形象彌留之處：關於黃至正創作中的形象學思考
作者｜陳晞 Sid CHEN
【編註】文章收錄於《黃至正：騰真集》，天美基金會出版，2002年5月。
當我初次觀看黃至正的《備忘錄》（2019）系列作品時，首先衝入腦中的聯想是關於記憶如何在逐漸遺失、損壞與散落的過程中，逐漸容身於形象之不朽維度中。生命的記憶與關係，是否只能選擇逐漸逝去？又或者，是皈依於不朽的形象之中？在黃至正的創作實踐中，這樣的提問也一直迴盪在他刻意營造的破碎形象裡。然而，在觀看過其他作品之後，我卻又被某些在作品形象內外壓抑的事物所勾引著。
在黃至正的作品中，銀箔背景與吸收墨汁的縫線之間構築幾乎支離破碎的形象，以及金箔轉印影像的負片視覺，令我聯想到波東斯基（Christian Boltanski, b.1944）某些肖像裝置與現成物作品中的幽靈性，以及對於重拾之物的紀念意味。不論是面對大他者歷史的創傷，或者是私人經驗中的悲歡離合，這種幽靈性似乎是當代藝術以現成物與影像裝置詮釋記憶與創傷時散發的氣質。比起完好、乾淨的記憶，殘影敗像似乎更讓黃至正感到安適。
在此之前與之後，黃至正持續以生命經驗中親密（或曾經親密）之人、物與特定所在的形象作為對象物，創作一系列如《詠嘆調》（2021）、《渺小》（2018）與《侵蝕的記憶》（2017）等以數位影像轉印金屬箔的技術重組水墨畫材、轉化工筆畫構圖輪廓的複合媒材作品。然而，儘管我們可以從作品中的媒材特性感受到藝術家視生命與經驗為脆弱和易損之物，黃至正卻有意識地壓抑了畫面中情感與敘事表達的一面。無論我們是否能猜測到畫面中的圖像與影像的故事緣由，我們都難以單從畫面感受到本來寫實影像要傳遞給我們的訊息，也無法從「藝術家如何描繪圖像」的這種繪畫性表現思維中，推測黃至正的意圖。甚至，就算我們知道了系列作品《暗湧》（2017）中的影像緣由，藝術家也藉由負片處理般的金箔轉印影像，形象與感官也都是負片處理，超脫觀看中的意淫。
過往關於黃至正作品的藝評中，大多關注藝術家如何將生命經驗中的圖像透過影像處理方法，藉以重新選集（anthology）記憶的脆弱性形象。例如王靜霏（2017）認為，黃至正作品中的形象與圖層在「不朽的物體：永恆的經驗」之私性與普遍性關係，可與榮格（Carl Gustav Jung, b.1875）的分析心理學概念「集體潛意識」（Collective subconsciousness）對照[1]；陳湘汶（2016）則提及了藝術家對金屬箔與圖像等創作媒材的創造性損壞，以鍊金術比喻其對家庭關係、生命經驗、物質與記憶之生死（或其不朽）的轉化[2]。陳寬育（2019）藉著黃至正2019年的個展「奶油正好融化」，討論了在《備忘錄》中的選集方法，認為藝術家是「將收集而來的物件和影像製成標本集」，並且在影像與衣物內涵的索引性與幽靈性特質，「讓過去一次又一次地重返。」[3]而游原一（2021）則提及了黃至正藉由破碎或變質的作品表面「延伸借喻物件背後的不確定性[4]」，以此擴充王靜霏提出的「集體潛意識」觀點中、形象與意象之普遍性與私人影像／圖像之間命題的思考範例。
藉著上述評論，我們可以歸納出黃至正現階段作品中的特質：它以個人的選集品味，交織私人經驗中的影像與普遍性形象。這些畫面時常是藉由刻意的破損與模糊，擬造出一種我們在觀看媒材變質時聯想到的歲月痕跡，同時在模糊的過程中，否定影像和圖像作為形象寫實的精確性，並使影像與圖像得以在畫面上歸返到圖像學者湯姆・米歇爾（W.J.T. Mitchell）視角中的「零度形象」[5]。模糊化與抽象化是黃至正與不少當代藝術家同樣在思考「影像如何不只是影像」、「記憶如何不只是記憶」時的常見途徑，而目前黃至正創作中的模糊化與抽象化方法，其獨特之處可能是來自於他對於金屬箔的迷戀。這樣的迷戀或許是來自於藝術家在如今的當代藝術世界裡，一種識別度上的自我堅持，又或者是自身所學背景藕斷絲連的遺緒。像是我們可以從《花草偈》與其他形象線條穩固的平面作品中，看見黃至正受到東海大學美術系環境所涵養的工筆白描技法，又或者是他對於紙本、金箔等材料的熟悉程度。從這些創作中，亦不難注意到其畫面構圖方法與使用的媒材上接近工筆畫，讓他的作品也偶有參展於探討當代水墨與膠彩創作的展覽[6]。然而他並不是以一位畫家的手在創作平面作品，其作品中的色彩，多是處在色相與色環所構成的色彩世界之外，多是以物質本身的顏色取代設色。藝術家在平面作品中，只以金屬箔與墨的變奏為色，又或者是在立體裝置作品中，將金屬的氧化反應演示歲月留下的色彩。藝術家似乎將這樣的物質性，以及改造物質性的手，視為平面作品中的生熟表現。
