泥塑粧佛塗裝的微結構與化學分析──以基隆靈泉禪寺舊大雄寶殿內之釋迦牟尼佛及大迦葉尊者供像為例

基隆靈泉禪寺是日本殖民時期北臺灣最具影響力的佛教寺院，約於1908年與舊大雄寶殿一同完工的釋迦牟尼佛及大迦葉與阿難二位尊者的泥塑供像，具有典型的福州派粧佛特色，是後來臺灣各地佛教寺院參考或仿製供像的原型，具有「藝術造詣或科學成就」及「地方重要人物或歷史事件之深厚淵源」等文化資產價值方面的重要性。本文使用搭載有能量分散式光譜儀的掃描式電子顯微鏡、X光繞射光譜儀，以及含明視野、暗視野與微分干涉光源的金相顯微鏡，檢測釋迦佛像蓮座和大迦葉尊者須彌座的殘片切片，確認這兩件樣品其從內至外各層的微結構樣貌和材料類別。
釋迦佛蓮座的結構，由內至外可分成由塑土、紙纖維層及鉛丹紅色顏料層組成的早期塗裝層，以及由補土、鉛鉻黃顏料層和金箔層組成的戰後塗裝層，並殘留修補整理的痕跡。大迦葉尊者的須彌座從內至外分成最早期的黏著有磚屑的砂漿層、礦物顏料塗裝層，以及在戰後整理時增補上的合成漆著色及鈦白塗裝層。
本報告結果顯示其各結構層，符合粧佛工藝「泥塑、裱紙、黃土打底、底漆、安金、上彩」等塗裝工序，同時顯示出匠師製作此釋迦佛像的工序，以及戰後多次小規模整修和大規模整修時堆積在戰前塗裝層上的近代塗裝層，呈現出匠師使用塗料成分的轉變。

Lingquan Buddhist Temple in Keelung was the most influential Buddhist temple in northern Taiwan during the Japanese colonial period. Clay statues of the Buddha Shakyamunia and two Arhats in the temple were completed around 1908 along with the old Mahavira Hall. These statues exhibit the distinctive characteristics of the Fuzhou-style Buddhist statuary tradition and served as prototypes for similar sculptures in Buddhist temples across Taiwan. They hold significant cultural heritage value in terms of both“artistic merit or scientific achievement”and“profound connections to notable local figures or historical events.”This study used scanning electron microscopy, X-ray diffraction analysis, and metallurgical microscopy (with the brightfield, darkfield, and differential interference contrast modes) to examine deteriorated fragments from two statues: the lotus pedestal of Buddha Shakyamunia and the Sumeru pedestal of Arhat Mahakasyapa. Microstructural features were identified, and the material compositions of the layers (interior and exterior) were determined. For the lotus pedestal of Buddha Shakyamunia, the inner layers consist of early clay, a paper-fiber layer, and a red lead-based pigment layer. Postwar restoration added a repair clay layer, a lead chromate yellow pigment layer, and a gold leaf layer. Traces of craftsmanship left during the preparation of these layers are also evident at their interfaces. The Sumeru pedestal of Arhat Mahakasyapa has several layers: a mortar layer adhered with brick fragments, a mineral pigment coating layer, and synthetic white lacquer and titanium coating layers added during postwar restorations. The structural layers align with traditional Buddhist statuary processes. The analysis results indicated that the construction process of the statues encompassed clay sculpting, paper mounting, yellow clay priming, base coating, gilding, and painting. Overall, this study illustrated how the Buddha Shakyamunia statue was crafted, demonstrated how the statue accumulated multiple coating layers, and described what materials the statue was made of.