西汉帝陵

　　Integrated methods for the protection and development of complex archaeological scenarios:the case of Han Yang Ling Museum
　　The contribution of the Scuola Nazionale di Dottorato in Scienze della Rappresentazione e del Rilievo[national graduate school for representation and surveys](headed by Prof.Emma Mandelli),has been particularly active in two areas of great use for an understanding of the context and hence how to subsequently intervene in the putting into effect of this project.On the one hand a DTM(digital terrain model)has been created to clarify the relationship between the archaeological area of the Han Yangling Museum and the sur-rounding area,which itself contains many other sites of great interest that need to be documented.On the other hand it has started on metrological studies with the aim of“deciphering”the project area's topography and hence the system made up of the Emperor's and the Empress's tombs and the Holy Area which includes the so-called Pelorus:i.e.with regard to the measurements and orientations of the various buildings that make up this system.
　　The interest in the latter building is in part due to the similarities it presents with respect to the land me-asuring systems used in other cultural contexts and,in particular,that used by the ancient Romans.The building system analysed employs north-south and east-west axes,not only in the case of the burial area of the emperor Jingdi,but also in all the other burial sites along the river Hei to the north of the city of Xi'an.
　　The large pyramid trunk tombs we find in this region are all oriented“secundum coelum”,which for the Romans meant laying out a building or a city according to the cardinal points of the compass:this was also fundamental for the ancient Chinese builders who,like their western counterparts,thus planned and designed their building projects according to rational and transcendent criteria.The great disk we find at the centre of the so-called Sacrificial Area has grooves that point from the centre of the stone towards the cardinal points;the name that was in ancient times given to this kind of measuring and orientation instrument was the Luojing.The one we find operating in the area of the Han Yangling museum,dating from 153-141 B.C.,is considered to be one of the first ever measuring instruments in the world.The Etruscans and subse-quently the Romans had similar instruments such as,for example the groma;a surveying instrument that also used a system of perpendicular axes(stelletta),that could turn on a pivot and a pole(ferramento).The apparatus was employed in various situations and enabled,among other things,the surveyors to make simple alignments on the land that were necessary for road construction and were also used for centuriation,for the allocation of land and building work in general.The presence of a number of Luojing stones also kept within the museum bears witness to their need for accurate positioning and orientation of all the buildings present in the area,in relation also to the symbolism associated with the individual elements that went to make up the burial ground.Each tomb has in fact a limited but clear abacus of elements(the pyramid,the enclosure,the gates and the ditches)that necessarily have to be aligned with the cardinal points.The entrance to the tomb,for example,is always facing east like the rest of the Holy Way that links all the burial systems,of the Emperors and also of the dignitaries,concubines and functionaries.Metrological analysis of the tomb of the emperor Jingdi has made it possible to carry our modular scanning of the layout of the Em-press's tomb and very likely also that of the Holy Area that contains the Luojing stone.The square enclosure that delimits the plan of the tomb of the Emperor(excluding the walls)has corners relating to the ancient Li(about 415.8m)which is subdivided into 14 modules.The aggregation of modules identified by this scan make it possible to use Pythagoras's theorem to calculate the area to be levelled,indicating the desire to obtain constant proportions both between the surface areas of the various buildings and the distances gov-erning the proxemics of the whole site.
　　The search for a composite rule that describes the whole project area should not be understood as a sep-arate matter from the project itself,but very much as part of the approach to the project itself.Knowing or at least having a good idea of a possible algorithm for the plan of an archaeological area gives us a way of es-tablishing a link between technical knowledge and the aesthetic and symbolic objectives upon which planning in the ancient world was based.
　　From a reading of the land area to the terracotta armies:3D documentation methods for a “trans-versal”collection
　　The approach described for the study of the archaeological museum of Han YangLing poses the problem of knowledge in relation to analysis and that of documentation in the context of the work,all being essential to the stage preceding the project proposal;in the case of the Han Yang Ling museum,it is evident that the pre-eminent role of its extraordinary and huge collection could not be overlooked in this regard.The meth-odological tools applied,both to the settlement substrate and to the identification of elements fundamental to the archaeological“narration”for museographical purposes,are those that the graduate school in Florence put forward for their interpretation of the ancient world in geographical contexts close to the European tradi-tion.These however turn out to be surprisingly valid,on verification of underlying premises,to environments as diverse as the“Valley of the Kings”and that of the river Hei..
　　On approaching the extraordinary attraction of this monumental collection,the strict links to the per-pendicular layout of the ditches with respect to the tomb,the ichnography of the burial sites,this became an essential theme for describing the story of the place.Even from first studies it was clear how to gaining of knowledge and understanding of the place it would be necessary to concentrate not on the individual fu-neral items of the emperor Jingdi,but on the meaning of the whole in relation to the architecture and layout of the land.