以金屬箔材料的變造與轉印，轉化圖像在選集之後的形象，是黃至正創作的特徵。藝術家常常是藉由材料的特性翻轉影像與圖像的敘事性，但他並不將低限的形象視為生命記憶在抽象化之後的歸所。陳寬育曾將系列作品《容器─隧道》（2019）中的低限繪畫實踐視為一種從幻覺主義（illusionism）通往本質主義（essentialist）的精神，但回過頭來看，其實金屬箔本身在膠彩畫裡面的位置，已經具有超脫於畫面世界的效果在其中。通常它會被視為某種脫俗入聖的裝置或裝飾被使用在膠彩畫中，有時候是背景、神性的光環又或者是人物身上的裝飾。例如我們可以從陳進（b.1907）的膠彩畫中，以金屬箔與增厚劑描繪實在性（literalness）的裝飾物看出端倪。又或者是在姚瑞中（b.1969）的「金碧山水」中，以臺灣各地宮廟使用的996金箔取代中國水墨畫中的留白，讓硬筆山水環繞在抽離時空的異質金身世界[7]。正因為金屬色與金屬箔材料異於膠彩的水干顏料、天然礦物顏料的色彩世界之外，它的格格不入與珍稀性，才能在藝術史與物質文化史中佔有一種與色彩不同的地位。
黃至正現階段作品中的本質主義精神，存在著在藝術家之手與選集上的矛盾，這種矛盾性與金色材料在佛教思想與物質實踐之間的矛盾有著有趣的呼應。佛教雖強調物質世界為虛幻、藉此批判傳統意義上的真實（conventional reality），其實踐思想的過程中卻常常使用珍稀物質，像是在《阿彌陀經》中的淨土由黃金鋪地，以珠寶作為階梯，而佛陀三十二相中則描述佛陀的皮膚若非金色，也一定是珍稀珠寶。佛教研究學者柯嘉豪（John Kieschnick）認為，這是佛教用來強調佛陀「最終是超越一切地域性的審美觀與物質價值」的一種手段[8]。不過與其說黃至正在作品中使用的金箔，是柯嘉豪口中的超越，不如說是藉由材料將畫面進一步的超脫（nirvana）。而正是金屬箔超脫了平面作品中的影像與圖像本來具有的感官，也超脫了本來負片影像中時常給我們聯想到的幽靈性特質。黃至正正是以負片手法翻轉了影像與圖像本來的寫實意義，又以金屬箔材料，讓這些影像從本來通往「零度」形象的路途中，轉而超脫到其他難以被指認的世界之中。
儘管金、銀與銅箔都同屬膠彩畫中的金屬箔材料，但在黃至正的作品中，箔料的物性更受到臺灣漢人祭祀文化裡的物質美學牽引。例如，在臺灣地方信仰中，貼上銀箔的銀紙通常被用來祭祀祖先以及鬼魂。而貼上金箔的金紙則多用於祭祀神明。在黃至正的創作中，銀箔也通常被藝術家使用在對於日常消逝之物的轉化，而金箔更多被用於一些具有昇華意味的、世界主義式的、神秘主義裝飾風格的作品裡，例如在《暗湧》中，一個個青春胴體展露無遺，金箔使這樣的場合如極樂世界一般，形體通透於這個涅槃世界之中。這使金屬箔在黃至正作品中的意義，有著與以往膠彩畫中截然不同的意義。《閃燃》（2017）、《備忘錄》與《詠嘆調》皆帶有藝術家對日常逝去之物的重拾與召喚，但他的目的並不是讓這些形象復活，反而是再一次地宣告它們的死亡，以及揭示我們永遠無法（再次）親密的距離。相較之下，透過金箔世界中的超脫與銀箔世界的死亡，黃至正在兩者材料中所見得的終途僅管並不相同，但同樣具有一種壓抑形象的意圖在裡面。在《閃燃》到《詠嘆調》之間，藝術家如標本般對待靜物的形象，卻似乎並不滿足於將形象變成低限的抽象化視覺，他讓這些形象的輪廓在畫面中像是即將支離崩解的幽魂。藉著箔的物性與殘損的影像，黃至正試著以一種負性徵狀壓抑著圖像與影像，以此尋找一種負形象（negative image）的實踐，探索這個現代主義以來，形象在抽象與具象二元論之外的其他維度。
畢竟，不管圖像與影像再怎麼被壓抑、再怎麼陌生化，我們總在觀看作品中時會有諸如「這是誰？這又是從哪裡來的？」等這般指認形象的慾望。另一方面，敘事卻又並非黃至正藉由選集以複合形象的意義所在。對於描述與指認的欲拒還迎，或許是許多當代創作者糾葛的事情，黃至正依戀作品形象與圖像所內涵的訊息，以及它們的死亡，進而使他決定不讓這些形象變成一種純粹抽象的形象，而成為一種負形象，一種形象被目光照射之後的影子。有人將這種形象與記憶在指稱上的失落歸類為「冷」—這個國內在討論戰後抽象與低限藝術時常常被使用的感官詮釋詞，不過標本般的乾燥感可能更貼近藝術家作品中的負性徵狀，既不死亡，也拒絕一昧地前往不朽。捷克裔法國籍作家米蘭昆德拉（Milan Kundera, b.1929）曾經對形象與不朽進行闡釋，他認為不朽的是形象而不是人，個體是他人發現動作、手勢等形象魅力的通道。而正是形象對於人的感召，使人產生了作為「自我形象」的誤認[9]。因此在臺灣近年來常被提及的前輩雕塑家黃土水（b.1895）口中的精神之不朽，並不是個人思想上的不朽，而是讓自己成為那巨大的、稱之為「藝術精神」形象的一份子。在這個意義上，黃至正作品中的負形象，是一種有別於不朽之「死而不亡」的崇高存在之外的另一種存在狀態。
