筆者引用奧古斯丁（Aureli Augustini, 354-430）《 懺 悔 錄 》 （Confessions）書中對上帝是否存在進行辯證，透過莫里斯．梅洛─龐蒂（Maurice Merleau-Ponty, 1908-1961）《可見的與不可見的》（Le visible et l’invisible）身體知覺與時間意識的概念，解析作品中帶給觀者的知覺意識，以及梅洛─龐蒂《眼與靈》（L’æil et l’esprit）書中說明創作者對繪畫的所思，產生不同的知覺意識，而范晏暖的圖像再造在光線的映照下，轉喻為一種象徵性的聖像，轉化為不可見者的符號，形成與上帝的心靈對話。這些圖像的造形與色彩美不勝收，體現范晏暖內在的心靈風景圖像。
關鍵詞
范晏暖、圖像、圖像再造、不可見
Abstract
This article, by defining implication and ambiguity of the image, explains the artist Yen-Nuan Fan's tridimensional installation work named Memory and Shine: Dialogue between Visual Condensation and Image Reconstruction. This work, she put graphics processing into the photos of daily life by using computer software, thus turning them into reconstructed beautiful images with singular forms and diverse colors. Then she printed these images on an acrylic plate and put it into a 6 cm-wide specially made wooden frame, so as to turn the original two dimensional image into a three dimensional work. The work was set as a three dimensional space to interact with the viewers, and special lighting was used in there to build a holy image. Particularly, in some of her works, where she printed the "Lord's Prayer" of the Bible on glass or acrylic plates, both visible and invisible features were created by the images and texts due to the photo permeability of differentiations. As a result, the light source of the earthliness, through the colored glass in the Gothic church, looks as if visible holy light. The admiration for God’s goodness and beauty was therefore expressed.
The author cited the dialectics in Augustinus' Confessions on whether the God exists, and analyzed the perceptual consciousness that the works bring to viewers based on the concepts of body perception and time consciousness in Maurice Merleau-Ponty's The Visible and the Invisible. Merleau-Ponty discloses his book Eye and Mind that creator's thinking towards the painting will generate different perceptual consciousness. Yen-Nuan Fan's image reconstruction, under the soft illumination, is a metaphor for a symbolic icon, which was turned into an invisible symbol to have a mental conversation with the God. These images are of good forms and beautiful colors, reflecting Yen-Nuan Fan's inner mind landscape.
Ju Ming is now a world-renowned sculptor and his going to the US to further develop his art career in the 1980s against all odds is indeed a very important step for him to go globally. It allows him to “start afresh”. However, what really made Ju known to the international art circle is his touring exhibition in South East Asia. The exhibition made him a promising star in Europe and be seen by the world.
Currently, there are already monographs on Ju Ming and his development in the US, yet there is still little in-depth research on Ju's development during his South East Asian touring exhibition, despite its significance. This paper hopes to deepen research on this period through collation of literatures and interviews with relevant parties.
Keywords
Ju Ming, Sculpture, Johnson Chang, Hervé Odermatt, Taiwanese Art
臺灣傳統建築彩繪木構件修護材料─填補材料耐候性研究初探Conservation Material for Polychrome Wooden Object of Traditional Architecture in Taiwan – Study of Weatherability of Filling Materials
This paper focuses on different kinds of filling materials, such as calcium carbonate, calcium sulfate, kaolin, glass bubbles, hemp, cellulose powder etc., which can be mixed with rabbit skin glue and acrylic dispersion (Plextol ® D498). Those fillers are commonly used for polychrome wooden objects conservation of temples in Taiwan. After understanding the characteristics of filler and binding media and doing ageing test, tensile strength test, and moisture adsorption isotherms, the data could serve as a reference for choosing conservation materials.
The result shows that the effect caused by high relative humidity is stronger than high temperature, especially the filler mixed with rabbit skin glue. Exposed to high humidity environment for long term, the adhesion, its hardness would be decreased, and would attract insect and cause mildew growth. The filler mixed with Plextol ® D498 is more stable after ageing test. Among ten fillers, Plextol ® D498 mixed with glass bubbles is the most stable one.
However, Plextol ® D498 mixed with glass bubbles does not suit each cases, it is not absolutely perfect. Choosing suitable filler for conservation, it still needs conservator to evaluate essential properties, degradation of objects, storage environment, and the filler’s characteristics and other realistic conditions to make a suitable filler prescription.
Keywords
Conservation material for polychrome wooden object, Filler, Filling material, Binding media, Weatherability
臺藝大校園雕塑藝術作品介紹之四：戒嚴末期由藝專培育出來的本土雕塑家Sculpture Art in the NTUA Campus, Series 4: The Local Sculptors Graduated from Taiwan National Academy of Arts During the Taiwan Martial Law Period (1970s-1980s)
Resin coating is susceptible to discoloration and degradation in natural environment due to ultraviolet radiation. In order to enhance weatherability of the coating, it is common to add light stabilizers to prevent damage caused by ultraviolet light from the sun. This study selected two types of light stabilizers, UV absorbers (Benzotriazole, BTA) and hindered amine light stabilizers (HALS). They were added to three types of resin coatings in different formulations. The resin coatings used are the ones commonly in use for wood conservation. They are urea-aldehyde resin (Laropal ® A81), hydrogenated hydrocarbon resin (Regalrez ® 1126) and acrylic resin (Paraloid ® B-48N). The resin coatings were put through the QUV accelerated weathering test, and variations in the properties of the coatings were measured. The results of experiments show that effectiveness of light stabilizers on the weatherability improvement depends on the kinds of coatings. In Laropal ® A81 and Regalrez ® 1126, adding both BTA and HALS to the resin coating improves weatherability most significantly, followed by adding only HALS, and lastly by adding BTA. Light stabilizers did not exhibit significant improvement in Paraloid ® B-48N. This coating exhibits excellent light stability in the experiment, and kept intact after the accelerating aging process (600hrs). The addition of light stabilizers impeded degradation, however the results are limited.
