“邮袋烟草仓”，给口嚼烟和烟斗烟做着广告。从11年直到1992年，西弗吉尼亚邮袋牌口嚼烟公司向22个州的农场主们提供了一个项目，即每年支付给他们一美元来换取在公路沿线谷仓上做广告的权力。作为回报，农场主们获得了他们想要的新油漆层，来保持他们谷仓所用的木材完整不受侵害。许多谷仓每隔几年就会重漆，以保持上面的文字清晰。第二次世界大战之后，数千座谷仓都由哈利 · 沃里克上漆，平均每座耗时6个小时。A newly painted Coca Cola ad recalls the small town 19th century walls of Main Street USA. Original vintage ads graced walls of ice cream shops in towns such as this one in Tuscola, Illinois. A ‘Mail Pouch Tobacco Barn’ stands in a farm field advertising chewing and pipe tobacco. From 11 until 1992, the West Virginia Mail Pouch Chewing Tobacco Company offered farmers in 22 states a program where farmers were paid one dollar per year for rights to advertise on barns along the highways. In return, they received a much-preferred fresh coat of paint to preserve the integrity of their wood. Many barns were repeated every few years to maintain sharp lettering. After World War II, thousands of barns were painted by Harley Warrick at an average of 6 hours per barn.遗产图说
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伊利诺伊州庞蒂亚克的州属壁画庆祝着它最为著名的公路“美国主街”。作为最早的美国公路系统中的一条，传奇的66号公路从芝加哥出发，绵延近2 500英里，将美国中西部地区与加州洛杉矶相连。“自动化”壁画属于爱荷华州杜比尤克的街道艺术计划，这项计划旨在庆祝这座美国中西部城市的重要历史事件。这是一次对19世纪劳工的怀旧回顾，描绘了杜比尤克酿酒厂鼎盛时期的联邦工人。酒厂的新哥特式砖砌厂房在经历凋敝与遗忘后已经空空如也。壁画项目拯救了它，现在它被责令保护，并且被改造成了居住单元。This stately wall painting in Pontiac, Illinois celebrates the ‘Main Street of America’, its most famous highway. Established as one of the original highways in the US highway system, legendary Route 66 began in Chicago and ran for nearly 2 500 miles connecting the American Mid-west with Los Angeles California. The Automate mural is part of the Dubuque, Iowa Street Art Program in Iowa, founded to celebrate significant historic events of this Midwest American city. It is a nostalgic retrospective of the 19th century labour force depicting the union workers at the height of the Dubuque Brewery's operation. The neo-Gothic brick structure is now empty, having has suffered from decay and neglect. Rescued by the mural program, it is now slated to be preserved and converted into residential units.88
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爱荷华州的杜比尤克建立于1837年的密西西比河畔，是一座历史性的美国水城。19世纪时，水上交通为其立身之本，其中包括载满赌场和赌局、充满欢乐气氛的桨轮汽船，驳船及渔船。城市工业主要包括一处巨大的加工工业区，附近的铅矿以及广阔的木料采伐场。河边成排的砖砌大仓库储藏着从北边明尼苏达运往南边新奥尔良的货物。近年来，这些大型木结构建筑已经被废弃，这威胁到它们的存续。杜比尤克街道艺术计划为当地艺术家提供砖面画布，从而使这些历史区转变为露天博物馆，颂扬杜比尤克多样的文化与辉煌的过去。Dubuque, Iowa is a historic American river town, founded on the banks of the Mississippi in 1837. In the 19th century, its livelihood was based upon river traffic that included festive paddlewheel steamboats replete with casinos and gambling, river barges and fishing boats. Its in-dustry included an extensive millwork district, nearby lead mines and vast logging centers. Large brick warehouses lined the riverfront storing goods carried from Minnesota in the north to New Orleans in the south. In recent years, these large timber structures have been abandoned and their existence threatened. The Dubuque Street Art program has provided brick canvases for local artists who have transformed the historic districts into open-air museums celebrating Dubuque's diverse culture and remarkable past.遗产图说建筑遗产HERITAGE ARCHITECTURE2019/1美国佛罗里达州的圣彼得堡每年都要举办一次艺术节，这吸引了世界各地找寻巨大墙面用以绘制大型公共艺术作品的艺术家和画家。艺术节策划者这样诠释他们的目标：“SHINE是一个艺术项目，它旨在通过地区复兴、鼓励对话以及联合社会各界，在公共场所点亮艺术能量。同时，它培育卓越艺术的新标准，展现圣彼得堡充满创造力与活力的精神面貌。”结果，建筑曾经的空墙面布满生机，碍眼之处变成了艺术品；壁画评分的创设激活了城市环境，市民中的多样文化也得到了表达。
Every year the American Florida community of St. Petersburg sponsors an art festival that attracts international artists, painters in search of vast wall surfaces on which to paint their public art. The festival directors state their objectives as follows: ‘SHINE is an art project that illu-minates the power of art in public spaces by revitalising areas, inspiring dialogue and uniting our community—while cultivating new standards of artistic excellence and reflecting St. Petersburg's creative and vibrant spirit.’ The outcome is that blank building walls become filled with life, abandoned eyesores are converted to works of art, and scores of murals are created that enliven the urban environment and give expression to the diverse cultures of the people of the city.