回到文章開頭關於「作品形象內外壓抑的事物」的感官牽引，負片、破損、簡化圖像與影像的手法，成了一道形象通往意義之反面（而不是無意義）的門，黃至正依照它們的命運，為其分別鋪上了金箔或銀箔的步道，讓這些事物各自通往它處。這些事物是藝術家既想透過創作超脫，卻又需避免它在藝術的公眾凝視中見光死。金屬箔的物性與膠彩、水墨的技術思維提供了他陌生化的途徑，刮去作品中的生命圖像之我執，又讓記憶在皈依形象之不朽之前，暫時封存在金身與銀服之中。那麼，在這樣的負形象中，黃至正又將如何讓我們重新認識那些壓抑的事物？
Where Images Lingers: Regarding the Imagology within Huang Chih-Cheng’s Art Creations
By Chen Hsi
When I first took a close look at the Memo series (2019) by Huang Chih-Cheng, the first thing that came across my mind was that memories can finally rest in the immortal dimension of imagology as they are gradually lost, perished, and scattered in the real world. I asked myself: Are the memories and relations in life doomed to fade away? Or are they perhaps simply transformed into immortal images to last in eternity? Within Huang’s art practices, these questions are also repeatedly posed through the broken images he deliberately builds. However, when I looked into Huang’s other works, I found myself deeply drawn to the things suppressed both in and out of the images of these works.
In Huang’s work, the fragmented structures formed by silver foil backgrounds and ink blotted stitches along with the negative film effects on gold foil transfer printings remind me of the ghastly installations of portraits and ready-made objects created by Christian Boltanski (b.1944). Both artists have incorporated monumental implications for the revived past. Whether it be the immense historical traumas or the personal joys and sorrows of reunion and separations, this phantom quality seems to permeate most contemporary artworks that use ready-made objects and photo installations to interpret the memories and traumas in life. Likewise, compared to intact graceful memories, Huang seems to find refuge in remnant shadows and broken images instead.
