本文透過定義圖像的意涵與岐義，說明藝術家范晏暖《記憶與光照：視象凝結與圖像再造的對話》裝置立體作品中，她將現實生活日常場景的照片，借由電腦軟體加入繪圖效果處理，轉換成造型奇異、色彩繽紛、美麗的圖像再造，再將這些圖像印製在壓克力板，置入特製約六公分寬的木框中，讓原本二度平面的圖像，轉換成三度的立體作品，裝置成實體三維空間場域與觀者互動，並在展場中運用特殊的打光法，造成神聖的意象。特別是部分作品中，她將《聖經》的〈主禱文〉書寫在玻璃或壓克力板上，因載體的透光特質，造成圖像與文字產生可見與不可見的雙重特性，使得原本俗世中的光源，彷彿穿透哥德式教堂裡的彩繪玻璃，呈現化不可見為可見的聖光，傳達對上帝至善至美的景仰。

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。

范晏暖、圖像、圖像再造、不可見

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.

Yen-Nuan Fan, Image, Image Reconstruction, Invisible

朱銘今日能成為眾所周知的國際雕塑家，1980 年代朱銘毅然決然到美國發展，讓自己「歸零」，是他踏出國際的重要一步，但讓朱銘真正能站上國際的舞台則是從東南亞的巡迴展開始，使他逐步在歐洲的藝術界發光發熱，被世界看見。

相較於今日已有專書深入探討朱銘在美國發展的歷程，這段從東南亞巡迴展開始的歷史更為重要但至今卻仍然缺乏深入的研究，本文即希望透過文獻資料的杷疏與對朱銘及這段歷史相關人士的訪談，深化這方面研究。

朱銘、雕塑、張頌仁、歐德瑪、臺灣美術

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.

Ju Ming, Sculpture, Johnson Chang, Hervé Odermatt, Taiwanese Art

本文主要探討對象為目前臺灣傳統建築彩繪木構件修護常用的兔皮膠填料、壓克力乳膠（Plextol ® D498）填料。填料以不同的填充材，如香檳白堊土、波隆納土、高嶺土、玻璃微泡、麻纖維、纖維素粉等材料，分別與兔皮膠、Plextol ® D498 混煉製成。在充分了解填充材、結合劑與填料之基本性質後，針對填料進行拉伸強度試驗、耐候性試驗與水分吸附等溫線試驗，透過破壞伸長率、拉伸強度、硬度、附著性、水分吸附等溫線等數值，評估填料的耐候性與適用性，以提供修護師選材時參考使用。

試驗結果顯示，兔皮膠填料對於濕度較為敏感，若長時間暴露在高相對濕度的環境下，除了附著度與硬度降低外，填料將受到微生物病蟲害侵擾；反觀 Plextol ® D498 填料則較為穩定。本次試驗的十組填料中，以 Plextol ® D498 混合玻璃微泡為最穩定之填料。但 Plextol ® D498 混合玻璃微泡並非所有修護案皆適用，修護前，仍需由修護師評估文物的基本性質、劣化狀況、保存環境條件，以及填料特質等實際狀況，進而調整甚至改變填料配方。

彩繪木構件修護、填料、填充材、結合劑、耐候性

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.

Conservation material for polychrome wooden object, Filler, Filling material, Binding media, Weatherability

2016年6月25日，朱銘美術館舉辦「衍身」座談會。會議於朱銘美術館演講廳舉行，由朱銘美術館研究部主任，林以珞主任擔任主持人，邀請國立高雄師範大學跨領域藝術研究所吳瑪悧老師、新加坡藝術家楊子強先生、藝術家葉偉立先生、以及臺北大學中國文學系吳順令老師參與座談，探討臺灣藝術現代化與西方化的過程。座談會以對談的形式針對「異置：換地思考」與「反芻：再創作」兩個子題展開討論，期望借鏡臺灣與新加坡兩地藝術家豐富的旅外經驗，鼓勵臺灣新一輩藝術家突破眼前限制，踏出國境勇闖國際藝壇。

樹脂保護漆暴露在自然環境中，很容易受到陽光中紫外線輻射的影響而產生變色或劣化，為了提高樹脂保護漆的耐久性質，添加光安定劑以阻止紫外線對塗膜所造成的破壞，是常見的作法。本次實驗選用了兩種不同類型的光安定劑：紫外線吸收劑（Benzotriazole，BTA）與受阻胺光安定劑（Hindered Amine Light Stabilizer，HALS），以單獨或混合的方式添加於三種目前已用於文物修護的樹脂保護漆：醛樹脂（Laropal ® A81）、氫化碳氫化合物樹脂（Regalrez ® 1126）與壓克力合成樹脂（Paraloid ® B-48N），再將樹脂塗料塗佈於試片上進行人工加速老化實驗，之後分析比較各項老化前後的塗膜性質，以了解添加光安定劑是否對於這些樹脂的耐久性有所助益。
實驗結果顯示，光安定劑是否能有效抑制塗膜劣化的發生，會隨著塗料的種類而有所不同。於 Laropal ® A81 中添加 HALS 型光安定劑的耐久性改善效果比添加 BTA 型光安定劑還明顯；同時添加BTA 與 HALS 雖然比單一添加的效果還好，但仍然無法有效改善Laropal ® A81 的劣化。Regalrez ® 1126 添加 HALS 型光安定劑減緩塗膜劣化的效果，比添加 BTA 型光安定劑的效果還好；若同時添加BTA 與 HALS 型光安定劑，則對於 Regalrez ® 1126 的劣化改善效果最好。由於 Paraloid ® B-48N 本身具有良好的耐久性，因此添加光安定劑的減緩劣化效果均不明顯。

光安定劑、樹脂保護漆、木質修護、耐候性

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.

Light stabilizer, Resin coating, Wood conservation, Weatherability