書寫遺忘與闕如－林瑞珍與國立藝專雕塑科肇始時期

Writing the Oblivion and Absence: Lin Jui-Chen and the Early Stage of the Department of Sculpture, National Taiwan Academy of Arts

陳貺怡(Kuang-Yi Chen)

《雕塑研究》 27期 (2022/05) Pp. 1-34

摘要

1951年出生於宜蘭縣南方澳的林瑞珍，1970年考進入了國立藝專雕塑科，1973年以第一名成績畢業，畢業後大放異彩，橫掃當時四大美展的雕塑首獎。1976年義大利羅馬藝術學院進修，畢業後仍留在羅馬，孰知1986年竟因突發事故而客死異鄉，死後無人知曉他工作室的地點及遺作所在之處。幾年後，他以素描為主的遺作在生前好友的努力下終於返回故里，與碩果僅存的6件雕塑一起進入宜蘭縣立文化中心的典藏庫，但在裡面又被塵封且遺忘了將近30年。已經被遺忘的林瑞珍為何需要重返記憶？如何重返記憶？其實藝術史上不乏被遺忘的藝術家重返記憶的例證，林瑞珍的被遺忘與其作品的遺失，很可能正好是在闕漏中挖掘並重建歷史的契機。本文引用保羅．利柯（Paul Ricoeur, 1913－2005）在《記憶、歷史、遺忘》（La Mémoire, l'histoire, l'oubli）中的主張，以林瑞珍為例，探討從記憶過渡到歷史書寫的幾個時空關鍵。從由親友的回憶重組的林瑞珍生平出發，透過對已經消失但留下檔案照片的作品之分析，以及探討他的素描如何作為存在、曾經存在或不曾存在的雕塑的檔案，最後引入1960－70年代的國立藝專雕塑科前七屆畢業校友的集體記憶，重溫他們相遇與交會的時空，與曾經共享的創作發展路線。雖然林瑞珍悲劇性的早逝使關於他的書寫終究植基於僅存的雕塑作品、已經消失的雕塑作品、留下的素描作品、照片與檔案資料、他者的回憶與觀者的想像裡；然而，當我們試圖修補遺忘，作品就會繼續留存在綿延的時間流中，作者終將被建立，而歷史也終將被安撫。

關鍵字

林瑞珍 ； 國立藝專雕塑科 ； 遺忘 ； 記憶 ； 歷史書寫

並列摘要

Mr. LIN Jui-Chen was born in Nanfangao, Yilan County in 1951. He entered the Sculpture Department of National Taiwan Academy of Arts (NTAA) in 1970 and graduated as first place result in 1973. His accomplishment shone afterward and won the first prize in the four greatest art exhibitions then. In the year of 1976, he took advanced study in Accademia di Belle Arti di Rome, Italy and stayed there for creation after graduation. Unfortunately, he passed away due to a fatal accident in 1986 while no one knew the location of his studio and the posthumous works. Few years later, under his close friends' effort, the posthumous works mainly sketch and 6 remaining of the great sculptures finally came home and reposited in Yilan County Cultural Center. However, they had been stored and neglected for almost 30 years since then. Why does the forgotten LIN Jui-Chen need to be recalled? How to do it? In fact, there is no lack of examples of forgotten artist return to memory in the art history. LIN Jui-Chen's oblivion and the loss of his works are likely to be the opportunity to dig out and reconstruct history in the gap. This article quoted the assertion of Memory, History, Oblivion (La Mémoire, l'histoire, l'oubli) which was written by Paul Ricoeur, 1913-2005. Taking LIN Jui-Chen as an example, to discuss the key points of time and space in the transition from memory to historiography. It started from the life of LIN Jui-Chen which reconstructed by the memories of relatives and friends, and then through the analysis of works that have disappeared but left photographic archive and furthermore, explored how his sketches served as archives of sculptures that exist, have and have not. At last, the collective memory of the previous seventh graduates of the NTAA in the 1960s and 1970s was introduced to review the time and space of their encounter and reunion, and the creative evolution path they once shared. Although LIN Jui-Chen 's tragic early death made his writings based on the remaining sculptures, the sculptures that have disappeared, the sketches, photographs and archives, the memories of others and the imagination of the viewers; However, when we try to mend forgetting, the art works will continue to exist in the constant stream of time, the artist will finally be established, and the history will eventually be appeased.

並列關鍵字

LIN Jui-Chen ； Department of Sculpture at National Taiwan Academy of Arts ； Oblivion ； Memory ； Historiography