Both prior and after the Memo, Huang has the tendency to pick his subjects from the people, objects, or places that have (or had) an intimate connection with him. Series including Aria (2021), Slight (2018), and Rusty Memory (2017) all transferred digital images onto metallic foils to restructure and transform the material and composition of ink painting and meticulous painting through mixed media. However, even though Huang has clearly projected his opinions on the fragility and vulnerability of life and experiences through the nature of these media, he has also intentionally suppressed the emotions and narrations behind the scenes. Even though whether or not we guess the stories behind the scenes, the original messages these realistic photos were trying to convey will remain obscure as the art expressions of the paintings keeps the audience away from conjecturing the artist’s intentions through pondering the making process of the pictures. Even if we somehow figure out the stories behind the series Undertow, with the negative film effect on the gold foil transfer prints, the artist has brought the images and senses into the world of negative space to keep his audience aloof from the hallucination in their visions.
In the past, art criticisms regarding the works of Huang Chih-Cheng have largely focused on how he has reiterated the fragility of memory in his own anthology through processing photo images connected to his life experiences. For instance, in 2017, Wang Jing-Fei pointed out that “the imperishable objects versus perpetual experiences” within the privacy and generality found in the layers and images of Huang’s works have reflected Carl Jung’s concept of collective subconsciousness.[1]
In 2016, Cheng Hsiang-Wen indicated that the artist’s creative deterioration of metallic foils in the pictures stand as an alchemical metaphor for the transformation of his understanding in family relationships, life experiences, physical matters, as well as the coming and going (or perhaps immortality) of memory.[2]Through Huang’s solo exhibition The Butter Just Melted in 2019, Chen Kuan-Yu discussed the manner of selection behind the Memo series. Chen believed that the artist had “made the collected items and photo images into a herbarium,” and that within the photo images and clothes lies a phantom-like indexical quality that “allows the past to revisit again and again.[3]” In 2021, Yu Yuan-I expanded Wang Jing-Fei’s suggestion of the “collective consciousness” within generality of imagology and ideology in conjunction with private photos and pictures, and indicated that Huang Chih-Cheng bears the intention of “extending the uncertainty behind metaphorical objects[4]” through broken or deteriorated surfaces.
From these art criticisms, we can conclude that the current works of Huang Chih-Cheng comprise the following traits: With personal preferences for anthology, the artist tends to weave images of private experiences together with general images, which are deliberately impaired and obscured to create associations of the past. With the obscuring process, the artist denies the photos and pictures to be the accurate representation of reality. Through this way, the photos and pictures are able to return to the “zero point” proposed by visual art theorist W.J.T. Mitchell. Altering images through indistiction and abstraction has been the choice of art expression not only for Huang Chih-Cheng, but also for other contemporary artists, who are in the quest of seeking “the image beyond pure image,” and “memories beyond simple memories.” For now, Huang’s means of presenting obscurity and abstraction in his subjects are perhaps characterized by his obsession with metallic foils. Such obsession could have come from the pursuit of identity and recognition in the contemporary art world, while it also could have been an inseparable connection to the artist’s learning background. In Huang’s The Flower Sutras and other two-dimensional works with solid shapes and figures, the meticulous line drawing techniques and the familiarity with media including paper and gold foil that Huang acquired in the Fine Arts Department of Tunghai University are clearly visible. In these works, the composition and meticulous manner of handling the media are almost impossible to be overlooked. This is why Huang’s works are occasionally seen in exhibitions of contemporary ink painting and glue color painting.[5]However, Huang does not simply create two dimensional works as a painter. The colors in his works often consist of the original colors of the materials, which have replaced paint along with the color world formed by hue and the color wheel. The only colors visible in these two dimensional pictures are the variations of metallic foil and ink. In three dimensional installations, oxidized metals have been used to demonstrate the colors left behind by the years past. The artist seems to identify this type of materiality and the transformation of substances as a mature indication of two dimensional work.
The transformed images in the anthology characterized by the alteration and transfer printing of metallic foils are Huang Chih-Cheng’s signature traits. The artist often transforms the narratives behind the photos and pictures through the characteristics of his chosen materials. However, Huang does not believe that minimalized images are the end of abstract life memories. Chen Kuan-Yu once described the practice of minimal painting in Vessel-Tunnel (2019) as a demonstration that turns illusionism into essentialism. In the world of glue painting, metallic foils have brought effects that transcend simple paintings. They are often seen as some sort of consecrated installation or embellishment in glue color painting, in which metallic foils are found in the background as devine halos or ornaments on a person. For example, in glue color paintings by Chen Jin (b.1907), metallic foils and thickeners that accentuate the literalness of the ornaments also reflect the same aspect. For Yao Jui-Chung (b.1969), his “gold and green landscape” formed by the application of gold foil made of 996 gold is used in temples across Taiwan in replacement of the traditional blank leaving in Chinese ink painting. In Yao’s painting, the heterogeneous golden world detached from spacetime is surrounded by the landscape constructed through hard-pen techniques.[6]The color and texture of the metallic foils stand out from the dry mineral pigments used in glue color painting. Though it may be a bit out of place, it is exactly the rarity that granted foil a unique position in the history of art and material culture.