　　The contingent problem however,in the light of he experience our working group has gained at Xi'an,was how to effectively summarise with emblematic images the sense and importance of the collection within the museum,bringing out vrgola where necessary and in clear and summary form,the observations made and the analysis carried out during the studies.For this purpose a series of models on different scales were made with different degrees of detail,with project summary images included,to back up the narrative of the relationships identified in the pre-project stage between the various elements in play.
　　A large three-dimensional model was made of the terrain,comprising the burial system along the banks of the river,starting with a patchwork of aerial satellite photographs and topographic data memorised in a GIS platform that could be accessed on-line;this planimetric and altimetric data made it possible to make intermediate size scale models of the pyramids and their immediate appurtenances.As far as the“detailed” documentation of the collection goes(such terracotta statues,antefixes and decorative features)it was not possible in the timescale to plan 3D surveys of individual items.
　　The decision was therefore made to carry out rapid modeling based on the acquiring of essential measur ements of the item and photographic documentation,which when integrated with advanced texturing virg pro-duce useful models from the metric and the perceptual points of view;starting out with a very simple model,of low polygon density,the photographic material available was used for accurate colour mapping.From this point,using dedicated software such as CrazyBump and ShaderMap)to general normal and displacement maps able to increase the surface detail of the model by disturbing the orientation of the norwas on the sur-face.
　　In this way we have in very short time been able to obtain three-dimensional models of various scales,that are different from each other and which can be organically correlated with each other and capable of to-gether describing both the existing collection and its more or less evident relationships with the architectural and local land area context;such material could provide the basis for building a relationships database or multi-media teaching material as a support to the museum visit experience.
　　Certainly a structure composed of data organised in this way could become much more valuable if sup-ported by extensive and accurate digital surveys,both of the archaeological areas and of the collection's most paradigmatic items;it is therefore to be hoped that an extensive laser scanning survey can be carried out to document the various stages of the archaeological digging work and to preserve very valuable information on the topography of the area,including with a view to future works that could alter its configuration.
　　LEGEND:
　　Image 1-Luojing stone
　　Image 2-A schematic model of the Jingdi's Emperor tomb
　　Image 3-Proportional plan of the monumental area with evidence of the metrical ratio between the pro-ject and the original units of measurement
　　Image 4 e 5-Simplified models for the documentation of the collection(basis from the South Gate zone)
　　文物保护的综合方法和复杂考古进程的发展：汉阳陵博物馆例案
　　对于文物考古环境的解读及如何及时的应用到相关文化项目的实施当中去这两个课题，国家测量与测绘研究生院的科研成果(由爱玛 曼迪利教授指导)在两个广泛应用的领域里成效显著。一方面一种DTM(数字地形模型)被研发出来用来阐明汉阳陵博物馆考古区域与周边地域的关系，这里也有许多其他遗址需要记录下来的极有价值的信息。另一方面度量衡学方面的研究已经开始了，目的是为了“解密”文化项目区域的地形。至于各种组成这个系统建筑的测量和定位，这个系统是由皇帝与皇后的墓葬还有被称为罗经刻度盘的神区组成的。
　　对神区的关注一部分原因就是它与在其他文化遗址上使用的土地测量系统尤其是与古罗马所使用的土地测量系统很相似。不仅在汉景帝的墓葬区而且还在沿着西安北部的渭河其他墓葬区，用来研究的建筑系统利用了南北和东西轴线。
　　我们在这个地区发现的大金字塔式墓葬都被定位成了“secundum coelum”，罗马语的意思是根据罗盘的基本定位设计一座建筑或城市：这也是中国建筑师们所遵循的原则，他们就像其西方的同行那样根据合理的标准规划和设计了他们的建筑工程。我们在被称作祭祀区的中心所发现的巨大圆盘造有沟槽，沟槽从石盘中心通向东西南北四个方位。(图1)古代把这种测量和定位的工具称为罗经。我们在汉阳陵博物馆区域发现的这种工具被认为是世界上第一个度量工具，年代约为公元前153-141年。伊特鲁利亚人及后来的罗马人也有了例如groma；就是一种使用垂直轴线系统(stelletta)的测量工具，这种工具有可以打开的一个枢轴和一个极点(ferramento)的功用。另外，这种工具在各个地方都被使用着。它可以让观察者为了修建道路，使道路非常坚固，对土地进行配置和从事普通的建筑工程从而对地面做出简单的调整。一些还保存在汉阳陵博物馆内的罗经石说明人们还对这里现有的建筑具有进行准确定位和定向的需求，并且组成墓葬地的各个元素的象征也与罗经石头有关系。实际上每一个墓葬都有一个界定的和准确的构成分布，它们必须根据基本方位来做调整。(图2)比如，墓葬的入口一直朝东，就像连接所有墓区体系的其他神道，像皇帝，高官，妃子还有官员的墓葬一样。以度量衡的方法研究汉景帝的墓葬使得对皇帝陵墓布局和像保存罗经石的祭祀区进行模块扫描成为了可能。(图3)界定汉景帝陵墓区域的方形圈地(包括围墙)内有根据古代的单位“里”(约415.8米)被细分为14个模块的转角。
　　用扫描标示出模块集合体就让利用毕达哥拉斯定理来计算测量区域面积成为了可能。这说明了人们希望知道建筑的地表面积和决定整个遗址空间关系的距离这两者之间的恒比例。(图3).
