維護文化的無名匠人
維護文化的無名匠人
2023/05/16
2023/06/20
<b>與黃釋濰古蹟修復師的對話</b><br>
展覽頁面呈現形式
縱式
策展者
江秝槿
歐禹沛
顏孜昀
鄭恆元
展覽封面
093b8feb37424f9baa14df2c50c36779
展覽資料
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"desc": "<div>我們的顏料也分很多種類,包含:壓克力、水性、礦物、油性顏料等等。</div><div><br></div><div>填補材料則包含:可以做到大理石質感的細緻補土,還有加膠後用熨斗加熱、活化其黏性的特殊補土;另外,還有「木質纖維素」,它是粉末狀的材料,需在加入黏著劑後再做使用。</div><div><br></div><div>我們用的顏料和材料跟原件文物都是可以相融的,而修復完成後過了 40 年、50 年,若未來有更好的修復師、更好的技術,那我們的東西是可以被取下來的,具有可再處理性。</div><div><br></div><div>除了顏料跟材料之外,我們修復中的另一個常用工具是控溫的「小熨斗」:當有的顏料已經翹起時,我們就會用適合的溫度加熱並將其整平。</div>",
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"desc": "<div>我們團隊在台南完成的有白河大仙寺、關帝廳、馬公廟,其中馬公廟算是我獨力完成的,一個人就修了六片廟門。</div><div><br></div><div>而現在正在進行的修復作業是嘉義關廂境廟的門神。這間廟的門神修復作業十分繁複,因為廟方過去經常自行刷洗門神,導致顏料都被已被洗掉;同時因為太陽西曬嚴重的關係,所以門神上頭的顏料都已起皺,在修復上是較為麻煩的工程。</div><div><br></div><div>我們的修復個案大部分居於台灣的中南部;北部的話,則是有修過萬華龍山寺的門神。</div>",
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展覽音檔
{}