最近，我读到一篇由ICCROM（国际文化财产保护与修复研究中心）发布的文献，讨论了预防性保护中的挑战。在文献中，Gael de Guichen在法国国家民俗艺术与传统博物馆举办的一次研讨会开幕致辞中，提出了“预防性保护”的定义：
Recently, I read a document published by ICCROM discussing the challenges in preventive conservation. Gael de Guichen, in his opening address at a seminar, proposed the definition of "Preventive Conservation":
“Preventive Conservation is the economical means to prevent damage and preserve the real objects. It takes the constant application of common sense, science and practice by all staff in all areas.”
这句话让我深感触动，因为在马来西亚，艺术品的管理问题似乎还未得到足够的关注，尤其是在保存与保护的长远规划上。
This statement deeply touched me because, in Malaysia, the issue of art management seems to lack sufficient attention, especially regarding long-term planning for preservation and conservation.
马来西亚的修复行业仍然处于起步阶段，很多画廊和博物馆的环境条件不尽如人意。湿度、温度不稳定，缺乏恒温恒湿设备，使得艺术品面临着难以避免的损害。修复工作本应是长期管理的一部分，而不仅仅是处理眼前的损坏。
The restoration industry in Malaysia is still in its infancy, and the environmental conditions of many galleries and museums are unsatisfactory. Fluctuating humidity and temperature, combined with a lack of climate-control equipment, expose artworks to unavoidable damage. Conservation should be part of long-term management, not just a reaction to immediate damage.
文献中提到，预防性保护不仅关乎修复技术，更强调了在最初阶段对艺术品的“管理”和“预防性维护”。但在马来西亚，很多艺术品并没有得到这种长期和系统的管理，修复工作往往只集中在短期修复，而没有真正考虑到长期保护。
The literature mentions that preventive conservation is not just about techniques; it emphasizes "management" and "preventive maintenance" from the earliest stages. In Malaysia, many works lack this systematic management, with efforts often focused on short-term fixes rather than long-term preservation.
与其依赖事后的修复（restoration），不如通过团队合作和跨学科的方法，让每一位管理艺术品空间的员工都意识到自己的工作如何影响藏品状况，从而实现“共同责任”，预防伤害的发生。
Rather than relying on post-damage restoration, we should adopt team-based and interdisciplinary approaches. Every staff member managing art spaces should realize how their work affects the condition of the collection, achieving a "shared responsibility" to prevent damage.
修复（conservation)不仅仅是为了恢复视觉效果，它更是一项对作品生命的持续管理。然而，现实中的条件限制常常让我们只能做出妥协。面对有限的资金和设备，我们能做的，是尽力给这些作品提供最好的保护，即使这些保护远未达到理想状态。
Conservation is more than restoring visual effects; it is the continuous management of a work's life. However, real-world constraints often force us into compromises. Faced with limited funding and equipment, all we can do is strive to provide the best protection possible, even if it falls far short of the ideal.
我希望，随着修复市场的逐渐成熟，艺术品的管理意识能够得到更多的关注。理想的管理和保护并非遥不可及，而是需要我们每个人，从现在开始，为艺术品提供更多长远的保护规划。
I hope that as the restoration market matures, awareness of art management will receive more attention. Ideal management and conservation are not out of reach; they require each of us to start now and provide more long-term protection planning for artworks.
“加油~ Tanah Air Ku, 马来西亚”
"Keep going~ My Homeland, Malaysia"