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郭雪湖膠彩畫修復與保存之硏究 - 以『先代遺跡』絹本膠彩為例
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| 作者 |
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吳慶泰 |
| 學校系所 |
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國立臺南藝術大學古物維護研究所 |
| 地點 |
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全臺 全部
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| 研究內容 |
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[ 摘要 ]
台灣膠彩畫源自日本，始於日治時期，舊稱東洋畫、灣製畫，藉由官辦美展的推波助瀾而賴以成形，膠彩畫的定位在上個世紀中經過了十幾年爭議討論，確立了台灣特有的風格與名稱，但究其根源仍不脫中國自古以來重彩的基本形式，利用動物膠 為黏著劑在各種基底材上，如：紙本或絹本上進行彩繪。可是裝裱習慣上卻有不同的做法，中國重彩畫一般以卷軸形式呈現，而台灣膠彩畫在比例上平面裝框顯然居多，其原因在於傳統重彩畫雖稱為重彩，但在設色過程中會適當的控制顏料使用，保持整體畫面平整，便於日後裝裱。
膠彩畫如上所述又融合了西方油畫的厚塗堆疊，使作品的豐富性增加，因此增加膠彩畫的多樣性，保存上的困難度亦相形增加，郭雪湖先生的膠彩畫作品便是完全融合中、日及西洋的風格。在學期間有幸隨同張元鳳老師進行一幅郭雪湖先生的舊作修復，並觀摩老師進行的三幅作品修復，經歷了四件作品的觀摩與學習，今次藉由同組學弟蔡英志的引介、老師的推薦，進行『先代遺跡』絹本膠彩的修復。此件作品右上角墨筆題簽”雪湖作于小蓬萊畫室”，印款為朱文方印”郭雪湖印”，並無壓年款，僅可由郭雪湖于小蓬萊畫室作畫的時間斷定為1932年至1943年間，畫作為絹本重彩，設色豐富而多樣，融合渲染、裏彩色與堆疊技法，然後世保存不良造成損傷，顏料層雖無嚴重脫落現象，但失膠、破洞、褐斑與脆劣情形卻非常嚴重，急需進行修復。
郭雪湖為台灣日治時期非常重要的藝術家，在十九歲成名後，其繪畫風格與作品形式可謂當時膠彩畫之代表，上述五件作品分別為
1. 『江山如畫』：紙本畫笺板 。收藏單位：順益原住民博物館。
2. 『蟬竹』：絹本水墨。收藏單位：國立台灣美術館。
3. 『鮮魚圖』(一)：絹本設色。收藏單位：高雄市立美術館。
4. 『鮮魚圖』(二)：絹本設色。收藏單位：私人收藏。
5. 『先代遺跡』：絹本設色。收藏單位：私人收藏。
由其落款可斷定為一九四○到一九六五間的作品，裝裱形式亦有所不同，保存至今都同樣出現劣化問題，本次希望透過完成修復的四件作品分析比對及『先代遺跡』絹本膠彩的修復記錄與分析，對郭氏作品的保存修復提供具體的建議與方針。
[ 英文摘要 ]
Taiwanese Gouache Painting is an art form that originally came from Japan. Traditionally it has also been referred as Dong Yang Painting or Wan Zhi Painting. Through the official Japanese government sponsored art exhibits in Taiwan, this unique art form had gradually gained wider acceptance in Taiwan. Over time it had developed into its own unique style. In classifying the style, Taiwanese Gouache Painting is a form of Chinese Heavy Color, which uses animal glue to paint on various materials. Typically Chinese Heavy Colors are mounted in the hanging scroll form, while Taiwan Gouache Paintings are flat framed instead. The reason for this difference can be attributed to the fact that in Chinese Heavy Color, the artist would purposely select pigments and materials to facilitate the later scrolling.
Hsueh Kuo Kuo’s Gouache Painting’s style is a fusion of Chinese, Japanese, and Western styles. He incorporates oil painting’s pigment layering, which added richness and variety, but also increases the difficulty in preservation and conservation efforts. This paper records the preservation and conservation effort for one of Kuo’s piece, titled “Ancestor’s Ruin”. From the signature of the artist on the painting, one can only estimate the date of this painting to be around 1932 to 1943. The piece is heavy color on silk, rich in color and variety. The techniques are a combination of diffusion, painting on backside, and pigment layering. This piece is in critical condition due to the lack of preservation. The problems include pigment glue loss and silk loss. Foxing and brittleness symptoms are also particularly serious, and suggesting that this piece is in critical needs of conservation efforts.
Through the careful recording and analysis of conservation efforts of four other Kuo’s pieces that were already completed, and the one piece that we focus on in this paper, we hope to contribute to the knowledge of conservation treatments and examinations, and particularly the issues specific to the Taiwanese Gouache Painting.
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