在暗房終結之後：章光和在「植物誌」系列中的無相機攝影術創作

After the Termination of Darkroom: Chang Kuang-Ho’s Botany Series Digital Photography in the Context of Cameraless

臺灣數位攝影藝術家章光和在1994年出版《暗房終結者》，並以其結合掃描與電腦影像特效所創作的「植物誌」三大系列作為預言暗房終結的宣言，成為當代臺灣攝影史中重要的藝術宣言。本研究將「植物誌」三系列創作置放在無相機攝影的發展脈絡中，連結後影像世代的文化論述，分析章光和在此系列整體創作中的無相機攝影創作實踐、數位影像的美學底蘊，及其在當代影像藝術脈絡中的顯著意義。本研究發現，章光和在無相機攝影的脈絡中，以及省去相機裝置中介的情況下，不受傳統構圖和視角的限制，在具象物件形態與抽象符號象徵間、在平面靜態展示與立體空間沉浸間，更輕易地展現出其新穎獨特的視覺語彙與獨特風格。

Chang Kuang-Ho, a Taiwanese digital photographer, published Darkroom Terminator in 1994 and declared the demise of the darkroom with his Botany series works, which combined computer-generated and scanned imagery. This series work became a significant artistic declaration in Taiwan’s contemporary photography. By placing Chang’s Botany trilogy in the historical context of cameraless photography and connecting it with the cultural discourse of the post-image era, this research examines Chang’s cameraless photography creations, the aesthetic significance of his digital imagery, and its noteworthy meaning in the context of contemporary image art in the trilogy series. The research reveals that Chang appears more able to present his novel and distinctive visual vocabulary and style when working with cameraless photography since he is not constrained by conventional composition and perspective rules and can move freely between two-dimensional static display and three-dimensional immersive space, as well as between concrete object form and abstract symbolic representation.