雕塑翻模作品的藝術價值及其博物館意義：以黃土水〈釋迦出山像〉為例

The Artistic Value of the Work of Sculptural Molding and Its Significances for Museum: A Study of Huang Tu-Shui's "Sakyamuni"

楊子瑩(Tzu-Ying Yang)

指導教授 ： 廖仁義

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00013

摘要

本研究以黃土水〈釋迦出山像〉為研究對象，探討雕塑翻模作品的藝術價值與博物館意義。

〈釋迦出山像〉是1927年台灣近代雕塑家黃土水之創作，原以木雕形式呈現，放置於台北龍山寺；然而在二戰時，龍山寺受到戰火波及，〈釋迦出山像〉遂付之一炬；所幸在創作過程中的石膏原模仍然存在；而後分別於1989年文建會與1997年台北市立美術館的努力之下，進行石膏原模的修復與翻模鑄銅，使此作得以流傳至今。

雕塑藝術因翻模的技法，可使作品在數量與材質上產生變化，因此屬於非單一、可重複的「複數性」藝術，而複數性的特質經常使雕塑作品的真實性受到質疑與關注；然而，雕塑翻模的價值與意義，是否僅止於真實與複製的辯解呢？若從藝術創作、藝術史、藝術博物館角度，又該如何解讀翻模的意義與價值呢？甚至這項翻模的行動是否也具備著文化資產保存的意義呢？因此，〈釋迦出山像〉從作品毀損到翻模重現的特殊發展脈絡，似乎也為我們提供了進一步省思的機會。

本研究從四個層次進行探討：1. 黃土水的生平、藝術養成與台日雕塑發展之關係；2.〈釋迦出山像〉的創作方式及其意義；3.〈釋迦出山像〉翻模的脈絡與真實性問題；4. 翻模後的〈釋迦出山像〉在博物館中的展示與價值。透過梳理及探討其創作到翻模重現的過程與脈絡，本研究得出以下看法；首先，〈釋迦出山像〉的翻模是藝術史作品的重建；其次，翻模的成果使博物館可進行典藏與展示，創造被觀賞與認識的機會；最後，這件作品的翻模與重建是台灣重要文化資產的保存，以延續並推廣其文化的意義與價值。

關鍵字

黃土水 ； 釋迦出山像 ； 雕塑 ； 翻模技法 ； 真實性問題

並列摘要

Treating “Sakyamuni” as the research object, this study seeks to investigate the artistic value of sculptural molding and its significance for museums.

Huang Tu-Shui, a renowned Taiwanese sculptor who flourished in the early twentieth century, created “Sakyamuni” in 1927. It was originally a wooden sculpture and was deposited in Mengjia Longshan Temple. The temple was subsequently destroyed in the conflagration of the Second World War, during which “Sakyamuni” reduced to ashes as a result. Fortunately, the plaster mold used for the original sculpture survived intact. Through considerable efforts, the Council for Cultural Affairs and Taipei Fine Arts Museum respectively restored the plaster mold and reproduced the work with copper mold casting in 1989 and 1997, which perpetuates this tour de force.

Sculptures vary in terms of numbers and materials with the adoption of different molding techniques. Accordingly, they count as reproducible “plural” art. Such plurality not only puts the authenticity of sculptures under question, but also brings the nature of sculptures to public attention. However, we may wonder that whether the value and significance of sculptural molding are confined to the tug-of-war between originality and reproduction. How should we interpret the value and significance of molding as far as art history, artistic creation, and museums are concerned? Does the practice of molding imply the preservation of cultural heritage? The specific developmental context of “Sakyamuni” from its destruction to reproduction not only yields valuable clues to these questions but also provides excellent opportunity for our reflections.

This study proceeds in four parts. The first part elaborates on Haung’s training and career as an artist, which is accompanied by Taiwanese-Japanese relationship in respect of sculpture. The second part clarifies the creative process and meaning of “Sakyamuni.” The third part not only explicates the context of Sakyamuni’s reproduction, but also deals with the question about the authenticity of the reproduced “Sakyamuni.” The fourth part systematically analyzes the value and significance of the reproduced “Sakyamuni” in museums. Based on the thorough investigation into the process and context of the creation and molding of the tour de force, this study reveals the following three findings. First, the copper molding of “Sakyamuni” is exactly the reconstruction of an artwork which is seminal in art history. Second, the copper molding of “Sakyamuni” enables museums to collect and exhibit this replica, thereby providing the public with the opportunity to admire this artwork and recognize Huang’s achievement. Third, the reconstruction of “Sakyamuni” not only facilitates the preservation of Taiwan’s precious cultural heritage, but also perpetuates and promotes the cultural significance and value of this seminal artwork.

並列關鍵字

Huang Tu-Shui ； Sakyamuni ； sculpture ； molding ； the problem of authenticity

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