DIGITIZATION OF RELICS AND SITES | 文物遺址數字化
Historical Mapping of Rock Carvings at South Korea
NAMSAN, GEYONGJU | 慶州，南山
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Thousand-Buddha Grotto: Transitions and Inheritation
AVALOKTESHVARA OF VAIROCANA CAVE・ANYUE | 四川安岳毗盧洞・普陀落迦觀音像
Avalokiteshvara | Point Cloud Visualization
Initial result after the site survey at Vairocana Cave of Anyue, Sichuan Province.
普陀落迦觀音像｜點雲示意圖
中國四川省安岳毗盧洞普陀落迦觀音像實地調研點雲示意圖。
文獻摘錄
”⋯⋯即使在宋代的石窟雕刻中，觀音經變相的主尊也多為坐在岩石上的普陀落迦觀音，其左足垂下，右腳放在岩石座上，頭略下傾，姿勢安閒自在，身後尚有數竿修竹。這尊觀音不再高不可攀，遙不可及，全作散發著濃郁的「人」的氣息。其髮髻高聳，上身裸露，僅著天衣。五官娟秀，垂目而望，表情嫻靜溫和，多了一份女性秀麗的韻致。這種既不失菩薩的莊重，又富有人世間生活情感的作品，正是宋代佛教造像的傑出成就。“
-- 李玉珉 教授《佛陀形影》
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BUDDHA SHRINE OF HUANG ZE TEMPLE・GUANGYUAN | 四川廣元皇澤寺・大佛窟
Buddha Shrine | Point Cloud Visualization
Initial result after the site survey at Huang Ze Temple of Guangyuan, Sichuan Province.
大佛窟｜點雲示意圖
中國四川省廣元皇澤寺大佛窟實地調研點雲示意圖。
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DA YUN CAVE OF THOUSAND-BUDDHA GROTTO・GUANGYUAN | 四川廣元千佛崖・大雲古洞
Thousand-Buddha Grotto in Guangyuan, Sichuan | Overview
Located at the gateway between Shanxi and Sichuan province of China, the existence of the Thousand-Buddha Grotto at Guangyuan witnesses the transition and inheritation of cave temples and deities with numerous visual evidences of caves and nitches carved on its cliff.
文獻摘錄
“千佛崖位在縣治北十里，嘉陵江東岸，大小四百龕，延綿里許，蓮宮紺髻，輝濯巖扉，至為壯觀。……龕之面積，以一公尺左右居多；二三公尺者較少；三公尺以上者，寥寥十數處而已。較大之窟，除主像外，壁面遍鑿小龕，窟頂飾以蓮瓣，頗類龍門諸窟，唯造像作風，仍屬盛唐一派。最特別者，中型之窟，每於窟中央，琢主像、侍像，或佛涅槃像，其後翼以樹木，若屏風然。壁面或鐫生死諸圖，背景襯以山氣，至極精妙，而窟內每刻功德主，跽於座下，數量之眾，為他處所少有。”
-- 梁思成 先生《佛像的歷史》
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Mapping and Cyber-Archiving Collective Memories of Dazu Rock Carvings
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image courtesy | Dazu Rock Carvings Art Museum.
Original Chinese fine brushwork documentations
hand-drawn by Mr. Guo Xiangying, former Director of
Dazu Rock Carvings Art Museum.
image courtesy | UNESCO World Heritage Centre Nomination Document.
Original Chinese fine brushwork documentations
hand-drawn by Mr. Guo Xiangying, former Director of
Dazu Rock Carvings Art Museum.
Longgang Rock Carvings | Overview
Known as "Beishan", Longgangshan is located at the north part of Dazu District. Carved deities spread all around the mountain, and Fowang area is with the majority of the carvings. Fowang is the most important area of the Dazu rock carvings.
- Prof. Chen Ching Shiang, "Research of Dazu Rock Carvings in Tang and Song Dynasty."
龍岡崖雕群｜概覽
”龍岡山，世稱北山，在縣城北五里，造像分佈幾滿山陬，最多者為佛灣。佛灣為大足崖雕第一重要地區，其形勢奇壯，峰巒層疊，洞壑窈窕，山胛中開一線路，兩壁悉雕西竺佛像，有巨石拔起，猶如樓屋，鑴鑄觀音、彌陀、金剛諸佛，均甚精巧。“
-- 陳清香 教授《大足唐宋佛教崖雕之研究》
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PEACOCK RADIANT WISDOM KING | 孔雀明王窟 | SHIMENSHAN
Cave of Peacock Radiant Wisdom King | Point Cloud + Polygonal Model Visualization
Initial result after the site survey at Shimenshan of Chongqing Dazu Rock Carvings in China.
