李梅樹《溫室（賞花）》的再發現：從材質分析到作品歷史重建

The Rediscovery of Li Mei-Shu’s In a Greenhouse (To Enjoy the Sight of Flowers): From Material Analyses to the Historical Reconstruction of the Artwork

李梅樹《溫室（賞花）》一作因現存樣貌與1939年府展圖錄之黑白影像有顯著差異，長期以來引發許多討論，甚至曾出現真偽爭議。本研究結合光學檢測技術（包括光譜攝影及掃描式X射線螢光光譜分析）與文獻考證，針對畫作底層構圖、顏料特徵與修補痕跡分析調查，旨在釐清其圖像演變歷程。研究結果顯示，畫作底層構圖與府展圖錄的黑白影像在多處具高度一致性，為同幅作品經過大面積重繪之可能性相當高；顏料分析則再現了底層構圖之部分顏料種類與色調，並揭露出畫作曾經歷大範圍受損與後人修補之情形。本研究進一步透過梳理畫作圖像變動之時間脈絡以重建其演變歷程，並探討圖像變動過程所使用顏料與近代顏料發展史的關聯性，期望為臺灣近代油畫研究提供重要參考，並補充該時期藝術研究與保存維護領域之材料基礎。

Lee Mei-shu’s In a greenhouse (To enjoy the sight of flowers) has long been the subject of discussion because its present appearance differs markedly from the black-and-white image published in the 1939 Taiwan Fine Arts Exhibition catalog. These discrepancies even gave rise to controversies over its authenticity. This study combined optical diagnostic techniques—including spectral imaging and macro X-ray fluorescence analyses—with archival research to examine the underlying composition, pigment characteristics, and traces of restoration, with the aim of clarifying the course of its pictorial transformation. The results indicated that the underlying composition of the painting corresponded closely with the black-and-white catalog image, making it highly probable that the two represent the same work that was later repainted extensively. Pigment analyses further confirmed the types and tonal qualities of pigments used in the original composition, while also revealing evidence of large-scale damage and subsequent restoration. By reconstructing the chronology of the painting’s alterations, this study explored the relationship between the pigments employed during these changes and the broader history of modern pigment development. The findings provide crucial references for the study of modern Taiwanese oil paintings and supplement the materials available for art historical studies and conservation practices of early twentieth-century art.