TEDGlobal 2012
Maurizio Seracini: The secret lives of paintings
莫里奇歐塞拉奇尼：繪畫的祕密生命
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藝術史並不是無法撼動的，工程師莫里奇歐塞拉奇尼花了三十年的時間尋找達文西失落的壁畫「安吉里戰役」。而在找尋的過程中，他發現許多畫作的表面下，有著層層交織的歷史。這些是否也應該成為觀賞經驗的一部分呢？
Maurizio Seracini - Art diagnostician
Maurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art. Full bio
Maurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art. Full bio
Double-click the English transcript below to play the video.
00:16
In 1975, I met in Florence a professor, Carlo Pedretti,
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1975年，我在佛羅倫斯見到了
卡洛佩德瑞提教授
卡洛佩德瑞提教授
00:20
my former professor of art history, and today
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他曾經是我的藝術史教授，而今
00:24
a world-renowned scholar of Leonardo da Vinci.
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他是以專研達文西聞名於世的學者
00:28
Well, he asked me if I could find some technological way
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他問我能不能找到某種科技
00:32
to unfold a five-centuries-old mystery related to
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來解開已存在五世紀之久的謎團─
00:36
a lost masterpiece by Leonardo da Vinci,
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達文西失落的巨作「安吉里戰役」
00:39
the "Battle of Anghiari," which is supposed to be located
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這幅畫作應該是在
00:41
in the Hall of the 500 in Palazzo Vecchio, in Florence.
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佛羅倫斯舊宮的五百人大廳裡
00:44
Well, in the mid-'70s, there were not great opportunities
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在七零年代中期，像我這樣的生物工程學家
00:47
for a bioengineer like me, especially in Italy, and so
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沒有什麼好的工作機會，特別是在義大利
00:51
I decided, with some researchers from the United States
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所以我決定和來自美國
00:55
and the University of Florence, to start probing the murals
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及佛羅倫斯大學的研究人員一起著手探索
00:59
decorated by Vasari on the long walls of the Hall of the 500
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瓦薩里在五百人大廳的長牆上繪製的壁畫
01:03
searching for the lost Leonardo.
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以尋找達文西失落的畫作
01:06
Unfortunately, at that time we did not know that
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不幸的是，當時我們並不知道
01:09
that was not exactly where we should be looking,
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這裡不是我們該留意的地方
01:14
because we had to go much deeper in, and so the research
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正因為我們得挖更深，
01:18
came to a halt, and it was only taken up in 2000
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這個研究最終被擱置下來，直到2000年
01:22
thanks to the interest and the enthusiasm of the Guinness family.
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在金氏家族的大力支持之下，才得以重啟
01:27
Well, this time, we focused on trying to reconstruct
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這次，我們把焦點擺在試著重建
01:30
the way the Hall of the 500 was before the remodeling,
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那建於1494年的五百人大廳
01:33
and the so-called Sala Grande, which was built in 1494,
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也就是大廳 (Sala Grande) 在翻修之前的樣貌
01:36
and to find out the original doors, windows,
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並找出它原本的門窗位置
01:39
and in order to do that, we first created a 3D model,
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為此，我們首先做出一個 3D 模型
01:44
and then, with thermography, we went on to discover
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然後藉著熱成像的技術，我們發現了一些
01:47
hidden windows. These are the original windows of the hall
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隱藏的窗戶，那都是大廳原本的窗戶
01:50
of the Sala Grande. We also found out about the height
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也知道了天花板的高度
01:54
of the ceiling, and we managed to reconstruct, therefore,
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所以能夠成功地重建
01:57
all the layout of this original hall
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原始禮堂的整個佈局
02:00
the way it was before there came Vasari,
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也就是在瓦薩里來到此地之前的樣貌
02:03
and restructured the whole thing,
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我們也重建出整個結構
02:06
including a staircase that was very important
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包括一個很重要的樓梯
02:09
in order to precisely place "The Battle of Anghiari"
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那是為了將「安吉里戰役」準確地放置
02:14
on a specific area of one of the two walls.
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而準備的工具之一
02:18
Well, we also learned that Vasari, who was commissioned
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我們也發現在1560到1574年間
02:21
to remodel the Hall of the 500 between 1560 and 1574
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受梅迪奇家族的大公科西莫一世委託
02:26
by the Grand Duke Cosimo I of the Medici family,
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翻修五百人大廳的瓦薩里
02:30
we have at least two instances when he saved masterpieces
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為保存大師作品，至少有兩次在
02:33
specifically by placing a brick wall in front of it
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作品前特地築起一道磚牆
02:37
and leaving a small air gap.
