CGA Heritage Lab | Visualization | 12.5 x 10 x 3 mt
Focus
Heritage+ Lab
Digital Heritage Archive
Revitalizing, Re-energizing, and Safeguarding the
Cultural Heritage Contents on the Digital Platform
＿＿＿＿＿＿＿＿＿＿＿＿＿＿
Digital conservation of cultural heritage, born-digital heritage conservation and heritage restoration of the digital/analogue work assist to integrate the tangible and intangible heritage on the digital platform. Digital heritage content, as the extension of cultural heritage, help to broaden the format of heritage narrative in the digital realm. Heritage+ Lab: Digital Heritage Archive strives to safeguard, sustain, and revitalize the Asia heritage content in the digital realm.
文遺數字化典藏庫
Projects across Pan-Asia Region
泰 國・蘇 可 泰
Sukhothai, Thailand
Digitization of Cultural Heritage
Born-Digital Heritage
Heritage of the Digital
＿＿＿＿＿＿＿＿＿＿＿＿＿＿
文 化 遺 產 數 字 化
原 生 數 字 遺 產
衍 生 數 字 遺 產
Project Narrative
Digital Heritage Archive is the team-based, collaborative research project to revitalize, reconnect, and reenergize the tangible/intangible heritage conservation through the digital platform. It utilizes digital documentation, A.I. analysis, GIS (Geographic Information System) mapping, Mixed Reality, digital annotation, and crowdsourcing to document, safeguard, and disseminate on the open-access platform. Digital Heritage Archive further integrates the tangible and built heritage documentation to connect with the narrative and the messaging of cultural heritage conservation in order to benefit the cross-disciplinary researches. With sustainable supports, the project will facilitate the project framework to the students and users in rural areas and extend collaborative opportunities to conduct workshops and training sessions for scholars and institutions with limited cyberinfrastructure.
SOUTHEAST
ASIA
東南亞
Indonesia | Central Java | Digital Heritage Imaging
SURAKARTA | CANDI SUKUH | GARUDA
Description
“Dating to the 1430s, Candi Sukuh is located in eastern Java, on Mount Lawu, once sacred for ancestor and spirit worship and fertility cults. The site comprises several terraces and stone pyramid with reliefs and statues, some of which are sexually explicit. The temple is also unusual because it emphasies the character Bima, who figures in shadow puppet theatre, and the sacred mythical bird Garuda.”
SURAKARTA | CANDI SUKUH | KRIS MAKING
SURAKARTA | BOROBUDUR | GAMELAN RELIEF
Description
“Built near the beginning of the ninth century, Borobudur, with a square base measuring 123 by 123 metres and height of 34.5 metres, is the largest Buddhist structure ever constructed. …Borobudur is a stepped pyramid structure built in three tiers. A square base supports the structure. The second tier consists of five square terraces. Three circular platforms, the up most topped by a stupa, make up the third tier. Four axial stairways provide access between the levels on each side. A staggering five kilometres of bas reliefs depicting Buddhist themes adorn the first five terraces, while the circular terraces have seventy-two openwork stupas - each containing a Buddha. The entire monument appears to symbolise a mandala corresponding to the conception of the Buddhist universe, which is divided into three spheres of existence.”
- P.205, Raffles In Southeast Asia
SURAKARTA | ANTIQUE BATIK TEXTILE
PRAMBANAN | HINDU-BUDDHISM SITE | 普里巴蘭神廟
東亞
EAST ASIA
South Korea | Geyongju | Rock Carvings | Historical Mapping
NAMSAN MOUNTAIN, GEYONGJU | 慶州・南山
Japan | Cultural Property and Conservation
"CRAFTING SPIRITUALITY" PROJECT |《匠心畫靈性：藝術教學計畫》講座
Description
In the “Crafting for Spirituality: A Pedagogic Project”, Professor Chen Wu-Wei enhances students' knowledge of artistic, cultural, technical aspects associated with digital sculpting using Z-Brush, Maya and Mudbox. Students get to explore character design and concept imagery through speed sculpting while integrating historic sculptures, decorations and motifs.
藝術教學計畫
《匠心畫靈性》
講座
陳無畏教授主講《匠心畫靈性：藝術教學計劃》中，學員藉著學習數字雕塑，強化藝術、文化、技術方面的探討。作為業界標準的數位雕塑及三維動畫工具，在此系列，化身為文物遺產數字活化平台。講座中，亦以亞洲古蹟雕塑為主角，探索角色設計及概念設計的可能性。
Image courtesy | 3D printing test | Remy Bustani
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。
中國
CHNIA
Wisdom and Benevolence | Potalaka Avalokiteshvara
POTALAKA AVALOKITESHVARA, MANI HALL | 河北正定縣隆興寺摩尼殿倒坐觀音
Zhengding County | Longxing Temple
Initial result after the site survey at the back of the Mani Hall.
