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筆繪唐卡的保存傳統與發展=The Tradition and Development of the Conservation of Thang-Ka Paintings |
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| Author |
葛婉章 (著)=Ge, Wan-zhang (au.)
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| Source |
故宮學術季刊=The National Palace Museum Research Quarterly
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| Volume | v.14 n.4 夏季號 |
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| Date | 1997.06 |
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| Pages | 85 - 138 |
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| Publisher | 國立故宮博物院 |
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| Publisher Url |
https://www.npm.gov.tw/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 國立故宮博物院書畫處 |
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| Keyword | 文物保存=Conservation; 唐卡=Thang-ka; 西藏繪畫=Tibetan painting; 佛教藝術=Buddhist Art; 補筆=Retouching |
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| Abstract | 唐卡（thang-ka）又名「孤唐」（sku-thang），約興起於西元八世紀，是藏傳佛 教特有的一種藝術形式。「唐」在藏文是「平坦、平原、清楚」的意思，而「孤」為「身體 」，引申為「佛神像」，有尊敬之意。簡言之，唐卡是一種平面藝術，內容以藏人所尊敬的 佛教諸尊為主要題材，無論構圖、色彩、線條，皆流露出清晰明亮的工筆風格。一幅完整的 唐卡，形式上類似漢地的掛軸畫，有畫心、裝襯及天地杆，可懸掛、可收捲，不過它並不等 同於繪畫，而是橫跨「繪畫」與「工藝」兩類範疇；主要有筆繪、版印、緙絲、刺繡、織錦 、貼花六種樣式，一概皆稱之為唐卡，因此之故，唯有直接取其音譯，方能概括唐卡獨一無 二的特色。六種樣式中，筆繪唐卡的歷史最為悠久，但由於製作質材與繪畫顏料等特質，也 是最易受損、難以保存久遠的一種唐卡。「保存」是為筆繪唐卡研究的諸多子題之一。本文 重點在以筆者於西藏、印北、不丹、歐美實際繪製研讀唐卡所見，參酌中西論著，探討唐卡 繪製完畢以後，在原創地的環喜馬拉雅山區藏傳佛寺，及流入西方之後，藏人與西方文物保 存學界對於唐卡的種種傳統與科技保存措施，同時針對保存不當造成的傷害，以及所能採取 的種種補救手段，進行全面的回顧與省思，或可提供讀者瞭解唐卡的諸多「畫面現象」，並 備國內日後「保存」與「鑑識」唐卡參考之用。
The author considers both the historical literature and archaeological finds and advances the "weight theory" for the origin of bronze coinage in china. There are two basic points to this theory. (1) During the Chinese bronze age, and enormous number of elaborate bronze vessels were produced, and it was against this background that bronze became the precious metal, and that the concept of value in term of bronze developed. This contrasts with the concept of value in terme of gold or silver, which developed in the West. (2) The origins of chinese bronze coinage lie with pieces of bronze of controlled weight. During the first stages of its development, bronze in any form could be used as currency. The four shapes of cast bronze money current in the pre-Ch'in period (pre-221 BC) (spade money, knife money, round money and imitation cowry "ant-nose" money) all originated from the "controlled weight" bronze currency. The shaped money was developed out of the desire to adopt easily recognizable shapes of fixed weights, which would be convenient for use in payment and fox exchange. The author argues that there was no evolutional development between functional tools and monetary pieces of the same shape. |
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| Table of contents | 一、前言 85
二、唐卡在西藏高原發展的有利條件 86
﹝一﹞適宜的氣候與環境 87
﹝二﹞畫布與顏料的完美組合 87
三、藏傳佛寺唐卡維護失當現象 88
﹝一﹞物理化學性質的破壞 90
﹝二﹞生物的破壞 94
﹝三﹞機械性損壞 95
四、藏傳佛寺的傳統保有措施 99
五、西方保存唐卡觀念的演進 100
﹝一﹞嘗試與錯誤：以展出為前提 101
﹝二﹞建立原則；兼顧西藏傳統與現代科技 102
六、西方的科技保存措施 104
﹝一﹞晦暗殘破唐卡的修復 105
﹝二﹞庫房與藏措施 112
﹝三﹞畫廊展示櫃設計 114
七、結論 118 |
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| ISSN | 10119094 (P) |
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| Hits | 437 |
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| Created date | 1998.12.23
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| Modified date | 2023.12.21 |
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