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並在牆與作品間留下小小的氣隙
02:39
One that we [see] here, Masaccio, the church of Santa Maria Novella in Florence,
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這邊的一個例子是
馬薩其奧的「佛羅倫斯新聖母堂」
馬薩其奧的「佛羅倫斯新聖母堂」
02:43
so we just said, well maybe, Visari has done something
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所以我們就想，或許瓦薩里也對
02:46
like that in the case of this great work of art by Leonardo,
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達文西的傑作做了類似的事
02:49
since he was a great admirer of Leonardo da Vinci.
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畢竟他相當崇拜達文西
02:52
And so we built some very sophisticated radio antennas
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所以我們做了一些非常精細的無線電天線
02:56
just for probing both walls and searching for an air gap.
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用來探測大廳的兩面牆來找尋這樣的氣隙
03:01
And we did find many on the right panel of the east wall,
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而我們真的在東牆右邊的牆板找到了
03:06
an air gap, and that's where
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一個這樣的氣隙
03:09
we believe "The Battle of Anghiari,"
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我們相信「安吉里戰役」
03:10
or at least the part that we know has been painted,
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或者至少是據知已經繪成的
03:12
which is called "The Fight for the Standard," should be located.
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稱為「奪旗之戰」的一部分應該就在那裡
03:16
Well, from there, unfortunately,
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不過很不幸地
03:19
in 2004, the project
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這個計畫在2004年中止了
03:22
came to a halt. Many political reasons.
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出於很多政治上的原因
03:25
So I decided to go back to my alma mater,
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所以我決定回到我的母校
03:27
and, at the University of California, San Diego,
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加州大學聖地牙哥分校
03:30
and I proposed to open up a research center
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並提議創設一個
03:32
for engineering sciences for cultural heritage.
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以保存文化遺產為目的的工程科學研究中心
03:35
And in 2007, we created CISA3 as a research center
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然後在2007年，我們創了 CISA3
03:40
for cultural heritage, specifically art, architecture
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一個以保存文化遺產，尤其是藝術、建築
03:43
and archaeology. So students started to flow in,
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以及考古發現而設的研究中心，所以學生開始湧入
03:45
and we started to build technologies, because that's
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也開始發展這方面的科技
03:47
basically what we also needed in order to move forward
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因為那正是我們推展這個計畫
03:50
and go and do fieldwork.
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以及重回實地工作所需要的技術
03:53
We came back in the Hall of the 500 in 2011,
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我們在2011年時回到五百人大廳
03:57
and this time, with a great group of students,
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這次我們有一大群學生
04:01
and my colleague, Professor Falko Kuester,
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還有我的同事凡科庫斯特教授
04:03
who is now the director at CISA3, and we
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現在他是CISA3的負責人
04:06
came back just since we knew already where to look for
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一起回到這裡，是因為我們已經知道
04:10
to find out if there was still something left.
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該到哪裡尋找可能留下的畫作遺跡
04:13
Well, we were confined though, limited, I should rather say,
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但這麼說吧，我們的研究方式受到限制
04:17
for several reasons that it's not worth explaining,
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出於一些不值得說明的原因
04:20
to endoscopy only, of the many other options we had,
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在眾多選項中，我們只能使用內視鏡
04:24
and with a 4mm camera attached to it,
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藉著附接在內視鏡上的四毫米攝像頭
04:28
we were successful in documenting and taking
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我們成功紀錄並採到
04:33
some fragments of what it turns out to be
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一些碎片，後來證實這些
04:37
a reddish color, black color, and there is some
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有著紅黑夾雜的色彩
04:41
beige fragments that later on
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我們後來針對一些米色碎片
04:44
we ran a much more sophisticated exams,
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作了更精密的檢驗
04:47
XRF, X-ray diffraction, and the results are very positive
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包括X光螢光與繞射分析，也得到非常正面的結果
04:53
so far. It seems to indicate that indeed
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看起來這似乎表示
04:55
we have found some pigments, and since we know for sure
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我們確實找到一些顏料，也因為我們知道
04:58
that no other artist has painted on that wall
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在瓦薩里大約六十年後來到這裡之前
05:01
before Vasari came in about 60 years later, well,
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其他的藝術家不曾在那面牆上作畫
05:04
those pigments are therefore firmly related to mural painting
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所以那些顏料很可能與壁畫有關
05:07
and most likely to Leonardo.
