KIẾN TRÚC SƯ KAZIMIERZ KWIATKOWSKI CHUYÊN GIA BA LAN VỚI MỸ SƠN

Within the framework of cultural cooperation between the Governments of Vietnam and Poland, architect Kazimiarz Kwiatkowski—affectionately known as Kazik by his colleagues and workers—led a Polish expert team to Vietnam to study and restore numerous heritage sites across Central Vietnam. Among these, he devoted nearly 16 years to Mỹ Sơn, a period equivalent to a quarter of a human lifetime. Yet, this span was short compared to the immense task of rescuing and reviving a severely devastated complex. With dedication, resilience, and a noble spirit of cultural cooperation, he contributed significantly to its preservation and revival.

The site is located in a mountainous valley nearly 70 kilometers from Đà Nẵng. At that time, access roads were extremely poor, filled with potholes, and reaching the site could take half a day by public transport. The entrance was a narrow trail barely wide enough for one person, and stepping off the path was dangerous due to the possible presence of unexploded ordnance. Although local authorities had made efforts to clear explosives since 1979, injuries to both humans and livestock continued to occur for years.

The site itself was in a state of severe ruin—chaotic piles of bricks and stones, overgrown vegetation, and scattered shell casings throughout the area.

Living and working conditions for the experts were extremely basic. They stayed in temporary shelters made of bamboo and wood, roofed with tar-coated panels, sufficient only for a few months of restoration work. In some years, they even worked directly inside temple towers such as B5 or D1. Daily meals were simple, prepared by a security guard acting as cook. Occasionally, Kazik would drink traditional rice wine—locally known as cuốc lủi or nàng hương, brought from Hanoi. At times, after sharing joyful moments with workers and colleagues, he would fall asleep on the grass beside the Khe Thẻ stream.

Despite the harsh conditions, Kazik immediately began organizing the clearing of vegetation and debris. While working, he guided local workers—mostly farmers and masons unfamiliar with heritage conservation—teaching them techniques and inspiring a sense of responsibility and appreciation for cultural values.

Every day, he meticulously measured, drew, photographed, and documented the condition of the structures under the intense heat of the valley surrounded by mountains. He often wore shorts and a T-shirt, sometimes working shirtless. At night, he would sit quietly on the stone base of tower B1, contemplating the damaged carvings and decorative motifs.

After clearing the site, most structures were found to be severely damaged. Even relatively intact towers like B5 and C1 had sunk and lost much of their upper sections. Others, such as D1 and D2, were heavily damaged by rocket fire, while B3 had lost an entire western wall. Many structures were reduced to foundations. The A group, the largest complex, was almost entirely destroyed, including the main tower A1, over 24 meters tall. Large bomb fragments and even unexploded bombs were discovered during excavation (one of which is now displayed at tower D2).

With hundreds of workers laboring for months, massive amounts of soil, debris, and broken bricks were removed and piled into large mounds.

Kazik strictly adhered to internationally recognized principles of archaeological conservation: preserving original structures and materials, avoiding falsification or reconstruction without scientific basis, and using technical reinforcement to stabilize existing conditions. Restoration was only partial and carefully justified, ensuring that new additions could be distinguished from original elements.

After a decade of dedicated work, many temple towers were successfully preserved while retaining their authenticity. These efforts played a crucial role in the recognition of Mỹ Sơn as a UNESCO World Cultural Heritage Site on December 4, 1999.

In 1991, when funding for the Polish restoration team was discontinued, Kazik declared: “I can endure anything, as long as I can live with these towers.” He then independently sought financial support through cultural organizations in Germany.

Artifacts such as sculptures, reliefs, inscriptions, and architectural fragments have been preserved and displayed in towers D1 and D2. However, due to limited resources, some areas were only stabilized and later suffered further deterioration.

This further highlights the importance and effectiveness of Kazik’s timely interventions.

Kazik was remembered as a humble, compassionate, and dedicated individual with a deep passion for Vietnam’s history and culture. Beyond saving dozens of temple towers, he imparted essential knowledge on conservation principles and inspired respect for cultural heritage.

His enduring message remains:

“The ancient Cham people infused spirituality into earth and stone, harmonizing with nature to create a majestic, solemn, and grand Mỹ Sơn. This is an invaluable museum of architectural and sculptural art of humanity—one that we will take a long time to fully understand.”