The essentialism in Huang Chih-Cheng’s current works involves the paradox between the hands of an artist and his hand-picked anthology. This type of paradox interestingly echoes the paradox within the use of golden materials in the theology and material practice of Buddhism. Although Buddhism emphasizes the vanity of the material world to criticize conventional reality, rare treasures are often used to hypostatize Buddhist theology in practice. For instance, in the “Amitabha Sutra,” the pure land (Buddhist paradise) is described to have gold as pavements, and jewels as stairs. In “The 32 Signs of Great Men,” the skin of a Buddha is either gold or rare treasure. Buddhist scholar John Kieschnick believes that this is a way to emphasize that “the Buddha ultimately transcends the limits of regional aesthetics and material values.[7]” However, the gold foils used in Huang Chih-Cheng’s works are not so much the transcendence in Kieschnick’s idea as the pursuit of nirvana for the images through materials. The gold foils not only transcend the original senses brought by the given photos and pictures, but also surpass the common ghastly quality of a negative. Through the negative film effect, Huang has transformed the original realism in these photos and pictures. With the use of metallic foils, these images have detoured from the original “zero-point” route to a world beyond the reach of identification.
Even though gold, silver, and copper foils are all metallic foils used in glue color painting, the foil quality applied in Huang’s works are closer to the material aestheticism in the ancestral worship culture among the Han Chinese in Taiwan. For instance, in Taiwan’s folklore religion, silver foil is attached to silver hell bank notes as a worship to ancestors and ghosts. Gold foil, on the other hand, is mostly used on the gold paper for the worship of gods and goddesses. In the works of Huang Chih-Cheng, silver foil is often used as a transformation of the ordinary things that pass us by in our everyday life. On the contrary, gold foil is often applied to works with sublimate implications, nationalism, and mysticism. Nevertheless, in the series Undertow, youthful bodies with translucent forms are exposed and revealed one after another in the nirvana made of gold foil, which carries a significance utterly different from past glue color paintings. In the series Flash (2017), Memo, and Aria, the artist summoned the things once were not to revive these images, but to redeclare their death, and to remind us that we shall never stand beside the same things ever again. Although on the surface, the sublimation in the world of gold foil and the death in the world of silver foil have nothing in common in terms of their fateful ends projected by Huang, they both connote a suppressive image the artist had in mind. From Flash to Aria, the artist has treated the images of still life as if they were specimens. And yet, he didn’t seem to be satisfied with the minimalized abstract visuals of the images. The silhouettes of these images are like spirits on the fringe of vanishing. Through the physical property of foil and the fragmentation of images, Huang tries to suppress these photos and pictures with some sort of negative syndrome to put his quest of negative image into practice. Through this manner, he has explored the significance of image in dimensions beyond the dualism of reification and abstraction, which has dominated the art world ever since the start of modernism.
Afterall, no matter how oppressed and distant the photos and pictures are, as an audience we tend to have a desire to give them an identity. Therefore, we would ask questions like: “Who are these people?” or “Where does this come from?” Nonetheless, a narrative has never been what Huang Chih-Cheng has been aiming for through these mixed media images in the anthology. Perhaps most contemporary artists have struggled with the choice between depiction and identification. Huang is so attached to the hidden messages behind these photos and pictures as well as their fatal ends that he refuses to turn them into simple abstract images. Instead, he made them into negative images, which are shadows under his torch-like eyes. With the absence of identification, some people categorize this type of image and memory as “cold”— a sensuous term often used in the discussions of postwar abstract and minimal art in Taiwan. The specimen-like dehydration is perhaps closer to the negative symptoms in the artist’s works, which are neither dead or immortal. Similarly, Milan Kundera, a Czech writer who went into exile in France had also elaborated on the relationship between image and immortality. In his idea, immortality is found within an image instead of a person. A subject is the path for others to discover the charisma of movement, hand gesture, and image. Since an image calls for human attention, it is inevitable for humans to mistake it as “self image.”[8]In recent years, people in Taiwan have often brought up the spiritual immortality proposed by Taiwan’s pioneering sculptor Huang Tu-Shui (b.1895). However, the immortality Huang Tu-Shui had in mind has nothing to do with personal ideology, but becoming a part of the great image of “the art spirit.” In this aspect, the negative image in the works of Huang Chih-Cheng also stands apart from the sublimation of immortality in the “undead death.”