正定縣｜
隆興寺
摩尼殿實地調研虛擬現實示
意圖。
Extension of the Royal Cave Temples from the North Wei Dynasty
FENGXIAN-SI CAVE OF LONGMEN GROTTOES | HENAN | 河南洛陽龍門石窟・奉先寺址
image courtesy | Seiichi, Mizuno and Toshio, Nagahiro Kanan Rakuyō
Ryūmon sekkutsu no kenkyū. Tokyō : Zauhō Kankōkai,
Shōwa 16 [1941]
image courtesy | Seiichi, Mizuno and Toshio, Nagahiro Kanan Rakuyō
Ryūmon sekkutsu no kenkyū. Tokyō : Zauhō Kankōkai,
Shōwa 16 [1941]
image courtesy | Seiichi, Mizuno and Toshio, Nagahiro Kanan Rakuyō
Ryūmon sekkutsu no kenkyū. Tokyō : Zauhō Kankōkai,
Shōwa 16 [1941]
Fengxian Temple | 360 VR
Initial result after the site survey at the Longmen Grottoes, Henan province.
奉先寺｜
虛擬現實
中國河南省洛陽市龍門石窟奉先寺造像。
實地調研虛擬現實示意圖。
文獻摘錄
景明初，世宗詔大長秋卿白整，準代京靈巖寺石窟，於洛南伊闕山，為高祖，文昭皇太后，營石窟兩所。初建之始，窟頂去地三百一十尺。至正始二年中，始出斬山二十三丈至。大長秋卿王質，謂：：「斬山太高，費工難就。」。奏求下移就平，去地一百尺，南北一百四十尺。”
-- 北魏・魏收《魏書・卷一百一十四・志十・第二十・釋老》
Shanxi | Yungang Grottoes | Royal Cave Temples of the North Wei Dynasty
TAN YAO CAVE・NO.20 | 曇曜五窟・第二十窟
Cave No.20 | 360 VR
Initial result after the site survey at the Yungang Grottoes, Shanxi province. The first tier of excavation for the Tan Yau caves is documented in the Book of Wei; Treatise on Buddhism and Taoism( Wei Shou: Shih lao chih).
曇曜五窟｜
第二十窟
虛擬現實
中國山西省大同市雲崗石窟第二十窟造像實地調研虛擬現實示意圖。
《魏書・釋老志》紀錄了曇曜五窟第一期的開鑿。酈道元的《水經注》中，則披露了雲岡石窟第一期晚年到第三期伊始的開鑿情況。
文獻摘錄
曇曜白帝，於京城西武州塞，鑿山石壁，開窟五所，鐫建佛像各一，高者七十尺，次六十尺，雕飾奇偉，冠於一世。
-- 北魏・魏收《魏書・卷一百一十四・志十・第二十・釋老》
武州川水又東南流，水側有石祗洹舍并諸窟室，比丘尼所
居也。其水又東轉逕靈巖南，鑿石開山，因巖結構，真容巨壯，世法所希，山堂水殿，煙寺相望。
-- 後魏・酈道元《水經注・卷十三・㶟水》
TAN YAU CAVES | 曇曜五窟
TAN YAO CAVES | 曇曜五窟
TAN YAO CAVES | 曇曜五窟
TAN YAO CAVES | 曇曜五窟
Shanxi | Gaoping | Kaihuasi Monastery | Mahavira Hall
LASER SCANNING + PHOTOGRAMMETRY | 激光掃描暨攝影測繪
Kaihuasi Monastery | Laser scanning + Photogrammetry
Annotation (En/Ch) | Wang, Jingyi
Photogrammetry & 3D Model courtesy | Pekin University
山西高平｜
開化寺
北京大學考古虛擬仿真實驗教學中心實地調研虛擬現實示意圖
文獻摘錄
西壁根據《大方便佛報恩經》所繪變相，主要包括太子本生，忍辱太子，華色比丘尼，轉輪王舍身供佛，善事太子本生，光明王本生經變。不同於東壁構圖，西北壁采用了敘事式布局，描述了釋迦牟尼佛為法獻身，播種福田的種種善行。此標注為華色比丘尼情節，反映了佛教不斷完善自身教義，向普羅大眾推廣佛法的這種努力。
移步北壁繼續觀賞，觀世音法會所營造的伎樂歌舞場面之浩大華麗，令人嘆為觀止。外
大雄寶殿
貌秀麗的樂伎交腳而坐，排列成行，笛子，琵琶，箜篌，笙等各種樂器一應俱全，彈奏自如；婀娜的舞伎位於樂隊中央，翩翩起舞，喜樂的氛圍洋溢在畫面的每一個角落，表現出了妙音眾出，自由自在的佛國世界的美好。
東璧四組圖像皆采用對稱式布局，釋迦牟尼佛居中結跏趺坐於蓮台之上，弟子，脅侍菩薩，諸菩薩，護法金剛環伺左右。佛像從外物走向內心，注重個性化的情感意緒，仔細觀察牆上的壁畫會發現，佛，菩薩因更具人類的外形而易於讓人感覺親近，表現出細膩秀婉的特質和纖細柔和的審美意識。
Shanxi | Pinyao | Zhenguosi Monastery | Wanfo Hall
LASER SCANNING + PHOTOGRAMMETRY | 激光掃描暨攝影測繪
Shanxi | Datong | Shanhua Temple
360 VR OF THE MAIN HALL
Shanghai | Yu Garden | Building Dwelling Thinking
POETIC DWELLING IN THE CHINESE GARDENS AND PAVILIONS
Mogao Grottoes | Dun Huang
FIELD RESEARCH
Sichuan | Thousand-Buddha Grotto | Transformations and Inheritation
AVALOKITESHVARA OF VAIROCANA CAVE・ANYUE | 四川安岳毗盧洞・普陀洛迦觀音像
Avalokiteshvara | Point Cloud Visualization
Initial result after the site survey at Vairocana Cave of Anyue, Sichuan Province.
