战争事件后意大利的破坏、保护和恢复

D. Concas, Roberto Nadalin
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引用次数: 0

摘要

摄影证明了在战争中丢失的作品,以及保护它们的努力,并允许它们传播给后代,以延续他们的记忆或允许它们最终修复,因为这是建筑物被完全或部分摧毁的唯一剩余证据。1915年,意大利决定将最重要的移动艺术品运送到远离前线的避难所,以确保其安全。至于古迹,保护的方式各不相同。在第二次世界大战前夕,这个问题呈指数级反复出现,飞行器取得了相当大的进步,由于资源稀缺,许多纪念碑仍然暴露在外。如果说第一次世界大战中文化遗产的损失相对较低,那么在随后的战略轰炸中,除了造成巨大的生命损失外,还造成了深刻的破坏。最后,在最近的武装冲突中,也有攻击敌人身份象征或不利宗教象征的倾向。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Distruzione, protezione e restauro in Italia a seguito di eventi bellici
Photography testifies the works lost during the wars and the efforts to protect them and allows their transmission to future generations to perpetuate their memory or to allow their eventual restoration as it is the only remaining evidence of the buildings that have been destroyed, totally or partially. In Italy in 1915 it was decided to secure the most important mobile works of art by transporting them to shelters far from the front. As for the monuments, protection occurs in different ways. On the eve of the Second World War the problem recurs exponentially, air vehicles have made considerable progress and given the scarcity of resources, many monuments remain exposed. If in the First World War the loss of cultural heritage is relatively low, in the following the strategic bombings have caused profound destruction in addition to the great loss of human life. Finally, in the latest armed conflicts there is also a tendency to strike at the identity symbols of the enemy or the adverse religious ones.
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