　　对表现整个文化项目区域综合规律的研究不能被理解成为项目自身的一个单独问题，而是项目自身功能的一部分。知道或者至少想出一个考古遗址项目的可行方案能让我们建立起一种联系。这种联系存在于技术知识与古代测量所借助的审美与象征物之间。
　　对于汉代兵马俑现场遗址的解读：关于“横向的”遗址的3维存档技术。
　　研究汉阳陵博物馆的文化功能面临着考古遗址现场分析和存档的问题，这些问题在项目提出前的阶段中起着重要作用。例如汉阳陵博物馆，很明显在这些问题上我们不能忽视博物馆那个非同寻常的巨大遗存所起的重要作用。
　　基础底部的沉陷和确定一些因素所使用的方法是由佛罗伦萨研究生院提出的，目的是为了用近似欧洲传统的方式来阐释古代的地理环境。那些确定的因素是为博物馆图像做考古学方面的“描述”中最基本的因素。结果当这些方法应用在多样的环境中比如“帝王谷”和黑河各自不同地理环境中时竟然是出乎意料的奏效。
　　一靠近这片纪念碑式的历史遗存的胜地，陵墓垂直的水渠布局就和墓葬遗址的平面图紧密地联系起来，这已成为了一个表现这个地方的基本主题了。甚至从我们刚开始搞研究时就已经很清楚怎样去获得有关这个地方的知识并去理解它了。我们没有必要去关注汉景帝个别的墓葬内容，而是有必要去关注有关建筑物和遗址地理布局的整体意义。
　　然而根据他在西安从我们工作团队所获得的经验，伴随的问题是如何利用象征性的图像去有效地概括出博物馆遗存的意义及其重要性。这就促使了我们在研究中要进行必要的，清晰地和概括性的观察与分析。为了达到这个目的，人们制作出了一系列不同规模的模型，这样就可以在不同程度的细节上阐明项目前期阶段不同参与因素之间的关系。
　　一个巨大的三维模型是由一片地域组成的，它沿着河岸构成了墓葬体系，开始的工作是补充空中卫星图片和储存一个能上线的GIS平台上的地形数据；这些平面的和高度方面的数据就可以让人们制作出大小适当的金字塔状陵墓及离它们最近的附属建筑的模型。就如“详尽的”遗存记录(像兵马俑雕像，装饰屋瓦和修饰特征)所说明的，对于个体目标在时间量程上开展3维测量不是没有可能的。
　　于是人们就决定凭借基本的测量结果和图像记录立即开始制作模型。就是从度量的和感性的角度结合先进的织构技术制作出有效的模型来；最开始制作出一个非常简单的多边形密度很低的模型来，现有的图像资料被用来进行精确的色彩测绘。然后用如(Crazy Bump和ShaderMap)等专门的软件去制作常规的换置图像，这样就可以通过分离它的组件多边形来增强模型的表面细节。
　　这样我们很快就能自己运用不同规格的三维模型了，模型各不相同但它们可以在结构上互为联系，并且它们能被一起用来表现现有的遗存还有其与当地环境和建筑之间或多或少的联系；这样的模型可以被看作是一种对博物馆展览经验的支持从而和数据库或多媒体教材建立联系。
　　的确，如果有广泛的准确的数字测量作为基础，那么一种用这种方式组成的数据结构会就会变得越来越有价值。这既包括考古现场的数字测量，也包括遗存中最有价值部分的数字测量；由此人们希望可以研制出一种多能的激光扫描测量仪器，以便记录下考古发掘现场不同阶段的状况。这些在发掘过程保存了非常有价值的信息，将来还可能会影响考古遗址原有地形的工作。

汉阳陵·比萨：文化遗产的原址保护与考古博物馆