普陀洛迦觀音
造像
中國四川省安岳毗盧洞
普陀洛迦觀音像實地調研
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洛迦觀音，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》
點雲示意圖
｜
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。
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》
Sichuan | Dazu Rock Carvings
Mapping and Cyber-Archiving For the Collective Memories
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》
SHIMENSHAN・PEACOCK RADIANT WISDOM KING | 石門山．孔雀明王窟
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》
BEISHAN．NICHE OF COUNTING BEADS AVALOKITESHVARA | 北山．媚態觀音龕
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
佛像高度約九十二公分
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》
NICHE OF AVALOKITESHVARA ANDKSITIGARBHA | BEISHAN | 907-960 A.D. | 觀 音 、 地 藏 合 龕
Niche of Avalokiteshvara 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
｜
中國重慶大足石刻
北山地區實地調研
點雲示意圖
佛像高度約一百零五公分
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
攝 影 測 繪
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》
HISTORY, BUDDHISM AND ART
Hong Kong | Aerial Survey
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。
CENTRAL
ASIA
中亞
Pakistan | Peshawar | 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。
THE GREAT RENUNCIATION AND THE ASSAULT OF MARA | 踰 城 出 離 與 降 魔 成 道
踰 城 出 離 與 降 魔 成 道 | Circa 2nd - 3rd Century | W 65 x H 21.5 x D 7 cm
Narrative relief carved on grey schist to depict the Great Renunciation and the Assault of Mara in the Jātakas.
文 獻 摘 錄
即起上馬。將車匿前行數十里。忽然見主五道大神。名曰賁識。最獨剛強。左執弓。右持箭。腰帶利劍。所居三道之衢。一曰天道。二曰人道。三曰三惡道。此所謂死者魂神。所當過見者也。太子到問。何道所從。賁識惶懅。投弓。釋箭。解劍。逡巡示以天道曰。是道可從。
於是第六化應聲天。天上魔王。見菩薩清淨無欲。精思不懈。心中煩毒。飲食不甘。伎樂不御。念是道成必大勝我。欲及其未作佛。當壞其道意。魔子薩陀。前諫父曰。菩薩行淨。三界無比。以得自然神通。眾梵諸天億百。皆往禮侍。此非天王所當沮壞。無為興惡自虧福也。魔王不聽。召三玉女。一名欲妃。二名悅彼。三名快觀。使行壞菩薩意。三女皆被羅縠之衣。服天名香瓔珞珠寶。極為妖冶巧媚之辭。欲亂其意。菩薩心淨。如琉璃珠。不可得污。三女復白曰。
仁德至重。諸天所敬。應有供養。故天獻我。我等好潔。年在盛時。天女端正。莫有殊我者。願得晨起夜寐供侍左右菩薩答曰。汝宿有福。受得天身。不惟無常。而作妖媚。形體雖好。而心不端。譬如畫瓶中盛臭毒。將以自壞。有何等奇。福難久居。婬惡不善。自亡其本。死即當墮三惡道中。受鳥獸形。欲脫致難。汝輩亂人正意。非清淨種。革囊盛屎。而來何為。去吾不用汝。其三玉女。化成老母。不能自復。魔王益忿。更召諸鬼神。合得一億八千萬眾。皆使變為師子熊羆虎兕象龍牛馬犬豕猴猨之形。不可稱言。虫頭人體。蚖蛇之身。黿龜之首。而六目。或一頸而多頭。齒牙爪距。擔山吐火。雷電四繞。擭持戈矛。菩薩慈心。不驚不怖。一毛不動。光顏益好。鬼兵退散。不能得近。魔王自前。與佛相難詰。
-- 吳月支優婆塞支謙譯 《佛說太子瑞應本起經卷上》
西亞
WEST
ASIA
Abu Dhabi
LOUVRE ABU DHABI اللوفر أبوظبي