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最有可能出於達文西
05:10
Well, we are searching for the highest and highly praised
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我們在找尋的是人類有史以來
05:15
work of art ever achieved by mankind.
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所創作出最棒、最受推崇的藝術作品
05:18
As a matter of fact, this is by far the most important
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事實上，這是達文西一生所接過
05:21
commission that Leonardo has ever had,
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最重要的委託
05:24
and for doing this great masterpiece, he was named
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因為這幅傑作，他被喻為是
05:28
the number one artist influence at the time.
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當時最有影響力的藝術家
05:33
I had also had the privilege since the last 37 years
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在過去的 37 年中，我也有幸參與了一些
05:37
to work on several masterpieces as you can see behind me,
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跟我背後這幾項傑作有關的計畫
05:40
but basically to do what? Well, to assess, for example,
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但我到底在做些什麼呢？比方說
05:44
the state of conservation. See here the face of the
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評估它們保存的狀態，你們看這幅「椅中聖母」
05:46
Madonna of the Chair that when just shining a UV light on it
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當我們把紫外線打在聖母的臉上時
05:51
you suddenly see another, different lady,
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你突然會看到另一位女士
05:54
aged lady, I should rather say.
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應該說一位更年長的女士
05:56
There is a lot of varnish still sitting there, several retouches,
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這上面還殘留很多亮光漆、潤飾及過度清理的痕跡
05:59
and some over cleaning. It becomes very visible.
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在紫外線下變得很明顯
06:02
But also, technology has helped to write new pages
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科技更幫助我們寫下歷史的新頁
06:06
of our history, or at least to update pages of our histories.
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或至少更新我們所知的歷史
06:09
For example, the "Lady with the Unicorn,"
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比方說，這幅「抱著獨角獸的女人」
06:11
another painting by Rafael, well, you see the unicorn.
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另一幅拉斐爾的畫作，你看到獨角獸
06:14
A lot has been said and written about the unicorn, but
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對於這隻獨角獸已經有很多不同的闡述
06:16
if you take an X-ray of the unicorn, it becomes a puppy dog.
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但如果你給牠照張 X 光片，牠就變成一隻小狗了
06:20
And — (Laughter) — no problem, but, unfortunately,
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（眾笑）這還不打緊，不幸的是
06:24
continuing with the scientific examination of this painting
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在更進一步以科技檢驗這幅畫作之後
06:27
came out that Rafael did not paint the unicorn,
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我們發現拉斐爾沒畫獨角獸，
06:30
did not paint the puppy dog, actually left the painting
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也沒畫小狗，他根本沒把這幅畫畫完
06:33
unfinished, so all this writing about the exotic symbol
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所以一切關於這隻奇特的獨角獸的象徵意義的著作─
06:37
of the unicorn — (Laughter) — unfortunately,
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（眾笑）─ 很不幸的
06:40
is not very reliable. (Laughter)
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都不大可靠
06:43
Well, also, authenticity. Just think for a moment
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再來就是鑑定作品的真偽，你想嘛
06:46
if science really could move in the field of authenticity
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如果科技真的能夠對真跡鑑定有所貢獻
06:50
of works of art. There would be a cultural revolution
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那會是一場文化的革命
06:53
to say the least, but also, I would say, a market revolution,
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我認為至少可以說是藝術市場的革命
06:57
let me add. Take this example:
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舉例來說
06:59
Otto Marseus, nice painting, which is "Still Life"
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奧托瑪蘇斯的「靜物」，很棒的作品
07:03
at the Pitti Gallery, and just have an infrared camera peering through,
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現在保存在碧提宮的美術館裡
07:07
and luckily for art historians, it just was confirmed
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對藝術史家來說，很幸運地
07:10
that there is a signature of Otto Marseus. It even says
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紅外線掃描剛剛證實了畫上有奧托瑪蘇斯的簽名，甚至
07:13
when it was made and also the location.
