博物館紀念物件的修復方針－以臺灣文學館蒐藏之葉石濤藤椅為例

藤椅雖為常民家具，但臺灣當代文學作家葉石濤的藤椅卻顯得特別，它幾乎和葉石濤的形象緊緊結合在一起，存在感十足，在不同時期的葉老影像照中總是會看到藤椅常相左右。逝者已矣，除了留下文學的著作之外，藤椅也被文學館人員徵集留下，陳令洋在臺灣文學物語網站中特別撰文寫了葉老與他的藤椅，當中提到：雖然是個器物，一個作家坐什麼樣的椅子，不必然因此創作什麼樣的文學。但作家對器物的選用或不得不用，有時還是會讓這些器物長出特有的靈魂。可見留下的物件它不單單只是尋常藤椅，更承載著夙人風範，文學館在取得藤椅後除了修復、展示之外，甚至還舉辦了一系列講座活動，介紹椅子和葉老的深切連結。本研究就以藤椅的修復為例，介紹修復師如何權衡文物的歷史狀態，並以穩定現況為首要目標，做一系列的維護措施。

關鍵字

葉石濤；文物修復；歷史文物；保存維護

並列摘要

Although wicker chairs are common household items, the ones used by Taiwanese contemporary literary writer Yeh Shyr-Tau are considered special. They were integral to Yeh's image and, no matter from which period of his life, Yeh was often photographed in a wicker chair. After his death, Yeh not only left behind his literary works, but also his wicker chairs, one of which is in the collection of the National Museum of Taiwan Literature. In an article about Yeh and his wicker chairs on a Taiwanese literary website, Chen Ling-Yang wrote, "Although a chair is a utensil and the type of chair a writer uses does not necessarily reflect the kind of literature he or she creates, the writer's selection of a utensil or necessity of its use may lead to the development of a unique soul". It can be seen that this is no ordinary wicker chair. Rather, it carries clues as to the style and demeanor of the deceased. The museum not only restored and exhibited this chair, but also held a series of lectures on the deep connections between it and Yeh. Taking the conservation of wicker chairs as an example, the aims of this study are to introduce how conservators assess the historical state of cultural artifacts and, with stable preservation as the primary goal, choose a series of conservation measures.