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全色的可逆性與可辨識性之探討-以陳宜讓「七面鳥」作品保存修復為例

The Reversibility and Identification of Color Compensation-Case Study of a Glue Color Painting on Silk by Chen Yi-Rang: A Turkey

Abstracts


繪畫文物在歲月的洗禮下往往因環境或不當保存,而導致自然老化或人為損壞,更造成作品的原意喪失或損傷。執行繪畫保存修復作業時除了遵循修復倫理的同時,更需思索如何在規範下達成畫面的完整性、真實性與再修復時的可逆性,以期代代傳承繪畫文物的風格特徵與珍貴的歷史價值。在繁瑣的修復過程中,「全色」作業是為了整合、完善繪畫作品視覺上的完整性並傳遞真實的創作訊息,在修復作業中是決定成敗的最後重要關鍵。特別在處理東方繪畫時,由於媒材多為水溶性材質,加上畫面上沒有保護層的傳統創作特徵,更使作業伴隨了高度風險。因此,修復前明確繪畫創作的材料技法與風格特徵,審慎考量全色之適當性、可逆性與可辨識性,一直是東方繪畫在修復技術上不斷研究與挑戰的課題。近年來隨著亞洲藝術在國際上的崛起,更多人開始以國際性的客觀角度審視東方或是亞洲繪畫的修復問題,這種趨勢相對的也加速了相關保存修復技術在傳統與創新之間的融合腳步。此篇引以為例的修復作品是陳宜讓於1942年所繪製的「七面鳥」絹本膠彩,為2011年台北市立美術館新進的館藏品。藉由「七面鳥」一作的修復與技術研發過程,探討近年來東方繪畫修復時,如何借由非破壞性的X光螢光反射分析儀(X-ray Fluorescence Spectrometer,XRF)、紅外線攝影等非可視光科技的輔佐來調查東方繪畫顏料的特性,並對於近代絹本膠彩繪畫在全色技術上的新嘗試,提出修復時導入非可見光學辨識後加補彩的全色技法。另外,伴隨著不斷新進開發的技術與嘗試,東方繪畫保存修復除了技術之外,在此也嘗試探討「修復美學」的定義與重要性。

Parallel abstracts


A painting that is stored in a non-ideal environment or improper storage, combined with natural aging or human-induced damage will inevitably suffer physical damage, a loss of its aesthetic integrity, and affect a viewer's impression of the work of art. Conservators have a responsibility to be conscientious in following the highest ethical conservation standards in their treatment, while also considering a work of art's historical significance, faithfulness to its original appearance, and reversibility in treatment, and in doing so, preserve its unique stylistic characteristics and precious historic value. In the complex process of conservation, "color compensation" is a step that improves the overall visual cohesiveness of the work of art, allowing it to be seen in its truest state. It is therefore the determining factor for whether a conservation treatment is deemed successful or not. Most media used in East Asian paintings are water soluble and are not protected by a surface coating, thus making the process of color compensation extremely risky and challenging. Prior to conservation, one must fully understand the work of art's materials, techniques and unique stylistic traits; determining the appropriateness, reversibility, and identifiability of color compensation is a highly researched, often discussed topic in the field of East Asian painting conservation. With the rise of East Asian art on the international stage in recent years, people have begun to use an objective, cross-cultural perspective to look at issues in East Asian paintings conservation, hastening the dialogue between traditional and modern conservation field. This essay discusses the conservation treatment of Chen Yi-Rang's 1942 glue and color painting- A Turkey, which entered the collection of the Taipei Fine Arts Museum in 2011 to begin a discussion on the recent use of non-destructive X-ray fluorescence (XRF) spectrophotometry, infrared reflectography, and other non-visible optical techniques for the analysis of pigments used in East Asian paintings. This, in combination with recent developments of color compensation techniques, has led to new non-visible optical techniques for the identification of color compensation. Following along the path of technological advancement, East Asian paintings conservation will no longer be based solely on technical skill, but will give rise to a new area of consideration: the aesthetics of conservation.

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