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還說了這幅畫是何時何地畫成
07:16
So that was a good result. Sometimes, it's not that good,
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這結果還不錯，但有時候就沒那麼幸運了
07:20
and so, again, authenticity and science could go together
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所以我要再次強調，鑑定和科學可以相輔相成
07:26
and change the way, not attributions being made,
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並改變現今的鑑定方式，不單只是單純的主觀認定
07:30
but at least lay the ground for a more objective,
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而是找出一個可以更為客觀
07:34
or, I should rather say, less subjective attribution,
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或者說，較不那麼主觀的認定基礎
07:37
as it is done today.
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至少和現在比起來
07:40
But I would say the discovery that really caught
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但我敢說真正激起
07:44
my imagination, my admiration, is the incredibly vivid
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我的想像力和讚嘆的，是那不可思議、栩栩如生的畫作
07:48
drawing under this layer, brown layer,
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就隱藏在那棕色外層
07:51
of "The Adoration of the Magi." Here you see
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也就是「賢士來朝」之下
07:55
a handmade setting XYZ scanner with an infrared camera put on it,
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在這邊你可以看到一台手製的紅外線立體掃描儀
07:59
and just peering through this brown layer
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正對這棕色外層的
08:02
of this masterpiece to reveal
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大師作品進行掃描
08:05
what could have been underneath.
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來找出這外層之下可能有的東西
08:08
Well, this happens to be the most important painting
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而底下正是義大利所擁有的
08:10
we have in Italy by Leonardo da Vinci, and
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最重要的一幅達文西畫作
08:13
look at the wonderful images of faces that nobody has seen
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看看這些五個世紀以來沒有人見過的臉孔
08:18
for five centuries. Look at these portraits.
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看看這些畫像，
08:21
They're magnificent. You see Leonardo at work.
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令人讚嘆不已，彷彿看到達文西作畫的身影
08:24
You see the geniality of his creation, right directly
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從他的創作中你可以感受到真切的情感
08:27
on the ground layer of the panel, and see
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從這幅畫的底層透出來
08:30
this cool thing, finding, I should rather say,
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看看這了不起的發現，這麼說吧
08:36
an elephant. (Laughter) Because of this elephant,
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這是一隻大象（眾笑）因為這隻大象
08:39
over 70 new images came out, never seen for centuries.
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有七十多個幾世紀未曾見世的新圖像出現
08:43
This was an epiphany. We came to understand
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那是一場頓悟，我們才明白
08:47
and to prove that the brown coating that we see today
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並接著證明今日所看到的棕色外層
08:50
was not done by Leonardo da Vinci, which left us
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並非出自達文西之手，而讓底下其他畫像
08:53
only the other drawing that for five centuries
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在五世紀以來無法得見
08:56
we were not able to see, so thanks only to technology.
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這全是靠著科技的幫助
09:01
Well, the tablet. Well, we thought, well, if we all have
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再來是平板電腦，我們覺得
09:05
this pleasure, this privilege to see all this,
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如果我們如此榮幸能看到這些東西
09:08
to find all these discoveries, what about for everybody else?
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以及這所有發現，何不和所有人分享呢？
09:11
So we thought of an augmented reality application
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所以我們想到在平板電腦上作個擴增實境應用程式
09:14
using a tablet. Let me show you just simulating
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讓我作個示範
09:19
what we could be doing, any of us could be doing,
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我們能夠用它來做些什麼
09:22
in a museum environment.
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這是任何人在博物館裡都可以做到的事
09:24
So let's say that we go to a museum with a tablet, okay?
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所以我們帶著平板電腦到博物館去
09:29
And we just aim the camera of the tablet
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然後我們把平板電腦的相機
09:32
to the painting that we are interested to see, like this.
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對準我們想看的畫，就像這樣
09:38
Okay? And I will just click on it, we pause,
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好了嗎？然後按下快門，等一下
09:44
and now let me turn to you so the moment the image,
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現在讓我轉向你們，所以當這個影像─
09:48
or, I should say, the camera, has locked in the painting,
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或者應該說是相機，鎖定了這幅畫以後
09:52
then the images you just saw up there in the drawing
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你們剛剛在那邊看到的畫中影像
09:54
are being loaded. And so, see.
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就載入這裡了，然後你們看
09:58
We can, as we said, we can zoom in. Then we can scroll.
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我們就能像剛才說的把畫放大，還可以上下捲動
10:02
Okay? Let's go and find the elephant.