孔雀明王窟｜點雲示意圖
中國重慶大足石刻石門山地區實地調研點雲暨多邊模型示意圖。
文獻摘錄
“石門山八窟坐北向南，主尊四臂：左手上舉經夾，下持孔雀尾，右手上舉俱緣果，下持蓮花於胸前。北壁下方刻一樹，莎底比丘匍匐在地，一斧頭從上而降。東壁刻帝釋天大戰阿修羅等場面。東、西、北壁上層各刻十八羅漢。”
-- 王惠民 先生《論孔雀明王經及其在敦煌、大足的流傳》
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NICHE OF COUNTING BEADS AVALOKITEŚVARA | 媚態觀音龕 | BEISHAN | 960-1127 A.D.
Counting Beads Avalokiteśvara of Cave No.125 | Point Cloud Visualization
Initial result after the site survey at Beishan of Chongching Dazu Rock Carvings in China.
92 cm in height.
Literature Digests
"The Avalokiteśvara of No.125 is with the counting beads in hand and its head looking down towards the left with the smile. Its feet stand on top of the two lotuses, and the body language is extraordinarily charming. It is one of the most exquisite sculptures at Longgang area."
- Prof. Chen Ching Shiang, "Research of Dazu Rock Carvings in the Tang and Soong Dynasty."
一二五龕之媚態觀音龕｜點雲示意圖
中國重慶大足石刻北山地區實地調研點雲示意圖，佛像高度92公分。
文獻摘錄
“ㄧ二五龕之媚態觀音，手持數珠，頭向左方俯視微笑，赤足立於二小蓮花上，體態異常嫵媚，是龍岡區中，有數之精美雕像之一。”
-- 陳清香 教授《大足唐宋佛教崖雕之研究》
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NICHE OF AVALOKITEŚVARA AND KSITIGARBHA | 觀音、地藏合龕 | BEISHAN | 907-960 A.D.
Niche of Avalokiteśvara and Ksitigarbha, No.253 | Point Cloud Visualization
Initial result after the site survey at Beishan of Chongching Dazu Rock Carvings in China.
105 cm in height.
二五三龕之觀音、地藏合龕｜攝影測繪
中國重慶大足石刻北山地區實地調研點雲示意圖，佛像高度105公分。
文獻摘錄
“以上數龕均刻有地藏菩薩與觀音菩薩並立者，此蓋表現地藏菩薩本願經見聞利益品中，觀世音菩薩啟請世尊，為現在未來一切眾生，稱揚地藏不思議事，令天龍八部，瞻禮獲福，佛便告觀世音菩薩以供像，持名之功德，以及種種修持法，如欲求所願速成，欲得住處利益，欲求衣食豐溢，家宅平安，過渡山海險道，欲見少失亡親，以及臨命終時的修法等等。”
-- 陳清香 教授 《大足唐宋佛教崖雕之研究》
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HISTORY, BUDDHISM AND ART
BORN DIGITAL HERITAGE | 原生數字文化遺產
Digital Relics
GANDHARA VR
Hybrid Visualization
Digital sculpting, Photogrammetry, 3D scanning and 3D printing are utilized to document, visualize and restore religious deities. The digital data is further applied to infographics, data visualization for heritage revitalization, curation and art history education.
整合式可視化
運用數位雕塑、攝影測量、三維掃描 / 列印等科技，針對宗教塑像等世界物質文化遺產，進行測繪、視覺化及保護。所獲得的數字化數據，可以進一步運用於情報信息設計，文化遺產數位視覺化，策展及藝術史教育等用途。
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GANDHARA-STYLE DIGITAL RELICS
Aerial Survey
DRONE SURVEY OF TIAN TANG BUDDHA, HONG KONG
Hybrid Visualization
Digital media and technology have immense potentials to work with heritage sites preservation, info-motion, visualization and education. High definition survey technology is meant to utilize digital narrative of VR, photogrammetry, 3D laser scanning, aerial photography to maintain, restore, revitalize and reactivate the educational, historical, humanistic perspectives of world heritage.
整合式可視化
運用數位雕塑、攝影測量、三維掃描 / 列印等科技，針對宗教塑像等世界物質文化遺產，進行測繪、視覺化及保護。所獲得的數字化數據，可以進一步運用於情報信息設計，文化遺產數位視覺化，策展及藝術史教育等用途。
BUILDING DWELLING THINKING | 詩意棲居思維
POETIC DWELLING IN THE CHINESE GARDENS AND PAVILIONS
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SUKHOTHAI | PHRA, WAT, AND JATAKA STORIES
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TEMPLES IN KYOTO
Re-Imagining and Mapping
Urban space nowadays is fragmented geographically and ideologically. Renovation and profit concern challenge the memories within. From ancient cities and their grid systems, analysis of the spirituality of the architecture, statues, graphics and calligraphy hence begins. The linkage of To-Ji Temple and Kyoto will provide a sustainable module for the future of urban planning.
重新想像詩意棲居思維
當代都會空間已因為地理及意識形態的分割，而支離破碎。都會的歷史脈絡，亦因為更新及利益考量而消散。經由古都格盤狀都市規劃，藉以分析精神性對於建築及城市規劃、 造型、圖像及文字的綜合影響力；為未來都會的可持續性規劃，提供參考。