原作 被修改前 被老奶奶修补后
Ecce Homo by Elías García Martínez showing damage caused by an elderly woman who decided to restore the masterpiece
西班牙著名“壁画城”波尔喆是个宗教、艺术名城。一位“好心”的老奶奶在本地教堂对一幅“耶稣受难前”的壁画做了大胆的修补！
在今天的网络世界里，这个大胆的行为使得老奶奶出名了，而且媒体和公众的指责让老奶奶吃不消了。
如果这幅画是在老奶奶自家的厨房或庭院内，是她自己祖上留下来的，那么，这种糟蹋可能不会引起如此的震惊。可是，这种文化遗产（甚至是世界文化遗产）就这么被毁了容，导致地方神父欲起诉老奶奶的想法。
“我系爱耶稣滴啊！”
画画儿是个浪漫、消遣的艺术创作和陶冶情操的事儿；小孩子、老人画画更是一种有益身心的活动。你在你自己的本子上、家里画，画什么也没人管，是件自由自在的事情。可你不能随便碰别人的东西啊！！
试想，如果一个“好心”的中国人拿着榔头、凿子去“修补”碑林，或一位业余老书法家擅自“弥补”一位古人书法真迹，中国人的“反响”可能就不止这些了！
人类对艺术真迹的欣赏和珍惜是人类文化、文明的“文化基因”和“审美”进化。赝品是天才骗子的杰作！
文化艺术里的真、善、美是非常明显的，尽管我们有时看不见“成文的”标准。艺术中的“神来之笔”和现实里的“神经病之笔”是两码子事，所以，人类有了学院、法院、博物馆、文化保护等等。
“真迹”也超越了“艺术”的范畴。我们祖先、祖宗传下来的东西，包括物品、影像和衣物等的价值不是用“艺术”来衡量的，而是真实的情感价值。这种“真”对他人来说可能毫无“价值”，但我们知道它们的珍贵。
不论是老人还是孩子，当他她们烦了错误，我们基于常识很容易原谅他们，因为他她们的大脑老化或不成熟，与“年龄歧视”无关。
俗话说，没有那金刚钻儿，就别揽那瓷器活儿！
老奶奶的神智影响了她对自己“绘画技能”的客观判别和对文化遗产的正确理解。但老奶奶又不是在“老人院”里的那些“艺术家”！现实里，老人院和精神病院里照样有很多老人画出可爱的、震撼的画儿来。
事实是，每个人都具备主观能动性和“自由”，当他她们不被约束时，可能会做出损害他人或自我的事情，甚至是对自我有害的思维。这可能就是人们常常将思维不灵敏的老人称为“老小孩儿”的原因，他她们和小孩子一样需要成年人的照顾和保护。
神智清醒的、正常的成年人在故意做蠢事和胡言乱语时，后果都会找上门儿来。可能有人会以为虐待自己的大脑和价值观和他人没关系，但这和老年人、小孩儿的错误行为是有着本质的区别的。
这位老奶奶声称不是故意去给耶稣毁容，甚至是光明正大地去修补壁画，当地教会也说要起诉她。可是，除了寻求专业的补救、复原，他们对于老奶奶（老小孩儿）又能怎样呢？
卫报：
An 81-year-old who garnered worldwide media attention after she tried – and spectacularly failed – to restore a painting in her local church may face legal charges.
Cecilia Giménez, the well-intentioned amateur restorer from the Spanish city of Borja, is reportedly in bed after an anxiety attack, with neighbours and relatives suggesting she feels overwhelmed because of the media frenzy over the unintentional damage she caused to the mural.
The damage to the painting in the church of la Misericordia de Borja is reportedly being investigated by experts, with the artist's descendants apparently unhappy that an individual decided to take the restoration job into her own hands. They fear her handiwork may be irreversible.
Giménez told Spanish television that the priest knew about her attempts at restoration to the Ecce Homo painting by Elías García Martínez and that she had done nothing in secret. "The priest knew it and everyone who came into the church could see I was painting," she said.
Although no one seems sure when she embarked on the restoration project, news of the incident first appeared on the blog of the Centre for Borja Studies a fortnight ago.
The centre posted some before-and-after pictures, along with a plaintive message confirming that someone had recently been up to no good with a brush.
"As incredible as it may seem, this is all that remains of the work of an artist whose descendants still live in our city," it said. "We do not know whether this unspeakable deed can de remedied, but there can be no doubt whatsoever that someone should take the necessary action to ensure that such behaviour is not repeated. Whatever the motives were, it must be roundly condemned."
Professional restorers plan to examine the painting to gauge whether restoration is possible.
According to the local paper El Heraldo de Aragón, the city council is reportedly considering legal action against Giménez. Her actions meant the 19th-century painting, which was already in a poor condition, had been "completely destroyed", one councillor, Juan María de Ojeda, said.
Ojeda nonetheless criticised media attention as "disproportionate".
Giménez's efforts have been variously been dubbed "the worst restoration in history", "a botched job", and "a crayon sketch of a very hairy monkey in an ill-fitting tunic".