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后记
詹姆斯 · 沃菲尔德教授（1942.03.20—2019.01.14）的《风土图记》已经陪伴我们度过了整整3年的时光，本期将是他最后一次亲笔撰文。这个消息是1月14日由他的弟弟艾尔登 · 威廉 · 沃菲尔德通过Facebook转发他的留言后就已经知晓，但当时还心存侥幸，只道他的身体已经不适合旅行和写作。不料1月28日清晨听闻噩耗，回看日期始惊悉当日收到的竟是他留给我们最后的话。
沃菲尔德教授是伊利诺伊大学建筑学院的资深教授，1988年通过两校夏季联合设计与同济大学结缘，至今已历30载。2012年，《建筑遗产》学刊创刊获批之际，经老师引荐，他决定将其40余年访查60多个国家积累的风土建筑照片和速写等资料，以《沃菲尔德风土建筑档案》的名义捐赠给同济大学建筑与城市规划学院图书分馆，并在《建筑遗产》学刊设立《沃菲尔德风土图记》专栏，每期用不同的主题以图文并茂的形式进行连载。很快，我们就收到了他发来的第一篇稿件《风土的价值》，不仅内容丰富、精炼，对排版也做了精心的设计。深厚的专业背景、诗一般的语言和精美的图片，使专栏在2016年创刊号上一经刊载就引起了读者的普遍关注和好评，第二年就有老师在给同济大学本科生讲授的英文专业文献阅读和写作课上，使用专栏的图片和文字作为范例。
至2018年底，《沃菲尔德风土图记》已经在承载着众多读者的期待中连续刊发了12篇，是期刊艺术鉴赏性的主要呈现者，偶尔我们还会用他的图片作为期刊的封面或封底，为期刊增色。
这期文字是他在2018年12月17日发来的，很奇怪邮件只有寥寥数语，不似以前交代得那般细致周到，元旦后才知道竟然是他在入院后完成的，感慨不已。在最后留给我们的话中，他说沃菲尔德专栏的设立是他的荣幸，但又这何尝不是我们的荣幸！感谢他将生命最后几年中对于风土的思考连同这些精美的图片一起留给了我们和《建筑遗产》学刊的广大读者。同他一样，我们也将带着深深的悲伤和遗憾，告别由他亲自撰写的《沃菲尔德风土图记》。但他留下的这些精美图片和雅致文章还将继续陪伴我们，建筑遗产期刊网站（www.jianzhuyichan.cn）已经与他的个人网站（www.jameswarfield.us）建立了有效链接，欢迎读者访问，跟我们一起，沿着这位温厚而坚韧的长者留下的足迹，继续关注风土、探究风土的价值和意义。
此刻，让我们再一次阅读这篇完成于病榻上的文字——《壁画在人类进步中的作用》，作为对他的致敬！
Epilogue
for The Warfield Column has accompanied us
written by Professor James P. Warfield (March three whole years. This is the last column 20, informed 1942–January 14, 2019) himself. We a message written by him and forwarded by his of this last writing on 14 January were
by
brother, Eldon W. Warfield on Facebook. It was presumed that his health was just no longer suit-
able for travels and writings. Unfortunately, we heard of the sad news in the morning of January 28 that Professor Warfield has passed away. The message on Facebook was the last words he left for us.
at the School of Architecture, University of IlliProfessor Warfield was a senior professor
nois at Urbana-Champaign. He became attached
-
to course in the summer of 1988, and it has been 30 Tongji University through a joint design years since then. In 2012, as tureHeritage Architec-duction was officially approved, through the intro-
donate his photographs and sketches collected in of Professor Liu Gang, he decided to travels to more than 60 countries over 40 years and to the library of the College of Architecture the name Urban of Planning, ‘Warfield Tongji Archives University of Vernacular under Architecture’. tureMeanwhile, Heritage Architec-
its serial publication under different themes established the Warfield Column, initiating with both texts and pictures. His first article for
the column was finished soon, with concise and
comprehensive contents and a well-designed layout. His profound professional background, poetic language and beautiful photographs made the column draw much attention and praise ever
since the inauguration of in February 2016. By the next year, the texts and
Heritage Architecture
pictures in his column were used as examples in the English reading and writing courses for undergraduate University.
architectural students in Tongji published continuously on the Warfield Column, By the end of 2018, 12 articles have been
readers. As the major presentation of art appre-
more than living up to the expectations of our ciation in in the Warfield Column were also occasionally Heritage Architecture, the pictures selected as the front or back cover of the issues, which improved the quality of the journal.
this issue's Professor Warfield Warfield Column sent on us the 17 December, article for
words 2018. This than before. time, his We e-mail were informed had much only fewer
the new year that this was because he wrote this
in column in hospital. In the last words he left for
遗产图说
us, he said that ‘to create the Warfield Archives great of Vernacular Architecture has been one of the
of Warfield for leaving his thinking on vernacular our honours honour. of We my are life’. grateful In effect, to it Professor
is more these beautiful pictures to architecture in his final years together with tureHeritage Architec-
regrets, we join him to say farewell to his own and to our readers. In deep sorrow and writings of the Warfield Column. Nevertheless, the fine pictures and elegant writings he left will remain accompanying us. A link has been estab-
lished between the official website of ArchitectureHeritage
personal website, www.jameswarfield.us. You , www.jianzhuyichan.cn, and his are welcome to visit his website, and join us scholar, keep your interest in vernacular archi-to follow the steps of this strong and tender the vernacular.
tecture and explore the values and meanings of
words which were written in the sickbed, ‘The
At this moment, let's read again these
Role to of Wall Paintings in (Translated by Gu Xinyi)
pay tribute to Professor the Ascent James P. Warfield. of Man’ 建筑遗产HERITAGE ARCHITECTURE2019/1
91
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