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好嗎？讓我們去把這隻大象找出來吧
10:07
So all we need is one finger. Just wipe off
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我們只要用一根手指頭，抹一抹
10:10
and we see the elephant. (Applause)
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就能看到這隻大象了（掌聲）
10:15
(Applause)
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（掌聲）
10:18
Okay? And then if we want,
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好嗎？然後如果想要的話
10:21
we can continue the scroll to find out, for example,
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可以繼續捲動這幅畫來找出─
10:24
on the staircase, the whole iconography is going
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比方說，在這個樓梯上（用手指抹一抹）
10:28
to be changed. There are a lot of laymen reconstructing
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這整個圖像就都改變了
10:30
from the ruins of an old temple a new temple,
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你現在看到的是很多人在廢墟上重建新的廟堂
10:33
and there are a lot of figures showing up. See?
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還有很多其他的圖像也出現了，看到了嗎？
10:37
This is not just a curiosity, because it changes
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這不只是一項引人好奇的事物
10:40
not just the iconography as you see it, but the iconology,
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因為它不只改變了你所看到的圖像
10:43
the meaning of the painting,
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還有圖像學本身以及畫作的意義
10:45
and we believe this is a cool way, easy way,
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我們相信這是一個又棒又簡單的方法
10:48
that everybody could have access to, to become more
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讓每個人都能和我們一樣
10:51
the protagonist of your own discovery, and not just
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走入數不清的博物館展間時
10:54
be so passive about it, as we are when we walk through
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能夠更積極主動地去挖掘出自己的發現
10:58
endless rooms of museums.
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而不是只能被動接受
11:02
(Applause)
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（掌聲）
11:07
Another concept is the digital clinical chart, which sounds
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另一個概念是數位診斷圖表
11:11
very obvious if we were to talk about real patients,
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如果是討論病人，就很容易理解
11:13
but when we talk about works of art, unfortunately,
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但不幸的是，當談到藝術作品時
11:16
it's never been tapped as an idea.
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這個概念不曾被探索過
11:18
Well, we believe, again, that this should be the beginning,
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我們還是相信，這只是一個開始
11:20
the very first step, to do real conservation,
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是著手進行真正的保存的第一步
11:23
and allowing us to really explore and to understand
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也讓我們能夠實際地去探索、去了解
11:26
everything related to the state of our conservation,
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所有跟我們的保存工作有關的事
11:29
the technique, materials, and also if, when, and why
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用的技術和材料，以及在什麼情況之下
11:32
we should restore, or, rather, to intervene on
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我們應該修復畫作
11:37
the environment surrounding the painting.
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或者介入畫作的周邊環境
11:40
Well, our vision is to rediscover
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我們的願景是能
11:44
the spirit of the Renaissance, create a new discipline
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重新找回文藝復興的精神、創造全新領域
11:46
where engineering for cultural heritage is actually
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讓保存文化遺產的技術
11:50
a symbol of blending art and science together.
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成為藝術與科學融合的象徵
11:53
We definitely need a new breed of engineers
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這確實需要擁有全新專長的工程師
11:55
that will go out and do this kind of work and
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能夠實地進行這種工作
11:58
rediscover for us these values, these cultural values
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來幫助我們重現這些
12:02
that we badly need, especially today.
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在今日尤為需要的文化價值
12:05
And if you want to summarize in one just single word,
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如果要以簡單一句話作結
12:08
well, this is what we're trying to do.
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這就是我們所作的嘗試
12:11
We're trying to give a future to our past
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試著藉由延續過去
12:14
in order to have a future.
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來展望未來
12:16
As long as we live a life of curiosity and passion,
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只要我們能夠在生活中常抱好奇心與熱情
12:19
there is a bit of Leonardo in all of us. Thank you. (Applause)
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達文西的精神就常在我們心中，謝謝大家（掌聲）
12:23
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Maurizio Seracini - Art diagnosticianMaurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art.
Why you should listen
It’s surprising to hear of a former engineer and medical student who has dedicated his career to the analysis of more than 2,500 works of art. But Maurizio Seracini is not your typical art connoisseur. He uses technologies from both of his worlds, such as multispectral imaging, sonogram and x-ray, to peer through the layers of paintings and reveal their secrets.
Most famous is Seracini’s more-than-30-year quest to find Leonardo Da Vinci’s missing painting The Battle of Anghiari. Seracini suspects the piece is behind another giant fresco painted by Giorgio Vasari in the Sala dei Cinquecento in Florence, Italy. To find it, Seracini must find a way to look beneath Vasari’s masterpiece while keeping it intact.
Maurizio Seracini | Speaker | TED.com