從物件詮釋「文物」之研究：以疑似兒玉源太郎頭像殘件研究為例

當人造物件（object）因記憶的斷層產生疏離與遺落，在有形的物質表象經由後設研究，以趨近原物件產生之事實。而脫離時空背景之「物件」經由系統性的歷史文獻、工藝研究、田野調查與科學檢測程序方法研究，以確認為具有連結與人類、歷史事件關聯之文化資產價值，進而賦意形成「文物」，此趨向科學化研究為輔助驗證文物之歷史背景。2015年，原臺南市原日軍步兵第二聯隊官舍群建物地點發現之石質頭像殘件，為本研究經由歷史調查、工藝特徵及科學分析之程序，將「頭像」殘件定位為「文物」之研究。而經由頭像面貌比例分析、體質等比率量測與套疊，其結果顯示兒玉源太郎（1852-1906）之平面肖像、國立臺灣博物館典藏之兒玉源太郎銅像與本研究對象具有關聯性；同時經由文物形態分析與史料考證，推測石像應為1907年所立兒玉源太郎全身石像之殘餘結構；且經由科學檢測推測其為雪花石膏（Alabaster gypsum）之天然石材。石像在軍帽雕刻細節存有多處錯誤造形，推論原因應與當時義大利雕刻者僅能依有限之攝影照片進行製作有關。

關鍵字

兒玉源太郎；石像雕刻； 3D掃描；顏顱比對；科學分析

並列摘要

When man-made objects are alienated and left behind due to the fault of memory, metaphysical research can be used to approach the fact that the original object was produced. The "objects" separated from the background of time and space are confirmed by systematic historical documents, craft research, field investigations and scientific testing procedures and methods to be identified as having the value of cultural assets linked to human beings and historical events, and then to form "cultural relics" . This tends to be scientific research to assist in verifying the historical background of cultural relics. In 2015, the stone head remains found at the site of the former Japanese Infantry Second Regiment's official compound building in Tainan City. For this study, through the process of historical investigation, technological characteristics and scientific analysis, the "head" remains are positioned as "cultural relics" research. Through the analysis of the proportion of the head and the face, the measurement of the ratio of the physique and the overlapping, the results show that the two-dimensional portrait of Kodama Gentaro and the bronze statue of Kodama Gentaro in the National Taiwan Museum are related to the research object. It is confirmed that the head should be the residual structure of the full-body stone statue of Chier Yugentaro erected in 1907; and it is speculated that it is a natural stone of Alabaster gypsum through scientific testing. Because there are many omissions and wrong shapes in the carving details of the head, the reason for the inference should be related to the fact that the Italian sculptors at that time were only able to make them based on limited photographic photos.