As mentioned in the beginning of the article, through the guidance of senses, negative film effect, brokenness, and simplified photos and images, the things suppressed both in and out of the works of Huang Chih-Cheng have opened a door that leads to the reverse side of meanings (certainly not meaninglessness). According to their designated fate, Huang has picked between gold or silver pavements for the subjects to reach to their own fateful ends. Although the artist longs to transcend these matters through creativity, he also has to avoid their doom in public sight. The physical quality of metallic foils and the techniques of glue color and ink painting provide the artist a means to distant the subject from its viewers. As the egos of these life images within the works are scraped away, memories are temporarily sealed in gold and silver before they are made into immortal images. How then, shall Huang Chih-Cheng bring us a brand new understanding towards these suppressed subjects through negative images?
[1]王靜雯，〈關於生命中最裏層的記憶 – 淺論黃至正創作〉，《放築塾代誌》，放築塾創意行銷有限公司出版，第19期，2017年1月號，頁48-50。 [Wang, Ching-Wen. (2017). Guanyu shengming zhong zui liceng de jiyi- qianlun Huang Chih-Cheng chuangzuo. FUNmatter, 19,48-50.]
[2]陳湘汶，〈記憶的鍊金術—黃至正的創作〉，2016，搜尋自黃至正藝術家網站，文章搜尋日期為2022/1/30，文章網址：http://huangchihcheng.weebly.com/essay.html。[Chen, Hsiang-Wen.Alchemy of Memory- Works of Huang Chih-Cheng. Retrieved January 30, 2022, from Huang Chih Cheng Portfolio Website. Web site:http://huangchihcheng.weebly.com/essay.html]
[3]陳寬育，〈標本集、記憶容器與光 ――關於黃至正的「奶油正好融化」個展〉，2019，搜尋自黃至正藝術家網站，文章搜尋日期為2022/1/30，文章網址：http://huangchihcheng.weebly.com/essay.html。[Chem, Kuan-Yu.Hortus Siccus, the Memory Vessel, and the Light― Regarding “The Butter Just Melted,” a Solo Exhibition of Huang Chih-Cheng. Retrieved January 30, 2022, from Huang Chih Cheng Portfolio Website. Web site:http://huangchihcheng.weebly.com/essay.html]
[4]游原一，〈物感思憶作為一種創作設定－關於黃至正的「水銀落地」〉，2021，搜尋自黃至正藝術家網站，文章搜尋日期為2022/1/30，文章網址：http://huangchihcheng.weebly.com/essay.html。[Yu, Yuan-I.Wugan siyi zuowei yizhong chuangzuo sheding – guanyu Huang Chih-Cheng de shuiyin luodi. Retrieved January 30, 2022, from Huang Chih Cheng Portfolio Website. Web site:http://huangchihcheng.weebly.com/essay.html]
[5]Ex. Ink x Multiplicities II (2017) curated by Wu Chao-Jen in Show Gallery, Kaohsiung.
[6]詳見拙作〈從顛覆到觀自在─姚瑞中與神連線的《離垢地》〉，非池中藝術網，2019/11/04，文章搜尋時間為2022/01/30，文章網址：https://artemperor.tw/focus/2938。
[Chen, Hsi. (2019, November 14).Cong dianfu dao guanzizai─Yao Jui-Chung yu shen lianxian deligoudi. Art Emperor. Web site:https://artemperor.tw/focus/2938]
[7]詳見柯嘉豪John Kieschnick，《器物的象徵：佛教打造的中國物質世界》，遠足文化出版，2020/12/23，頁11-12。[Kieschnick, J. (2020). InQiwu de xiangzheng: Fojiao dazao de zhongguo wuzhi shijie = The Impact of Buddhism on Chinese Material Culture(pp. 11–12). Walkers Cultural Enterprises, Ltd.]
[8]黎子元，〈米蘭・昆德拉專輯 02. 不朽的是形象而不是個人〉，哲學01，2019/05/21。文章搜尋時間為2022/01/30，文章網址：https://reurl.cc/oeVnGj。[Li, Zi Yuan. (2019, May 21).Milan Kundera zhuanji 02. buxiu di shi xingxiang er bushi geren. Philosophy 01. Web site:https://reurl.cc/oeVnGj]